Bratislava, Slovak University of Technology, 21-23 September 2026

Organisation: COST Action 24164: Sensing Europe’s Court Spaces at the Crossroads of Past, Present and Future (SENSES) and Slovak University of Technology

How does the sacred come into being?

History of art and architecture as well as religious studies have long demonstrated that the sacred is not merely an inherent property of spaces, objects, or images, but is constituted in part through (worldly) staging. Light regimes, overwhelming chromatic effects, dense olfactory atmospheres, architectural materials and spatial structures capable of producing resonances, all contribute to the sensorial construction of the holy. Yet sacred space is never purely environmental. Singing and speaking, moving and sometimes even dancing participants and audiences are integral to the performative creation of the sacred as well as to its perception.

But how can we approach such past sensorial enactments and experiences today? How can we model the historical sensory dimensions of ceremonies and devotional acts on the basis of surviving spaces, furnishings, or liturgical and courtly sources? And how might contemporary cognitive science alongside digital, virtual, and AI-based methods enable new forms of analysis, simulation, and interpretation? These questions lie at the centre of the Working Group “Sacred Spaces” within COST Action 24164: Sensing Europe’s Court Spaces at the Crossroads of Past, Present and Future (SENSES). “Court Space(s)” should be understood here as the spatial and material environment of medieval and early modern courts in Europe (1300–1800), and is/are seen as playing a significant role in shaping social structures, behaviours, and ways of life. The Action explores the full gamut of sensory experiences linked with the court residence and its life throughout history until today to build a better understanding of this complex cultural phenomenon, to support its survival as European heritage, and to contribute actively to its role as shaper of a collective identity for the future.

Sacred space at court should be understood as a multiple ranging from the smallest scale to the largest. Architecturally speaking, it comprises the court chapel, or as the case may be, the church, even an entire monastery (e.g. the convent palaces of the Hispanic world, such as the Escorial and the Descalzas Reales in Madrid, Spain, but also the monastery at Brou, France, built by the widowed regent of the Habsburg Low Countries). As part of the private apartments, the oratories constitute another component, one which serves as connection. But sacred space at court includes much more, the courtly organization behind the chapel’s service frequently taking care of worldly matters such as the prince’s valuables, for instance; the great hall adjacent to the smaller chapel actually serving as auditorium of the Mass for the lower ranks at court, and so on. On a larger scale, courts established religious networks extending across their lands, such as the Habsburg archdukes serving as regents establishing seven Marian shrines in strategic sites of the Low Countries around 1600.

Focusing on courtly contexts 1300–1800, the conference intends to explore the inter-sensorial performances and experiences within religious spaces of European court residences. It is explicitly conceived as forward-looking, aiming to open future avenues of research and foster shared methodological standards across disciplines.

We especially welcome contributions that:

• explore inter-sensorial experience from an interdisciplinary perspective
• address the performative and embodied dimensions of sacred space at court in all its forms (such as court chapels, churches, monasteries, oratories)
• reflect epistemological questions of approaching past perception
• present proof-of-concept projects using digital, virtual, or AI-based methods

We particularly encourage participation from art and architecture historians, scholars in cognitive sciences and historical cognition studies, olfactory heritage studies, digital humanities researchers, heritage specialists and curators, as well as digital designers and simulation experts. Early-career researchers are strongly encouraged to apply.

Please submit:
– an abstract (max 300 words)
– a short CV (max one page)
by May 15, 2026 to krista.dejonge@kuleuven.be and joanna.olchawa@lmu.de

Participants must register with COST (free of charge). Travel and accommodation costs of accepted speakers will be reimbursed according to COST rules. Early career researchers may also apply for Short-Term Scientific Missions.

For more information, see:

• https://cost-senses.eu
• https://www.cost.eu/actions/CA24164/

Organisation:
Andrea Vargová (Slovak U. of Technology, Bratislava)
Monika Rychtáriková (KU Leuven / Slovak U. of Technology, Bratislava)
Magdaléna Kvasnicová (Slovak U. of Technology, Bratislava)
Vojtech Chmelík (Slovak U. of Technology, Bratislava)

Scientific Committee:
Krista De Jonge (KU Leuven), Chair
Monika Rychtáriková (KU Leuven)
Andrea Vargová (Slovak U. of Technology, Bratislava)
Joanna Olchawa (Ludwig-Maximilians-Universität München)
Dubravka Botica (U. of Zagreb)
Jiří Kubeš (U. of Pardubice)
Philippe Vendrix (Tours, RicercarLab, Centre d’Études supérieures de la renaissance)
Pedro Luengo Gutiérrez (U. of Seville)
Mona Hess (Otto-Friedrich-Universität Bamberg)
José Eloy Hortal Muñoz (U. Juan Carlos, Madrid)

2026 marks the 600th anniversary of the construction of the ‘New Barn’ at Harmondsworth, the largest surviving medieval timber-framed barn in England. To celebrate this remarkable example of medieval architecture, English Heritage and the Friends of the Great Barn at Harmondsworth are hosting a conference in the Barn and the adjacent church of St Mary. 

Described by the former Poet Laureate, John Betjeman, as ‘a cathedral’, Harmondsworth Barn was built in 1426. William of Wykeham, Bishop of Winchester, had bought the manor of Harmondsworth in 1391 as part of the endowment for Winchester College. Their medieval records show that the barns on the demesne farm were soon beyond economic repair and a replacement was planned in 1425. It is the longevity of this ‘New Barn’ we are celebrating. All those who now visit it are, like Betjeman, struck by the size, proportions and atmosphere of this magnificent structure, even though it was not designed as polite architecture. Its function was to store the agricultural produce from the manor. 

Today the Barn’s significance lies in its extraordinary scale (over 58 metres/190 feetlong), the near-complete survival of its medieval structural timbers, its precocious features, and the exceptional survival of documentary evidence relating to its construction, ownership and use. Yet, despite its importance and more recent scholarship on comparable structures, there has only been one comprehensive study of Harmondsworth Barn this century. This conference aims to act as a catalyst for new research into medieval vernacular buildings, using Harmondsworth Barn as both case study and inspiration. 

The name of Harmondsworth will be familiar to many not from its long history but from recent media reports of Heathrow Airport’s wish to build a third runway. It is still some years before a final decision on this will be taken by the Government, but the Barn, the village, and their surroundings are again threatened. It is thus an appropriate moment to celebrate the Barn’s survival and to remind ourselves of its significance, both national and local.

Themes and Scope 

We invite proposals from everyone, including postgraduate students, early-career and more established researchers for papers that engage with Harmondsworth Barn and/or the construction and use of related buildings. Contributions may address, but are not limited to, the following themes:

• The architectural history, construction, and materiality of medieval barns
• Vernacular architecture and large-scale agricultural buildings in medieval England and northern Europe
• Documentary, archaeological, and scientific approaches to medieval agricultural structures
• Medieval farming, crop storage, and land management practices
• The relationship between vernacular architecture and ecology, landscape, or environmental history
• Conservation, repair, and heritage management of medieval timber-framed buildings
• The social, political, and economic contexts of medieval agricultural architecture
• Memory, community, and lived experience of Harmondsworth Barn as part of a working farm
• Threats to heritage sites from modern infrastructure and development

Interdisciplinary approaches are particularly encouraged, including perspectives from architectural history, archaeology, history, agricultural studies, environmental studies, conservation, and heritage practice.

A word from the hosts 

English Heritage is a charity that is responsible for the conservation and enhancement of the National Heritage Collection of more than 400 historic sites and monuments across England, and a collection of over 1 million objects. Through these sites, English Heritage promotes public enjoyment, knowledge and education of our shared history and heritage, with the belief that heritage is for everybody. 

The Friends of Harmondsworth Barn were founded in 2005 following a public meeting called by John McDonnell, the local MP, after the company that then owned the Barn went into receivership. The Friends’ committee work to secure the preservation, maintenance and upkeep of the Barn as a heritage building, and to promote access to the Barn for the general public. When English Heritage acquired the Barn in 2011 the Friends were invited to manage it for EH. 

This conference has been made possible with generous support from the Paul Mellon Centre for Studies in British Art.

Speakers and Audience 

The conference will welcome a broad audience, including academics, students, heritage professionals, members of English Heritage and architectural and archaeological societies, and the general public. Reduced-rate tickets will be available for local residents and students. 

Submission Guidelines

In your paper proposal, please include:

• Title of your paper (please keep this concise)
• Brief abstract (max 250 words)
• Oral or poster presentation. If oral, preferred speaking time (20 or 30 mins)
• Biography including affiliations (or if independent/freelance) (max 100 words)
• Email address
• Social media handles 

Please send abstracts and biographies to: harmondsworth600@english-heritage.org.uk

The submission deadline is Friday 20 March 2026 at 12 noon. 

You will be notified if your paper has been accepted by 4 May 2026.

Further details regarding the programme, accessibility, and travel will be circulated once speakers have been confirmed. For any other queries, please do email the address above.

We are pleased to inform you that next October, the III International Conference on Art and Liturgy at the University of Cádiz will take place. This specialised conference, now in its third edition, is entitled “Locus Sacratissimus: From Object to Place. The Eucharistic Reservation between the Fourth Lateran Council and the Council of Trent.”

The conference will be held from 15 to 17 October 2026, and the deadline for submitting proposals is 6 April 2026. We would be most grateful if you could circulate the attached call for papers to colleagues who may be interested in participating.

Further information is available on the following website.

Between the Fourth Lateran Council (1215) and the Council of Trent (1545–1563), Europe witnessed one of the most profound and decisive transformations in the history of the Christian liturgical space: the gradual conversion of the tabernacle from a simple container into an architecturally qualified place, charged with theological, symbolic, and visual significance. This transition was neither immediate nor uniform, but rather the result of a complex process in which doctrinal development, liturgical practice, and devotional growth converged with an unprecedented artistic ambition.

At Lateran IV, the dogmatic definition of the real presence of Christ in the Eucharistic species, as articulated by Scholastic theology, intensified attention toward the reservation of the Sacrament, raising new questions of visibility, custody, decorum, and security. During the Late Middle Ages, the Body of Christ ceased to be solely consumed and became also an object of contemplation, adoration, and vigilant safeguarding. In this context, the tabernacle was transformed into a true “house for the Body of Christ,” whose form was required to express both the sacredness of its content and its centrality in the spiritual life of the Church.

Thus, from the earliest chests and pyxes, there emerged—especially from the late thirteenth century onward—solutions of remarkable formal ambition: sacrament houses, autonomous architectural tabernacles, Eucharistic towers, monumental aedicules, and complex micro-architectures dialoguing with the great Gothic structures. These constructions—situated halfway between reliquary, tomb, tower, and temple—not only addressed functional concerns, but also articulated genuine visual discourses on the mystery of the Eucharist, the Incarnation, the Passion, the Death, and the Resurrection of Christ, integrating themselves actively into the ecclesial topography of the church interior.

Far from being a marginal phenomenon, this development achieved extraordinary diffusion throughout Europe, with particular intensity in the territories of the Holy Roman Empire, France, the Low Countries, and the Iberian Peninsula. In the Spanish case, medieval and transitional tabernacles reveal a remarkable typological diversity and an early sensitivity to the symbolic dimension of the Eucharistic locus, anticipating solutions that would be fully crystallized after Trent. It was then that the tabernacle would be definitively fixed upon the high altar, from which it would hierarchically preside over the entire liturgical space of the church.

This conference seeks to examine this long and fruitful historical itinerary, from the first medieval experiments to the Tridentine consolidation of the tabernacle as the visual, theological, and devotional center of the Christian temple. Through an interdisciplinary perspective—integrating art history, liturgical history, theology, religious anthropology, and visual culture studies—it invites reflection on the tabernacle not merely as an artistic object, but above all as a constructed locus of presence, where architecture, rite, and faith are inseparably intertwined. The conference will feature the participation of renowned specialists such as Aintzane Erkizia, Justin Kroesen, Eduardo Carrero, and Ferruccio Botto, among others. 

The conference will be organized around the following thematic panels: 

1. Thinking Presence: Concepts, Sources, and Practices of Eucharistic Reservation
2. Monumentalizing the Eucharist: The Holy Roman Empire, France, England and the Low Countries
3. The Tabernacle as Center: Models and Meanings in the Hispanic Kingdoms 
4. Tradition, Form, and Centrality: Italy and the Mediterranean World 

Proposals may be submitted in Spanish, English, Italian, or French and should be approximately 500–700 words in length. Each proposal must clearly indicate the panel to which it is addressed and include a brief curriculum vitae of the presenter, as well as their institutional affiliation, if applicable. Proposals should be sent to arteyliturgia@uca.es no later than 6 April 2026. 

The publication of the contributions is planned (book format with a publishing house of recognized academic prestige). Final versions of accepted papers must therefore be submitted by 30 November 2026.

Registration Fees (Speakers): Regular speakers: 50 €; CEHA members: 25 €. In both cases, the registration fee includes a complimentary copy of the volume containing the conference proceedings.

Once acceptance of the paper has been confirmed, participants will have until 15 June 2026 to complete the registration payment. Payment must be made by deposit or bank transfer to the University of Cádiz bank account: Banco Santander IBAN: ES48 0049 4870 8529 1609 2739 – SWIFT: BSCHESM; IMPORTANT: The bank transfer must include the reference code ARTEYLITURGIA, followed by the speaker’s SURNAME(S) AND FIRST NAME. A copy of the bank transfer receipt must be sent by email to: arteyliturgia@uca.es

Scientific Coordinators: Pablo J. Pomar Rodil. Universidad de Cádiz; Diana Olivares Martínez. Universidad Complutense de Madrid; Elena Escuredo. Universidad de Sevilla

Scientific Secretariat: Francisco de Asís García García Universidad Autónoma de Madrid; Pedro Manuel Martínez Lara. Universidad de Sevilla

Technical Secretariat: Noelia Muñoz Arjona. Universidad de Cádiz
Scientific Committee: Eduardo Carrero Santamaría. Universidad Autónoma de Barcelona; Irma Patricia Díaz Cayeros. Universidad Nacional Autónoma de México; Aintzane Erkizia Martikorena. Universidad del País Vasco; Fernando Gutiérrez Baños. Universidad de Valladolid; Stefan Heid. Pontificio Istituto di Archeologia Cristiana; Justin Kroesen. Universidad de Bergen; Teresa Laguna Paúl. Universidad de Sevilla; Fabio Massaccesi. Universidad de Bolonia; María Rodríguez Velasco. Universidad San Pablo-CEU; María Dolores Teijeira Pablos. Universidad de León; Giovanna Valenzano. Universidad de Padua; Cécile Vincent Cassy. CY Cergy París Université