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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.

The three ages of lacustrine divinities : appearing, rebirth and disappearance of the Sirens from the Chicnahuapan lake, Toluca valley (Mexico) Except in the Andean region, the picture of the Siren has been scarcely spread in Spanish America. In Peru, as well as in New Spain, the « lords of the water » from the Central Highlands reappeared intensively during the colonial period. In the valley of Toluca, their roots probably go back to the Classic period, when the Lerma banks were settled. Through the intermediary of Saint Matthew, a worship to the « lords of the water » lasted until the years 1950. The nowadays account of the life of the couple Sireno and Sirena allow to understand better the periods of climax and decline of the picture of the Sirena, as well as its many implications concerning the lake societies from the high-Lerma Basin., Hormis dans le monde andin, l'image de la sirène s'est peu répandue dans l'Amérique espagnole. Au Pérou, tout comme en Nouvelle-Espagne, les « seigneurs de l'eau » des hauts- plateaux centraux sont revenus en force à la période coloniale. Dans la vallée de Toluca, leurs racines remontent probablement à la période classique, lorsque les rives du Lerma furent colonisées. Un culte rendu — par l'intermédiaire de saint Matthieu — aux « seigneurs de l'eau », jusque dans les années 1950, ainsi que le récit actuel de la vie du couple Siréno et Siréna permettent de mieux saisir les moments d'apogée et de déclin de l'image de la sirène, tout comme ses multiples implications au sein des sociétés lacustres du bassin du haut-Lerma., Las tres edades de deidades lacustres : nacimiento, renacimiento y desaparición de las sirenas del lago de Chicnahuapan, valle de Toluca (México) Si se exceptúa el mundo andino, poco se ha divulgado la imagen de la siréna en la America española. En el Perú, así como en Nueva España, los « señores del agua » del altiplano central reaparecieron con fuerza durante el período colonial. En el valle de Toluca, sus raíces se remontan probablemente al período clásico, cuando la colonización de las orillas del río Lerma. Un culto en honor a los señores del agua — el día de San Mateo — , vigente hasta los años 1950, así como el relato actual de la vida de la pareja Siréno y Siréna permiten comprender mejor los momentos de apogeo y de ocaso de la imagen de la siréna, asi como sus múltiples implicaciones dentro de las sociedades lacustres de la cuenca del alto Lerma., Béligand Nadine. Les trois âges d'un couple de déités lacustres : éclosion, renaissance et disparition des sirènes du lac de Chicnahuapan, vallée de Toluca (Mexique). In: Journal de la Société des Américanistes. Tome 84 n°1, 1998. pp. 45-72.