In 1462 Pope Pius II performed the only reverse canonization in history, publicly damning a living man. The target was Sigismondo Malatesta, Lord of Rimini and a patron of the arts with ties to the Florentine Renaissance. Condemned to an afterlife of torment, he was burned in effigy in several places in Rome. What had this cultivated nobleman done to merit such a fate? Pagan Virtue in a Christian World examines anew the contributions and contradictions of the Italian Renaissance, and in particular how the recovery of Greek and Roman literature and art led to a revival of pagan culture and morality in fifteenth-century Italy. The court of Sigismondo Malatesta (1417–1468), Anthony D’Elia shows, provides a case study in the Renaissance clash of pagan and Christian values, for Sigismondo was nothing if not flagrant in his embrace of the classical past. Poets likened him to Odysseus, hailed him as a new Jupiter, and proclaimed his immortal destiny. Sigismondo incorporated into a Christian church an unprecedented number of zodiac symbols and images of the Olympian gods and goddesses and had the body of the Greek pagan theologian Plethon buried there. In the literature and art that Sigismondo commissioned, pagan virtues conflicted directly with Christian doctrine. Ambition was celebrated over humility, sexual pleasure over chastity, muscular athleticism over saintly asceticism, and astrological fortune over providence. In the pagan themes so prominent in Sigismondo’s court, D’Elia reveals new fault lines in the domains of culture, life, and religion in Renaissance Italy.

Original songs by "Hugin the Bard" accompanied by story, tale, or lore; each song with lyrics, chord charts, and lead sheets. Also includes a version of the Mabinogion, in English, translated from the Welsh.

In Pagan Theology, Michael York situates Paganism—one of the fastest-growing spiritual orientations in the West—as a world religion. He provides an introduction to, and expansion of, the concept of Paganism and provides an overview of Paganism's theological perspective and practice. He demonstrates it to be a viable and distinguishable spiritual perspective found around the world today in such forms as Chinese folk religion, Shinto, tribal religions, and neo-Paganism in the West. While adherents to many of these traditions do not use the word “pagan” to describe their beliefs or practices, York contends that there is an identifiable position possessing characteristics and understandings in common for which the label “pagan” is appropriate. After outlining these characteristics, he examines many of the world's major religions to explore religious behaviors in other religions which are not themselves pagan, but which have pagan elements. In the course of examining such behavior, York provides rich and lively descriptions of religions in action, including Buddhism and Hinduism. Pagan Theology claims Paganism’s place as a world religion, situating it as a religion, a behavior, and a theology.

Discusses social, economic, and political aspects of antisemitism in the ancient (Greco-Roman) world, based extensively on the writings of Josephus Flavius and Philo.

Art and the Roman Viewer presents a fresh analysis of a major intellectual problem in the history of art: why did the arts of Late Antiquity move away from classical naturalism towards spiritual abstraction? Arguing from a close examination of ancient art images and texts, Jas Elsner shows how an understanding of Roman viewing practices greatly deepens our insight into this fundamental transformation. The sophisticated arts of the early empire, such as Pompeian painting, sculpted reliefs and silverware, entertain the potential for irony, parody, and deconstruction. By contrast, the symbolic arts of the Christian empire, notably the mosaics of Ravenna, eschew irony, while complexity remains, indeed intensifies, as multiple meanings compete to enrich a fundamentally sacred truth. By addressing the subtleties inherent in ancient viewing, this study embarks on a quest to enrich our understanding of an era of profound artistic change.

"Pagans often claim that their spiritual inspiration comes not from a written scripture but from personal experience and original creativity. Yet there are many written works which constitute its testament. Some of them are thousands of years old, such as the Descent of Ishtar, and The Homeric Hymn to Demeter. Others are more recent, such as The Charge of the Goddess." "A Pagan Testament collects these original works, along with the poetry and prose that inspired the founders of the modern Pagan movement. It also includes the largest collection of circle songs and wisdom teachings ever published, which are the Pagan equivalent of the Biblical Psalms and Proverbs."--BOOK JACKET.

A study of Neopagan religious movements in North America, the United Kingdom, and Europe where people increasingly turn to ancestral religions, not as amusement or matters of passing interest, but in an effort to practice those religions as they were before the advent of Christianity.

Imagine a sports-mad culture, deep into Eastern spirituality, political globalism, and religious syncretism. Where women, finding child-rearing an inconvenience, abandon or abort their babies. A society where divorce and remarriage touches everyone. Imagine a society overrun by sexual deviancy and perversion. Sound familiar? It would sound familiar to the apostle Paul. The culture to which he ministered so effectively resembled our planetary culture -- almost decadent point for point. But what should encourage Christians today is that Paul, understanding the times, knew how to reach the culture for Christ. And he can teach us the rules of engagement today. Capturing the Pagan Mind helps us look to an old rabbi, who is still relevant, wise, and powerful and who still tells pagans who their "unknown god" really is -- their Creator and Redeemer Book jacket.