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This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these ...

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God. ; Ce doctorat a pour objectif, en étudiant le christianisme, l'art architectural et décoratif, de comprendre et d'analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l'art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d'un grand intérêt par sa situation géographique de carrefour où depuis l'époque thrace se croisent et fusionnent différentes ethnies et civilisations. D'autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu'est Thessalonique. Il est donc nécessaire d'analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l'évolution de l'art chrétien produit sur ces terres balkaniques l'Antiquité Tardive jusqu'au règne de Boris Michel Ier. L'objectif est de s'interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d'un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l'adoption de la religion chrétienne en tant que religion d'État en 864 conduit à nous interroger sur la naissance d'un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l'art architectural avec l'analyse de la conception des édifices cultuels, c'est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l'art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l'espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d'un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l'impact de sa conception face à sa proximité d'un centre culturel et religieux rayonnant et influent, qu'est Constantinople ? L'étude s'appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l'architecture et l'objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l'art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l'art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God. ; Ce doctorat a pour objectif, en étudiant le christianisme, l'art architectural et décoratif, de comprendre et d'analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l'art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d'un grand intérêt par sa situation géographique de carrefour où depuis l'époque thrace se croisent et fusionnent différentes ethnies et civilisations. D'autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu'est Thessalonique. Il est donc nécessaire d'analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l'évolution de l'art chrétien produit sur ces terres balkaniques l'Antiquité Tardive jusqu'au règne de Boris Michel Ier. L'objectif est de s'interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d'un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l'adoption de la religion chrétienne en tant que religion d'État en 864 conduit à nous interroger sur la naissance d'un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l'art architectural avec l'analyse de la conception des édifices cultuels, c'est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l'art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l'espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d'un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l'impact de sa conception face à sa proximité d'un centre culturel et religieux rayonnant et influent, qu'est Constantinople ? L'étude s'appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l'architecture et l'objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l'art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l'art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu.

This article considers the utility of a liturgical lens for locating and analyzing religion in the public sphere. Dominant paradigms in the study of religion tend to either dissolve the religious/secular distinction or base it on overly cognitive content. Drawing on the work of James K. A. Smith, the article outlines an approach which instead locates religion in embodied practices that shape human desire. I suggest the religious/secular binary is better conceptualized as a continuum in which liturgical intensity is the primary criterion of religiosity. A liturgical continuum better articulates the contested nature of public space and the religious aspects of political life. ; Peer reviewed

The following essay emerges from the consultation of Evangelical Catholics and Catholic Evangelicals at the 2016 convention of the College Theology Society, which brings together Catholica and Protestant voices concerning a shared topic. In 2016, the theme of liturgy and contemporary social and communications media was in focus. As panelists, we offered complementary papers that have become two sections of this essay. In the first section, Katherine Schmidt provides a theological account of media from a Catholic perspective. Through reflections on the mediatory character of the incarnation, she argues that para-liturgical or extra-liturgical spaces are integral to the Eucharistic assembly and that the internet is at once challenging and cultivating such spaces. In the second section, Derek Hatch provides an historical account of the broader Christian engagement with media, presented through his experience as a Baptist. He argues that, while earlier technological approaches reinforced confessional boundaries, the internet provides new spaces for fruitful ecumenical relationships. Together, we claim that contemporary experience with social media technologies offers a particular cultural and ecclesial moment for engaging with theological difference both within and without our respective traditions and for cultivating renewed visions of the fullness of the church catholic.

Reminiscent of Bonhoeffer's Discipleship, Jennifer McBride's Radical Discipleship utilizes the liturgical seasons as a framework for engaging the social evils of mass incarceration, capital punishment, and homelessness, arguing that to be faithful to the gospel, Christians must become disciples of, not simply believers in, Jesus. The book arises out of McBride's extensive experience teaching theology in a women's prison while participating in a residential Christian activist and worshipping community. Arguing that disciples must take responsibility for the social evils that bar "beloved community," Martin Luther King's term for a just social order, the promised kingdom of God, McBride calls for a dual commitment to the works of mercy and the struggle for justice. This work seeks to form readers into an understanding of the social and political character of the good news proclaimed in the Gospels. Organically connecting liturgy with activism and theological reflection, McBride argues that discipleship requires that privileged Christians place their bodies in spaces of social struggle and distress to reduce the distance between themselves and those who suffer injustice, and stand in solidarity with those whom society deems guilty, despises, and rejects--which makes discipleship radical as Christians take seriously the Jesus of the Gospels

Gender history in liturgy's past : why not? -- From women to gender differences in liturgy's past -- Sacred spaces and gendered bodies -- Eucharistic fragments : gender on and under the table of tradition -- Presence at worship : bodily flows as liturgical impediments -- Liturgical leadership : gender-troubled -- The lasting presence of liturgy's past

The article provides a brief description of the religious space of the Perm region and analyzes social and liturgical practices and possible options for their transformation as a result of self-isolation of residents of the Perm region from April to December 2020. There is a General trend towards the virtualization of religious space, the use of which ceases to be specific only for new religious teachings. Traditional religious denominations are beginning to actively use the Internet space, offering believers a virtual religious product, however, an important assumption is made that traditional organizations are not ready to completely replace traditional social and liturgical practices, which are an important part of the religious process, with their virtual counterparts. The article clarifies the concept of «religious practices» and suggests that the speed of transformation processes depends on the size of urban agglomeration and the complexity of building a religious space in a particular area. In particular, the analysis of Protestant religious space, high organizational complexity and low vertical structure that allows Protestant religious groups, organizations or associations as quickly as possible to implement its social and liturgical practice traditional religious archetype innovations. The article deals with the peculiarities of transformation of social and liturgical practices in the majority of religious organizations and associations registered in the territory of the city of Perm. The analysis of the processes taking place in the religious environment in a large urban agglomeration with a complex structure of religious space shows the presence of transformational changes in the implementation of social and liturgical practices of religious organizations and associations under the influence of self-isolation and a pandemic, despite the conservative conditions of the internal religious environment.

The act of wearing sacred garments to celebrate religious rites is an important element of the liturgy. In the early centuries of Christianity, liturgical attire was not meant to be different from secular wear, and it was only in the eleventh century that the custom spread to Rome from northern Europe of wearing vestments made of precious materials for the clergy. From this moment on, precious materials and images would be more or less a constant in Western liturgical attire. This essay discusses – starting from some examples still extant or known from documents – the role of figural images on sacred vestments in the Middle Ages and the Renaissance, attempting to explicate the relation between the image and the space where it appears, the body, liturgical gestures, religious and political message, and function in terms of identity, as well as to show the aspects of continuity and discontinuity in the role of images worn in the liturgical sphere from the late Middle Ages to the Renaissance.El arte de vestir prendas sagradas para celebrar ritos religiosos constituye un importante elemento de la liturgia. En los primeros siglos de la Cristiandad, la vestimenta litúrgica no era diferente de la seglar y sólo a partir del siglo XI llegó a Roma desde el norte de Europa la costumbre de usar vestiduras para el clero hechas con materiales preciosos. A partir de ese momento, los materiales preciosos y las imágenes llegaron a significar relativamente una constante en las vestimentas litúrgicas occidentales. El presente ensayo describe - a partir de algunos ejemplos existentes o conocidos a través de documentos - el papel de las figuras de imágenes en las vestimentas sagradas durante la Edad Media y el Renacimiento, tratando de explicar la relación entre la imagen y el espacio donde aparece, el cuerpo, gestos litúrgicos, mensajes religiosos y políticos y su función en relación a su identidad, así como mostrar aspectos de la continuidad o discontinuidad del papel de las imágenes usadas en el ámbito litúrgico desde la Edad Media hasta el Renacimiento. ; El arte de vestir prendas sagradas para celebrar ritos religiosos constituye un importante elemento de la liturgia. En los primeros siglos de la Cristiandad, la vestimenta litúrgica no era diferente de la seglar y sólo a partir del siglo XI llegó a Roma desde el norte de Europa la costumbre de usar vestiduras para el clero hechas con materiales preciosos. A partir de ese momento, los materiales preciosos y las imágenes llegaron a significar relativamente una constante en las vestimentas litúrgicas occidentales. El presente ensayo describe - a partir de algunos ejemplos existentes o conocidos a través de documentos - el papel de las figuras de imágenes en las vestimentas sagradas durante la Edad Media y el Renacimiento, tratando de explicar la relación entre la imagen y el espacio donde aparece, el cuerpo, gestos litúrgicos, mensajes religiosos y políticos y su función en relación a su identidad, así como mostrar aspectos de la continuidad o discontinuidad del papel de las imágenes usadas en el ámbito litúrgico desde la Edad Media hasta el Renacimiento.

The act of wearing sacred garments to celebrate religious rites is an important element of the liturgy. In the early centuries of Christianity, liturgical attire was not meant to be different from secular wear, and it was only in the eleventh century that the custom spread to Rome from northern Europe of wearing vestments made of precious materials for the clergy. From this moment on, precious materials and images would be more or less a constant in Western liturgical attire. This essay discusses – starting from some examples still extant or known from documents – the role of figural images on sacred vestments in the Middle Ages and the Renaissance, attempting to explicate the relation between the image and the space where it appears, the body, liturgical gestures, religious and political message, and function in terms of identity, as well as to show the aspects of continuity and discontinuity in the role of images worn in the liturgical sphere from the late Middle Ages to the Renaissance. El arte de vestir prendas sagradas para celebrar ritos religiosos constituye un importante elemento de la liturgia. En los primeros siglos de la Cristiandad, la vestimenta liturgica no era diferente de la seglar y solo a partir del siglo XI llego a Roma desde el norte de Europa la costumbre de usar vestiduras para el clero hechas con materiales preciosos. A partir de ese momento, los materiales preciosos y las imagenes llegaron a significar relativamente una constante en las vestimentas liturgicas occidentales. El presente ensayo describe - a partir de algunos ejemplos existentes o conocidos a traves de documentos - el papel de las figuras de imagenes en las vestimentas sagradas durante la Edad Media y el Renacimiento, tratando de explicar la relacion entre la imagen y el espacio donde aparece, el cuerpo, gestos liturgicos, mensajes religiosos y politicos y su funcion en relacion a su identidad, asi como mostrar aspectos de la continuidad o discontinuidad del papel de las imagenes usadas en el ambito liturgico desde la Edad Media hasta el Renacimiento.

How was the re-emerging Jewish religious practice after 1945 shaped by traditions before the Shoah? To what extent was it influenced by new inspirations through migration and new cultural contacts? By analysing objects like prayer books, musical instruments, Torah scrolls, audio documents and synagogue rooms, this volume shows how the post-war communities created new Jewish musical, architectural and artistic forms while abiding by the tradition.

[Abstract] The Sancrosanctum Concilium approaches the artistic aspects of architecture from the liturgy, while the Charter of Venice approaches the architectural space from the principles of heritage protection. Both emphasized simplicity, functionality and readability. The significance and the combined effect of the two documents in the practice of church construction in Eastern Europe can be considered significant, since the possibility of redesigning the liturgical space arose mainly in the context of the renovation of historic buildings in the atheist political environment. The proof of this statement is presented in the manuscript of the architect Ödön Dümmerling. The architect - a practitioner of monument restorations and an admirer of the spirit of modern architecture - was called upon to draw up design guide after the Second Vatican Council was closed, making recommendations for new equipment for liturgical spaces. ; [Resumen] La Sancrosanctum Concilium aborda los aspectos artísticos de la arquitectura desde la liturgia, mientras que la Carta de Venecia aborda el espacio arquitectónico desde los principios de protección del patrimonio. Ambos enfatizaron la simplicidad, la funcionalidad y la legibilidad. La importancia y el efecto combinado de los dos documentos en la práctica de la construcción de iglesias en Europa del Este pueden considerarse significativos, ya que la posibilidad de rediseñar el espacio litúrgico surgió principalmente en el contexto de la renovación de edificios históricos en el entorno político ateo. Una prueba de esto se presenta en el manuscrito del arquitecto Ödön Dümmerling. Este arquitecto, restaurador de monumentos y admirador del espíritu de la arquitectura moderna, fue llamado a elaborar una guía de diseño después de la clausura del Concilio Vaticano II, que hiciera recomendaciones para nuevos equipos en espacios litúrgicos.

The Sancrosanctum Concilium approaches the artistic aspects of architecture from the liturgy, while the Charter of Venice approaches the architectural space from the principles of heritage protection. Both emphasized simplicity, functionality and readability. The significance and the combined effect of the two documents in the practice of church construction in Eastern Europe can be considered significant, since the possibility of redesigning the liturgical space arose mainly in the context of the renovation of historic buildings in the atheist political environment. The proof of this statement is presented in the manuscript of the architect Ödön Dümmerling. The architect - a practitioner of monument restorations and an admirer of the spirit of modern architecture - was called upon to draw up design guide after the Second Vatican Council was closed, making recommendations for new equipment for liturgical spaces. ; La Sancrosanctum Concilium aborda los aspectos artísticos de la arquitectura desde la liturgia, mientras que la Carta de Venecia aborda el espacio arquitectónico desde los principios de protección del patrimonio. Ambos enfatizaron la simplicidad, la funcionalidad y la legibilidad. La importancia y el efecto combinado de los dos documentos en la práctica de la construcción de iglesias en Europa del Este pueden considerarse significativos, ya que la posibilidad de rediseñar el espacio litúrgico surgió principalmente en el contexto de la renovación de edificios históricos en el entorno político ateo. Una prueba de esto se presenta en el manuscrito del arquitecto Ödön Dümmerling. Este arquitecto, restaurador de monumentos y admirador del espíritu de la arquitectura moderna, fue llamado a elaborar una guía de diseño después de la clausura del Concilio Vaticano II, que hiciera recomendaciones para nuevos equipos en espacios litúrgicos.

Traditionally, Protestant churches in Spain have little presence in the scope of artistic research because the low numerical and stylistic relevance of those buildings if they are compared to their Catholic counterparts. This paper is aimed to try to make a comparative study of architectural spaces and cultic elements between three protestant churches of historical tradition, and one catholic temple, the last one used as an architectural paradigm. To carry it out, two of Protestant temples in the city of Malaga and one from Madrid have been selected. The catholic model is the Holy Martyrs church, from Málaga too. From an artistic perspective based on the formal analysis of these temples and the study of the social, political, and religious context of the Reformation movement, an attempt is made to seek a historical, theological, and doctrinal explanation of the possible differences or similarities of the architectural solutions used by the selected denominations. Is precisely for this reason the comparison of the liturgical guidelines is a meaningful key to determine presences, coincidences or absences related to the different rites we can found in the constructive space. Likewise, collected data, according to preset parameters, are shown ordered in a comparative table, following an evaluation system based on total, partial or null compliance of the conditions defining liturgical elements and architectural spaces. In addition, they are translated into analytical charts in order to make easy the understanding of the information. ; Tradicionalmente, las iglesias protestantes en España tienen poca presencia en el ámbito de la investigación artística debido a la baja relevancia numérica y estilística de esos edificios si se los compara con sus homólogos católicos. El objetivo de este trabajo es tratar de hacer un estudio comparativo de los espacios arquitectónicos y los elementos de culto entre tres iglesias protestantes de tradición histórica y un templo católico, el último utilizado como paradigma arquitectónico. Para llevarlo a cabo, se han seleccionado dos templos protestantes en la ciudad de Málaga y uno de Madrid. El modelo católico es la iglesia de los Santos Mártires, también de Málaga. Desde una perspectiva artística basada en el análisis formal de estos templos y el estudio del contexto social, político y religioso del movimiento de Reforma, se intenta buscar una explicación histórica, teológica y doctrinal de las posibles diferencias o similitudes de las soluciones arquitectónicas utilizadas por las denominaciones seleccionadas. Precisamente por esta razón, la comparación de las pautas litúrgicas es una clave significativa para determinar las presencias, coincidencias o ausencias relacionadas con los diferentes ritos que podemos encontrar en el espacio constructivo. Asimismo, los datos recopilados, de acuerdo con los parámetros preestablecidos, se muestran ordenados en una tabla comparativa, siguiendo un sistema de evaluación basado en el cumplimiento total, parcial o nulo de las condiciones que definen los elementos litúrgicos y los espacios arquitectónicos. Además, se traducen en cuadros analíticos para facilitar la comprensión de la información.