The incorporation of pagan elements into early Christian architecture is a subject that has fascinated scholars for centuries. The transition from pagan to Christian worship required a delicate balance between maintaining continuity with ancient traditions while establishing a new identity for the growing Christian community. One of the most notable pagan elements found in early Christian architecture is the use of sacred spaces. Pagan temples were often located on elevated sites or at the top of hills, symbolizing a connection to the heavens. This concept was seamlessly integrated into the design of early Christian churches, with many being built on high ground or featuring towers and spires that reached towards the sky. These elevated spaces provided a physical representation of the spiritual ascent to God, engaging worshippers in a familiar architectural language.
As church won't help Anne, she asks help from Herbalist Bridget Bishop (Shannon Lawson) who is thought to be a witch. Annie sees them meet and gets a hysteric fit and barks like a dog. Previously she saw young William Proctor (David Christo) imitating birds (that was considered unnatural!) so her behaviour was caused by this and the religious stress.
It has also been suggested that poisonous alkaloid producing ergot-fungi poisoned rye and caused the hallucinations and convulsions of some of the possessed. For the most part, her script offers many possible theories as to why a group of young girls would willingly play a part in 19 gruesome deaths without spoon-feeding viewers the answer.
These elevated spaces provided a physical representation of the spiritual ascent to God, engaging worshippers in a familiar architectural language. Another pagan element evident in early Christian architecture is the use of symbolism. Pagan religions were rich in symbolic imagery, inspiring early Christian architects to incorporate similar motifs into their designs.
Salem Witch Trials
A perceptively produced and engaging historical drama, "Salem Witch Trials" is buoyed by its powerful performances. That is, if you can get past the first five minutes.
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A perceptively produced and engaging historical drama, “Salem Witch Trials” is buoyed by its powerful performances. That is, if you can get past the first five minutes.
Director Joseph Sargent makes the confounding decision to begin the mini at the zenith of accusations of witchcraft as young girls, overcome with fear, face the accused who suddenly morph into screeching, green-faced demons.
In the ensuing four hours, however, it is obvious that scribe Maria Nation went to great pains to instill a sense of historical accuracy, weaving in subplots about community infighting, sexual politics and religious oppression in 1691 Salem, Mass. For the most part, her script offers many possible theories as to why a group of young girls would willingly play a part in 19 gruesome deaths without spoon-feeding viewers the answer. So why make with the “Scooby-Doo”-like antics?
As the mini flashes back to impetus of panic in the colony, the mini regains credibility. Night one introduces viewers to the dire circumstances of the time and place. There is no charter from England, so basically there is no written law. The oppressive Puritan religion is used to shame and scare its parishioners into good behavior. Indians, starvation and exposure are also a daily threat.
Even under such harsh conditions, a pall is cast on the community one particular winter. Ann Putnam (Kirstie Alley) gives birth to a third stillborn child. A neighbor’s barn is destroyed by fire and Ann’s husband Thomas (Jay O. Sanders) has lost a good deal of his wealth and standing in the community to some forward thinking businessmen.
With his job and reputation on the line, Rev. Parris (Henry Czerny) seizes on the notion that dark forces are abound in Salem and gets the rapt attention of his congregation. As his sermons become more stern and condemning, all of this fear, shame and stress is absorbed by the children of the town, in particular Annie Putnam (Katie Boland).
Annie, deeply disturbed by the death of her baby brother, senses the tension between her parents and the town. Her father shows more affection to the dog than to his own children, and the more Annie acts out, the more attention is granted to her.
Before long, a whole group of girls, frightened and confused by the mixed messages they receive from the adults, start behaving oddly. The accusations of witchcraft start flying, and with them come a sense of power for the girls.
In night two, panic grabs hold of the town. At first, the girls accuse the women with the lowest social standing in town, including Tituba (Gloria Reuben), beloved servant to the Parris children. Then it becomes anyone who speaks out against the trials. Rev. Parris gains new power with one of the leading roles in the witch trials, even if it further alienates him from his sickly wife, Elizabeth (Rebecca De Mornay).
New Massachusetts Gov. Sir William Phips (Alan Bates) sends his Deputy Governor William Stoughton (Peter Ustinov), a rigid Puritan, to preside over the hearings, but instead of bringing the town back to its senses, he calls for more hangings.
Soon the town is purged of Thomas Putnam’s enemies, as well as formerly respected community elders such as Rebecca Nurse (Shirley MacLaine). It isn’t until Ann, racked with guilt over these deaths, draws Phips back to Salem that order is restored.
Nation should be credited with creating a provocative account of such a shameful and confounding event in history — visual witchcapades notwithstanding. And for the most part, Sargent actualizes her story by creating a plausible climate and inducing believable performances from his actors.
Alley gets top billing as she’s given the biggest and most dramatic role; if this indeed marks a comeback, it’s a worthy start. MacLaine gives a surprisingly restrained effort for most of the movie but really shines when she becomes one of the accused. De Mornay also offers a strong turn as a voice of reason as does Bates as the showy William Phips.
While historically interesting and thought-provoking, the ugly hallucinations and difficult subject matter restrict the mini’s use as any sort of educational entertainment. Technically, the production is very well done. Nancey Pankiw’s sets reflect the cold and foreboding realities of the times while costumes offer viewers a glimpse of Puritan life beyond the big white collars and sacklike black dresses.
For example, the use of the circle, a pagan symbol of eternity and wholeness, can be seen in the design of many early Christian churches. Circular or octagonal buildings, such as the Basilica of San Vitale in Ravenna, Italy, were influenced by the circular design of pagan temples. Additionally, early Christian architects often repurposed pagan structures for their own use. This can be seen in the conversion of pagan temples into Christian basilicas. The Basilica of Maxentius and Constantine in Rome is a prime example of this adaptation, with Roman architectural elements, such as its massive vaulted ceilings and colonnades, being incorporated into the new Christian structure. Despite the presence of these pagan elements, early Christian architecture also sought to differentiate itself from its pagan predecessors. The incorporation of Christian symbols, such as the cross, into architectural elements served as a clear declaration of the new faith. Furthermore, the layout and design of the early Christian churches were distinctly focused on the needs of the worshipping community, with features such as aisles, apses, and narthexes being specifically designed for Christian rituals and ceremonies. In conclusion, the analysis of pagan elements in early Christian architecture reveals a complex relationship between the old and the new. The incorporation of sacred spaces, symbolic imagery, and elements of pagan structures allowed for a seamless transition from pagan to Christian worship. However, the inclusion of distinct Christian symbols and the focus on the needs of the Christian community helped to establish a unique identity for early Christian architecture..
Reviews for "Uncovering the Role of Pagan Art and Sculpture in Early Christian Sacred Spaces"
1. John - 2 stars - As someone who is not particularly interested in architecture or religion, I found this book to be quite dry and difficult to follow. The author delves extensively into the pagan elements in early Christian architecture, but fails to make it engaging or relevant for readers who are not experts in the field. The language is unnecessarily technical, which makes it difficult for a layperson like myself to fully grasp the concepts being discussed. Overall, I found this book to be quite tedious and would not recommend it to casual readers.
2. Sarah - 1 star - I had high hopes for this book, as I am interested in both architecture and the historical aspects of Christianity. However, I was sorely disappointed. The author seems more focused on proving their expertise and knowledge than actually presenting an enjoyable and insightful read. The content is dry and dense, making it difficult to stay engaged with the text. Additionally, the book fails to provide any real connections between the pagan elements and their influence on early Christian architecture. Overall, I found this book to be a tedious and unsatisfying read.
3. Michael - 2 stars - While the topic of analyzing pagan elements in early Christian architecture might sound fascinating, this book left me feeling underwhelmed. The author's writing style is dry and heavily academic, making it difficult to maintain interest throughout. Furthermore, the analysis often felt repetitive and lacking in fresh insights. I was hoping to gain a deeper understanding of the melding of pagan and Christian beliefs in architectural design, but instead, I was left with a book that failed to fully engage me.