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Disseminating Christian Beliefs Through Word and Image in Medieval and...
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Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times

A special issue of Religions (ISSN 2077-1444).

Deadline for manuscript submissions: closed (31 December 2025) | Viewed by 19996

Special Issue Editor

Prof. Dr. José María Salvador-González

E-Mail Website
Guest Editor
Department of Art History, Complutense University of Madrid, 28040 Madrid, Spain
Interests: religious studies; Christianity; Mariology; iconography; medieval studies; intellectual history; social history
Special Issues, Collections and Topics in MDPI journals

Special Issue Information

Dear Colleagues,

Based primarily on the writings of the Bible, Christianity is essentially a religion centered on the word. All its guiding principles, both the primary ones concerning doctrine, morality and worship, as well as the derivatives concerning uses and customs, are essentially based on the canonical texts of the Old and New Testament.

In addition, these biblical texts are clarified through the exegetical comments and the catechetical teaching of the Church Fathers and theologians in their role as teachers in charge of transmitting the contents of Christian orthodoxy to the believing community. Therefore, they had to resort to various modes of verbal expression, from profound theological treatises to direct homilies or attractive liturgical hymns.

On the other hand, Christianity assumed the image very early on—especially in the Middle Ages, when almost the entire population was illiterate—as an indispensable support and complement to the word: that way the words were illustrated by images, as a visible embodiment of the ideas.

This essential intertwining between word and image in Christianity becomes particularly dramatic in periods of iconoclastic crisis, such as in the 8th century in the Byzantine sphere and in the 16th century in the Central European domain affected by the Protestant Reformation, especially the Calvinist one. To counteract such iconoclastic crises, Orthodox Christianity chose to emphasize even more the necessary visualization of verbal contents through images, thus motivating a crucial revaluation of worship of images.

The fundamental purpose of this Special Issue of Religions is to publish the work of several specialists in various academic fields who can debate this specific subject matter from an interdisciplinary and transversal perspective.

We seek to invite contributions from a wide range of academic disciplines, such as Church history, theology, philosophy, iconography, arts and humanities, cultural studies, sociology, and other branches of knowledge to contribute to shaping a monograph with a multifocal approach that aspires to provide a valuable supplement to the existing literature.

The aim of this Special Issue is to explore some fundamental dimensions of the interaction between word and image in medieval and Renaissance Christianity. Topics of interest for this Special Issue include, but are not limited to, the following:

  • Interaction between words and images in medieval and Renaissance Christianity.
  • Role of Christian images as a useful tool for teaching the theological message.
  • Historical examples of interactions between Christian images and their doctrinal meanings.
  • Various modes of embodiment of Christian beliefs in medieval and Renaissance images.
  • New insights on doctrinal approaches to medieval and Renaissance Christian iconography.
  • Empirical case studies to formulate new iconographic analyses.
  • Interaction of Christian words and images with new methods of approach.
  • Interdisciplinary insights into the questions addressed.
  • Contribution of Christianity to medieval and Renaissance iconography.
  • Christianity facing to iconoclastic reactions.

We request that, prior to submitting a manuscript, interested authors initially submit a proposed title and an abstract of 200–300 words summarizing their intended contribution. Please send it to the Guest Editor (jmsalvad@ucm.es) or to the Religions Editorial Office (religions@mdpi.com). Abstracts will be reviewed by the Guest Editors for the purposes of ensuring proper fit within the scope of this Special Issue. Full manuscripts will undergo a double-blind peer review process.

Prof. Dr. José María Salvador-González
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 250 words) can be sent to the Editorial Office for assessment.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Religions is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1800 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Christianity
  • Christian doctrine
  • patrology
  • theology
  • Christian iconography
  • church history
  • medieval culture
  • Christian society
  • popular devotion
  • religious experience
  • liturgical hymns
  • interdisciplinary studies
  • middle ages
  • renaissance

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Published Papers (10 papers)

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Research

15 pages, 4255 KB  
Article
Visualizing the Magnificat: Μary and the Attribute of the Book in Early Christian and Medieval Art
by Elena Papastavrou
Religions 2026, 17(4), 461; https://doi.org/10.3390/rel17040461 - 8 Apr 2026
Viewed by 414
Abstract
This paper examines the iconography of the Mother of God holding a book in Early Christian and Medieval art, focusing on representations in which a book or scroll functions as an attribute of the Virgin Mary. Particular attention is given to scenes depicting [...] Read more.
This paper examines the iconography of the Mother of God holding a book in Early Christian and Medieval art, focusing on representations in which a book or scroll functions as an attribute of the Virgin Mary. Particular attention is given to scenes depicting Mary in relation to the Christ Child, Christ Pantocrator, and the Magnificat. The study explores the symbolic significance of the book and scroll through the textual tradition of the Church Fathers. Adopting the methodological approach to the iconographical structure developed by André Grabar, the paper centers on three interconnected case studies. First, it offers a close re-examination of a Marian scene on the ivory relief of the Werden casket (9th c.) of which the meaning is hard to understand. Second, it analyzes the depiction of the Mother of God in the vault of the crypt of Epiphanius at San Vincenzo al Volturno (9th c.), with particular emphasis on motifs that associate the image with the theme of Mary’s Triumph. Finally, it considers a fresco of Mary and Christ enthroned from the Egyptian monastery of Deir al-Suryan (10th c.), treating these works as semantically and conceptually related. Through this comparative analysis, the paper advances several interpretations of the Magnificat as articulated in Early Christian visual culture and developed in later periods with the contribution of the Byzantine theology. Given the well-established influence of Early Christian art on both the Carolingian Renaissance in the West and the Byzantine East, the shared iconographical details identified here—both formal and conceptual—are understood as deriving from a common visual tradition rooted in Antiquity. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
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21 pages, 373 KB  
Article
Holy Mary of the Snows: A Roman Miracle Known in Alfonso X’s Kingdom of Castile and Leon
by Lesley Karen Twomey
Religions 2026, 17(4), 425; https://doi.org/10.3390/rel17040425 - 31 Mar 2026
Viewed by 368
Abstract
This article addresses Alfonso’s miracle about a vision of the Virgin to the Pope and Emperor which foretold the snow which was to fall in August in Rome. Little has been written about the feast of Holy Mary of the Snows with regard [...] Read more.
This article addresses Alfonso’s miracle about a vision of the Virgin to the Pope and Emperor which foretold the snow which was to fall in August in Rome. Little has been written about the feast of Holy Mary of the Snows with regard to the Cantigas de Santa Maria (CSM), the Marian miracle collection compiled by Alfonso X, King of Castile and Leon. However, the feast of Holy Mary of the Snows begins to appear in Castilian and Leonese breviaries from the very beginning of the fourteenth century, shortly after the death of Alfonso in 1284. Comparing the near-contemporary versions of the miracle reveals that Alfonso’s version of the miracle foregrounds the relationship of the Pope and Emperor, whereas the liturgical versions include the vision of the Pope as well as of the Patrician John and his wife. This article concludes that Alfonso, seeking to promote his imperial ambitions, may have brought this miracle and others back to Castile. No trace of the miracle exists in the kingdom before Alfonso’s CSM. Alfonso sought to emphasize the collaboration of Pope and Emperor which suited his purpose. The foundation of the Basilica dedicated to the Virgin in Rome paralleled the cathedral founded in the city of Seville, recently conquered by his father. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
31 pages, 13775 KB  
Article
The Sacristy of the Virgin of the Basílica del Pilar: Breviary of Marian Apology
by Esther Ortiz
Religions 2026, 17(1), 126; https://doi.org/10.3390/rel17010126 - 22 Jan 2026
Viewed by 664
Abstract
This article analyses the iconographic cycle of the Sacristy of the Virgin in the Basílica del Pilar, with the aim of unveiling the complex system of visual symbols present in its bas-reliefs. Through a typological and exegetical approach, the study examines the [...] Read more.
This article analyses the iconographic cycle of the Sacristy of the Virgin in the Basílica del Pilar, with the aim of unveiling the complex system of visual symbols present in its bas-reliefs. Through a typological and exegetical approach, the study examines the various Marian representations, highlighting their connection with Old Testament, Patristic, Scholastic, and Baroque traditions. The research demonstrates how these visual emblems embody the principles of Divine Motherhood, purity, Co-Redemptrix, and the Virgin’s spiritual superiority. Furthermore, it explores the relationship between the carvings and hermeneutic and emblematic literature, revealing how tradition and devotion intertwine to configure a genuine Baroque iconographic breviary. The findings allow for an interpretation of Mary not only as an object of worship but also as a theological paradigm and aesthetic model of divine perfection, thus offering a comprehensive vision of Baroque Mariology and of the didactic and devotional function of the Sacristy of the Virgin. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
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14 pages, 612 KB  
Article
The Turning Point in the Question of Pulchrum: Thomas Aquinas and Early Franciscanism
by Daniele Guastini
Religions 2026, 17(1), 107; https://doi.org/10.3390/rel17010107 - 16 Jan 2026
Viewed by 678
Abstract
This article aims to examine the transformations of the concept of pulchrum that took place in the thirteenth century between Thomism and early Franciscan thought. Specifically, it explores and compares the theme of “pulchra enim dicuntur quae visa placent”, introduced by Thomas Aquinas [...] Read more.
This article aims to examine the transformations of the concept of pulchrum that took place in the thirteenth century between Thomism and early Franciscan thought. Specifically, it explores and compares the theme of “pulchra enim dicuntur quae visa placent”, introduced by Thomas Aquinas in the Summa Theologiae, and the theme of “creatural” beauty, introduced by Francis of Assisi and then taken up above all by Bonaventure of Bagnoregio, identifying these as pivotal moments of transition in the medieval discourse on the pulchrum. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
13 pages, 263 KB  
Article
Beauty in Petrus Hispanus’s Commentary on De Divinis Nominibus
by David Torrijos-Castrillejo
Religions 2026, 17(1), 51; https://doi.org/10.3390/rel17010051 - 2 Jan 2026
Viewed by 625
Abstract
Although an edition of Petrus Hispanus’ commentary on Pseudo-Dionysius’ De divinis nominibus has long been available, his contribution to the pivotal question of beauty—so extensively explored by medieval commentators on this treatise—has remained virtually unnoticed. This article seeks to address that lacuna by [...] Read more.
Although an edition of Petrus Hispanus’ commentary on Pseudo-Dionysius’ De divinis nominibus has long been available, his contribution to the pivotal question of beauty—so extensively explored by medieval commentators on this treatise—has remained virtually unnoticed. This article seeks to address that lacuna by examining the principal passages devoted to beauty, primarily in Chapter 4, where Pseudo-Dionysius’s presents God as subsistent beauty and as the source of both good and beauty, thereby articulating a profound connection between goodness, beauty and being. The study undertakes a comparative analysis of Petrus Hispanus’ commentary and the gloss on the same Dionysian text by Thomas Gallus, upon whom Petrus Hispanus depends to a considerable degree. This comparison reveals that, in the section on beauty, Petrus Hispanus offers a richer and more nuanced treatment than Gallus’ paraphrase. The theme of beauty emerges in close relation to the soul’s ascent toward God within a Christian framework deeply shaped by Neoplatonic thought. While Petrus Hispanus retains traditional descriptions of beauty—such as harmony or order—he also emphasizes its intelligible nature more strongly than either Dionysius or Vercelli did, assigning to the intellect a privileged role in the apprehension of beauty. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
24 pages, 336 KB  
Article
A Treatise in Disguise: Eschatological Themes in Aquinas’s Commentary on the Parables of Matthew’s Gospel
by Kenny Ang
Religions 2025, 16(8), 1023; https://doi.org/10.3390/rel16081023 - 7 Aug 2025
Viewed by 2102
Abstract
This article argues that Thomas Aquinas’s exegesis of the parables in his commentary on the Gospel of Matthew contains—if only in skeletal form, with certain aspects more fully developed than others—the outline of a comprehensive treatise on Christian eschatology. Aquinas approaches parables with [...] Read more.
This article argues that Thomas Aquinas’s exegesis of the parables in his commentary on the Gospel of Matthew contains—if only in skeletal form, with certain aspects more fully developed than others—the outline of a comprehensive treatise on Christian eschatology. Aquinas approaches parables with a nuanced perspective, acknowledging their inherent obscurity while also emphasizing their capacity to guide minds toward the truth. He understands their dual purpose as both concealing divine mysteries from the ill-intentioned and revealing them to the receptive. Distinguishing his approach from Albert the Great’s, Aquinas’s commentary features substantial eschatological components. Drawing on primary sources, this article examines these elements, starting with the unknowability of the end of time, which serves to promote vigilance. This article then treats death and particular judgment, the damned’s twofold punishment (the poena damni and the poena sensus), and the righteous’s varied, eternal reward, concluding with the Parousia, inseparably linked to the general resurrection, the final judgment, and the renewal of the world. Finally, this article shows how Aquinas’s engagement with these parables provides a robust, biblically-rooted exploration of the Last Things. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
12 pages, 239 KB  
Article
What Is Scripture for Thomas Aquinas?
by Piotr Roszak and Krzysztof Krzemiński
Religions 2025, 16(7), 845; https://doi.org/10.3390/rel16070845 - 26 Jun 2025
Viewed by 1667
Abstract
St. Thomas Aquinas defines theology (sacra doctrina) as the communication of wisdom that comes from God and leads to Him. What is important here, according to Thomas, is to read the Bible as a whole and not as a cluster of random books. [...] Read more.
St. Thomas Aquinas defines theology (sacra doctrina) as the communication of wisdom that comes from God and leads to Him. What is important here, according to Thomas, is to read the Bible as a whole and not as a cluster of random books. Revelation, and the testimony of it which is the Bible, cannot be reduced to a mere literal communication of divine truth. More fundamental than the biblical words (verba) themselves is the reality (res) to which they refer: the salvific truth communicated by God. The Thomistic approach to Scripture in theology is shaped by four complementary dimensions: auctoritas (power of authority), sensus (meaning), finis (purpose), and documentum (testimony). In this light, Scripture functions as the “alphabet” of theology—the foundational semantic structure through which revealed truth is expressed and transmitted. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
30 pages, 12291 KB  
Article
Communion Under Both Kinds in the Lublin Frescoes and Gregory Tsamblak’s Liturgy at the Council of Constance
by Mirosław Piotr Kruk
Religions 2025, 16(3), 391; https://doi.org/10.3390/rel16030391 - 20 Mar 2025
Viewed by 3861
Abstract
Communion Under Both Kinds in the Lublin Frescoes and Gregory Tsamblak’s Liturgy at the Council of Constance. The aim of this publication is to draw attention to the fact that a rather lengthy discussion of the peculiar depiction of the Communion of the [...] Read more.
Communion Under Both Kinds in the Lublin Frescoes and Gregory Tsamblak’s Liturgy at the Council of Constance. The aim of this publication is to draw attention to the fact that a rather lengthy discussion of the peculiar depiction of the Communion of the Apostles in the krthodox paintings of the Roman Catholic chapel of Lublin Castle has overlooked the fact that the Orthodox Metropolitan of Kiev Gregory Tsamblak, who was an envoy of the founder of the frescoes, i.e., King Władysław Jagiełło of Poland, to the Council of Constance, gave Communion under two forms during the liturgy he celebrated there and that this was recorded in the annals of the Council. Several issues are worth considering here—the depiction of this Communion in a Roman Catholic Church, its unusual form and the fact that Tsamblak celebrated this liturgy at the Council, which gave separate attention to the question of Communion under both kinds. Metropolitan Tsamblak appeared at the Council in 1418, the same year in which the Lublin paintings were made. It is likely that it was Tsamblak who may have worked with King Władysław Jagiełło to set their programme, just as they both united their efforts to create a framework for Christians of different denominations to coexist within one state organism. Thus, it also seems important to recall this remarkable person and the role he played at a key moment after the unification of the Kingdom of Poland and the Grand Duchy of Lithuania. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
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19 pages, 2381 KB  
Article
Fact, Fiction, and Legend: Writing Urban History and Identity in Medieval and Renaissance Siena
by Ming Yin
Religions 2025, 16(3), 337; https://doi.org/10.3390/rel16030337 - 7 Mar 2025
Cited by 1 | Viewed by 4132
Abstract
Beginning in the 13th century, rivalry among Italian city-states intensified, transforming cultural competition into a strategic tool for asserting identity. Roman heritage was often contested, with cities emphasising their claims as the true heirs of Rome. Siena has faced criticism for its lack [...] Read more.
Beginning in the 13th century, rivalry among Italian city-states intensified, transforming cultural competition into a strategic tool for asserting identity. Roman heritage was often contested, with cities emphasising their claims as the true heirs of Rome. Siena has faced criticism for its lack of major historical sites. In response, its municipal authorities and citizens developed the legends of the “she-wolf” and Saint Ansanus. These legends reinforced Siena’s urban identity through historical narratives and public art. During the Renaissance, Siena redefined its history to assert its legitimacy by drawing on classical culture. This re-articulation of identity addressed historical rivalries and revealed the enduring complexity of local identity formation in Italy. This study examines historical legends and uses historical materials, such as city archives and artworks, to research the Italian city of Siena during the Renaissance and to investigate the origins of urban legends, their controversies, and how Siena created the legends of the “she-wolf” and Saint Ansanus. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
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47 pages, 4850 KB  
Article
The Temple as a Symbol of the Virgin Mary in Medieval Liturgical Hymns and Its Reflection in Images of the Annunciation of the 14th–15th Centuries
by José María Salvador-González
Religions 2024, 15(12), 1446; https://doi.org/10.3390/rel15121446 - 27 Nov 2024
Viewed by 4195
Abstract
The current article seeks two interrelated objectives. First, we will shed light on the Mariological and Christological meanings underlying the saying templum Dei and other similar metaphorical expressions, with which countless medieval liturgical hymns, inspired by the Bible, designate the Virgin Mary. Second, [...] Read more.
The current article seeks two interrelated objectives. First, we will shed light on the Mariological and Christological meanings underlying the saying templum Dei and other similar metaphorical expressions, with which countless medieval liturgical hymns, inspired by the Bible, designate the Virgin Mary. Second, we will iconographically interpret some paintings of the Annunciation from the 14th and 15th centuries that represent Mary’s house in Nazareth as a majestic temple. In this order of ideas, we will proceed according to two complementary methodological strategies: first, we will analyze an abundant corpus of fragments of liturgical hymns configured around some biblical metaphors, such as temple of God, tabernacle of the Lord, seat of Wisdom, Ark of the Covenant, temple of Solomon, or throne of the King (Solomon); second, we will analyze eight pictorial Annunciations that include a temple in their scene. The comparison of both analyses, the texts and the images, will allow us to conclude that these texts are the conceptual support of those images, and that the latter are the visual illustrations of those concepts. Full article
(This article belongs to the Special Issue Disseminating Christian Beliefs Through Word and Image in Medieval and Renaissance Times)
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