The purpose of this article is to study domestic devotion in Catalonia in the thirteenth, fourteenth and fifteenth centuries, based on the information provided by numerous post-mortem inventories and texts written by coetaneous spiritual authors such as Ramon Llull, Francesc Eiximenis and Saint Vincent Ferrer. Among the objects recorded in the inventories, pieces of furniture and devotional objects laypeople and clergymen used in their pious practices as “material” aid for personal prayer stood out. They were in keeping with the strong visual culture that pervaded the Late Middle Ages. There were retables, oratories and images of religious themes. However, the inventories also listed lesser known but equally recurring objects such as paternosters and Agni Dei. Painted cloths depicting religious scenes that decorated the homes of numerous wealthy Catalan-Aragonese families at that time were also present. Spiritual books such as books of hours and psalters, biblical texts, Legenda Aurea, etc., were mentioned as well. They were part of the incipient libraries of the laity in the Late Middle Ages.

La iglesia del monasterio de Sant Pere de les Puel·les (Barcelona), consagrada en 1145, es uno de los escasos templos románicos conservados en Barcelona y, lamentablemente, un edificio poco estudiado debido a las profundas transformaciones que sufrió en los siglos XIX y XX. Una visita pastoral a la iglesia y a las dos sacristías realizada por la abadesa Violant d’Espés en 1585-1587 permite conocer con detalle los espacios, el mobiliario y el rico ajuar litúrgico del templo románico y, al mismo tiempo, comprender el alcance de las intervenciones arquitectónicas que modificaron la estructura de la iglesia en el siglo XV.

Most museum collections are not displayed since they are held in storage, out of visitors’ reach. However, little is known about the size of stored collections, how they are used, and to what extent museums enhance their accessibility in New Zealand museums. This study aims to provide an overview of the size of stored collections, the strategies adopted by museums, and how these solutions impact the accessibility of stored collections in museums in New Zealand. Data were gathered through a survey sent to the New Zealand office of ICOM and direct invitations to museums between December 2020 and January 2021. Respondents represented different museums’ legal statuses, sizes, and collections. The results show that 84% of collections are held in storage. Strategies such as the rotation of items enabled museums to use 28% of stored collections. In comparison, 18% of stored items were used through loans and 17% through exchanges, making them accessible to everyone. Specifically, it was found that the most effective strategies in terms of accessibility are visible storage, with 55% usability of stored collections, and the digitisation of collections, with 41%. These findings indicate that factors such as different legal statuses of museums, sizes, and types of collections, might impact the use of stored collections.

Choirs in female monastic and convent communities are spaces whose complexity has been highlighted because of their multipurpose and multifunctional nature. Although they are within the community’s private sphere of prayer of the divine office, it has also been noted that they play a liturgical role as the space from which the nuns ‘hear’ and follow the celebrations taking place in the church and even in the choral altars. The devotional–liturgical binomial is joined by other contrasting terms, like esglesia dintra–sgleya de fora, indicating a duality, as follows: the claustration (as an enclosed, internal and private space of the nuns) and the external church accessible to priests and laypeople, as well as private devotion versus community devotion. The Poor Clares of the monastery of Sant Antoni i Santa Clara actually mentioned the choir altar as nostro altar, underscoring the close bonds that joined them to a liturgical table in this private space, as opposed to those of the esglesia defora. The objective of this article is to study the choirs of three female monasteries in Barcelona during the fourteenth and fifteenth centuries—Sant Pere de les Puel·les (Benedictines), Sant Antoni i Santa Clara and Santa Maria de Pedralbes (both Clarissan)—from a holistic standpoint, including spaces, functions, goods, furnishings and decorations.