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Straipsnis skirtas smulkiems leidinėliams, esantiems spaudos, dailės ir net religijos paraštėse, marginalijoms, neturinčioms net nusistovėjusio bendrinio pavadinimo. Tai - religiniai / devociniai, šventųjų ar šventieji paveikslėliai (abrozdėliai) - katalikiškos devocionalijos. Jų paskirtis - skatinti asmeninį, intymųjį m aldingumą. Aptariami mūsų prosenelių maldaknygėse laikytų paveikslėlių panaudos būdai ir funkcijos, apžvelgiamas paveikslėliuose paliktų rankraštinių "pėdsakų" komunikacijos laukas, atidengiama tipiškuose XIX a. antros pusės-XX a. pradžios masinės gamybos paveikslėliuose slypinti vakarykščio pasaulio mozaika, drauge ir Lietuvos nepriklausomybės tapsmo ženklai. The religious pictures that were so widely circulated in society in the late 19th-early 20th centuries created a unique communication field, which the author attempts to overview in the publication. These mass-produced objects did not only make private devoutness easier to achieve, but were also the initial images of sacred and folk art works, an elementary reader, so to speak, in Christian iconography, or a certain artistic standard. They were a popular gift, or commemorative object, a greeting used in place of a postcard - simply, a part of cultural memory. In addition, they acquired some of the features characteristic of votive offerings. They would frame the daily existence of a given person: acting as a reminder of the first important celebration - one’s First Communion, whereas placed in the hands of the deceased, they would see them off onto their final journey. The pictures were also considered a funereal object. The auxiliary functions of devotional pictures are alike in almost all Catholic countries. Nonetheless, these small prints are also an intimate history of a small nation, or more precisely - its tiny fragments, authentic testimonies of the people and the period. Individual expression (inscriptions, provenances) - the content of these ego documents - added uniqueness to the mass-produced objects. Amid the background of the ban on printed material, the pictures developed into one of the aspects of the book-smuggling phenomenon, and a way of reviving Lithuanian writing. They are important to the development of Lithuanian writing, often testifying to the unity of religious and national goals. The Lithuanian pictures are also a reflection of the political realities of that period, recording the opposition to Russification and the first inclinations towards sovereignty.

Straipsnyje pirmąkart aptariama dailės marginalijos – masiškai tiražuoti XIX a. pab. – XX a. pr. katalikų religiniai paveikslėliai, jų funkcijos ir reikšmė. Bandoma apibrėžti, ką būtų galima vadinti lietuviškais religiniais paveikslėliais, nagrinėjamos jų ištyrimo, apskaitos problemos ir aktualijos. Pristatoma pagrindinio tuo metu lietuviškų paveikslėlių leidėjo, nepelnytai pamiršto knygnešio, spaudos darbuotojo ir Krokuvos lietuvių studentų šelpėjo Juozapo Angrabaičio (1859–1935) veikla. For the first time, the article discusses the marginalia in the art and writings – catholic devotional images, which were printed en masse in the late 19th – early 20th century, their functions and importance. A high number of remaining small-format lithographies, chromolithographies as well as copper, steel and wood engravings and other printed material is an indicator of the religiosity of our ancestors and an instrument of religious media, religious literacy and the spread of various religious cults. This is an implementation of the respect and recognition of the Saints, which served as a source of ecclesiastical iconography, as an example for those who created images for churches and rural environment (e. g. folk sculptures for memorial monuments). On the other hand, the abundance of pictures reflected the intensity of the devotional industry and trade relations as well as the fashion trends. In addition, pictures have an intimate and personal aspect. Their main function was not only to inspire the believer in prayer, but also as a memory which recalls various occasions or persons. The commemorative printed or handwritten texts of prayers in Lithuanian as well as the description of the First Communion, all kinds of religious events and holidays, donation, remembrance of the deceased, etc. are a reflection of the national literacy and pledge. In the context of the Lithuanian press ban and low literacy, they are important as small monuments of the written language and contrafactions and are attributable to the phenomenon of book smuggling. An attempt is being made in the article to define what may be termed as Lithuanian religious pictures as well as problems of their research and inventorying. Because of the polyvalence of pictures (images, printed texts, records made by hand, different printing techniques), they may be attributed to the works of graphics and small prints. Therefore, it is difficult to establish a united registry. Hence, cooperation between bibliographers and art historians in preparing the registry is in need. On the other hand, the identification of the publisher is challenging. After all, many pictures are imported and reprinted. The activity of the main publisher and distributor of the Lithuanian devotional images at the time, wantonly forgotten book smuggler, print worker and supporter of the Lithuanian students in Cracow, Juozapas Angrabaitis (1859–1935), is presented in the article. An attempt is being made to outline his contribution to the history of Lithuanian culture. In 1893, J. Angrabaitis issued an exclusive catalogue of the devotional images in Tilsit, which in the absence of other archival sources is the main background when investigating the supply of images in Lithuania of that time. An attempt is being made in the article to determine the trade relations of J. Angrabaitis as well as to ascertain the signatures, pseudonyms and acronyms of the printed images.

XIX a. pirmosios pusės lietuviškos knygos leidybai kontrafakcija nėra būdinga, tačiau yra žinoma, kad bandant apeiti cenzūros kliūtis, to meto carinės Rusijos imperijai priklausančioje Didžiojoje Lietuvoje buvo praktikuojamas leidimo duomenų klastojimas. Tokie faktai šiandien yra sunkiai aptinkami ir dar sunkiau įrodomi, tačiau skatina tyrėjus ieškoti ir diskutuoti. Blaivybės judėjimo ir jam skirtų leidinių persekiojimo situacija privertė jų rengėjus ir leidėjus kovoti su cenzūros draudimais. Kai 1858 m. nepavyko išplatinti vyskupo Motiejaus Valančiaus parengtos ir A. Zawadzkio spaustuvėje išspausdintos brošiūros Apej brostswą błaiwistes, ji buvo leidžiama pakartotinai, 1860 ir 1861 m. laidų antraštiniame lape nurodant leidėją – E. Vaikinio spaustuvė Klaipėdoje. Remiantis Zawadzkių firmos leidinių platinimo faktais, sukauptais iš archyvinių dokumentų, to meto knygos veikėjų korespondencija, išlikusių Apej brostswą błaiwistes egzempliorių tyrimu de visu bei jų šriftologine analize, straipsnyje pateikiami nauji argumentai, skatinantys kritiškai vertinti minėtų leidinėlių antraštiniuose lapuose pateikiamą informaciją. Diskutuodama su lietuviškos bibliografijos tradicijos šalininkais, straipsnio autorė pritaria pirmosios nepriklausomybės laikų tyrėjo Kazimiero Gečio iškeltai minčiai, kad tiek pirmosios 1858–1859 m., tiek vėlesnės Apej brostswą błaiwistes laidos buvo išspausdintos Zawadzkių įmonėje Vilniuje. Straipsnyje įrodinėjama, kad jau amžiaus viduryje M. Valančiaus aplinkoje susiformavo pasipriešinimo cenzūros draudimams modelis, nulėmęs lietuviškos knygos veikėjų elgseną ir laikyseną lietuviškos spaudos draudimo metais, o taip pat teigiama, kad Mažosios ir Didžiosios Lietuvos knygos ryšių pradžios datą reikėtų nukelti iš 1860-ųjų į vėlesnius metus. Pirated editions were not common in Lithuanian book publishing during the first half of the 19th century, however it is known, pirated copies of works were published in Lithuania Major, which belonged to Tsarist Russia at the time, in order to avoid the censor. Today these facts are rarely tracked down, and even more difficult to prove, however this has encouraged researchers to search for information. The Temperance Movement and persecution of publications devoted to it forced their organisers and publishers to fight with the censor‘s bans. Though in 1858 the brochure Apej brostswą błaiwistes (Concerning the Temperance of Our Brothers) prepared by Bishop Motiejus Valančius and published at A. Zawadzkis’ printing house was not allowed to be disseminated, it was published a number of times. The publisher shown on the second page of the 1860 and 1861 editions was the E. Vaikinis Printing House in Klaipėda. New arguments are introduced, which encourage a critical evaluation of the information provided on the above-mentioned publications’ title pages. The author of this article agrees with the thought raised by interwar period researcher Kazimieras Getis, that both the first editions in 1858-1859 and the later editions of Apej brostswą błaiwistes were published by Zawadzkis’ company in Vilnius. The article gives evidence that already during the middle of the century, resistance against the censor bans had formed in the environment of M. Valančius, which influenced important figures representing Lithuanian books during the press ban.