Journal articles on the topic 'First Parish Church (Weston, Mass.)'

Much of the history of the late nineteenth-century Church of England is dominated by the phenomenon of Anglo-Catholicism. In the period between 1890 and 1939 Anglo-Catholics formed the most vigorous and successful party in the Church. Membership of the English Church Union, which represented a broad spectrum of Anglo-Catholic opinion, grew steadily in these years; advanced ceremonial was introduced in an increasing number of parish churches and, from 1920 onwards, a series of congresses was held which filled the Royal Albert Hall for a celebration of the strength of the ‘Catholic’ movement in the Established Church. In the Church Times the Anglo-Catholics possessed a weekly newspaper which outsold all its rivals put together and which reinforced the impression that theirs was the party with the Church's future in its hands. Furthermore, Anglo-Catholicism could claim to be supplying the Church of England with many of its saints and with a fair proportion of its scholars. Slum priests like R. R. Dolling and Arthur Stanton gave their lives to the task of urban mission; Edward King, bishop of Lincoln, was hailed as a spiritual leader by churchmen of all parties; Charles Gore, Walter Frere and Darwell Stone were scholars of renown, while Frank Weston, bishop of Zanzibar, combined academic achievements and missionary zeal with personal qualities which brought him an unexpected pre-eminence at the 1920 Lambeth Conference. In the last decade of the nineteenth century and in the first decades of the twentieth century, therefore, Anglo-Catholicism was the party of advance, offering leadership and vision and presenting the Church of England with a concept of Catholicity which many found attractive.

In communist Romania, building a church was an almost impossible undertaking, and building permits were rarely granted to anyone who wanted to build a church. The state law that stipulated that a new church could only be built if an existing one ceased to exist provided the opportunity taken by the Diocese of Timisoara to build the new church in Orsova. The state authorities allowed the new church to be constructed in Orsova because of the number of believers (there were Hungarian, German and Czech believers living in the town at the time) and because the construction costs were entirely financed from abroad. The construction of the new Roman Catholic parish church and the priest’s residence in Orsova was one of the greatest achievements of the administration of Konrád Kernweisz, Ordinary of the Diocese of Timisoara – and perhaps of Communist Romania. The speech published here for the first time in print is not a sermon but was certainly delivered at the end of the consecration mass of the church in Orsova. The interesting detail about this text is that it is the first time that the symbolism of the church in Orsova was mentioned.

At the tum of the 19,h and 20th centuries lots of religious communities were founded in the St John Baptist parish in Sokołów Małopolski. One of the most important was the Third Order of St Francis. Its foundation was preceded by many years of endeavours. The very idea was propagated by the inhabitant of Sokołów, Katarzyna Koziarz, who became the member of the secular family of Franciscan family in Rzeszów in 1890. Since then morę and morę people from Sokołów had joined the Tertiary.At the beginning of the 20“’ century those who took steps to popularize the Third Order were Katarzyna Koziarz in Sokołów, Maria Ożóg and Małgorzata Maksym in Wólka Sokołowska and Katarzyna Bąk in Trzebuska while the parish priests, Franciszek Stankiewicz and Leon Szado did little for this matter. The members of the Third Order got involved in lots of activities such as sup- porting the building of the church, providing necessary things for the church and making mass of- ferings.Serious steps to found the Third Order in Sokołów were taken by the parish priest Ludwik Bukała. He organized monthly meetings for the Third Order members. He also established contact with the Bemardine Father, Wiktor Biegus, who 27 April 1936 came to Sokołów and became ac- ąuainted with the tertiaries in the parish. The permission for the canonical establishment of tertiary congregation was granted 4 May 1936 by the ordinary of Przemyśl, Bishop Franciszek Bard.The official foundation of the congregation in Sokołów took place 24 May 1936. The local tertiaries chose St Ludwik as their patron. The congregation govemment was constituted at the first meeting. The parish priest became the director of the community and Katarzyna Koziarz was ap- pointed the superior. On the day of the foundation there were about 100 members. In the first three years of the existence of the Third Order there were 30 people who received the habits and 28 who were admitted to the profession.After the canonical establishment of the congregation, the tertiaries became morę active. They provided the church with sacred appurtenances and fumishings, as well as organising public adora- tion of the Holy Sacrament. They would also wash liturgical linens and adom altars. In 1937 they bought a chasuble with the image of St Francis, and in 1939 they donated a banner with the images of Mother of God and St Francis. In addition, the tertiaries founded their own library with religious books and magazines.The congregation gathered for meetings in the parish church every month. Besides, they had occasional private gatherings. In the first years of the existence of the congregation there were 19 meetings of the Counsel. There were also two visitations of the Sokołów congregation held by Father Cyryl from Rzeszów 11 July 1937 and 6 August 1939. The activities of the tertiaries were hindered by the outbreak of the Second World War.

In the decades following the Scottish Reformation, Scottish parliaments passed a series of penal laws against Catholics and expressions of Catholic religious practice. In an act of 1594 the death penalty was prescribed on the first offence for wilfully hearing Mass; but no Scot was ever executed for hearing Mass. The same law of 1594 encouraged local presbyteries to convert any suspected Catholic under their jurisdiction. As historians of the Scottish Reformation begin to appreciate the crucial role that kirk sessions played in suppressing Scottish Catholicism, this article adds to recent studies which seek to offer a corrective to much previous scholarship on the persecution of Scottish Catholics – which tended to focus almost exclusively on civil enforcement – and explores the impact of parish church courts on Scottish Catholicism, highlighting the effectiveness of public penance, shaming, and psychological pressure as the most useful tools for enforcing uniformity.

The topic of the article “The Pedagogical and Religious Dimensions of the Rites of the Sacrament of Baptism for Children” deals with the sacraments in the Catholic Church, particularly baptism as the first of the seven sacraments. As signs, sacraments are also meant to instruct, and indeed they do, for the meaning and grace of baptism are made clear in the rites of its celebration Union with Christ leads to confession of faith in the One God: Father, Son and Holy Spirit. The profession of faith, closely related to baptism, is eminently Trinitarian. The Church baptises: “In the name of the Father and of the Son and of the Holy Spirit” (Matt. 28,19), the Triune God to whom the Christian entrusts his life.The basis for analyzing the rites of baptism will be the Order of Baptism for Children during mass, which contains very important instructions that can be grouped into three points: (1) instructions about God the Father, (2) instructions about the essence of baptism and its importance for the parish and the baptized, (3) instructions about the duties of the baptized and their parents and godparents. In the sacraments God occupies the central place, and the sacrament of baptism, by instructing about God the Father, the first issue, brings closer three fundamental truths about God: (a) God’s initiative in the salvation for man, (b) God’s omnipotence (universal, loving and mysterious), and (c) God’s goodness. The second issue deals with: (a) the essence of baptism based on the terms given in the Rite of Receiving the Children (baptism, faith, the grace of Christ, admission to the Church, and eternal life); (b) the meaning of infant baptism for the parish community; and (c) the meaning of baptism for the child. Likewise, the third issue is also divided into two parts, with an instruction (a) on the duties of the baptized and (b) the duties of baptized children, parents and godparents.

The article analyzes the structure and information potential of the annual reports on the conditions of the Orenburg and Omsk dioceses to the Holy Synod, prepared science 1870 to 1917. It is emphasized that this set of paperwork is a unique source on the history of the Russian Orthodox Church in the Central Asian outskirts of the Russian Empire and reflects virtually all spheres of life and activities of the dioceses, their institutional and administrative-territorial development, processes of the deanery, church, parish, church and monastery construction. The information capabilities of the reports make it possible to reconstruct a whole range of social, economic, demographic, and migration processes that took place within the boundaries of a particular diocese. That is why the author assigns diocesan reports to the type of “mixed type” paperwork on the basis that they contain information of a normative, narrative and statistical nature. Analysis of reports on the state of the Orenburg and Omsk dioceses allow us to conclude that the 1880s the first decade of the 20th century began a period of active development in the Steppe Territory institutions, the administrative-territorial management system of the Russian Orthodox Church. This was largely due to a sharp increase in the number of Orthodox population in the region, mediated by mass peasant migration.

The article considers the peculiarities of the relations between the Orthodox Church and the communist authorities in the 1920s and 1930s. in Ukraine. Particular attention is paid to highlighting the contradictions between government and the church in the period under study. The author notes the relevance of the topic, as it is rather weakly reflected in Ukrainian historiography. It is noted that when they came to power in 1917, the Bolsheviks began active legislative work to restrict the rights of the church. Thus, the decree of the Second All-Russian Congress of Soviets on land of November 8, 1917 deprived the church and parish clergy of land ownership, and on December 4 (17) the nationalization of land was confirmed by a decree on land committees, which provided for the confiscation of church and monastery and agricultural lands without any compensation, the ministers of the religious cult were declared „servants of the bourgeoisie” and deprived of civil rights. Thus, as a result, the church was significantly limited in its economic activities and in the possibility of obtaining additional income. The militant mood of Soviet atheism in theory and ideology and in practice allows us to distinguish two stages of this process: the first – the 20s of the twentieth century – had mostly peaceful forms. In the second period – the late 20's – 30's of the twentieth century – changed the ideology, which was based on new information technologies that replaced the truth with lies and manipulated human consciousness. This stage with minor changes existed before the Second World War. Its apotheosis was mass repression against the clergy and the most active believers.

The article analyzes information about the parish life of Moscow and the Moscow region churches in the 1944–1946 contained in the reports of the Commissioner for Moscow and the Moscow region of the Council for the Affairs of the Russian Orthodox Church made by A.A. Trushin according to the funds of the Central State Archive of the Moscow region. The paper provides data on the number of churches operating in the first post-war years, as well as on how many churches closed in the 1920s and 1930s were used for economic and cultural needs, which, according to the author, in most cases, contributed to their preservation until the period of mass transfer to the Church. To analyze the changes in the manifestations of popular religiosity in the mid-1940s, information on the attendance of Easter services is taken as a basis, participation in which is considered as an open manifestation by believers of their attitude to the Church. These materials record a steady increase in the number of parishioners during the period under review, not only in Moscow, but also in cit- ies near Moscow and rural parishes of remote areas – Taldomsky, Lukhovitsky, etc. The main reasons for the rise of popular religiosity, according to the author, were the victory in the Great Patriotic War, as well as the expectations of changes in anti-church policy on the part of the state in the USSR that appeared after the meeting of I.V. Stalin with the metropolitans of the Russian Orthodox Church in September 1943. The great interest in the array of documents under consideration is represented by the data on the percentage of young people in the total number of believers and military personnel in the temples

There is no end in sight to historical squabbles about the speed, impact and enduring cultural and ecclesiastical legacies of the English Reformation. The past two decades have witnessed a lively and stimulating debate about the reception and entrenchment of Protestant belief and practice in local contexts. Over the same period we have seen a series of heated and animated exchanges about the developments taking place within the early Stuart Church and the role they played in triggering the outbreak of hostilities between Charles I and Parliament in 1642. While the focus of the first controversy has been the relationship between zealous Protestantism and the vast mass of the ordinary people, the second has been conducted almost exclusively at the level of the learned polemical literature of the clerical elite. So far little attempt has been made to bridge and span the gap. This is hardly surprising – sensible scholars think twice before venturing into two historiographical minefields simultaneously. Nevertheless the problem of reconciling these parallel but largely discrete bodies of interpretation and evidence remains, and it is one which historians like myself, whose interests straddle the sixteenth- and seventeenth-century divide and the Catholic–Protestant confessional fence, can no longer afford to sidestep and ignore. This essay represents a set of tentative reflections and speculations on recent research, a cautious exploration of three clusters of inter-related issues and themes.

This research explores and answers the question: What is Bishop John Philip Saklil's contribution to developing the Indigenous Papuans of the Timika Diocese Catholic Church? The church’s workers will use the answer to the question in making pastoral programs in their parish and responding to the people’s doubts about the church’s ministry and its preference for indigenous Papuans. This research was also made to increase people’s awareness of the problems in Papua and how important it is for us to give priority to Indigenous Papuans. The method used in this study is an analysis of two books related to Bishop Saklil: "The Church and Human Tragedy in Timika Diocese, Collection of Statements of Attitudes and Voices in the Mass Media" and "Mgr. John Philip Saklil, Pr, Founder of the Timika Diocese". Apart from that, the researcher, as a diocesan priest in Timika, directly observed the Bishop’s life from 2012-2019. This observation enriches the analysis of the two books mentioned above. Bishop Saklil's contribution to the support of the Papuans in Timika Diocese is Bishop Saklil's preference towards his ‘flocks’ who are Indigenous Papuans (Ind: Orang Asli Papua). There are two ways in which Bishop Saklil manifests his alignment with the Indigenous Papuans: First, by continuing to speak out against the injustice and incivility experienced by everyone in the land of Papua, particularly the Indigenous Papuans. Second, working in silence and continuing to struggle to tear down the building system creates unjust situations.

Impurities in paint layers executed with green and blue copper pigments, although relatively common, have been studied only little to date. Yet, their proper identification is a powerful tool for classification of paintings, and, potentially, for future provenance studies. In this paper, we present analyses of copper pigments layers from wall paintings situated in the vicinity of copper ore deposits (the palace in Kielce, the palace in Ciechanowice, and the parish church in Chotków) located within the contemporary borders of Poland. We compare the results with the analyses of copper minerals from three deposits, two local, and one historically important for the supply of copper in Europe, i.e., Miedzianka in the Holy Cross Mountains, Miedzianka in the Sudetes, and, as a reference, Špania Dolina in the Slovakian Low Tatra. Optical (OM) and electron microscopy (SEM-EDS), Raman spectroscopy, and laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) have been used for a detailed investigation of the minute grains. Special attention has been devoted to antimony and nickel phases, as more unusual than the commonly described iron oxides. Analyses of minerals from the deposits helped to interpret the results obtained from the paint samples. For the first time, quantitative analyses of copper pigments’ impurities have been described.

The article describes the history of emergence of «klirovye vedomosti» churches on the territory of Ukraine, finds out explores their information potential and peculiarities of using them in genealogical researches. «Klirovye vedomosti» are one the most important documentation types of parish record-keeping. Analyzing the archives materials and the published researches on the issue, the author investigates the process of formation and functioning of the clergy record-keeping. Along with legislative base of the emergence of «klirovye vedomosti», the special features of the realization of the law in daily life as well as the change of the form of the source since the XVIII century to the XIX century are retraced. «Klirovye vedomosti» were made up once a year in duplicate a church copy and a consistory one. Due to its systematic, regular keeping, mass character of coverage of the society they are an important source for reconstruction of pedigrees of the clergy. With their help it is possible to know out a family composition, the name, patronymic and surname (if it was designated), age of each member and relations inside the family. The lack of a large time gap allows with their help to determine the time of the marriage, the time of the death and also the quantity of born and deceased children during the period under study. The author considers that «klirovye vedomosti» must be applied first of all when there is not enough initial data to begin a genealogical research, that is exact dates of birth and names of the subject of the search are not know. This document is convenient to use in the case when the bloodline counts considerable number of representatives and has got numerous branching. The information potential of «klirovye vedomosti» gives an opportunity to research study pedigrees of representatives of the clergy.

This study discusses the origin, and liturgical function, of a popular accessory of the Christmas celebrations, that is, the Bethlehem nativity scene. The events of the life of Jesus attracted much attention in the early period of Christianity, as a result of which the Holy Land was visited by flocks of pilgrims. Descriptions of the sentiments aroused by a pilgrimage to Bethlehem may be found in sources as early as the letters of Saint Jerome. Fragments of the Bethlehem manger were kept in the Santa Maria Maggiore Cathedral in Rome, so it is here that one of the first nativity scenes, a sculptural group by Arnolfo di Cambio, can be found (late 13th century). The work of Arnolfo was commissioned by the same Pope Nicholas IV who also sponsored the ornamentation of the Cathedral of San Rufino. One screen of the Giotto Assisi fresco cycle depicts Saint Francis’ Miracle of Greccio, in which the Holy Mass is celebrated over the manger and the Child comes to life. The Bethlehem nativity scene was the subject of numerous paintings and sculptures during the Renaissance and the Baroque era. From the sacrificial procession of the faithful in the liturgy evolved the genre of sacral drama, from which in turn mystery plays were developed, leaving the premises of the church. Nativity scenes incorporating elements of mystery plays, such as the presence of the shepherds, were intended primarily to make the miracle of embodiment a palpable reality for the believers. The presence of the Holy Family, the three Magi and the shepherds made the nativity scene realistic, always with a touch of the day and age. A tabernacle cabinet carried by angels was erected in 1589 over the Chapel of the Nativity in the Santa Maria Maggiore Basilica; commissioned, again, by a Franciscan Pope, Sixtus V. Caravaggio’s Adoration of the Shepherds altar paintings (the Museo Nazionale, Messina, and the San Lorenzo church, Palermo), represented a novel interpretation of the subject. In sculpture, Antonio Begarelli’s terracotta groups (1526-1527, Modena Cathedral), which resemble paintings, preceded baroque art. The nativity scene, as a genre in sculpture, started to flourish again in Hungary in the 17th century, a symbolic representative of which was the medieval Adoration of the Shepherds sculptural group found by Jesuits in the Town Hall of Lőcse (today Levoča, in Slovakia), a work executed by the master Pál Lőcsei (today in the Basilica of Saint James, Levoča). Three Magi altars are to be found in the churches of Saint Michael in both Sopron and Kolozsvár (today Cluj-Napoca, in Romania), which presumably must have had their medieval antecedents. While the Adoration of the Three Magi sculptural group is a work of an immigrant Bavarian sculptor, Georg Schweitzer, in Sopron, it was Franz Anton Maulbertsch who painted a Three Magi altar screen in Kolozsvár (Cluj-Napoca). Maulbertsch also developed the theme of the Three Magi and the Adoration of the Shepherds in two separate fresco scenes in the parish church of Sümeg, deliberately associating with the great tradition leading to the Church of Nativity in Bethlehem, via the Santa Maria Maggiore Basilica in Rome.

The periods of reforms of the 19th century, revolution, civil war and Soviet construction of the 1920s of the 20th century, unprecedented in the concentration of innovations in the Don enlightenment, are investigated. The author traces the formation of the legal statuses of the estate-Cossack and peasant schools of the Don region, the emergence of female and secondary education in the region. Changes in the educational space of the Region of the Don Army (RDA) are associated with the inclusion in 1878 of the Rostov region and the Taganrog city government in its composition. An analysis of various types of RDA schools showed that there were twice as many parish schools in military villages and farms as there were schools in peasant settlements. The primary school of the Synod, after growth in the 1880s, lost its position at the beginning of the twentieth century due to the low level of education. The peculiarities of secondary education in the region are the class-Cossack character of gymnasiums in the Cossack centers of the Department of Internal Affairs, the priority development of military Cossack educational institutions, the provision of benefits to specialists of Cossack origin. The establishment of the Don Polytechnic Institute in Novocherkassk meant that, in terms of the development of education, the RDA rose to a level comparable to the central regions of the country, at the same time, most school-age children did not have access to educational institutions. During the Civil War on the territory of the White Cossack quasi-state “The Great Army of the Don”, the learning process was not interrupted, and functioned according to the laws of the estate school. The Soviet Unified Labor School, separated from the church and representing equal rights to education for representatives of all social groups and nationalities, was formed after the end of the Civil War. The system-forming link was the state administration of education, acting in line with the decisions of the Communist Party. In the 1920s and the country made a leap from mass illiteracy of the population to the introduction of universal compulsory primary education, which stopped the constant reproduction of the illiterate when new generations entered life. Development of the Don regional educational space system in the 19th-20th centuries became a progressive civilizational process.

The article deals with the morbidity and mortality of smallpox in Western Europe and the Russian Empire from the 16th to the beginning of the 19th century. At that time smallpox was almost a childhood disease, because before the introduction of vaccination in the 18th century about 80% of its victims were children under the age of 10. Widespread was the theory that the pathogens are present in the human body from birth. Effective treatment for smallpox has never existed, but the main procedures were correspond to the general level of medicine (bloodletting, laxative, herbal treatment). The first thing that really could protect for the disease was variolation. It is an artificial infection of a healthy person with smallpox material from a sick person with the hope that it can cause a mild illness with a small rash. It spread in Europe in the first quarter of the 17th century, thanks to E. Timoni, J. Woodworth and Lady M. Montague. Vaccination was the inoculation of humans with cowpox material, which also gave immunity from smallpox. It was invented in 1796 by the English doctor E. Jenner. His experiment based on the common belief that milkmaids never get sick with smallpox, but only with the cowpox. Since 1800, this method has spread into the Europe, displacing variolation. In the Russian Empire in 1811 the decree about the spreading the cowpox vaccinations was officially issued. It include the point about origination of the provincial and county smallpox committees to promote vaccination. Imperial officials in the case of the introduction of mass vaccination were relied on a church organization. It allows us to track smallpox control measures in the local level. In particular, the documents about the fight against smallpox in Pyriatyn County are concentrated in the fund of the Pyriatyn Spiritual Board of the State Archives of Poltava region (F. 801). The first official appeal to the Pyriatyn Spiritual Board in the case of encourage the population to vaccinate cowpox took place in 1804. In 1806 in each church was send the book about the useful of cowpox vaccination and the practice of this procedure. In 1831 the Pyriatyn Spiritual Board, for appeal of the County doctor, was call for priests to practice the vaccination against smallpox himself in their parishes. Poltava spiritual consistory established a number of decrees that introduce the duty of parishes clire to sent the semi-annual reports. They‘s content was different in different decree, and include the number of birth, death and vaccine children. The first was issued in 1806, and the next were after the establishment of smallpox committee in 1812, 1824 and 1833. The last of them provided the fixation of the number of death of smallpox among the children for every 6 month, from the second half of 1832. There was preserved corresponding reports of parish priests for the period from the second half of 1832 to the end of 1841. The most completed they was in 1833. In this year the general number of smallpox victim in the whole county was about 985 person. The following reports show significantly smaller numbers of them - less than 20 deaths per year in 1835, 1837, 1840 and 1841. This issue needs further investigation. Key words: smallpox, vaccination, morbidity, mortality, children mortality.

Office of the Dead, or officium defunctorum, or saļmes is a form of traditional Catholic music – a complex ritual consisting of several hours long prayers sung at home, dedicated to saving the souls which, in accordance with Catholic provisions, have entered purgatory after death. The main function of this ritual is to pray, basically through singing, for the soul of the deceased. The goal of the study is to research of the tradition’s historical development in Stirniene and monitor its current preservation efforts. Empirical materials from the field research – interviews with local informants, biographical narratives, audio and video recordings – as well as articles in local and regional mass media have been used in the research. The tradition in Latgale was introduced by Jesuits at the end of the 18th century. The first church in Stirniene parish was a Jesuit mission centre in the 18th century. It can be concluded that the primary purpose of the chant is to sing and pray for the soul of the deceased. It can be assumed that the Office of the Dead chanting tradition in Stirniene, just like in other parts of Latgale, could have begun at the end of the 18th century and thus may have existed for more than 200 years. The texts of Christian psalms and the original Gregorian chant have transformed and intertwined with folk singing practices; the ritual or its parts are traditionally transferred orally. Usually, saļmes are sung before and after funerals, on death anniversaries, specifically on November 1 and 2, as well as throughout November and in cases of supernatural occurrences at home. Through two centuries and to this day, Office of the Dead chants in Stirniene is a common religious practice, and almost every family has experienced it, as the chants are a crucial part of the funeral rites. In 2021, Saļmes Stērnīnē was included in the National List of Intangible Cultural Heritage.

Wizerunek Chrystusa Miłosiernego jest dzisiaj znany i propagowany w dwóch wersjach malarskich. Pierwsza, to obraz namalowany w Wilnie w 1934 przez Eugeniusza Kazimirowskiego pod kierunkiem św. Faustyny Kowalskiej, która udzielała malarzowi szczegółowych wskazówek odnośnie do wyglądu powstającego wizerunku Chrystusa. Druga, bardziej znana wersja, to obraz Jezusa Miłosiernego Adolfa Hyły, namalowany w 1944 r. do kaplicy Zgromadzenia Matki Bożej Miłosierdzia w Krakowie-Łagiewnikach. Procesowi kształtowania się kultu Miłosierdzia Bożego, zwłaszcza w jego początkach podczas II wojny światowej i bezpośrednio po niej, towarzyszyło wiele przedstawień Chrystusa Miłosiernego. Przedstawienia te bardzo często odbiegały od wzorcowego wizerunku opisanego przez św. siostrę Faustynę Kowalską i obrazu namalowanego według jej wskazówek przez Kazimirowskiego. W tym opracowaniu zostały zaprezentowane cztery wczesne przykłady ilustracji wizerunku Chrystusa Miłosiernego, związane z rodzącym się kultem Miłosierdzia Bożego i dokumentujące proces kształtowania się ikonografii tematu. Rysunek S. Kreduszyńskiego (il. 1) i akwarela Aleksandra Maja (il. 2) dokumentują kult wizerunku Jezusa Miłosiernego podczas II wojny światowej, a zwłaszcza w czasie Powstania Warszawskiego. Świadectwem popularności wizerunku Jezusa Miłosiernego w czasie wojny jest też fresk Felicjana Szczęsnego-Kowarskiego w kościele parafialnym w Hołubli z 1943 r. (il. 4, 5). Obraz krakowskiego malarza Henryka Uziembły z 1942 r., obecnie w kościele parafialnym w Lądzie (il. 6), jest pierwszym przedstawieniem Chrystusa Miłosiernego na tle pejzażu, wyraźnie odbiegającym od wizji siostry Faustyny zilustrowanej w obrazie Kazimirowskiego. Na obrazie Uziembły wzorował się Adolf Hyła malując w 1944 r. obraz dla sióstr w Krakowie-Łagiewnikach (il. 7). W 1952 r. malarz dokonał korekty obrazu, zamalowując pejzażowe tło. Obraz Jana Wałacha, namalowany w 1952 r. do kaplicy salezjańskiego nowicjatu w Czerwińsku, ukazuje Chrystusa Miłosiernego unoszącego się nad światem (il. 8). W takiej postaci obraz nawiązuje do wizji jaką św. siostra Faustyna otrzymała w 1935 r. podczas nabożeństwa przy Ostrej Bramie w Wilnie, gdy po raz pierwszy został publicznie ukazany obraz Chrystusa Miłosiernego. Four Early Effigies of Merciful Jesus: drawing by S. Kreduszyński, fresco by Felicjan Szczęsny Kowarski in Hołubla, painting by Henryk Uziembło in Ląd, and that by Jan Wałach in Czerwińsk. The effigy of Merciful Jesus, epitomizing Divine Mercy, is today known and promoted in two painterly versions. The first was that executed in Vilnius in 1934 by Eugeniusz Kazimirowski under the guidance of St Faustina Kowalska, who gave the painter detailed information on the appearance of the effigy while it was being created. The second, a more popular version, is the painting of Merciful Jesus by Adolf Hyła executed in 1944 for the chapel of the Congregation of the Sisters of Our Lady of Mercy at Cracow-Łagiewniki. The process of the formation of the cult of Divine Mercy, particularly at its early stage, during WW II and immediately afterwards, was accompanied by numerous effigies of Merciful Jesus, some of them often distanced from the model described by St Sister Faustina Kowalska and the work painted under her guidance by Kazimirowski. The study presents four early examples of the effigy of Merciful Jesus related to the emerging cult of Divine Mercy and documenting the process of the topic’s iconography formation. Kreduszyński’s drawing (Fig.1) and Maj’s water-colour (Fig. 2) are records of the cult of Divine Mercy during WW II, and particularly during the Warsaw Uprising. The popularity of the effigy of Merciful Jesus during the war is testified by Felicjan Szczęsny-Kowarski’s 1943 fresco in the Parish Church at Hołubla (Figs. 4,5). The 1942 work of the Cracow painter Henryk Uziembło, currently in the Ląd Parish Church (Fig. 6), is the first effigy of Merciful Jesus against landscape, clearly distant from the vision of Sister Faustina illustrated in Kazimirowski’s painting. It was Uziembło’s work that served as the model for Adolf Hyła who executed the effigy for the Cracow-Łagiewniki Sisters in 1944 (Fig. 7). Painting over the landscaped background, the artist corrected his work in 1952. In turn, Jan Wałach’s 1952 painting for the Salesian novitiate chapel in Czerwińsk shows Merciful Jesus rising above the world (Fig. 8). In this form, it echoes the vision St Sister Faustina had in 1935 during the Mass at the Vilnius Gate of Dawn when the effigy of Merciful Jesus was first presented to the public.

AbstractThe article starts by taking stock of research into North and South Netherlandish professional embroidery in the sixteenth and seventeenth centuries. Such embroidery, which was rarely or never signed, and much of which has been lost, has hitherto been studied largely on stylistic grounds and grouped around noted schools of painting. Classifications include 'circle of Jacob Cornelisz van Oostsanen', for instance, or 'Leiden school/influence of Lucas van Leyden'. The author advocates a more relative approach to such classification into schools. She suggests that only systematic archive research in each location can shed new light on the production of embroidery studios and that well-founded attributions hinge solely on such research. The embroidery produced in Utrecht between 1500 and 1580 is cited as an example. The invoices of Utrecht parish and collegiate churches from circa 1500 to the Reformation record not onlv commissions to painters, goldsmiths and sculptors but also many items referring to textiles, notably embroidery. Together they provide a clear and relatively complete picture of the activities of sixteenth-century Utrecht embroiderers, whose principal customers were the churches. The items in question moreover exemplify the craft of the North Netherlandish embroiderer in that period in general in terms of what was produced as well as of the method and position of these artistic craftsmen, who were less overshadowed by painters than is generally assumed. A brief introduction outlining the organization of professional Utrecht embroiderers, who became independent of the tailors' guild in 1610 and acquired their own warrant, is followed by the analysis of an order from the Buurkerk in Utrecht for crimson paraments in 1530: three copes, a chasuble and two dalmatics. The activities of all those involved in their production are recorded : the merchants who supplied the fabric, the tracers of the embroidery patterns, the embroiderer, the cutter, various silver-smiths and the maker of the chest in which the set of garments was kept. The embroiderer was the best-paid of all these specialists. It is interesting to note that some Utrecht guild-members worked free of charge on these paraments, and that the collection at the first mass at which they were worn was very generous. There were probably political reasons for this: some of the donators, Evert Zoudenbalch and Goerd van Voirde, had been mayors at the time of the guild rebellion in Utrecht, and the Buurkerk was the parish church where the guild altars stood. After this detailed example the author discusses Utrecht embroiderers known by name and their studios,comparing them with a list of major commissions carried out for churches in Utrecht (appendix I). It transpires that in each case one studio received the most important Utrecht orders. This is followed by the reconstruction of three leading figures' careers. First Jacob van Malborch, active till 1525; a contract (1510) with the Pieterskerk in Utrecht regarding blue velvet copes is cited (appendix 11). He is followed by the embroiderers Reyer Jacobs and Sebastiaen dc Laet. Among his other activities, the latter was responsible for repairing and altering the famous garments of Bishop David of Burgundy. Items on invoices arc then cited as evidence that the sleeves of two dalmatics now in the Catharijneconvent Museum, embroidered on both sides with aurifriezes donated by Bishop David, were made by Jacob van Malborch in 1504/1505. This shows that systematic scrutiny of invoices and the results of archive research concentrated on individual embroiderers in a single city, compared with preserved items of embroidery, yield information that can lead to exact attributions to an artist or a studio (figs.4a to c and 5a to c). The Catharijneconvent Museum also possesses a series of figures of saints embroidered by the same hand (fig. 14). Finally, the author points out that a group of embroidered work (previously mentioned by H. L. M. Defoer in the catalogue Schilderen met gouddraad en zyde (1987)) which historical data suggest was done in Utrecht and which was produced in the same period, are almost certain to have come from Jacob van Malborch's studio, despite the lack of archival evidence (figs. 6 to 13).

English : In the Church document Sacrosantum Concilium Art.29 also the ministers of the mass (altar boys), lectors, commentators and choir members actually carry out liturgical services. They should therefore discharge their duties devoutly, sincerely and thoroughly, as worthy of such a high ministry, and after what is properly required of them by the people of God. So it is necessary for them to be deeply infused with the spirit of the liturgy, each of which is only his ability, and be nurtured to carry out their roles appropriately and neatly. Coronavirus Disease 2019 is a new type of disease that has never been previously identified in humans. The virus that causes Covid-19 is called Sars-CoV-2. Corona virus is zoonotic (transmitted between animals and humans). Meanwhile, the animal that is the source of Covid-19 transmission is still unknown. Based on scientific evidence, Covid-19 can be transmitted from human to human through coughing/sneezing droplets (droplets). The people most at risk of contracting this disease are people who are in close contact with Covid-19 patients, including those who treat Covid-19 patients (Kemenkes RI, 2020). Common signs and symptoms of Covid-19 infection include symptoms of acute respiratory distress such as fever, cough, and shortness of breath. The average incubation period is 5 - 6 days with an incubation period of fever, cough, and shortness of breath. In severe cases, Covid-19 can cause pneumonia, The church greets people in the midst of the Covid-19 pandemic. The Covid-19 pandemic is still rampant. Moments of social isolation have changed many aspects of church life. To deal with the Covid-19 pandemic, the Church needs to learn from history, one of which is the history of God's people after the exile from Babylon. In addition, there are several challenges that the Church needs to face as a result of the Covid-19 pandemic, namely in the aspects of celebrating the Eucharist, ministry, and theology. In order to support the handling of Covid-19, the Church put forward several appeals to support the work of the government. The reality that happened is based on the author's interview with the head of the Stasi, the administrators and the people of the St. Petrus Sumberejo Blitar Station that with the Covid-19 pandemic like this, people were afraid, indecisive, came to church, and before the Covid-19 pandemic, at the St. clear division of liturgical duties, and all liturgical officers assigned to carry out their duties. With the passage of time due to the Covid-19 pandemic, the schedule that had been arranged did not go as expected. Because there are people or liturgical officers, who have just returned from out of town, so they have to carry out a quarantine process for 2 weeks, therefore the liturgical officers who have been arranged are hampered and the liturgical staff's schedule is not arranged properly. From the problems above, the researchers formulated the following problems: To what extent the participation of the people as liturgical officers during the Covid-19 pandemic at St. Petrus Sumberejo Blitar. From the formulation of the problem, the objectives to be achieved by the author in this study are:to knowthe participation of the people as liturgical officers during the Covid-19pandemic at the St. Petrus Sumberejo Station, Blitar. This research is a quantitative research, the research population is 93 people and a sample of 30 respondents as liturgical officers. the data collection method uses a closed questionnaire while the data collection method uses F Prosen and Scoring. Based on the results of the overall data processing with a scoring value of 2.59, it means that the participation of the people as liturgical officers during the Covid-19 pandemic at the St. Petrus Sumberejo Station, Blitar, Santa Maria Parish, Blitar, was carried out well. Thus, to support the implementation of people's participation as liturgical officers in the future, some appropriate steps can be taken. First for the people of the St. Petrus Sumberejo Blitar needs to be regenerated for worship leaders. The two parishes may be able to help the people to continue to carry out liturgical activities on a regular basis, including as officers in them, through policies or parish programs. Bahasa Indonesia Dalam dokumen Gereja Sakrosantum concilium Art..29” juga para pelayan misa (putera altar), para lektor, para komentator dan para anggota paduan suara benar-benar menjalankan pelayanan liturgis. Maka hendaknya mereka menunaikan tugas dengan saleh, tulus dan saksama, sebagaimana layak untuk pelayanan seluhur itu,dan sesudah semetinya dituntut dari mereka oleh umat Allah. Maka perlulah mereka secara mendalam diresapi semangat liturgi, masing-masing sekedar kemampuannya, dan dibina untuk membawakan peran mereka dengan tepat dan rapi. Coronavirus Disease 2019 (Covid-19) adalah penyakit jenis baru yang belum pernah diidentifikasi sebelumnya pada manusia. Virus penyebab Covid-19 ini dinamakan Sars-CoV-2. Virus corona adalah zoonosis (ditularkan antara hewan dan manusia). Adapun, hewan yang menjadi sumber penularan Covid-19 ini masih belum diketahui. Berdasarkan bukti ilmiah, Covid-19 dapat menular dari manusia ke manusia melalui percikan batuk/bersin (droplet), Orang yang paling berisiko tertular penyakit ini adalah orang yang kontak erat dengan pasien Covid-19 termasuk yang merawat pasien Covid-19 (Kemenkes RI, 2020). Tanda dan gejala umum infeksi covid-19 termasuk gejala gangguan pernapasan akut seperti demam, batuk, dan sesak napas. Masa inkubasi rata-rata adalah 5 - 6 hari dengan masa inkubasi demam, batuk, dan sesak napas. Pada kasus yang parah, covid-19 dapat menyebabkan pneumonia, sindrom pernapasan akut, gagal ginjal, dan bahkan kematian. Gereja menyapa umat di tengah pandemi Covid-19 Pandemi Covid-19 masih merajalela. Momen isolasi sosial telah mengubah banyak aspek dalam kehidupan bergereja. Untuk menghadapi pandemi Covid-19 ini, Gereja perlu belajar dari sejarah salah satunya, yaitu sejarah umat Tuhan pasca pembuangan dari Babel. Selain itu, ada beberapa tantangan yang perlu dihadapi Gereja sebagai akibat dari pendemi Covid-19 yaitu dalam aspek perayaan Ekaristi, pelayanan, dan teologi. Demi mendukung penanganan Covid-19, Gereja mengemukakan beberapa imbauan untuk mendukung kerja pemerintah. Realitas yang terjadi berdasarkan wawancara penulis kepada ketua Stasi, pengurus serta umat Stasi Santo Petrus Sumberejo Blitar bahwa dengan adanya pandemi Covid-19 seperi ini umat takut, bimbang, datang ke gereja, dan sebelum pandemi Covid-19, di Stasi Santo Petrus Sumberejo sudah ada pembagian tugas liturgi yang jelas, dan semua petugas liturgi yang diberikan tugas menjalankan tugasnya. dengan perjalanan waktu adanya pandemi Covid-19 ini , jadwal yang sudah tersusun tidak berjalan sesuai yang diharapkan. Karena ada umat atau petugas liturgi, yang baru pulang dari luar kota, sehingga ia harus menjalanakan proses karantina selama 2 minggu, oleh sebab petugas liturgi yang sudah tersusun terhambat dan jadwal petugas liturgi tidak tersusun dengan baik. Dari permasalahan diatas maka peneliti merumuskan permasalahan sebagai berikut: Sejauh mana partisipasi umat sebagai petugas liturgi selama masa pandemi Covid-19 di Stasi Santo Petrus Sumberejo Blitar. Dari rumusan masalah maka tujuan yang ingin dicapai oleh penulis dalam penelitian ini adalah Untuk mengetahui partisipasi umat sebagai petugas liturgi selama masa pandemi Covid-19 di Stasi Santo Petrus Sumberejo Blitar. Penelitian ini adalah penelitian kuantitatif, populasi penelitian adalah 93 jiwa dan sampel 30 responden sebagai petugas liturgi. metode pengumpulan data menggunakan angket tertutup sedangkan metode pengolahan data dengan menggunakan F Prosen dan Scoring. Berdasarkan hasil Dari hasil pengolahan data keseluruhan dengan dengan nilai scoring diperoleh hasil 2,59 artinya partisipasi umat sebagai petugas liturgi selama masa pandemi Covid-19 di Stasi Santo Petrus Sumberejo Blitar Paroki Santa Maria Blitar dilaksanakan dengan baik. Dengan demikian untuk menunjang terlaksananya partisipasi umat sebagai petugas liturgi di masa mendatang kiranya dapat diambil beberapa langkah yang tepat. Pertama Untuk umat Stasi Santo Petrus Sumberejo Blitar perlu diadakan regenerasi petugas pemimpin ibadat. Kedua Paroki kiranya dapat membantu umat agar tetap dapat melaksanakan kegiatan liturgi secara rutin termasuk sebagai petugas di dalamnya, melalui kebijakan atau program Paroki.

It is estimated that the Spanish flu pandemic, which affected the entire planet from 1918 to 1919, affected about five hundred million people, or one-third of the world's population at the time, and killed about fifty million people. The disease was noticed among Serbian soldiers in Corfu in April 1918, and in May among soldiers on the Salonika Front, but without fatal consequences. During the summer, fatalities were also reported, mainly due to lung compaction. Then the epidemic was reported in occupied Serbia as well. Just at the time of the breakthrough of Salonika Front on the 15th of September, a new wave of the epidemic started, this time fatal. Many soldiers remained lying and dying in military hospitals set up along the way. Some soldiers made it home but then passed away, and some found their homes empty. In occupied Serbia, mass dying began before liberation. In the region of Valjevo, the first deaths occurred in early October, but mass deaths started in late October. This lasted less than two months. Then, by the beginning of the spring of 1919, sporadic deaths due to "pneumonia" were seen as a common complication of Spanish flu, which does not necessarily mean that the epidemic had stopped, but that its end did not have any fatal consequences. In the lowlands of the Valjevo region, mortality was relatively low (in the parish of the church in Rabrovica - 0,44%), in the hilly area the mortality rate was slightly higher (in the parish of the church in Brankovina - 1,32%), and in the high mountain areas, it was very high. An analysis of the number of recorded deaths in the books of the church in Krčmar indicates that over these two months 141 people (4.47% of the population) died in seven villages that belong to the parish of this church. That number is almost equal to the number of deaths from all possible causes over a 33month period: throughout 1917, the first 9 months of 1918, and throughout 1919. The highest mortality rate , 9,38% of the population, was recorded in the village of Mratišić, and the lowest, 1,61% in the village of Gornji Lajkovac. A higher number of deaths were recorded among the female population, but this can be attributed to the decrease in the number of males due to previous years of war.

ABSTRACT The purpose of this study is to describe the understanding of the Catholic Young People's group about the eucharist, the Catholic Youth's appreciation and the efforts that need to be made to increase the Catholic Young People's understanding and appreciation of the Eucharist. The type of research used is descriptive research with a qualitative approach. Data collection techniques were carried out in three ways, namely: Observation, Interview and Documentation Study. In this study, the research actors and informants were selected by the authors using a purposive procedure, namely the determination of informants by selecting key people who match the criteria and research problems. The conclusion of this study consists of three parts. First: Young Catholics in the Parish of Santa Ursula Watutumou already understand quite well about the Eucharist as the source and peak of the Christian faith, where in the Eucharist a direct encounter with God occurs through the event of transubstantiation. Second: OMK in Santa Ursula Watutumou Parish is able to appreciate the meaning of the Eucharist as an important celebration in the Church, so that because of the basis of the Eucharist itself, OMK seeks to realize the Eucharist as a necessity, not just a meaningless routine, and tries to be actively involved by increasing the role of the Eucharist. and OMK in the celebration of the Eucharist. Third: Efforts that can be made to increase understanding and appreciation of OMK in Santa Ursula Watutumou Parish, among others by participating in worship, diligently attending Sunday Mass and daily Mass and being actively involved in them, following the example of parents who provide examples and motivation in interpreting the Eucharist, and participating in faith deepening activities such as socialization and catechesis on the Eucharist.

Introduction Australia has embraced Barbie since the doll was launched at the Toy Fair in Melbourne in 1964, with Mattel Australia established in Melbourne in 1969. Barbie was initially sold in Australia with two different hairstyles and 36 separately boxed outfits. As in the US, the initial launch range was soon followed by a constant stream of additional outfits as well as Barbie’s boyfriend Ken and little sister Skipper, pets, and accessories including her dreamhouse and vehicles. Also released were variously themed Barbies (including those representing different careers and nationalities) and a seemingly ever-expanding group of friends (Gerber; Lord, Forever). These product releases were accompanied by marketing, promotion, and prominent placement in toy, department, and other stores that kept the Barbie line in clear sight of Australian consumers (Hosany) and in the forefront of toy sales for many decades (Burnett). This article focusses on a thread of subversion operating alongside the purchase of these Barbie dolls in Australia, when the phenomenon of handmade ‘do-it-yourself’ intersected with the dolls in the second half of the 1960s. Do-It-Yourself ‘Do-it-yourself’ (often expressed as DIY) has been defined as “anything that people did for themselves” (Gelber 283). The history of DIY has been researched in academic disciplines including sociology, cultural studies, musicology, architecture, marketing, and popular culture. This literature charts DIY practice across such domestic production as making clothes, furniture, and toys, growing food, and home improvements including renovating and even building entire houses (Carter; Fletcher) to more externally facing cultural production including music, art, and publications (Spencer). While DIY behaviour can be motivated by such factors as economic necessity or financial benefit, a lack of product availability or its perceived poor quality, and/or a desire for customisation, it can also be linked to the development of personal identity (Wolf and McQuitty; Williams, “A Lifestyle”; Williams, “Re-thinking”). While some mid-century considerations of DIY as a phenomenon were male-focussed (“Do-It”), women and girls were certainly also active at this time in home renovation, house building, and other projects (‘Arona’), as well as more traditionally gendered handicraft activities such as sewing and knitting. Fig. 1: Australian Home Beautiful magazine cover, November 1958, showing a woman physically engaged in home renovation activities. Australia has a long tradition of women crafting (by sewing, knitting, and crocheting, for instance) items of clothing for themselves and their families, as well as homewares such as waggas (utilitarian quilts made of salvaged or other inexpensive materials such as old blankets and grain sacks) and other quilts (Burke; Gero; Kingston; Thomas). This making was also prompted by a range of reasons, including economic or other necessity and/or the pursuit of creative pleasure, personal wellbeing, or political activism (Fletcher; Green; Lord, Vintage). It is unsurprising, then, that many have also turned their hands to making dolls’ clothes from scraps of fabrics, yarns, ribbons, and other domestic materials, as well as creating entire dolls’ houses complete with furniture and other domestic items (Benson). In the late eighteenth and nineteenth centuries, many Australian dolls themselves were handmade, with settlers and migrants importing European traditions of doll-making and clothing with them (Cramer). In the early twentieth century, mass-produced dolls and clothing became more available and accessible, however handmade dolls’ clothes continued to be made and circulated within families (Elvin and Elvin, The Art; Elvin and Elvin, The Australian). An article in the Weekly in 1933 contained instructions for making both cloth dolls and clothes for them (“Home-Made”), with many such articles to follow. While the 1960s saw increased consumer spending in Australia, this research reveals that this handmade, DIY ethos (at least in relation to dolls) continued through this decade, and afterwards (Carter; Wilson). This making is documented in artefacts in museum and private collections and instructions in women’s magazines, newspapers, and other printed materials including commercially produced patterns and kits. The investigation scans bestselling women’s magazine The Australian Women’s Weekly (the Weekly) and other Australian print media from the 1960s that are digitised in the National Library of Australia’s Trove database for evidence of interest in this practice. Do-It-Yourself Barbie Doll Patterns for Barbie clothes appeared in Australian women’s magazines almost immediately after the doll was for sale in Australia, including in the Weekly from 1965. The first feature included patterns for a series of quite elaborate outfits: a casual knitted jumpsuit with hooded jacket, a knitted three-piece suit of skirt, roll-necked jumper and jacket, a crocheted afternoon dress, tied with a ribbon belt and accessorised with a knitted coat and beret, and a crocheted full length evening gown and opera coat (“Glamorous”). A sense of providing the Weekly’s trusted guidance but also a reliance on makers’ individuality was prominent in this article. Although detailed instructions were provided in the feature above, for example, readers were also encouraged to experiment with yarns and decorative elements. Fig. 2: Crocheted and knitted ‘afternoon ensemble’ in “Glamorous Clothes for Teenage Dolls” feature in the Weekly, 1965. Another richly illustrated article published in 1965 focussed on creating high fashion wigs for Barbie at home. The text and photographs guided readers through the process of crafting five differently styled wigs from one synthetic hair piece: a “romantic, dreamy” Jean Shrimpton-style coiffure, deep-fringed Sassoon hairdo, layered urchin cut, low set evening bun, and pair of pigtails (Irvine, “How”). Again, makers were encouraged to express their creativity and individuality in decorating these hairstyles, with suggestions (but not directions) to personalise these styles using ribbons, tiny bows and artificial flowers, coloured pins, seed pearls, and other objects that might be to hand. Fig. 3: Detailed instructions for creating one of the wigs. Three Barbie dolls (identified as ‘teen dolls’ rather than by the brand) were featured on the cover of the Weekly on 5 January 1966, for a story about making dolls’ outfits from handkerchiefs (Irvine, “New”). This was framed as a “novel” way to use the excess of fancy hankies often received at Christmas, promising that the three ensembles could thriftily and cleverly be made from three handkerchiefs in a few hours. The instructions detail how to make a casual two-piece summer outfit accessorised with a headscarf, a smart town ensemble highlighted with flower motifs cut from broderie anglaise, and a lavish evening gown. Readers were assured this would be an engaging, “marvellous fun” as well as creative activity, as each maker needed to individually design each garment in terms of working with the individual features of the handkerchiefs they had, incorporating such elements as floral or other borders, lace edging, and overall patterns such as spots or checks (Irvine, “New”). The long-sleeved evening gown was quite an ambitious project. The gown was not only fashioned from a fine Irish linen, lace-bordered hankie, meaning some of the cutting and sewing required considerable finesse, but the neckline and hemline were then hand-beaded, as were a circlet of tiny pearls to be worn around the doll’s hair. Such delicacy was required for all outfits, with armholes and necklines for Barbie dolls very small, requiring considerable dexterity in cutting, sewing, and finishing. Fig. 4: Cover of The Australian Women’s Weekly of 5 January 1966 featuring three Barbie dolls. Only two issues later, the magazine ran another Barbie-focussed feature, this time about using oddments found around the home to make accessories for Barbie dolls. Again, the activity is promoted as thrifty and creative: “make teen doll outfits and accessories economically—all you need is imagination and a variety of household oddments” (“Turn”). Included in the full coloured article is a ‘hula’ costume made from a short length of green silk fringe and little artificial flowers sewn together, hats fashioned from a bottle top and silk flower decorated with scraps of lace and ribbon, a cardboard surfboard, aluminium foil and ice cream stick skis, and miniature ribbon-wound coat hangers. This article ended with an announcement commonly associated with calls for readers’ recipes: “what clever ideas have you got? … we will award £5 for every idea used” (“Turn”). This was a considerable prize, representing one-third of the average minimum weekly wage for full-time female workers in Australia in 1966 (ABS 320). Fig. 5: Brightly coloured illustrations making the Weekly’s “Turn Oddments into Gay Accessories”, 1966, a joyful read. This story was reinforced with a short ‘behind the scenes’ piece, which revealed the care and energy that went into its production. This reported that, when posing the ‘hulagirl’ on a fountain in Sydney’s Hyde Park, the doll fell in. While her skirt was rescued by drying in front of a fan, the dye from her lei ran and had to be scrubbed off the doll with abrasive sandsoap and the resulting stain then covered up with make-up. After the photographer built the set (inside this time), the shoot was finally completed (“The Doll”). A week later, the Weekly advertised a needlework kit for three new outfits: a beach ensemble of yellow bikini and sundress, red suit with checked blouse, and blue strapless evening gown. The garment components, with indicated gathering, seam, stitching, and cutting lines, were stamped onto a piece of fine cotton. The kit also included directions “simple enough for the young beginner seamstress” (“Teenage Doll’s”). Priced at 8/6 (85¢ in the new decimal currency introduced that year) including postage, this was a considerable saving when compared to the individual Mattel-branded clothing sets which were sold for sums ranging from 13/6 to 33/6 in 1964 (Burnett). Reader demand for these kits was so high that the supplier was overwhelmed and the magazine had to print an apology regarding delays in dispatching orders (“The Weekly”). Fig. 6: Cotton printed with garments to cut out and sew together and resulting outfits from the Weekly’s “Teenage Doll’s Wardrobe” feature, 1966. This was followed by another kit offer later in the year, this time explicitly promoted to both adult and “little girl” needleworkers. Comprising “cut out, ready to sew [material pieces] … and easy-to-follow step-by-step instructions”, this kit made an embroidered white party dress with matching slip and briefs, checked shorts and top set, and long lace and net trimmed taffeta bridesmaid dress and underclothes (“Three”). Again, at $1.60 for the kit (including postage), this was much more economical (and creative) than purchasing such outfits ready-made. Fig. 7: Party dress from “Three Lovely Outfits for Teenage Dolls” article in the Weekly, 1966. Making dolls’ clothes was an educationally sanctioned activity for girls in Australia, with needlecraft and other home economics subjects commonly taught in schools as a means of learning domestic and professionally transferable skills until the curriculum reforms of the 1970s onwards (Campbell; Cramer; Issacs). In Australia in the 1960s, Barbie dolls (and their clothing and furniture) were recommended for girls aged nine-years-old and older (Dyson), while older girls obviously also continued to interact with the dolls. A 1968 article in the Weekly, for example, praised a 13-year-old girl’s efforts in reinterpreting an adult dress pattern that had appeared in the magazine and sewing this for her Barbie (Dunstan; Forde). It was also suggested that the dolls could be used by girls who designed their own clothes but did not have a full-sized dressmaker’s model, with the advice to use a Barbie model to test a miniature of the design before making up a full-sized garment (“Buy”). Making Things for Barbie Dolls By 9 February 1966, the ‘using oddments’ contest had closed and the Weekly filled two pages with readers’ “resourceful” ideas (“Prizewinning”). These used such domestic bits and pieces as string, wire, cord, cotton reels, egg cartons, old socks, toothpicks, dried leaves, and sticky tape to create a range of Barbie accessories including a mob cap from a doily, hair rollers from cut drinking straws and rubber bands, and a suitcase from a plastic soap container with gold foil locks. A party dress and coat were fashioned from an out-of-date man’s tie and a piece of elastic. There was even a pipe cleaner dog and cardboard guitar. A month later, fifty more winning entries were published in a glossy, eight-page colour insert booklet. This included a range of clothing, accessories, and furniture which celebrated that “imagination and ingenuity, rather than dollars and cents” could equip a teen doll “for any occasion” (“50 Things”, 1). Alongside day, casual, and evening outfits, rainwear, underwear, jewellery, hats, sunglasses, footwear, a beauty case, hat boxes, and a shopping trolley and bags, readers submitted a skilfully fashioned record player with records in a stand as well as a barbeque crafted from tiny concrete blocks, sun lounge, and deckchairs. Miniature accessories included a hairdryer and lace tissue holder with tiny tissues and a skindiving set comprising mask, snorkel, and flippers. The wide variety of negligible-cost materials utilised and how these were fashioned for high effect is as interesting as the results are charming. Fig. 8: Cover of insert booklet of the entries of the 50 winners of the Weekly’s making things for Barbie from oddments competition, 1966. That women were eager to learn to make these miniature fashions and other items is evidenced by some Country Women’s Association groups holding handicraft classes on making clothes and accessories for Barbie dolls (“CWA”). That they were also eager to share the results with others is revealed in how competitions to dress teenage dolls in handmade outfits rapidly also became prominent features of Australian fetes, fairs, agricultural shows, club events, and other community fundraising activities in the 1960s (“Best”; “Bourke”; “Convent”; “Fierce”; “Frolic”; “Gala”; “Guide”; “Measles”; “Parish”; “Personal”; “Pet”; “Present”, “Purim”; “Successful”; “School Fair”; “School Fair Outstanding”; “School Fete”; “Weather”; Yennora”). Dressing Barbie joined other traditional categories such as those to dress baby, bride, national, and bed dolls (the last those dolls dressed in elaborate costumes designed as furniture decorations rather than toys). The teenage doll category at one primary school fete in rural New South Wales in 1967 was so popular that it attracted 50 entries, with many entries in this and other such competitions submitted by children (“Primary”). As the dolls became more prominent, the categories using them became more imaginative, with prizes for Barbie doll tea parties (“From”), for example. The category of dressing Barbie also became segmented with separate prizes for Barbie bride dolls, both sewn and knitted outfits (“Hobby and Pet”) and day, evening, and sports clothes (“Church”). There is no evidence from the sources surveyed that any of this making concentrated on producing career-focussed outfits for Barbie. Do-It-Yourself Ethos A do-it-yourself ethos was evident across the making discussed above. This refers to the possession of attitudes or philosophies that encourage undertaking activities or projects that involve relying on one’s own skills and resources rather than consuming mass-produced goods or using hired professionals or their services. This draws on, and develops, a sense of self-reliance and independence, and uses and enhances problem-solving skills. Creativity is central in terms of experimentation with new ideas, repurposing materials, or finding unconventional solutions to challenges. While DIY projects are often pursued independently and customised to personal preferences, makers also often collaboratively draw on, and share, expertise and resources (Wilson). It is important to note that the Weekly articles discussed above were not disguised advertorials for Barbie dolls or other Mattel products with, throughout the 1960s, the Barbies illustrated in the magazine referred to as ‘teen dolls’ or ‘teenage dolls’. However, despite this and the clear DIY ethos at work, women in Australia could, and did, make such Barbie-related items as commercial ventures. This included local artisanal dressmaking businesses that swiftly added made-to-measure Barbie doll clothes to their ranges (“Arcade”). Some enterprising women sold outfits and accessories they had made through various non-store venues including at home-based parties (“Hobbies”), in the same way as Tupperware products had been sold in Australia since 1961 (Truu). Other women sought sewing, knitting, or crocheting work specifically for Barbie doll clothes in the ‘Work wanted’ classified advertisements at this time (‘Dolls’). Conclusion This investigation has shown that the introduction of the Barbie doll unleashed more than consumer spending in Australia. Alongside purchases of the branded doll, clothes, and associated merchandise, Australians (mostly, but not exclusively, women and girls) utilised (and developed) their skills in sewing, knitting, crochet, and other crafts to make clothes for Barbie. They also displayed significant creativity and ingenuity in using domestic oddments and scraps to craft fashion accessories ranging from hats and bags to sunglasses as well as furniture and many of the other accoutrements of daily life in the second half of the 1960s in Australia. This making appears to have been prompted by a range of motivations including thrift and the real pleasures gained in crafting these miniature garments and objects. While the reception of these outfits and other items is not recorded in the publications sourced during this research, this scan of the Weekly and other publications revealed that children did love these dolls and value their wardrobes. In a description of the effects of a sudden, severe flood which affected her home south of Cairns in North Queensland, for instance, one woman described how amid the drama and terror, one little girl she knew packed up only “her teenage doll and its clothes” to take with her (Johnstone 9). The emotional connection felt to these dolls and handcrafted clothes and other objects is a rich area for research which is outside the scope of this article. Whether adult production was all ultimately intended to be gifted (or purchased) for children, or whether some was the work of early adult Barbie collectors, is also outside the scope of the research conducted for this project. As most of the evidence for this article was sourced from The Australian Women’s Weekly, a similarly close study of other magazines during the 1960s, and of whether any DIY clothing for Barbie also included career-focussed outfits, would add more information and nuance to these findings. This investigation has also concentrated on what happened in Australia during the second half of the 1960s, rather than in following decades. It has also not examined the DIY phenomenon of salvaging and refurbishing damaged Barbie dolls or otherwise altering and customising their appearance in the Australian context. These topics, as well as a full exploration of how women used Barbie dolls in their own commercial ventures, are all rich fields for further research both in terms of practice in Australia and how they were represented in popular and other media. Alongside the global outpouring of admiration for Barbie as a global icon and the success of the recent live action Barbie movie (Aguirre; Derrick), significant scholarship and other commentary have long criticised what Barbie has presented, and continues to present, to the world in terms of her body shape, race, activities, and career choices (Tulinski), as well as the pollution generated by the production and disposal of these dolls (“Feminist”; Pears). An additional line of what can be identified as resistance to the consumer-focussed commercialism of Barbie, in terms of making her clothes and accessories, seems to be connected to do-it-yourself culture. The exploration of handmade Barbie doll clothes and accessories in this article reveals, however, that what may at first appear to reflect a simple anti-commercial, frugal, ‘make do’ approach is more complex in terms of how it intersects with real people and their activities. References “50 Things to Make for Teen Dolls.” The Australian Women’s Weekly 9 Mar. 1966: insert booklet. Aguirre, Abby. “Barbiemania!” Vogue 24 May 2023. 7 Apr. 2024 <https://www.vogue.com/article/margot-robbie-barbie-summer-cover-2023-interview>. “Arcade Sewing Centre [advertising].” The Australian Jewish News 29 Apr. 1966: 15. ‘Arona’, ed. The Practical Handywoman. Melbourne: Arbuckle, Waddell, c.1946. Australian Bureau of Statistics [ABS]. Year Book Australia 1967. Canberra: Australian Bureau of Statistics, 1968. <https://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/1301.01967>. Barbie. Dir. Greta Gerwig. Warner Bros., 2023. Benson, Wendy, Robyn Christie, Robert Holden, and Catriona Quinn. Dolls’ Houses in Australia 1870–1950. Sydney: Historic Houses Trust of NSW, 1999. “Best Teenage Doll.” Western Herald 28 Jul. 1967: 5. “Bourke Parents and Citizens Association.” Western Herald 10 Jun. 1966: 2. Burke, Sheridan. Sydney Quilt Stories, 1811–1970 Elizabeth Bay House. Sydney: Historic Houses Trust, 1998. Burnett, Jennifer. “The History of Barbie in Australia—The Early Years.” 2007. Reprinted in Dolls Dolls Dolls 18 Jul. 2016. 7 Apr. 2024 <https://dollsdollsdolls.net/2016/07/18/the-history-of-barbie-in-australia-the-early-years>. “Buy a Doll.” The Australian Women’s Weekly 5 Oct. 1966: 57. Campbell, Craig. “Home Economics incl. Domestic Science, Domestic Arts and Home Science: Australia 1888–2010.” Dictionary of Educational History in Australia and New Zealand. Sydney: Australian and New Zealand History of Education Society, 18 Apr. 2022. 7 Apr. 2024 <https://dehanz.net.au/entries/home-economics-incl-domestic-science-domestic-arts-and-home-science>. Carter, Nanette. “Man with a Plan: Masculinity and DIY House Building in Post-War Australia.” Australasian Journal of Popular Culture 1.2 (2011): 165–80. “Church Fete a Success.” The South-East Kingston Leader 20 Nov. 1969: 1. “Convent School Fete Highly Successful.” Western Herald 3 Nov. 1967: 3. Cramer, Lorinda. Needlework and Women’s Identity in Colonial Australia. London: Bloomsbury, 2019. “CWA Query Decimals.” Port Lincoln Times 10 Mar. 1966: 16. Derrick, Ruby. “Barbie-Mania Australia.” Ad News 20 Jul. 2023. 7 Apr. 2024 <https://www.adnews.com.au/news/barbie-mania-australia-the-ultimate-brand-campaign>. “Do-It-Yourself: The New Billion-Dollar Hobby.” Time 2 Aug. 1954: cover. ‘Dolls’. “Wanted [advertising].” Port Lincoln Times 25 Aug. 1966: 27. Dunstan, Rita. “The Happy Dress.” The Australian Women’s Weekly 31 Jan. 1968: 16–17. Dyson, Lindsay. “Buying Toys for Children.” The Australian Women’s Weekly 13 Dec. 1967: 53. Elvin, Pam, and Jeff Elvin, eds. The Art of Doll Making: Australian & International, 1&2 (1994). Elvin, Pam, and Jeff Elvin, eds. The Australian Doll Artists Magazine, 1 (1993). “‘Feminist Nightmare’: Full-Size Barbie Dreamhouse Set to Open.” The Sydney Morning Herald 14 May 2013. 8 Apr. 2024 <https://www.smh.com.au/traveller/travel-news/feminist-nightmare-full-size-barbie-dreamhouse-set-to-open-20130514-2jj2h.html>. Fletcher, Marion. Needlework in Australia: A History of the Development of Embroidery. Melbourne: Oxford UP, 1989. “Fierce Winds Knock Show Flower Entries.” Port Lincoln Times 10 Oct. 1968: 16. Forde, Ann. “A Very Happy Doll.” The Australian Women’s Weekly 20 Mar. 1968: 7. “Frolic, Pet Show at Mission.” Port Lincoln Times 27 Apr. 1967: 16. “From Port Elliot.” Victor Harbour Times 20 Jan. 1967: 6. “Gala Day Aids Salt Creek School.” The South-East Kingston Leader 15 Dec. 1966: 1. Gelber, Steven M. Hobbies: Leisure and the Culture of Work in America. New York: Columbia UP, 1999. Gerber, Robin. Barbie and Ruth: The Story of the World’s Most Famous Doll and the Woman Who Created Her. New York: HarperCollins, 2009. Gero, Annette. Historic Australian Quilts. Sydney: Beagle P/National Trust of Australia, 2000. “Glamorous Clothes for Teenage Dolls.” The Australian Women’s Weekly 24 Nov. 1965: 56–59. Green, Sue. “Knitting in Australia.” PhD. Diss. Melbourne: Swinburne U of Technology, 2018. “Guide and Brownie Doll Show and Carnival.” Western Herald 28 Jul. 1967: 1. “Hobbies Party.” The Coromandel 23 Jun. 1966: 7. “Hobby and Pet Show Aids Cubs.” Port Lincoln Times 20 Jul. 1967: 11. “Home-Made Toys in Fabric.” The Australian Women’s Weekly 9 Dec. 1933: 41. Hosany, Sameer. “The Marketing Tricks That Have Kept Barbie’s Brand Alive for over 60 Years.” The Conversation 8 Mar. 2023. 7 Apr. 2024 <https://theconversation.com/the-marketing-tricks-that-have-kept-barbies-brand-alive-for-over-60-years-200844>. Irvine, Jenny. “How to Make: Five Wigs for Teenage Dolls.” The Australian Women’s Weekly 29 Dec. 1965: 12–13. ———. “New Use for Gift Hankies.” The Australian Women’s Weekly 5 Jan. 1966: 23–25. Isaacs, Jennifer. The Gentle Arts: 200 Years of Australian Women’s Domestic & Decorative Arts. Sydney: Lansdowne, 1987. Johnstone, M. “Kitchen Furniture Floated from Wall to Wall.” The Australian Women's Weekly 5 Apr. 1967: 9. Kingston, Beverley. My Wife, My Daughter and Poor Mary Ann: Women and Work in Australia. Melbourne: Nelson, 1975. Lord, Melody, ed. Vintage Knits. Canberra: National Library of Australia, 2022. Lord, M.G. Forever Barbie: The Unauthorized Biography of a Real Doll. New York: Avon Books, 1995. “Measles Affected Doll and Toy Show.” Windsor and Richmond Gazette 22 Sep. 1965: 19. “Parish School Fete Most Successful.” Western Herald 15 Nov. 1968: 9. Pears, Alan. “In a Barbie World” The Conversation 17 Jul. 2023. 7 Apr. 2024 <https://theconversation.com/in-a-barbie-world-after-the-movie-frenzy-fades-how-do-we-avoid-tonnes-of-barbie-dolls-going-to-landfill-209601>. “Personal.” Western Herald 19 Aug. 1966: 12. “Pet Show Raises $150 For Scouts.” The Broadcaster 22 Nov. 1966: 2. “‘Present’ Problems Solved.” The Coromandel 20 Oct. 1966: 3. “Primary School Fete Raises $356.38.” The Berrigan Advocate 28 Feb. 1967: 3. “Prizewinning Teenage Doll Ideas.” The Australian Women’s Weekly 9 Feb. 1966: 29, 31. “Purim Panto.” The Australian Jewish Herald 25 Feb. 1966: 17. “School Fair.” Western Herald 9 Jun. 1967: 4. “School Fair Outstanding Success.” Western Herald 21 Jun. 1968: 1. “School Fete.” The Biz 6 Nov. 1963: 10. Spencer, Amy. DIY: The Rise of Lo-Fi Culture. London: Marion Boyars, 2008. “Successful ‘Gala Day’ Held for Kindergarten.” The South-East Kingston Leader 7 Apr. 1966: 3. “Teenage Doll’s Wardrobe.” The Australian Women’s Weekly 26 Jan. 1966: 17. “The Doll Fell In!” The Australian Women’s Weekly 19 Jan. 1966: 2. “The Weekly Round.” The Australian Women’s Weekly 9 Feb. 1966: 2. Thomas, Diana Mary Eva. “The Wagga Quilt in History and Literature.” The Social Fabric: Deep Local to Pan Global: Proceedings of the Textile Society of America 16th Biennial Symposium 19–23 Sep. 2018. Vancouver: Textile Society of America, 2018. 7. Apr. 2024 <https://digitalcommons.unl.edu/tsaconf/1117>. “Three Lovely Outfits for Teenage Dolls.” The Australian Women’s Weekly 9 Nov. 1966: 37. Trove. National Library of Australia 2024. 7 Apr. 2024 <http://trove.nla.gov.au>. Truu, Maani. “The Rise and Fall of Tupperware’s Plastic Empire and the Die-Hard Fans Desperate to Save It.” ABC News 16 Apr. 2023. 7 Apr. 2024 <https://www.abc.net.au/news/2023-04-16/tupperware-plastic-container-inspired-generations-of-fans/102224914>. Tulinski, Hannah. “Barbie as Cultural Compass: Embodiment, Representation, and Resistance Surrounding the World’s Most Iconized Doll.” Hons. Diss. Worchester: College of the Holy Cross, 2017. “Turn Oddments into Gay Accessories.” The Australian Women’s Weekly 19 Jan. 1966: 3. “Weather Crowns Tenth Lock Show Success.” Port Lincoln Times 29 Sep. 1966: 15. Williams, Colin C. “A Lifestyle Choice? Evaluating the Motives of Do-It-Yourself (DIY) Consumers.” International Journal of Retail & Distribution Management 32.5 (2004): 270–78. ———. “Re-Thinking The Motives of Do-It-Yourself (DIY) Consumers.” The International Review of Retail, Distribution and Consumer Research 18.3 (2008): 311–23. Wilson, Katherine. Tinkering: Australians Reinvent DIY Culture. Clayton: Monash UP, 2017. Wolf, Marco, and Shaun McQuitty. “Understanding the Do-It-Yourself Consumer: DIY Motivations and Outcomes.” Academy of Market Science Review 1 (2011): 154–70. “Yennora Pupils’ Show Results.” The Broadcaster 25 Jul. 1967: 2.