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1
Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia." Zograf, no. 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.
Повний текст джерелаАнотація:
In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecorded in scholarly literature, indicates that this was definitely Archippos, the custodian of the important shrine of the Archangel Michael at Chonai, which still existed in those times. This would not only be a very early, but the only preserved presentation of Archippos, other than his appearance in the well-known composition of the Miracle of the Archangel Michael at Chonai.
2
Афиногенова, Ольга Николаевна. "“The Nattation of the Miracles of Archangel Michael” by Pantoleon Deacon as the cultural point of the shapoing of the cult of Archangel Michael in Byzantium." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 12–27. http://dx.doi.org/10.31802/2658-5111-2019-1-12-26.
Повний текст джерелаАнотація:
Основная цель статьи - проследить историю отождествления Ангела Господня с архангелом Михаилом и выявить основной этап формирования культа архистратига. Методом сопоставления текста Священного Писания, апокрифов и византийских агиографических текстов выявляется чёткая картина влияния апокрифической традиции на византийский культ архангела Михаила. В Ветхом Завете Михаил упомянут по имени всего три раза - в Книге пророка Даниила; в Новом Завете - только однажды в Откровении ап. Иоанна Богослова. Вместе с тем в Священном Писании есть многочисленные упоминания безымянного Ангела Господня. Ориген впервые отождествил князя Михаила из Книги пророка Даниила с архангелом Михаилом, что было воспринято поледующей традицией. В апокрифах, однако, почитание Михаила не всегда наделено теми аспектами, которые будут фигурировать в более позднее время. Возможно, то, что почитание Михаила вобрало в себя функции других архангелов, связано с популярной агиографической традицией, посвящённой архистратигу. Первый текст этой традиции, ставший широко распространённым в Византии, - «Чудо в Хонах» (VIII в.). Но наиболее исчерпывающе традиция почитания архангела отражена в «Повести» Пантолеона Диакона (IX в.). Текст демонстрирует окончательное закрепление отождествления безымянного Ангела Господня из Ветхого и Нового Заветов с Михаилом, а также приводит наиболее полное изложение аспектов почитания архангела в Византии. The main purpose of the paper is to trace the history of the identification of the Angel of the Lord with the Archangel Michael and to identify the main stage in the formation of the cult of the Archangel. By comparing the text of Holy Scripture, apocrypha and Byzantine hagiographic texts, a clear picture of the influence of the apocryphal tradition on the Byzantine cult of Michael the Archangel is revealed. In the Old Testament, Michael is mentioned by name only three times - in the book of Prophet Daniel; in the New Testament - only twice in the Revelation of John the Divine and in Epistle of Jude. However, in the Bible there are numerous references to the nameless Angel of the Lord. For the first time Origen identified Prince Michael from the book of the Prophet Daniel with the archangel Michael, which was accepted by the following tradition. In the apocrypha, however, the worship of Michael is not always endowed with those aspects that will appear later. Perhaps the fact that the worship of Michael has absorbed the functions of other archangels relates to the popular hagiographic tradition devoted to the archestrategos. The first text of this tradition, which became widespread in Byzantium, was the “Miracle in the Chonae” (8th century). But the most exhaustively tradition of worship the archangel is reflected in consolidation of the identification of the nameless Angel of the Lord from the Old and New Testaments with Michael and provides the most complete exposition of the aspects of veneration of the archangel in Byzantium.
3
Bulanin, Dmitrii M. "THE CULT OF MICHAEL THE ARCHANGEL IN THE REFLECTION OF MEDIEVAL RUSSIAN LITERATURE: REMARKS ON THE REEDITION OF THE BOOK BY O. A. DOBIASH-ROZHDESTVENSKAIA." Texts and History Journal of Philological Historical and Cultural Texts and History Studies 2 (2022): 7–22. http://dx.doi.org/10.31860/2712-7591-2023-2-7-22.
Повний текст джерелаАнотація:
This article was prompted by the newest reedition of O. A. Dobiash-Rozhdestvenskaia’s well-known book about the cult of Michael the Archangel in the Latin Middle Ages. Based on this exemplary book and medieval Russian literary texts, the author of this article raises the question of the dialectic between the typical and the peculiar in the veneration of Michael the Archangel in the Russian Orthodox tradition. The typical features, i. e. the ones that resemble the features that Dobiash-Rozhdestvenskaia found in the European material, prove to be by far more numerous than the peculiar features. As in other religious traditions, the image of Archangel Michael in Rus’ seems to have been the most abstract one when compared with the images of all the saints. This phenomenon contributed to the fact that in different parts of the Christian world, an identical set of functions was ascribed to this archangel. In principle, from the Christian point of view, Michael is undoubtedly the chief of the angels. But the natural desire of a medieval person to create a more specific image of this object of his pious thoughts and feelings by separating the chief angel from the entire army of angels did not achieve any significant results. It is indicative that Archangel Michael is not referred to by his name in texts that describe situations when he interferes in the lives of people. Taking the text of the Bible as a model, the writers preferred to use just the generic designation — “an angel.” In contrast, in the cases when Michael the Archangel is clearly individualized, he is invariably portrayed as severe and often even as cruel. In this respect, the tradition of medieval Rus’ contains exact parallels to O. A. Dobiash-Rozhdestvenskaia’s findings regarding the confessional history of Western Europe.
4
Zaganas, Dimitrios. "Le De Trinitate du Pseudo-Didyme et le culte des archanges : un élément méconnu de datation." Vigiliae Christianae 76, no. 5 (September 19, 2022): 559–67. http://dx.doi.org/10.1163/15700720-bja10054.
Повний текст джерелаАнотація:
Abstract Pseudo-Didymus’ De Trinitate mentions many sanctuaries of the archangels Michael and Gabriel, finely adorned, some of which were quite famous to attract people from very far in the hope of a miracle. Although this testimony was usually considered as an ancient evidence because of its purported attribution to Didymus the Blind, it does not actually reflect the state of the archangels’ cult in the fourth century. However, it proves to be an important element for the dating of the De Trinitate itself, since it refers to a time when the cult of the archangels was developed in the East. The documentary and literary evidence shows that the churches dedicated to them, especially to Saint Michael, significantly multiply in the sixth century, and that their cult is being established under the reign of Justinian (527-565). It is from this period that the composition of Pseudo-Didymus’ De Trinitate is likely to date.
5
Leontakianakou, Irini. "A post-Byzantine creation: The archangel Michael triumphant and psychopomp." Zograf, no. 33 (2009): 145–58. http://dx.doi.org/10.2298/zog0933143l.
Повний текст джерелаАнотація:
This paper deals with a specific iconographic type of Archangel Michael: he is shown bearing a soul in the form of a swaddled infant, while subduing an old man who is wearing only a loincloth. Who is Michael subduing? Three possible answers are considered: 1) the figure can be identified with Satan the fallen angel who, like Michael, has an immaterial nature and is commonly considered as his enemy par excellence; 2) he can also be an anonymous sinner, whose soul is depicted in Michael's hand; 3) finally, one could identify him with Hades, the god of the Underworld and personification of death, because he is depicted as an old man, semi-nude with a pronounced musculature, as well as because of the assimilation of Michael to God. Rather than making a single choice, the author proposes a combined interpretation of the image, which allows for the integration of all the aspects of Michael's cult (military, triumph over Satan, psychopomp, archangel of the Last Judgment) and unifies the past (the fall of Satan), the present (death of a sinner) and the future (Last Judgment).
6
Bozhko, Archimandrite Mitrophan (Oleksii). "Veneration of the Archangel Michael in pre-Mongolian Time in Kyiv in the Context of the Idea of Kyiv as New Jerusalem." Kyiv Historical Studies 16, no. 1 (2023): 137–43. http://dx.doi.org/10.28925/2524-0757.2023.116.
Повний текст джерелаАнотація:
The article examines the veneration of the Archangel Michael in Kyiv in the context of the idea of the capital of Rus' as New Jerusalem. This concept was influenced by the adoption of Christianity and was reflected in a number of written and architectural monuments. In them, the people of Rus' recognized themselves in a new way in world history and organized their living space accordingly. The author tries to show that the emergence of the Archangel Michael’s cult was one of the elements supporting this idea. His veneration was not only princely and military, which was typical for the Christian ecumene, but had its own local characteristics. In the people’s mind, St Michael fought with the devil and helped them to get rid of his authority during their Baptism. These ideas were reflected in the building of churches dedicated to the archangel: one — near the place where the idol of Perun stood, and the second — outside of Kyiv, where the idol was washed ashore and finally destroyed. The episodes associated with the victory over paganism with St Michael’s help had their parallels in biblical and church history. Folk tradition, literary works, frescoes in St Sophia Cathedral and the specifics of the dedication of the churches recorded them. All this gave rise to an analogy between Rus' and Israel, Kyiv and Jerusalem.
7
Danciu, Petru Adrian. "Motivul Avestiței în demonologia populară românească / The motif of Avestiția in popular Romanian demonology." Swedish Journal of Romanian Studies 1, no. 1 (January 23, 2018): 146–68. http://dx.doi.org/10.35824/sjrs.v1i1.16805.
Повний текст джерелаАнотація:
Our research follows the demonic perspective on Avestiția′s activity and life. Considered today as a demonic character, she is highlighted by an activity defined almost exclusively against the killing of a pregnant woman or a baby, through appearances that cause fright (the disease called samcă) and the disfigurement of the "touched" by the demon. Because her history is unknown, the recent popular tradition has made one, Avestiția being the sister of Saint Sisoe, a murderer of children, and hence the generation of his witchcraft activity, which is why she is punished by her brother and by Archangel Michael. Newer theories claim a Semite origin (Lamashtu and Lilith), but we come with another, a totemic one, generated by the demon's descriptions. Thus, by systematizing the researched elements, we affirm that, starting from a totem (of the bear), dethroned by the masculine cults of Dacia, deity turns into a demon and encounters the demonological Semite elements, prior to Christianity in our country. Subsequent intervention of Christianity "corrects" the history of the character, turning her into a legend, when Sisoe and Archangel Michael appear. This final formula is known by Romanian ethnologists. Christian syncretism almost immediately generates the incantations of samcă and the "Book of Avestiția," a charm that reveals the name and the real history of the demon, which aroused the attention of Christian syncretism when attempting to kill baby Jesus, defrauded by Michael. Sacred folk literature describes her as an extremely dangerous being, Satan's right wing.
8
Duffy, Eamon. "Holy Maydens, Holy Wyfes: the Cult of Women Saints in Fifteenth- and Sixteenth-century England." Studies in Church History 27 (1990): 175–96. http://dx.doi.org/10.1017/s0424208400012079.
Повний текст джерелаАнотація:
The cult of the saints, according to Emile Male, ‘sheds over all the centuries of the middle ages its poetic enchantment’, but ‘it may well be that the saints were never better loved than during the fifteenth and sixteenth centuries’ Certainly their images and shrines were everywhere in late medieval England. They filled the churches, gazing down in polychrome glory from altar-piece and bracket, from windows and tilt-tabernacles. In 1488 the little Norfolk church of Stratton Strawless had lamps burning not only before the Rood with Mary and John, and an image of the Trinity, but before a separate statue of the Virgin, and images of Saints Margaret, Anne, Nicholas, John the Baptist, Thomas à Becket, Christopher, Erasmus, James the Great, Katherine, Petronilla, Sitha, and Michael the Archangel.
9
Minczew, Georgi, and Marek Majer. "John Chrysostom’s Tale on How Michael Vanquished Satanael – a Bogomil text?" Studia Ceranea 1 (December 30, 2011): 23–54. http://dx.doi.org/10.18778/2084-140x.01.03.
Повний текст джерелаАнотація:
The study is an attempt at a comparative analysis of two pseudo-canonical texts: the Slavic Homily of John Chrysostom on How Michael Vanquished Satanael (in two versions) and the Greek Λόγος τοῠ ἀρχηστρατήγου Μιχαήλ, ὃταν ἐπῆρεν τήν στολήν (BHG 1288n). Both texts, very close to each other in terms of the plot, relate an ancient angelomachia between a heavenly emissary and a demiurge expelled from the angelic hierarchy. When examined against the background of dualistic heterodox doctrines on the one hand, and compared to other medieval cultural texts (be they liturgical, iconographical or folkloric) on the other, these works enable insight into how heterodox and pseudo-canonical texts functioned and were disseminated in the medieval Byzantine-Slavic cultural sphere. The Slavic Homily… is not genetically related to its Greek counterpart, which is only preserved in a lat, 16th century copy. Rather, it was composed before the 13th century on the basis of another, non-extant model with a content similar to the pseudo-canonical Greek Homily… It is probable to a certain degree that the emergence of the Slavic work is connected with the growing interest in the cult of Archangel Michael in the First Bulgarian Empire, especially in the Diocese of Ohrid. Certain Gnostic ideas related to dualistic cosmology, as well as cosmogony, angelology and anthropology spread from the Judeo-Christian world to Byzantine literature and culture. Having undergone a number of transformations in the neo-Manichean communities of the Byzantine Empire and Bulgaria, they formed the basis for medieval dualistic cosmogony, as well as angelology and anthropology. Circulated both orally and in written form, beliefs concerning the invisible God, Archangel Michael as a ‘second God’ and the soul’s journey to Paradise became so widespread that they are not only found in heretic texts, but also cited almost verbatim in anti-heretic treatises. The content and later textual modifications of the Slavic Homily… cast a doubt on the hypothesis concerning its Bogomil origin. Furthermore, it cannot be determined to what extent works such as the Homily… were made use of by (moderate?) Bogomil communities. Even before the 14th century, the text underwent the processes of liturgization and folklorization, as proven by the presence of liturgical quotations (absent from the Greek text), the visualization of the story in sacred space as well as the aetiological legends about Archangel Michael’s fight against the Devil. The existence of ancient Gnostic ideas in the beliefs propagated by neo-Manichean Balkan heretic teachings, as well as their widespread presence in “high” and “low” texts originating in medieval communities call for a more cautious evaluation of the mutual antagonisms between them. This raises the problem of a wider look at medieval culture, in fact a syncretic phenomenon, where the distinction between the canonical, the pseudo-canonical, the heretic and the folkloric is not always clear-cut.
10
Goff, Matthew. "The Archangel Michael in Africa: History, Cult, and Persona, edited by Gilhus, Ingvild Sælid, Alexandros Tsakos, and Marta Camilla Wright." Journal of Religion in Africa 50, no. 1-2 (August 10, 2021): 186–88. http://dx.doi.org/10.1163/15700666-12340186.
Повний текст джерела
11
Loginova, Yu. "THE HISTORY OF THE REPAIR AND RESTORATION WORKS OF THE ARCHITECTURAL COMPLEX OF THE DONSKOY MONASTERY IN 2013-2021." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 7, no. 5 (May 11, 2022): 41–49. http://dx.doi.org/10.34031/2071-7318-2022-7-5-41-49.
Повний текст джерелаАнотація:
The article is devoted to the comprehensive scientific restoration of architectural monuments and historical necropolis located on the territory of one of the most famous monasteries of the country – the Donskoy Stavropegial men's Monastery. The problem of the preservation of stone sculpture (marble, limestone, sandstone, granite) in an aggressive acid-alkali environment, exposed to the open air is raised. It sets out the main restoration principles and methods applied to specific monuments, as well as lists the types of work consistently undertaken by restorers to save architectural objects on the example of the Old (Small) Cathedral, the Church of Michael Archangel (the Tomb of the Golitsyns), towers, a monastery bath of the XVIII century, as well as works of monumental art, artistic tombstones of the old Don cemetery. It is especially noted that many tombstones made by outstanding masters have given the Don Necropolis the fame of the Open Air Museum. The special value of his collection is emphasized, it is possible to study architectural styles, to learn Russian history, to study complexes of monuments of cult, civil, fortification architecture, objects of monumental art and archaeological heritage, as well as to explore the latest types and methods of restoration work. The restorers have been working diligently for many years to restore the entire ensemble. The information presented in the article may be useful for restorers-practitioners and historians- ethnographers.
12
Krueger, Frederic. "“The Angel of the Topos Shall Bless You”: Preliminary Report on the Cult of the Altar-Angels in Late Antique Egypt." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 26, no. 2 (August 1, 2022): 284–304. http://dx.doi.org/10.1515/zac-2022-0022.
Повний текст джерелаАнотація:
Abstract This article presents a first look at some of the key sources and hypotheses of ongoing research on a significant yet ill-studied figure in late antique Egyptian-Christian piety: The “Angel of the Altar,” or “of the Topos,” and later “of the Sacrifice” as he is still invoked in the Coptic liturgy today. Since the 4th century, church canons and literary works aiming to instill fear of the altar in monks and clerics warn of the angel guarding it, who can only be seen by monastic and clerical leaders in visions which become a common feature of post-Chalcedonian Coptic homiletics. This angel figure is identified with God’s destructive power defending the ark/altar/temple in the Old Testament. The “Angel of the Altar” also has the crucial liturgical function of lifting the Eucharistic offering to God. He is even considered the true dispenser or withholder of the Eucharist, overshadowing and potentially nullifying the actions of the priest. Originally an impersonal figure, he is sometimes identified with the specific archangel assigned to the church in question, such as Michael or Raphael. In a further step, it seems that some monastic communities who built their corporate identities on the fame of their respective patron saint began to identify the latter with the “Angel of the Altar,” appropriating the concept for the cult of saints. Documentary papyri show how monastic leaders invoked the Angel as superhuman punisher and blesser in the economic interest of the monastery. It is probably in this context that the variant “Angel of the Topos” emerged, amounting to what seems to be the only technical term for “patron saint of a place” in Coptic.
13
Mitrovic, Katarina. "10.5937/kultura1443219m = The cult of Saint Archangel Michael among Benedictans in the area of Bar mitropoly and Kotor episcopacy: Social and cultural conditions ( 9th - 13th century)." Kultura, no. 143 (2014): 219–29. http://dx.doi.org/10.5937/kultura1443219m.
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14
Dehoux, Esther. "John Charles Arnold , The footprints of Michael the Archangel : the formation and diffusion of a saintly cult, c. 300-c. 800 , New York, Palgrave MacMillan, 2013, 274 p." Revue du Nord 410, no. 2 (February 18, 2016): I. http://dx.doi.org/10.3917/rdn.410.0399a.
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15
Tomas, Ivana. "Sv. Mihajlo; Ston; arhitektura; skulptura; zidne slike; 10. stoljeće; 11. stoljeće; Mihajlo Višević; Stefan Vojislav." Ars Adriatica, no. 6 (January 1, 2016): 41. http://dx.doi.org/10.15291/ars.176.
Повний текст джерелаАнотація:
St Michael’s church in Ston is an important monument of medieval architectural heritage within a wider area of Dubrovnik and the only positively attested monument of the so-called southern Dalmatian single-nave dome type in the area of historical Zahumlje. The church stands on the top of the Gradac hill or St Michael’s Mount (107 m.a.s.l.), at the location of an earlier fortification. Based on an analysis of St Michael’s architecture, as well as its stone furnishing, the author has argued that the church is pre-Romaneseque in origin. It has also been suggested that the belfry (the structure to the west) was built together with the church, since the concept of the ground plan (the width-length ratio, the slightly protruding apse), its small dimensions, as well as its vertical stratigraphy (the belfry and the dome) indicate that it was constructed as a ruler’s chapel. It is most probable that the church was dedicated to Archangel Michael from the very beginning, as the cult of the heavenly host-leader as the patron saint of rulers and their military campaigns was widespread among the upper classes in the early Middle Ages. The time of construction should most probably be connected with the first historically attested and significant ruler of Ston – Duke Mihajlo Višević (before 910 – after 928), who raised Ston to an administrative and ecclesiastical centre of this Sclavinia. An analysis of the younger layer of sculpture in St Michael’s (the monumental window frames and a fragment with human face), as well as its murals, has suggested that the ruler’s chapel was furnished more richly around the mid-11th century. Considering the historical sources on Ston in this period, it has been suggested that its renovation took place at the initiative of Stefan Vojislav (before 1018 – 1043/1050), founder of the Vojislavljević dynasty. This hypothesis is supported by the fact that Vojislav, having defeated Byzantium and its allies (among them the distinguished Duke Ljutovit of Zahumlje) conquered the seat of Zahumlje’s rulers. It may be presumed that he spent some time there as well, since the Byzantine writer Kekaumenos mentions that Vojislav was a toparch in Ston and that he captured the strategos of Dubrovnik. Thus, the conquest of Ston, as well as the glorious victory over both Byzantium and Ljutovit leading the allied army, imposes itself as the probable reason why Stefan Vojislav renovated the church in Ston, namely in order to celebrate his military triumph in the chapel of the defeated ruler of Zahumlje. The reconstruction most probably took place between 1042/43 and 1050, after Vojislav’s victory and before his death.
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Binns, John. "The archangel Michael in Africa. History, cult and persona. Edited by Invild Sælid Gilhus, Alexandros Tsakos and Marta Camilla Wright. Pp. xvi + 246 incl. 26 ills and 5 maps. London–New York: Bloomsbury Academic, 2021 (paper) (first publ. 2019). £28.99 (paper). 978 1 3502 4267 8." Journal of Ecclesiastical History 73, no. 2 (March 30, 2022): 442–44. http://dx.doi.org/10.1017/s0022046921001706.
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Hafsaas, Henriette, and Alexandros Tsakos. "Michael and other archangels behind an eight-pointed cross-symbol from Medieval Nubia: A view from Sai Island in northern Sudan." Pharos Journal of Theology, no. 102 (1) (June 2021). http://dx.doi.org/10.46222/pharosjot.102.12.
Повний текст джерелаАнотація:
The Christian population in Medieval Nubia created numerous manifestations of their faith in various forms – from monumental cathedrals to minuscule inscriptions. Among the latter are monograms, cryptograms, and cross-shaped symbols. Researchers of Medieval Nubia have only seldom studied closely these epigraphic categories. Moreover, the study of the cult of the archangels, especially of the archangel Michael, who held a primal position in the belief system of Christians in Nubia, has only recently attracted the attention of Nubiologists. This article employs theory about the interface between the written and the visual in order to discuss grapho-linguistic evidence for this type of epigraphic devices and the use of such devices as multivocal symbols in the cults of the archangels in Medieval Nubia. A careful analysis of cryptograms of the archangels Michael and Raphael offers a key to the decipherment of an eight-pointed cross as a multivocal symbol connected with the cult of the archangels. The study pivots around observations made during fieldwork on Sai Island in northern Sudan.
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Dege-Müller, Sophia. "Ingvild Sælid Gilhus, Alexandros Tsakos, Marta Camilla Wright, eds, The Archangel Michael in Africa: History, Cult, and Persona." Aethiopica 25 (March 3, 2023). http://dx.doi.org/10.15460/aethiopica.25.0.1676.
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"THE COMPOSTELLAN DEVOTION AND THE MICHAELIC ONE ALONG THE SHEEP TRACKS: THE CASTEL DI SANGRO – LUCERA CASE IN SOUTHERN ITALY." Studia Polensia 8, no. 1 (December 4, 2019): 81–98. http://dx.doi.org/10.32728/studpol/2019.08.01.05.
Повний текст джерелаАнотація:
The following paper wants to explain in a generic way the importance of two sacred and charismatic medieval characters such as Saint James the Greater from Santiago de Compostela in Spain and Saint Michael Archangel from Monte Sant’Angelo in the South of Italy, through their main icons, the devotions, the anthropological approaches and the history of the pilgrimages that have called so many people in their own cities. Santiago de Compostela and Monte Sant’Angelo were two of the most important places in the Middle Age. The representation of the saints and their actions, which are described in ancient literary texts, explains the origin of the cults and the following development of the pilgrimages both through the main routes and through the alternative routes known as “tratturi” or sheep tracks. Especially for the Castel di Sangro – Lucera sheep track there are traces referred to the saints not only in the villages touched by the grassy track, but also on the path itself. There are aspects that are expressed better than others and they are essential for the important “Civilization of Pilgrimages” as the icons and the architectural structures: they can be defined as functional artistic ways to communicate to all people not only in the past. So, historical and artistic studies, but also anthropological and literature fields of study are the relevant methodological approach to better figure out the history of the compostellan and michaelic pilgrimages.
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"THE ARCHANGEL MICHAEL IN AFRICA: HISTORY, CULT, AND PERSONA. Edited by Ingvild SælidGilhus, AlexandrosTsakos, & Marta CamillaWright. New York, NY: Bloomsbury Academic, sep. 10 2019. Pp. xv + 246. Hardcover, $117.00." Religious Studies Review 46, no. 3 (September 2020): 416. http://dx.doi.org/10.1111/rsr.14811.
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