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William Blake famously imagined 'Jerusalem builded here' in London. But Blake was not the first or the last to visualise a shimmering new metropolis on the banks of the River Thames. For example, the Romans erected a temple to Mithras in their ancient city of Londinium; medieval Londoners created Temple Church in memory of the Holy Sepulchre in which Jesus was buried; and Christopher Wren reshaped the skyline of the entire city with his visionary dome and spires after the Great Fire of London in 1666. In the modern period, the fabric of London has been rewoven in the image of its many immigrants from the Caribbean, South Asia, Eastern Europe and elsewhere. While previous books have examined literary depictions of the city, this is the first examination of the religious imaginary of the metropolis through the prism of the visual arts. Adopting a broad multicultural and multi-faith perspective, and making space for practitioners as well as scholars, its topics range from ancient archaeological remains and Victorian murals and cemeteries to contemporary documentaries and political cartoons.

Christian art and symbolism --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Blake, William, --- Wallinger, Mark, --- Ben Uri Art Gallery (London)

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Seit dem Sommer des Jahres 1431 reisten zahlreiche bedeutende Persönlichkeiten aus Kirche und Politik nach Basel, um ein Generalkonzil abzuhalten, welches fast zwei Jahrzehnte dauern sollte. Die Stadt entwickelte sich für kurze Zeit zum ±Mittelpunkt der Christenheit?, wie es der italienische Humanist Enea Silvio Piccolomini formulierte. Mit den Konzilsteilnehmern gelangte ein enormes Bildwissen in die Rheinstadt. Dies gilt als ein Grund, weshalb während des Konzils zahlreiche Werke geschaffen wurden, die Kenntnisse von Malerei und Skulptur verschiedenster Regionen bedingten. Hervorgegangen ist daraus eine Art polyphoner Klang der europäischen Kunst an der Schwelle vom Mittelalter zur Renaissance.0Jana Lucas zeichnet in ihrem Buch ein lebendiges Bild des künstlerischen Austauschs im Kontext des Basler Konzils und bietet damit erstmals eine umfassende Zusammenschau des Kunstgeschehens im konziliaren Basel.

Christianity and art --- Catholic Church --- Italy --- Switzerland --- Church history --- Christian art and symbolism --- Art and Christianity --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- History --- Council of Basel --- Council of Basel. --- Basel, Council of --- Basilejský koncil --- Basler Konzil --- Concil von Basel --- Concilium Basiliense --- Koncil basilejský --- Konzil von Basel --- 262.5*27 --- Art --- Religious art --- Symbolism --- Church decoration and ornament --- 262.5*27 Bazel. Florence--(1431-1442) --- Bazel. Florence--(1431-1442) --- Symbolism in art

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"The religious turmoil of the sixteenth century constituted a turning point in the history of Western Christian art. The essays presented in this volume investigate the ways in which both Protestant and Catholic reform stimulated the production of religious images, drawing on examples from across Europe and beyond"--

Reformation and art --- Counter-Reformation and art --- Christian art and symbolism --- 284 --- 284 Protestantisme. Protestantse sekten --- 284 Protestantisme. Sectes protestantes --- Protestantisme. Protestantse sekten --- Protestantisme. Sectes protestantes --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Art and religion --- Art and the Reformation --- Christian religion --- Art --- religious art --- Reformation --- anno 1500-1799 --- Europe --- Christian church history --- History of civilization --- History of Europe --- visual culture --- anno 1500-1599 --- anno 1600-1699 --- kunst en godsdienst --- religieuze propaganda --- imago

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English Gothic Misericord Carvings: History from the Bottom Up by Betsy Chunko-Dominguez is the first book to move beyond textual dependence and traditional iconographic analysis when examining misericords. It likewise builds the most thorough discussion to date of the relationship between the misericord’s several potential audiences – including patron, craftsman, occupant of the seat, and modern viewer. Beyond the bounds of misericord studies, there are implications here for study of the relationship between center and margin in late medieval art; and, indeed, what constitutes ‘center’ and ‘margin’ as conceptual realms. Ultimately, this book attempts both to re-integrate the study of misericords into the study of Gothic art in general, and to re-center them in relation to our understanding of late medieval culture.

Misericords --- Wood-carving, Medieval --- Art and society --- Christian art and symbolism --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Art and sociology --- Society and art --- Sociology and art --- Mercy seats (Seating) --- Choir stalls --- Themes, motives. --- History --- Social aspects --- Art et société --- Art et symbolisme chrétiens --- Histoire --- Miséricordes (Parties de meuble) --- Sculpture sur bois médiévale --- Thèmes, motifs --- Wood-carving, Gothic --- Miséricordes --- Sculpture sur bois gothique --- Themes, motives --- Applied arts. Arts and crafts --- Iconography --- anno 500-1499 --- United Kingdom --- Miséricordes --- Art et société --- Art et symbolisme chrétiens --- Thèmes, motifs --- Religious art --- Symbolism in art

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1936 stellte der Kunsthistoriker und Philosoph Edgar Wind sein Manuskript zu Michelangelos Deckenfresken der Sixtinischen Kapelle fertig. Wind begriff den christlichen Erlösungsgedanken als fundamentales Thema des gesamten Raumes und erkannte ein polares Beziehungsgeflecht, welches ihm das Bildprogramm vollständig erschloss. Methodische Ansätze Aby Warburgs aufnehmend, dessen Mitarbeiter Wind in Hamburg war, analysierte er die Themenwahl Michelangelos. Obwohl fertiggestellt, wurde das Werk nie veröffentlicht. Es liegt nun erstmals in gedruckter Fassung vor, begleitet von einem ausführlichen Nachwort des Herausgebers.

Mural painting and decoration, Italian --- Mural painting and decoration, Renaissance --- Christian art and symbolism --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Michelangelo Buonarroti, --- Michelangelo --- Michelangelo Buonarroti --- Buonarroti, Michelangelo --- Mikelandzhelo Buonarroti --- Mikelʹ-Andzhelo --- Michael Angelo --- Miguel Angel --- Mīkilānjilū --- Michelangiolo --- Michel-Ange --- Michał Anioł --- Buonarroti, Michel Angelo --- Miguel Angelo --- Michelagniolo Buonarroti --- Buonarroti, Michelagniolo --- Michelangiolo Buonarroti --- Michaelangelo --- Michelagnolo di Lodovico Buonarroti Simoni --- di Lodovico Buonarroti Simoni, Michelangelo --- Микеланджело Буонарроти --- מיכאל־אנג׳לו בואונארוטי, --- Criticism and interpretation. --- Themes, motives. --- Cappella Sistina (Vatican Palace, Vatican City) --- Cappella pontificia (Vatican Palace, Vatican City) --- Sistine Chapel (Vatican Palace, Vatican City) --- Papal Chapel (Vatican Palace, Vatican City) --- Sixtinische Kapelle (Vatican Palace, Vatican City)