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Introduction | 7 | |
Medieval Liturgy and the Arts. Visitatio Sepulchri as Paradigm | 9 | |
Dynamic Qualities in the Medieval Office | 36 | |
The Meaning and the Function of the Introit | 64 | |
Length and Festivity. On some prolongation techniques in Byzantine Chant | 75 | |
Stational Liturgy and Processional Antiphons in the Ambrosian Rite | 85 | |
Supera agalmata. Angels and the celestial hierarchy in sequences and tropes | 95 | |
Beata Maria semper virgo in Piacenza, Biblioteca Capitulare c. 65 | 134 | |
Liturgy as a Theological Place. Possibilities and limitations in interpreting liturgical texts as seen in the Office of the Dead | 168 | |
Liturgical representation and Late Medieval Piety | 181 | |
O vos omnes qui transitis per viam... The quotation from the Lamentations 1, 12 in Danish medieval visual art | 205 | |
On the Connection between Medieval Wooden Sculpture and Murals in Scanian Churches | 221 |
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