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At the archaeological site of Marina el-Alamein in Egypt, many monuments and everyday objects feature motifs related to Aphrodite and her cult. One recurring theme is the seashell that lamps are often decorated with. In one case, it accompanies the depiction of the goddess herself. This article collects oil lamps with the image of a scallop shell from the research of the Polish-Egyptian Conservation Mission, as well as already published specimens from earlier archaeological research. It has been noted to date that this motif is one of the most common on lamps found in Marina el-Alamein. Shells also appear on architectural elements – in the finials of niches with a religious purpose, located in the main reception halls of houses. In such aediculae they are well exposed, but the use of shells does not arise from the shape of the architectural framing. Therefore, other reasons, possibly symbolic ones, for including this motif in decoration should be considered.

Parmi les églises édifiées sur le versant occidental de la montagne de Lattaquié, la basilique inédite d’el-Maqateʾ présente plusieurs aspects intéressants malgré le peu de vestiges qui en subsistent. L’architecture de son chevet encore conservée témoigne de plusieurs siècles de fonctionnement (vie- xie siècles). À une première abside saillante ont été ajoutées plus tard deux absidioles à l’est des collatéraux. La destruction de l’édifice n’est pas datable mais la mise en place au milieu du xxe siècle, au centre de l’abside préservée, d’un édicule « martyrial » dédié à saint Georges (el-Khodr) accompagné d’un cimetière alaouite confirme la permanence du culte d’un saint particulièrement populaire, à l’instar d’autres sanctuaires antiques de Syrie qui lui sont dédiés. Among the churches built on the western slope of the Latakia mountain, the unpublished basilica of el-Maqateʾ offers several interesting aspects despite the scarcity of the remaining vestiges. The architecture of its well preserved chevet reflects centuries of occupation (sixth-eleventh centuries). Two apsidioles were later added to the first projecting apse, on the eastern side of the lateral naves. The destruction of the building is not datable but the addition, in the middle of the 20th century, of a “martyrial” aedicula dedicated to Saint George (el-Khodr) in the centre of the preserved apse, as well as an Alawite cemetery confirms the permanence of the worship of the particularly popular saint, like other ancient sanctuaries of Syria that were dedicated to him. كنيسة المقاطع هي احدى الكنائس الواقعة على السفح الغربي لجبل اللاذقية لم يبقى من أثرها الا النذر اليسير ولكنه كاف ليشير الى بازيليكا ذات اهمية معمارية.يظهر شكل صدر الكنيسة أنها بقيت مستعملة لقرون عديدة أي من القرن السادس حتى القرن الحادي عشر. وقد كان لها محراب وحيد بارز ثم أضيف له محرابين صغيرين جانبيين يقعان الى الشرق داخل الجناحين الجانبيين.لم يحدد بعد تاريخ دمار هذه الكنيسة ولكن وجود مقام للخضر وسط المحراب و وجود مقبرة للطائفة العلوية يشير الى أن هذا الاشغال الجديد ليس حديث العهد . و يشهد على استمرار تقديس أماكن العبادة المسماة باسم لقد يس جارجيوس في سوريا.

Entlang der Via Appia Antica rang ein prunkvoller Grabbau nach dem anderen um famili��re Anerkennung, Memoria war das Einzige das z��hlte. ��ber Jahre entwickelten sich unterschiedliche Grabbau Typologien, die bis heute noch wenig bis gar nicht erforscht sind. Anhand zwei Bauaufnahmen vor Ort konnten unter anderem drei Typologien herausgearbeitet werden: ��dikulamausoleum, Tempelmausoleum und Grabturm. Aus den dort gewonnenen Beobachtungen und Erkenntnissen entstanden einige Fragen. Warum stehen nicht weit voneinander entfernt zwei fast identische Grabanlagen? W��re es m��glich, dass das ��dikulamausoleum ein Serienmodell war? Ist das ��dikulamausoleum ein Tempelmausoleum en miniature? Hat sich vielleicht aus den Tempelmausoleen der Grabturm entwickelt? Was k��nnten die Funktionen der oberen Stockwerke gewesen sein?, Along the Via Appia Antica, one magnificently tomb after another struggled for family recognition, Memoria is the only thing that mattered. Over the years, different tomb typologies developed, which are still little or even unexplored to this day. On the basis of two on-site surveys, three typologies could be worked out among others: Aediculamausoleum, Templemausoleum and Grave Tower. Some questions arose from the observations and insights gained there. Why are there two almost identical Aediculamausoleums not far away from each other? Would it be possible that the Aediculamausoleum was a production model? Is the Aediculamausoleum a temple mausoleum in miniature? Has the tomb tower evolved from the temple mausoleums? What could the functions of the upper floors have been?

This paper examines the rhetorical capacity of architecture, and in particular, “the rhetoric of architecture” rather than the usually examined “rhetoric about architecture.” In this work, the rhetoric of architecture is understood as codified visual and architectural conventions as a series of transpositions that frame specific meanings other than and beyond visible and spatial. Here the proposed “rhetoric of architecture” is also more about its capacity as a “mnemonic tool” and about the “craft of composition” rather than about persuading others or about representation based on exact likeness. This concept is particularly significant in the creation of the sacred. By focusing on the architecture of the critical building of the Holy Sepulchre that enclosed the Tomb Shrine in Jerusalem as described by Patriarch Photios in the ninth and Abbot Daniel in the early twelfth centuries, this paper argues for the recognition of the mnemonic links that the Byzantines may have used not only for remembering the Tomb of Christ, but also for their several reconstructions of the Holy Sepulchre in Jerusalem as well as for embedding the meaning of Jerusalem and New Jerusalem in their churches built elsewhere.

Madrider Mitteilungen, 56 (2015), Der vorliegende Beitrag stellt bislang unbekannte Fundstücke vor, die zu römischen Grabmonumenten aus Segobriga und Augusta Emerita gehören. Sie stammen in dem einen Fall aus neueren Ausgrabungen, in dem anderen handelt es sich um einen Altfund des 19. Ja, This article presents hitherto unknown architectural fragments belonging to Roman funerary monuments from Segobriga and Augusta Emerita. In one case, it originates from recent excavations, in the other case, it is an old finding of the 19th century. Both, El artículo presenta fragmentos arquitectónicos hasta ahora desconocidos, que pertenecen a monumentos funerarios de Segobriga y de Augusta Emerita. Proceden en el primer caso de excavaciones recientes, en el otro se trata de un hallazgo antiguo del siglo

Autor raspravlja o crkvi sv. Petra Starog u Zadru. Riječ je o malenome sklopu koji tvore prednja i stražnja kapela. Temeljita istraživanja provedena od 1959. do 1963. godine pokazala su da je prednja zapravo ranokršćanski oratorij. Stražnja, za koju se mislilo da je već nastankom izravno bila povezana s prednjom, čini se da je izgrađena kao zasebni oratorij. Podignuta je u ranome srednjem vijeku u obliku jednostavne prostorije izduženoga trapezastog tlocrta. Potom je adaptacijom stekla jedinstvenu arhitektonsku kompoziciju ugrađenoga dvobrodnog i dvoapsidalnog prostora natkrivena križnim svodovima. Obilježava ga ranoromanička arhitektura svojstvena crkvama u Zadru i Dalmaciji 11. stoljeća. Tijekom srednjega vijeka prednji oratorij služio je kao kapela i prostorija udruge graditelja u tadašnjem Zadru, bratovštine posvećene sv. Mariji (Njezinu kultu Navještenja, Annunziata). Čini se da je u 15. stoljeću ta družba povezala prednji i stražnji oratorij koristeći stražnji kao kapelu Navještenja. Međutim, indicije ukazuju na mogućnost da je stražnji, kao prethodno odvojeni oratorij, izvorno bio posvećen kultu sv. Marine. Naime, u sklopu Sv. Petra Starog otkriven je ulomak arkade ciborija s imenom MARINA, a C. F. Bianchi zabilježio je podatak o edicoli sv. Marine koja se nalazila “pored starog arsenala”. Navedena je u ispravi iz 1420. godine. Autor pretpostavlja da je to mogao biti stražnji oratorij sklopa, u 15. stoljeću posvećen Bogorodičinu Navještenju i tada povezan s prednjim crkvom sv. Petra Starog. U 17. stoljeću pak ta je bila posvećena kultu sv. Andrije, pokrovitelju udruge ribara i mornara. Time je edicola postala njezina sakristija., In this paper the author discusses the St. Peter the Old’s Church in Zadar. It is a small complex consisting of two chapels – the front and the rear one. The fundamental excavations carried out from 1959 to 1963 showed that the front chapel was actually an early Christian oratory. As regards the rear one, originally thought to have been directly connected with the front one from the very beginning, it seems it was built as a separate oratory. Built in Early Middle Ages as a simple room with an elongated trapezoidal layout, it was later adapted and turned into an inbuilt double-naved and double-apsed space of an undivided architectural composition, arched with cross vaults. It is characterized by the early Romanesque architecture typical for the 11th-century churches in Zadar and Dalmatia. In Middle Ages, the front oratory was used as a chapel and the meeting place of the then Zadar builders’ guild, a fraternity dedicated to St. Mary (more precisely, to Annunziata – the cult of her Annunciation). It seems that the fraternity connected the front and rear oratories in the 15th century, while using the rear one as the chapel of Annunciation. However, there are indications that the rear oratory – earlier separated – was originally dedicated to the cult of St. Marina: a fragment of the ciborium arcade with the name MARINA inscribed in it was found in the complex of St. Peter the Old and C. I. Bianchi records the mentioning of the edicola of St. Marina, located “next to the old arsenal”. It is mentioned in a 1420 document. In the author’s opinion, it could have been the rear oratory of the complex, dedicated to Annunciation of the Blessed Virgin Mary in the 15th century and connected with the front oratory – the St. Peter the Old’s Church – during the same period. However, in the 17th century, it was dedicated to the cult of St. Andrew, the patron of the fishermen’s and sailors’ guild. The edicola became its sacristy.

At the end of the 15th century in Bohemia penetrates the Renaissance style, which appeared in 1493 at the Prague Castle in the form of windows of the Vladislav Hall in the Old Royal Palace. Their appearance is historically and stylistically linked to the Buda Castle, where Vladislaus II. Jagiello relocated in 1490. Here he met the prime marble carvings of the court of Matthias Corvinus, for which worked Italian masters. Patterns of fragments of windows founded in Buda can find at the Palazzo Ducale of Federico da Montefeltro in Urbino, because Hungary was due Queen Beatrice of Aragon from Naples in live contact with Italy.

The main objective of this paper is to present a first analysis of the archaeological remains of the Iberian –Middle and Late Iberian– and Roman –High imperial period– phases documented during the archaeological excavation that took place between 2007 and 2008 in the medieval castle of Burgalimar (Baños de la Encina, Jaén). These are the only remains documented within the mining area of the Rumblar –Eastern Sierra Morena– that belong to the Pre-roman period, where, on the other hand, a strong occupancy has been documented earlier, during the Bronze Age, and later, during the Roman period. Therefore, this study is important for proposing the first hypothesis about the function and type of this settlement, as well as for understanding, from a diachronic point of view, the urban development of this region, which is linked to the largest oppida in the Upper Guadalquivir Valley –Castulo, Isturgi or Cantigi–., En este artículo se presenta un primer análisis de los restos arqueológicos de las fases ibérica –Ibérico pleno y final, ss. V-I a. C.– y romana –altoimperial– exhumados durante la intervención arqueológica llevada a cabo entre 2007 y 2008 en el interior del castillo medieval de Burgalimar (Baños de la Encina, Jaén). Hasta el momento, estos son los únicos vestigios de poblamiento del Ibérico pleno documentados en el interior de la cuenca minera del Rumblar –Sierra Morena oriental–, que sí muestra una fuerte ocupación en los periodos precedentes –Edad del Bronce– y posteriores –época romana–. Por ello, su estudio es fundamental tanto para proponer las primeras hipótesis acerca de la caracterización de este yacimiento como para completar desde una perspectiva diacrónica cómo evolucionó el poblamiento de esta región vinculada a los grandes oppida del valle del Guadalquivir –Castulo, Isturgi o Cantigi–.

The sepulchral monuments of Noricum and Pannonia dating to the Antonine - Severan period (and later), particularly the aediculae, are characterised by abundant mythological decoration. The central mythological scene of a more or less detailed mythological apparatus is one of the three key ingredients used in presenting the deceased or their families, the other two being the portraits and the inscription tablet (all of them placed on the front facade of the monument). The choice of the mythological scenes is guided by the two basic art themes found on Roman sepulchral monuments – death, consolation, and mourning, and, on the other hand, homage to the deceased and his virtues, or mourning and farewell. Both themes correspond to the topoi of funeral poetry and rhetoric. The choice of the individual myths reveals differences between the sarcophagi of Rome and the products of Noricum or Pannonia, as well as between the products of Noricum and of the Pannonian centres.

The five themes presented in Ch. 3 (democracy, American national identity, gender equality, devotional Catholicism, and the Americanization of Catholic doctrine) are further examined here in the context of seeking to show how American culture shaped Catholicism in the period 1960–2001. The chapter starts by examining the role of President Kennedy in enabling Catholics to stand taller, and the changes initiated by Pope John XXIII's election in 1958, which led to the Second Vatican Council reforms (1962–65). It then examines the further emergence of a public Catholicism that sought to influence the shape and values of American society. The chapter also touches on some issues that have generated considerable controversy among Catholics in recent years – the ethical issues of abortion and birth control, the desire for more democracy in the management of parish life, the role of women in the church, the increased ethnic diversity of Catholicism, and the new rituals of prayer and worship that have emerged in the past 40 years.