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This contribution provides three church-historical glimpses into concepts and images that deal in different ways with the idea of the union of two parties and communicate it through media. The material under discussion is analysed from a gender perspective. Firstly, the Reformation period is discussed as a process of the valorisation of sexuality, the defence of priestly marriage by Philipp Melanchthon is examined, and attention is drawn to the so-called Oeconomialiteratur, which regulated the cohabitation of spouses. The article then turns to bridal mysticism in order to analyse the gender construction of Jesus and the male members of the Moravians on the basis of the “Kleines Brüdergesangbuch”. It is emphasised that various options can be discussed, but that the concept of a leading masculinity of Jesus is the most appropriate for the description of the multiple masculinity constructions of the specific episode of the so-called “Sichtungszeit” of this community. In a last step, the reception of images and ideas about Katharina von Bora and Martin Luther since the Reformation period will be used to discuss how their marriage and matrimony became denominational identifiers—both for Protestantism and for Catholicism. For this, the double portrait of Katharina von Bora and Martin Luther by Cranach as well as a polemical pamphlet from the time of the Thirty Years’ War and the invention of Katharina von Bora as a pastor‘s wife in the 19th century will be examined. By means of historical hermeneutics and a gender perspective, the article thus determines how media have both enabled the freedom to explore and establish new concepts and ideas as well as been used as a vehicle of regulation. In addition, the church-historical examples analysed also illustrate that wedding, marriage, and matrimony themselves became a medium to structure lives, to communicate religious and social issues, and to reject, construct, consolidate, and pass on denominational identities. Full article

When studied in political and ideological contexts, the numerous references to the Virgin Mary in Machiavelli’s comedic masterpiece Mandragola enable us to see how the author not only parodies a sacred play, but also deftly repurposes Christological and Mariological symbolism to celebrate his work’s unnamed referent: the first Medici pope, Leo X. Full article