Rosary

El present treball estudia la contractació de la pintura i la fusteria del retaule del Roser del monestir de Santa Maria d'Amer. La confraria del Roser va contracta al pintor i botiguer de teles de Girona Joan Sanches Galindo, que l'executa entre 1605 i 1608, i el fuster de Riudellots Joan Mateu. La capella s'havia acabat d'erigir amb una portalada d'accés a mans del mestre de cases Joan Blanch (1594).
The present work studies the recruitment of painting and carpentry of the Rosario altarpiece of the monastery of Santa Maria d'Amer. The brotherhood of the Roser hired Girona painter and shopkeeper Joan Sanches Galindo, who ran between 1605 and 1608, and the carpenter of Riudellots Joan Mateu. The chapel had been erected with an access doorway at the hands of the master of houses Joan Blanch (1594).

Pour un protestant la prière du Rosaire représente une forme de piété qui lui est peu familière. Elle peut susciter diverses réactions allant du choc spirituel devant une assemblée compacte priant le chapelet à l’enthousiasme devant un « Ave Maria » de Gounod chanté par Pavarotti.

During the last quarter of the nineteenth century and first thirty years of the twentieth, the Catholic laity was encouraged to pray and meditate on the mysteries of the Rosary to remedy perceived evils caused by the ideology of modernity, understood by devout Catholics as a threat to the well-being of humanity due to its attacks on the Catholic Church in Europe and the Western Hemisphere. Though the physical rosary is associated with the meditation on the events of Mary’s life and their connection to the earthly life of Christ, her son, Catholics also consider it a spiritual weapon to implore God’s intercession in worldly affairs, in favor of the mystical body of the Catholic Church. Beginning in 1883, when Leo XIII issued the first of a series of Encyclicals that encouraged Catholics to pray and meditate on the beads to 1929, when the Mexican movement of the Cristeros ended, the papacy asked its constituents to use the Rosary to defend the Church from the onslaught of the state in a series of civil movements that were vindicated as Just Wars against a secular state that acted as an enemy of its citizenry. Among Catholics who heeded the call were Mexicans, who used the Rosary to petition the Virgin and God to help them overthrow the Mexican government led by Plutarco Elías Calles.

The article deals with the circumstances of ordering in 1632 a painting “The Battle of Lepanto” with Tomasso Dolabella. This work has so far received numerous references in literature, but the proposed manifold interpretations have aroused discussion among researchers. The painting was originally exposed in the Rosary chapel next to the former Dominican church in Poznań, as part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. [e Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory gained through the intercession of the Mother of God.

When Johan Maurits of Nassau, Governor-General of Dutch Brazil (1630-54), sent out expeditions against the maroons of Palmares, he was informed by his intelligence officers that the inhabitants followed the “Portuguese religion,” that they had erected a church in the capital, that there were chapels with images of saints and the Virgin Mary and that Zumbi, the king of Palmares, did not allow the presence of “fetishists.” Portuguese sources confirm that Palmares had a priest who baptized children and married couples and that its inhabitants followed Catholic rite, although according to Governor Francisco de Brito, they did so “in a stupid fashion.” Many more examples of the existence of Afro-Catholic elements in maroon communities in Latin America can be found. They question the widespread assumption that Catholicism had been forced upon all African slaves and that, even among those who seemingly embraced the colonizer’s faith, it functioned merely as a veneer underneath which their truly African, indigenous beliefs remained hidden. As the case of Palmares indicates, slaves did not necessarily wish to liberate themselves from all “Catholic ballast” once they ran away but sometimes remained strongly attached to it. 
This conclusion corresponds to the assumption by the Brazilian historian Marina de Mello e Souza that upon arrival in the Americas, many slaves did not perceive Catholic elements as something foreign since “Catholicism represented a link to their native Africa.” Souza is but one of several scholars who in recent years contributed to a shift in the study of black performance culture in the New World. The new paradigm essentially consists in the acknowledgment that our understanding of black performance culture can be bettered if we take into consideration that many Africans had already adopted certain European—predominantly Portuguese—cultural and religious elements before they were shipped as slaves to the Americas.
In the context of this shift, there has been an increased interest in Afro-Iberian brotherhoods (irmandades/hermandades) and confraternities (confrarias/cofradías). While it was long assumed that these so-called “black brotherhoods” were associated with slave culture on the Iberian Peninsula and in Latin America only, it can now be confirmed that Afro-Catholic fraternities also flourished in parts of Africa during the Atlantic slave trade era. As Linda Heywood has argued, “many Kongos and not a few Angolans had been Christians before their enslavement in Brazil. Thus they would have been familiar with the brotherhoods in Luanda, Soyo, and Kongo, and the central role they played in the creole society of Kongo, Angola and São Tomé.” Nicole von Germeten’s research on black brotherhoods in Mexico also concluded that “some Central Africans probably took part in social and religious brotherhoods and sisterhoods before crossing the Atlantic.” 
Ira Berlin also observed that black brotherhoods played a crucial role in the intercontinental networks that developed in the context of the transatlantic slavery. However, like most scholars, Berlin perceives brotherhoods as an essentially Iberian phenomenon that was crucial to the development of black identity the Iberian World, differing from North America, where “numerous informal connections between black people” developed, but not brotherhoods. Although Berlin confirms that slaves “created an intercontinental web of cofradias … so that, by the seventeenth century, the network of black religious brotherhoods stretched from Lisbon to São Tomé, Angola, and Brazil,” he believes that those slaves who ended up in Dutch, French or English colonies refrained from developing brotherhoods since there were no “comparable institutional linkages” that allowed them to do so. Berlin’s assumption thus presupposes that brotherhoods could only be established with institutional support and excludes the possibility that slaves themselves may have taken the initiative to create such organizations.
This article questions this conclusion and explores the possibility that slave organizations modeled upon Iberian brotherhoods have existed in North America. In doing so, it follows a reasoning by Jorge Cañizares-Esguerra, Matt Childs and James Sidbury, editors of The Black Urban Atlantic in the Age of the Slave Trade (2013), according to whom “approved institutional structures authorized by the Catholic Church were not always necessary for Africans and their descendants to build fraternal structures.”  A first section provides an overview of the characteristics of Afro-Iberian slave brotherhoods. The following section presents a comparative analysis between king celebrations in Afro-Iberian brotherhoods and those at African-American Election Day and Pinkster festivals in New England and New York. The article ends with a reflection on the origins of Afro-Iberian cultural and religious elements among slave communities outside of the Iberian realm in the American diaspora.

Il volume è pubblicato in collaborazione con il Dipartimento di Filosofia e Scienze dell'Educazione dell'Università degli Studi di Torino e con la 'Provincia San Domenico in Italia' (Milano), dell'Ordine dei Predicatori. * A norma del codice civile italiano, è vietata la riproduzione, totale o parziale (compresi estratti, ecc.), di questa pubblicazione in qualsiasi forma e versione (comprese bozze, ecc.), originale o derivata, e con qualsiasi mezzo a stampa o internet (compresi siti web personali e istituzionali, academia.edu, ecc.), elettronico, digitale, meccanico, per mezzo di fotocopie, pdf, microfilm, film, scanner o altro, senza il permesso scritto della casa editrice.

This article explores the dynamics affecting the phenomenon of prayer in Jewish life of the First Century, as reflected in the early sources of the Second Temple Period.

Publishing Company; all rights reserved. Please visit Eerdmans webpage for the complete book at http://www.eerdmans.com/Products/4883/into-god39s-presence.aspx.

Rožni venec je katoliška molitev in je predmet – niz jagod na vrvici, ki se uporablja pri tej molitvi. Molitev Rožni venec (tudi roženkranc, molek, paternošter) sodi v skupino molilnih pripomočkov, kakršni so znani iz raznih časov in različnih kultur. Latinska beseda za rožni venec je corona ali rosarium. Corona pomeni na splošno vsako molitev, pri kateri se ponavlja določena besedna oblika in se ponavljanje šteje na kroglice, nabrane na vrvici. Pomeni pa corona tudi molek, to je kroglice, nabrane na vrvici, po kateri se štejejo ponavljane molitve. Z dostavkom se določi, če se misli rožni venec in katerega, na primer corona B. M. V. (navadni rožni venec sv. Dominika v čast preblaženi Devici Mariji), corona S Brigittae (rožni venec sv. Brigite), itn. Rosarium pa pomeni že brez dostavka katoliški rožni venec v Marijino čast. Pravijo mu tudi rosarium marianum. Ta oblika pobožnosti se sestoji iz razmišljanja (skrivnosti) in

Nowadays, the rosary is generally considered to be an attribute of the Roman-Catholic faith, whereas Protestants reject it. This dissertation, however, shows that Christian prayer beads in the sixteenth-century were used by members of the Roman-Catholic as well as the Lutheran denomination. This is documented in painting by way of

"The word paternoster has been applied in a variety of senses. In the Middle Ages paternoster became a synonym for lovemaking. An early instance of this usage appears in the anonymous medieval Latin Prisciano regula. Later it occurs in Rutebeuf's Old French De frere Denise and the Middle English Secunda Pastorum. Evidence that the medieval usage perhaps continued into the modern period is found in Thackeray's Vanity Fair and Hugo's Notre-Dame.

The erotic paternoster may have originated in a playful juxtaposition of a holy prayer and an unholy deed, in an awareness that people saying the paternoster often had their minds on their lovers, or in the proximity of the paternoster to the kiss of peace in the liturgy."

Today when we speak of Rosary, many think of the Marian Rosary, which originated in the 13th century and traces its origin to St. Dominic. The Rosary is the most popular catholic devotion today.
There was, however, an ‘Our Father Beads’ common in monastic traditions, much prior to the Marian Rosary. The lay brothers, who were unable to read or pray the Divine Office in Latin, were obliged to say the Lord’s prayer a certain number of times (50 to 150 times) every day. They used pebbles or beads strung upon a cord to count the repetitions. Those strings of beads are commonly known as Pater-noster (Our Father), even when they are used to recite Hail Marys in the Marian Rosary. In the flow of centuries, the Pater-noster beads went out of vogue and the Marian rosary became popular.

This study tries to contribute to the knowledge about the use and working of amber for rosary beads in the late Middle Ages. In this paper the focus lies on the reconstruction of the production process and the degree of specialization in the production of beads by the rosary makers in Bruges. Also, the different processes that influenced the popularity of amber rosaries and the emergence of the guild of the rosary makers in Bruges, will be discussed. In order to answer the research questions, not only literary works were used, also the production waste of the rosary makers that was found during excavations in Bruges at two different late medieval sites was analysed. By studying the literature, the use of amber for rosaries seemed to be caused by several reasons and the emergence of the rosary guild in Bruges could mainly be explained by the political situation in the region where the Baltic amber was found. The production process and the techniques and tools used could be deduced from the specific tool marks and the different working stages that could be determined in the production waste. Also, it was possible to distinguish different types and size classes and the use of standardized measurements in the beads was clearly detected. It is argued that the different types of beads probably had different functions in the rosary itself. The differences in the beads that were determined between the various contexts, possibly indicate a degree of workshop specialization.

Burials with clay pipes from the era of Thirty Yeas war  investigated in West Pomerania during archaeological excavations are illustrated, with examples from Greifswald and Hohendorf near Wolgast. Besides early Dutch clay pipes a rosary was detected in a grave on St, James church yard in Greifswald.

The Kupferstichkabinett of Berlin houses the only known impression of a rather large single-sheet woodcut, likely cut in Venice in the 1490s. Extensively damaged, the broadsheet displays an unusual image related to the cult of the Rosary and, amongst other inscriptions, two scrolls or tablets bearing a substantial text. Centering on the Berlin woodcut, this article first focuses on its dating and attribution, the development of its complex imagery, and its visual legacy. Next, the role of prints in the early years of the diffusion of the cult of the Rosary is addressed, exploring the reasons why this specific medium was particularly apt for this devotion. Finally, in order to reach a better understanding of the different aims of the woodcut, its textual component is discussed and compared with other contemporary sources.

Second part of a trilogy exploring one aspect of the rosary: The Counting of Prayers. This second part is concerned with the circular side of counting prayers. The third and final part has yet to be written, but if the Lord grants me time and wisdom to do it, it will concern itself with the liniar side of counting prayers.

During revision excavations of the Benedictine Abbey of Saint
Michael the Archangel, in Rudina in 2019, a preserved counter
was discovered, the oldest known in Croatia, which can be dated
to the transition from the 14th century to the 15th. The remains of
the counter were discovered with a lead bull of Pope Boniface
IX, alongside the remains of an older woman buried in a brick
tomb in the southern extension to the abbey church. With a
certain caution, and on the basis of the results of anthropological analysis, written sources and discovered movable finds, we
can conclude that the remains belong to Margaret, a member
of the Podversai (Podvrški) noble family, to whom, in 1397, Pope
Boniface IX issued a document unknown to us today.
Tijekom revizijskih arheoloških istraživanja benediktinske opatije sv. Mihovila Arkanđela u Rudini 2019. godine pronađena je, u
Hrvatskoj, najstarija poznata sačuvana brojanica koju je moguće
datirati na prijelaz 14. u 15. stoljeće. Ostaci su brojanice pronađeni zajedno s olovnom bulom pape Bonifacija IX. uz posmrtne
ostatke starije ženske osobe, pokopane u opekom zidanoj grobnici u južnoj prigradnji opatijske crkve. Uz određeni oprez, na temelju rezultata antropološke analize, pisanih vrela i pronađenih
pokretnih nalaza može se pretpostaviti kako je riječ o posmrtnim
ostacima pripadnice plemićkog roda Podvrški – Margareti, kojoj
je papa Bonifacije IX. 1397. godine izdao nama danas nepoznatu
ispravu.

Wystąpienie o charakterze popularnonaukowym miało na celu przybliżyć słuchaczom historię oraz oprawę artystyczną kultu św. Jacka i Matki Bożej Różańcowej w poznańskim klasztorze dominikańskim. Rozważania oparto o dotychczasowe publikacje naukowe.

The aim of this study is to show that digital technology now lies at the heart of the evangelizing mission of the Catholic Church. In view of the profound changes brought by the rise of digital communication technologies, the Vatican justifies this goal through a desire to reach believers in the remotest areas of the world. While at first glance this strategy gives the Catholic Church a modern image, the current research work brings it closer to the importance the Church attaches to global health interventions. Given the healthcare system failure in some African countries, this article which is based on Foucault's concerns about surveillance foresees a form of paternalism capable of fostering a mode of governance that subtly promotes the influence of individual behaviour.

The aim of this study is to show that digital technology now lies at the heart of the evangelizing mission of the Catholic Church. In view of the profound changes brought by the rise of digital communication technologies, the Vatican justifies this goal through a desire to reach believers in the remotest areas of the world. While at first glance this strategy gives the Catholic Church a modern image, the current research work brings it closer to the importance the Church attaches to global health interventions. Given the healthcare system failure in some African countries, this article which is based on Foucault's concerns about surveillance foresees a form of paternalism capable of fostering a mode of governance that subtly promotes the influence of individual behaviour.

Il volume costituisce un commento teologico alla lettera apostolica del Papa Giovanni Paolo II Rosarium Virginis Mariae e risponde al suo invito rivolto ai teologi -in conclusione del documento -perché praticando una riflessione al tempo stesso rigorosa e sapienziale, radicata nella parola di Dio e sensibile al vissuto del popolo cristiano, facciano scoprire, di questa preghiera tradizionale, i fondamenti biblici, le ricchezze spirituali, la validità pastorale 1 .

The aim of this study is to explore experiences and perceived effects of the Rosary on issues around health and well-being, as well as on spirituality and religiosity. A qualitative study was conducted interviewing ten Roman Catholic German adults who regularly practiced the Rosary prayer. As a result of using a tangible prayer cord and from the rhythmic repetition of prayers, the participants described experiencing stability, peace and a contemplative connection with the Divine, with Mary as a guide and mediator before God. Praying the Rosary was described as helpful in coping with critical life events and in fostering an attitude of acceptance, humbleness and devotion.

Impossible objects: Bosch's realism 99 STEPHEN J. CAMPBELL Counter Reformation polemic and Mannerist counter-aesthetics: Bronzino's Martyrdom of St Lawrence in San Lorenzo 121 VICTOR STOICHITA Beautiful Helen and her double in the Galeria by Cavalier Marino 135 ERIKA NAGINSKI Julien's Poussin^ or the limits of sculpture 155 CHRISTOPHER WOOD Riegl's Mache 173 PHILIP ARMSTRONG Rodchenko's monochromes and the perfection of painting 185 STEPHEN MELVILLE Richard Serra: Taking the measure of the impossible 202 HOWARD SINGERMAN M. A. Ceppari Ridolfi and P. Turrini, "W movimento associative) e devozionale dei laici nella chiesa senese (secc.

👁‍ Drevený ruženec z Nových Zámkov
● ulica T. G. Masaryka (2003)
● novovek (1800 – 1850 n.l.)

Pri výstavbe novozámockej expozitúry Národnej banky Slovenska na ulici T. G. Masaryka, vedľa areálu športovej haly Milénium, boli v roku 2003 na menšej terénnej vlne porušené inhumačné hroby. V spojitosti s tým bol realizovaný záchranný archeologický výskum, ktorého sa ujalo vtedajšie Vlastivedné múzeum v Nových Zámkoch pod vedením E. Kovácsovej. Novoveké hroby boli rozptýlené po celej ploche staveniska a z desiatich dokumentovaných ostal neporušený iba jeden. Na základe ich priestorovej distribúcie je možné, že súvisia s neďalekou Kaplnkou Panny Márie. Podľa písomných prameňov bol totiž okolo roku 1700 pri nej založený cintorín prezývaný „Mária“, na ktorom sa pochovávalo až do polovice 19. storočia. Jeho južná časť bola ešte v priebehu minulého storočia zničená pri budovaní súčasnej cestnej komunikácie a zrejme aj pri bombardovaní mesta počas II. svetovej vojny.

V jednom z porušených hrobov (1/03) sa v oblasti panvy zomrelého našli zvyšky ruženca. Nálezová situácia indikuje, že bol pôvodne omotaný okolo zápästia a prstov rúk. Z ruženca sa zachovalo 11 kusov drevených korálikov tmavohnedej farby, ktoré boli navzájom pospájané bronzovými drôtenými článkami. Koráliky boli vyrezané z dreva a vyhotovené v niekoľkých základných tvaroch - valcovité, vázičkovité, hríbovité a guľovité, pričom každý typ mal svoje špecifické miesto v rámci celého súboru. Miera opotrebovania ich povrchu dokazuje aktívne využívanie ruženca pri modlení, a to ešte predtým sa dostal s nebožtíkom do hrobu.

Ruženec predstavuje kruhový reťazec korálikov, ktorý používajú rímski katolíci pre počítanie modlitieb a jeho názov (hovorovo pátričky) je odvodený od latinského slova „rosarium“, čo znamená „ružová záhrada“. Pôvod ruženca siaha do 3. až 5. storočia, kedy prví kresťania začali používať na počítanie predpísaných modlitieb šnúrky s navlečenými korálikmi. Na uľahčenie odriekania modlitieb negramotných mníchov zaviedli v 13. storočí šnúrky až so 150 korálikmi, kde každý korálik znamenal jeden Otčenáš. Okolo roku 1208 svätý Dominik rozhodol vymeniť modlitbu Otčenáš (lat. Pater noster) za Zdravas‘ Mária (lat. Ave Maria). V 15. storočí bol doplnený ruženec modlitieb po každom Zdravas‘ Mária jedným tajomstvom zo života Ježiša pre účel rozjímania sa modliaceho. Celý reťazec rozdelili na päť desiatkov, ktoré boli od seba oddelené jedným Otčenášom. O storočie neskôr bol ruženec doplnený tromi ďalšími modlitbami Zdravas‘ Mária a počet tajomstiev Ježišovho života sa zúžil na 15. V tomto čase už ruženec nadobudol formu podobnú tej súčasnej, čiže sa skladal z 53 menších korálikov - Zdravas‘ Mária - a 6 väčších korálikov - Otčenáš. Pri ruženci z hrobu v Nových Zámkoch predstavovali menšie guľovité koráliky modlitbu Zdravas‘ Mária a dlhšie valcovité, či súdkovité tvary zastupovali Otčenáše. Ružence boli spravidla ukončené krížikom, ale v stredoveku sa vyskytli aj formy na ktorých visel strapec nití. V prípade novozámockého exempláru sa krížik upevnený v podobe prívesku nezachoval.

Na výrobu korálikov pre ružence sa používali rôzne materiály -  sklo, drevo, kosť, drahé kamene či kovy. Spočiatku boli jednotlivé koráliky navlečené na pevné nite (k nim patrili napríklad hodvábne vlákna). Od novoveku sa na ich spájanie začali využívať kovové články – reťaze. Výrobe ružencov sa venovali špecializovaní remeselníci, a to pomocou sústruhu riadeného jednoduchým lukom. Niektoré z týchto náboženských artefaktov mohli byť prispôsobené aj tak, aby sa dali nosiť na opasku, avšak k najrozšírenejším typom patrili tie v tvare slučky, ktoré boli zakončené strapcom nití či neskôr typickým kresťanským krížikom.

Literatúra / Irodalom: 
Kovácsová, E. 2006 - Záchranné výskumy na území mesta Nové Zámky. Archeologické výskumy a nálezy na Slovensku v roku 2004, 2006, 116-119.
Kovácsová, E. 2010 - Ruženec. Predmet mesiaca august 2010. Publikované na webstránke múzea a portáli Castrum Novum.

Medieval miracle tales, by definition, make manifest to a doubting world the presence of the divine. They evidence they offer of heavenly intervention is usually visual and often tangible; depending on the requirements of the story, this evidence may acquire permanent form, sometimes attaining the status of relic. Marian miracles offer a particularly rich variety of visible proofs; among the most popular of these tales are those in which a penitent's prayers are transformed into flowers -- visible signs of the Virgin's approval. In one such tale, Li Miracles del capiel de roses, a devout monk, threatened with bodily harm, is saved by reciting aves that become roses. The flowers are gathered by the Virgin, who ties them into a garland. In the unique manuscript version of this story, the scribe has transcribed this dramatic scene around a long sewn tear in the parchment, perhaps an early representation of a rosary cord.

In: Johann Anselm Steiger (Hg.): Reformation und Medien. Zu den intermedialen Wirkungen der Reformation. Leipzig: Evangelische Verlagsanstalt 2018 (Reformation heute 4), 259–276.


Band IV: Reformation und Medien. Zu den intermedialen Wirkungen der Reformation
Reformation heute, Band 4
Johann Anselm Steiger (Hrsg.)
Der Band versammelt die Beiträge zu den intermedialen Wirkungen der Reformation und bietet wegweisende Studien aus den Bereichen der historischen und systematischen Theologie, der Geschichtswissenschaft, der Kunst-, Literatur- und Musikgeschichte sowie der Medienwissenschaft. Ihr gemeinsames Ziel ist es, die reformatorischen Bewegungen des 16. Jahrhunderts als mediale Ereignisse zu würdigen. Hierbei wurde eine Vielzahl von Medien genutzt – Printmedien, Bildmedien, Musik, Gesang, Predigten etc. –, insbesondere in auf wechselseitige Verstärkung angelegten Kombinationen (Bild und Text, Musik und Text usw.).
Besonderes Interesse gilt darüber hinaus den medialen Wirkungen der Reformation vom ausgehenden 16. bis in das 18. Jahrhundert. Erörtert werden zudem (post)moderne Transformationen bzw. Konkretionen protestantischen Medienverständnisses anhand der Reise- und Pressefotografie sowie der Medienpräsenz der Kirchen.

[Reformation Today. Volume IV: Reformation and the Media. On the Intermedial Impacts of the Reformation]

The volume contains contributions to the topic of the intermedial impacts of the Reformation, providing pioneering studies from the fields of historical and systematic theology, historiography, history of art, literature and music, and media studies. It is the common objective of these disciplines to acknowledge the Reformation movements as media events. At the time of the Reformation, a wide variety of media has been used – print media, picture media, music, singing, sermons, etc. – especially in combinations intended for mutual reinforcement (image and text, music and text, etc.). Furthermore, a special focus is laid on the medial impact of the Reformation from the late 16th up to the 18th century. In addition, (post)modern transformations or realisations of a Protestant understanding of media are discussed in view of travel and press photography and the churches’ media presence.

For more information and download, please see http://aevum.vitaepensiero.it/

The article offers an analysis of the Mistico Tempio del Rosario (1584) written by the Dominican friar Reginaldo Spadoni, followed by the commented edition of some poetic texts included therein. The Mistico Tempio is an interesting example of how the traditional topos of the ‘temple’ can be adapted to a spiritual context at the end of the 16th century. In addition, Spadoni’s work is useful to improve our knowledge of some important aspects of Renaissance religious culture, such as the Marian devotion, with special reference to the Rosary; the fortune of Solomon’s Temple and its relationship with the Virgin Mary; the devotional practices of the Dominican Order; the synergy between words and images and the use of mnemonics in order to communicate more effectively the spiritual message.

Q & A column in the (Minneapolis) Catholic Servant (February 2006): 4.  In this column I outline the biblical and historical roots of the devotion to the sorrows of Mary and then show its connection to the Rosary and give some sense of its place in the liturgical year.

Proposed 'cultural rosary' or 'meaning mala'
Framing the design challenge
Design specifics
Content and function
-- Ethical injunctions | Sustainability initiatives | Physical survival kits | Cultural survival kit
-- Conflict resolution and dialogue kits | Psychotherapeutic reminders | Spiritual discipline guides
-- Know-how mnemonic devices | Conference summarizers | Design of a new being | Money beads
-- Organizational learning | System holders
Complex examples of cultural rosaries
'Activating' the significance of the cultural rosary
Computer-related issues