Winner of the 2022 Roland H. Bainton Book Prize from the Sixteenth Century Society & Conference In 1578, a fourteen-foot linen sheet bearing the faint bloodstained imprint of a human corpse was presented to tens of thousands of worshippers in Turin, Italy, as one of the original shrouds used to prepare Jesus Christ’s body for entombment. From that year into the next century, the Shroud of Turin emerged as Christianity’s preeminent religious artifact. In an unprecedented new look, Andrew R. Casper sheds new light on one of the world’s most famous and controversial religious objects. Since the early twentieth century, scores of scientists and forensic investigators have attributed the Shroud’s mysterious images to painterly, natural, or even supernatural forces. Casper, however, shows that this modern opposition of artifice and authenticity does not align with the cloth’s historical conception as an object of religious devotion. Examining the period of the Shroud’s most enthusiastic following, from the late 1500s through the 1600s, he reveals how it came to be considered an artful relic—a divine painting attributed to God’s artistry that contains traces of Christ’s body. Through probing analyses of materials created to perpetuate the Shroud’s cult following—including devotional, historical, and theological treatises as well as printed and painted reproductions—Casper uncovers historicized connections to late Renaissance and Baroque artistic cultures that frame an understanding of the Shroud’s bloodied corporeal impressions as an alloy of material authenticity and divine artifice. This groundbreaking book introduces rich, new material about the Shroud’s emergence as a sacred artifact. It will appeal to art historians specializing in religious and material studies, historians of religion, and to general readers interested in the Shroud of Turin.

Winner of the 2022 Roland H. Bainton Book Prize from the Sixteenth Century Society & Conference In 1578, a fourteen-foot linen sheet bearing the faint bloodstained imprint of a human corpse was presented to tens of thousands of worshippers in Turin, Italy, as one of the original shrouds used to prepare Jesus Christ’s body for entombment. From that year into the next century, the Shroud of Turin emerged as Christianity’s preeminent religious artifact. In an unprecedented new look, Andrew R. Casper sheds new light on one of the world’s most famous and controversial religious objects. Since the early twentieth century, scores of scientists and forensic investigators have attributed the Shroud’s mysterious images to painterly, natural, or even supernatural forces. Casper, however, shows that this modern opposition of artifice and authenticity does not align with the cloth’s historical conception as an object of religious devotion. Examining the period of the Shroud’s most enthusiastic following, from the late 1500s through the 1600s, he reveals how it came to be considered an artful relic—a divine painting attributed to God’s artistry that contains traces of Christ’s body. Through probing analyses of materials created to perpetuate the Shroud’s cult following—including devotional, historical, and theological treatises as well as printed and painted reproductions—Casper uncovers historicized connections to late Renaissance and Baroque artistic cultures that frame an understanding of the Shroud’s bloodied corporeal impressions as an alloy of material authenticity and divine artifice. This groundbreaking book introduces rich, new material about the Shroud’s emergence as a sacred artifact. It will appeal to art historians specializing in religious and material studies, historians of religion, and to general readers interested in the Shroud of Turin.

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, "irrepressibly artful minds." Cognitively modern minds produced a staggering list of behavioral singularities--science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art--that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this volume, which emerged from a year-long Getty-funded research project hosted by the Center for Advanced Study in the Behavioral Sciences at Stanford. These scholars bring to bear a range of disciplinary and cross-disciplinary perspectives on the relationship between art (broadly conceived), the mind, and the brain. Together they hope to provide directions for a new field of research that can play a significant role in answering the great riddle of human singularity.

"A study of reliquaries as a form of representation in medieval art. Explores how reliquaries stage the importance and meaning of relics using a wide range of artistic means from material and ornament to metaphor and symbolism"--Provided by publisher.

It was a crime scene investigation like no other. A man was tortured, beaten, and killed. He was popular with the people, but many in power wanted Him dead. After a mock trial, the powerful had their way. He was given a hasty burial, but now the body has disappeared. Was there a clue left behind? A bloody sheet offers evidence of a horrific execution. Was the body stolen? By whom and why? Did it just vanish? What does the cloth reveal about the disappearance? The Shroud of Turin (Italy) bears the faint front and back image of a bearded crucified man with corresponding bloodstains that match the Gospel accounts of what happened to Jesus. It is the most analyzed artifact in the world yet remains an unsolved mystery. While there are no artistic substances on the linen cloth, the blood is real, and testing corresponds with type AB. The blood has soaked through the cloth; however, the image resides only on the top 1 percent of the surface fibers. Could it be the same Shroud that wrapped Jesus in the tomb? The Shroud poses the ultimate either-or proposition as either the actual burial cloth of Jesus or the product of human effort, as a work of devotional art or a masterful hoax. There is nothing in between. The culmination of a lifetime of research, countless presentations, and ongoing associations with Shroud experts worldwide, Russ Breault's Shroud Encounter--Explore the World's Greatest Unsolved Mystery examines the science, history, and theology surrounding this profound enigma. If proven one day to be authentic, the implications could truly shake the world.

"A Treatise on Relics" by Jean Calvin, translated by Count Valerian Krasinski, offers readers a profound exploration of religious relics and their significance within Christian theology. Calvin's meticulous analysis and theological insights shed light on the historical, cultural, and spiritual aspects of relics, making it an essential read for those interested in religious history. Count Valerian Krasinski's translation captures the essence of Calvin's original work, enabling modern readers to engage with the profound thoughts of this influential reformer.

Why does a wine glass break when you drop it, whereas a steel goblet does not? The answer may seem obvious: glass, unlike steel, is fragile. This is an explanation in terms of a power or disposition: the glass breaks because it possesses a particular power, namely fragility. Seemingly simple, such intrinsic dispositions or powers have fascinated philosophers for centuries. A power's central task is explaining why a thing changes in the ways that it does, rather than in other ways: powers should explain why an acorn turns into an oak tree, not a sunflower, or why fire burns wood, and wood can catch fire. This volume examines the twists and turns of the fascinating history of a difficult philosophical concept, focusing on the metaphysical sense of "powers"--that is, the powers that are invoked in the explanation of natural changes and activities. Scholars probe the views of thinkers from antiquity to the present day: Anaxagoras, Plato, the Stoics, Abelard, Anselm, Henry of Ghent, Gottfried Wilhelm Leibniz, Margaret Cavendish, Mary Shepherd, Immanuel Kant, Georg Wilhelm Friedrich Hegel, and numerous others. In addition, the volume contains four short reflection essays that examine the concept of powers from the perspective of disciplines other than philosophy, namely history of music, West African religions, history of chemistry, and history of art. The history of philosophy brims with controversies surrounding the concept of power, and these controversies have not diminished--particularly as potentialities or powers see a revival in contemporary analytic metaphysics. Hence, telling the history of philosophical theories of powers means exploring the trajectory of a concept whose importance to the past and present of philosophy can hardly be overstated.

What more is there to add about the Shroud of Turin? The linen cloth with the faint image of the crucified Jesus in the position of burial is perhaps more popular today than at any other time. But the Shroud unlocks for us another world, a forgotten world. THE FRAUD OF TURIN, written by Catholic writer James Day, objectively reviews the evidence for a medieval creation, but it is written for religious believers, art lovers, and history buffs showing just how all consuming the Passion of Jesus Christ was to the medieval mind. What emerges is an epic journey with crusaders to Jerusalem's Holy Sepulcher, into Arthurian lore and the search for the Holy Grail, and across the Black Sea into mysterious Constantinople. James Day boldly sets out to find the truth of the world's most famous religious artifact.

This book examines deployments of mixed emotion in the literary and pictorial arts of early modern Europe. It consists of two parts, the first focusing on portrayals of mixed emotion in theatre, poetry, and prose, the second on forms and functions of mixed emotion in spiritual exercises centering on pictorial images, and on the heuristic and/or restorative functions of portraying mixed emotion. Contributors are Stijn Bussels, Tom Conley, Wietse de Boer, Carolin A. Giere, Barbara A. Kaminska, Graham R. Lea, Walter S. Melion, Mitchell Merback, Ruth Sargent Noyes, Bram Van Oostveldt, Raphaèle Preisinger, Bart Ramakers, Lukas Reddemann, Ludovica Sasso, Aline Smeesters, Paul J. Smith, Anita Traninger, and Elliott D. Wise.

This authoritative and cutting edge companion brings togethera team of leading scholars to document the rich diversity andunique viewpoints that have formed the religious history of theUnited States. A groundbreaking new volume which represents the firstsustained effort to fully explain the development of Americanreligious history and its creation within evolving political andsocial frameworks Spans a wide range of traditions and movements, from theBaptists and Methodists, to Buddhists and Mormons Explores topics ranging from religion and the media,immigration, and piety, though to politics and social reform Considers how American religion has influenced and beeninterpreted in literature and popular culture Provides insights into the historiography of religion, butpresents the subject as a story in motion rather than a snapshot ofwhere the field is at a given moment