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Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Soter: Journal of Religious Science / Religijos Mokslo Žurnalas is the property of Vytautas Magnus University, Faculty of Theology-Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Huge losses of material heritage in the mid-seventeenth-century wars and later calamities do not allow conducting a more thorough research into the transmission and reception of Renaissance art in the Grand Duchy of Lithuania. However, case studies focusing on individual pieces might offer a glimpse into the provenance, function, and reception of images. Concentrating on the Adoration of the Magi altarpiece that once belonged to the Church of the Nativity of the Virgin founded by the Grand Duke of Lithuania and King of Poland Sigismund Jagiellon (r. 1506–1548) in 1514 on the island of Lake Drūkšiai / Drysviaty (today’s Belarus), this essay traces the painting’s history, discusses its possible provenance, and examines the figures of the magi for their potential as identification portraits. Although the first reference to the altarpiece comes from the 1650s, its Northern Renaissance style suggests that the painting was executed much earlier, in a workshop active in a German-speaking town of Central Europe, whose practice was influenced by the Nuremberg patterns. The inquiry into the composition and stylistic features concludes that the altarpiece was painted by several masters, who were skilled copyists not yet familiar with drawing from life, and therefore relied on a number of graphic examples to produce the Drysviaty altarpiece. The deep tradition of identification portrait and the potential of the three magi to be associated with Christian rulers have prompted to search for a historical personality disguised under the representations of a magus. The figure of Melchior, whose posture stands out in the composition, appears to be the aptest candidate: shown as a bearded middle-aged man wearing the Order of the Golden Fleece, Melchior gazes at the Virgin. However, identification is confused by the fact that Melchior’s facial features lack individuality specific to Renaissance identification portraits. Moreover, the contrast between the accuracy of representation of the chain of the Order of the Golden Fleece (the sheepskin being transformed into portrait medallions during later repaintings) and the typicality of Melchior’s face directs the inquiry towards a broader historical context and the activities of Nicholas Radziwill (1468–1521), who was entitled to build the church in Drysviaty and most likely commissioned the altarpiece. Two members of the Order of the Golden Fleece were important to Radziwill’s career: Emperor Maximilian I (r. 1508–1519), who granted him the ducal title in 1518, and Sigismund Jagiellon, the founder of the church in Drysviaty. Although the lack of data prevents reaching final conclusions, the essay hypothesizes that the figure of Melchior is more likely to be associated with Sigismund. Paradoxically, this assumption is derived from the absence of Sigismund’s portraits before 1521, which means that the masters of the altarpiece did not have an image to copy in contrast to numerous woodcuts featuring the Order of the Golden Fleece they could follow. The research concludes that the Northern Renaissance style of the Drysviaty altarpiece provided medieval notions of likeness with visible form. Grounded in typological thinking, the figure of a magus functioned as a spacious antitype which might be associated to an individual type according to the status and deeds, rather than lifelike similarity. [ABSTRACT FROM AUTHOR]

In 1653–54, extensive visitations were carried out in the Vilnius Diocese. In total 136 parishes, which constituted ten out of twenty-six deaneries of the diocese, were inspected. Compared to previous visitations, very detailed information was collected about the parishes, church buildings and their decoration, liturgical vestments and vessels, libraries, and the clergy. The visitation acts provide a lot of information about the situation in the Vilnius Diocese of that time and can be useful not only to historians of the Church, but also to researchers of art, economy, and even literature. Most of the objects described during these visitations (church buildings, altars, paintings) have not survived, which is why this region has not generated much research interest until today. This part of the Vilnius Diocese has received less attention also due to the fact that the absolute majority of the churches where the visitations were conducted are located outside the area inhabited by ethnic Lithuanians. Nevertheless, the information recorded during the visitations is particularly useful and valuable for the research into the situation of the Vilnius Diocese at that time, and the visitation acts not only provide information about specific parishes, but also allow for a general assessment of the liturgy, veneration of saints, buildings, their decoration and equipment, clergy, duties, and other things. In the future, researchers will hopefully make use of the data provided by these historical sources, and expand and deepen the information about the Vilnius Diocese in the first half of the seventeenth century. This article focuses on church altars and, specifically, on two of their aspects. First of all, the iconography of the altarpieces is reviewed. It directly testifies to religious piety and veneration of saints in this region. The research showed that like in the entire Grand Duchy of Lithuania, in the given region the Blessed Virgin Mary was the central object of veneration and piety, and Jesus Christ and the Holy Trinity were also quite frequently depicted in paintings. Visitators often described the plots of the images (mostly paintings, more seldom sculptures) in greater detail than usual, which allows us not only to understand which saints were painted, but also to recognise their iconographic types. Secondly, the article explores the colours that were used to decorate church altars. The small number of surviving altars and the limited knowledge about their colouration led to the fact that until now the colours of the altars in this early period (mid-seventeenth century) have not yet been analysed. The findings presented in this article show that altars were mostly painted in liturgical colours, but black as well as blue associated with the veneration of the Blessed Virgin Mary were also very popular. Until the mid-seventeenth century, in general, there is very little evidence about the colours used to decorate altars in written sources. Therefore, the research presented in this article can be useful in the future for a discussion of broader issues of colouration in the Grand Duchy of Lithuania in the seventeenth – eighteenth centuries. [ABSTRACT FROM AUTHOR]

The research seeks to find an answer to the question of why an architect’s instrument – a square – which is related to the hagiographical tradition of St. Thomas the Apostle, also appears in the iconography of St. Jude Thaddeus. For this purpose, apocryphal and hagiographic texts are presented, the origin and meaning of the names of the apostles are emphasised, and the contents of the narratives that had an impact on the iconography are recounted. The discussed apocryphal and hagiographical texts allow us to assert that an architect’s tool – a square – belongs to St. Thomas and refers to the palace built by the apostle in Paradise and his mission in India. Meanwhile, the appearance of a square in the hands of St. Jude Thaddeus should be regarded as a misunderstanding originating from apocryphal texts, an error that is evident in the iconography of the late Middle Ages and in Lithuanian church art. This confusion is associated with the personal name of Jude: St. Jude Thaddeus and St. Jude Thomas. Jude was one of the most popular names in Israel, while Thomas is not a personal name – Thomas (Greek Δίδυμος, Didimos) means ‘a twin’ and is a person’s description or nickname. It can be seen that the duplication of St. Jude Thomas and St. Jude Thaddeus derives from the gnostic and apocryphal traditions of the 1st– 3rd century that not only speak about these namesake heroes, but also testify to their common mission: the apostles St. Thomas and St. Judas Thaddeus were geographically and conceptually related to the evangelisation of India, Syria, and Asia Minor. In the Middle Ages, the cult of St. Jude Thaddeus deteriorated because of the story of his namesake, Judas Iscariot, who betrayed Jesus. Nevertheless, St. Bridget of Sweden in her Heavenly Revelations (Old Swedish Himmelska uppenbarelser, Latin Revelationes, 1492) says that the Lord instructed her to pray to this saint with confidence, because he can save one from hopeless situations in life. After the appearance of Heavenly Revelations, the cult of St. Jude Thaddeus began to spread in Western Europe. An abundance of images of St. Jude Thaddeus is clearly seen in sixteenth-century Western European art, and in the 17th century, the cult of St. Jude Thaddeus spread in Central Eastern Europe: Austria, Czech Republic, and Poland. Encyclopaedias assert that in the 18th century, the personal name Thaddeus became very popular in these countries, and mention Adam Mickiewicz’s poem Pan Tadeusz (1834). In Lithuania, devotion to he patron of hopeless cases, St. Jude Thaddeus, appeared in the eighteenth century: he is depicted both with Jesus and a square, but a square appears statistically more often. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Illyrica / Godišnjak Udruženja BATHINVS ACTA ILLYRICA is the property of Association for the Study & Promotion of Illyrian Heritage, Ancient & Classical Civilizations and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This interdisciplinary research is focused on visual images on maps of the known world spanning from the medieval to the early modern period. Regardless of their purpose, which could range from ideological representations of the medieval world, as were O or T maps, to practical sailing maps like portolan charts and other early modern nautical charts of the (already known) world in a smaller scale, they carried the standard scope of geo-cartographic data and content. Besides, they offered a rich illustrative component of respectable graphic quality. This depended on the purpose of the map, as well as the geographical knowledge of its author on one hand and on the skill and expertise of its creator on the other. Through this short synchronic and diachronic overview of the iconographic elements of Old World maps, especially in respect to Croatian lands, some chronological continuities of cartographic presentation were revealed. The spread of ideas and ideologies communicated and disseminated by these will also be discussed. [ABSTRACT FROM AUTHOR]

Prispevek se osredotoča na motiva umiranja in vic v umetnosti baročnih bratovščin na Slovenskem. Predstavlja pri- mere, značilne za bratovščine različnih titularjev, predvsem tiste, ki so se še posebej posvečale umirajočim in vernim dušam. Ob standardnih upodobitvah opozarja na ikonografsko zanimivejše (Tomišelj, Ljubljana Sv. Peter, Lemberg, Kranj, Ponikva itd.) in take, ki so jih napravili vidnejši umetniki (Andrej Trost, Giulio Quaglio, Francesco Robba, Jožef Holzinger idr.). Iz gradiva je razvidno, da dobi v prizorih srečne smrti sčasoma vidno vlogo personificirana Smrt (okostnjak), skušnjave (demoni) pa se reducirajo. Vice, ki variirajo po emocijah in številu očiščujočih se duš, se prilagajajo krajevni umestitvi; tu in tam so postavljene v konkretno pokrajino, večkrat neposredno pod križ na Kalvariji. Včasih so zaprte z rešetkami in asociirajo na ječo, v verige vklenjene duše pa so redke. Kompleksnejše upodobitve vic so dopolnjene z motivom priprošnje.

The print The Tree of Human Life (Arbor Humanae Vitae) is distinguished by its size and rich textual and iconographic material. It combines several iconographic themes – the tree of life, a comparison of a rich man’s and a poor man’s life based on the text of the New Testament (Lk 16, 19-31), and the themes of death and eternal life. These themes are intertwined and related to separate periods of human life (birth, life, death and eternal life), and the engraving itself is embellished with numerous quotes from the Holy Scripture. In total, the copper engraving has a hundred (100) inscriptions-quotes, which expand its visual part and are grouped semantically, while the right and the left sides of the engraving are connected according to the principle of opposites. Though the number of quotes is incredibly large, the artist successfully “dealt” with this task, creating a relatively harmonious composition, even though in some places the inscriptions infringe on the visual part of the illustration or overshadow it. On the other hand, the amount of the inscriptions shows that the author of the engraving, Mikołaj Krzysztof “the Orphan” Radziwiłł, was well versed in the Holy Scripture and arranged them consistently, bringing out the theme of earthly life relevant for that time, and introducing a vision of eternal life. The iconographic analysis of the artwork that has barely caught the attention of Lithuanian art researchers shows its relation to the poetic work The Rise of the Radziwiłłs (Aulaeum Radzivilaeum,1604) by Mathias Nevius. It is one of the very few examples in the history of Lithuanian art when the main idea of the artwork and the name of the author of its drawing/engraving? (Tomasz Makowski (1575–1630)) is conveyed through the poetic word. This engraving created in Antwerp illustrates the cooperation between the author of the idea, magnate Mikołaj Krzysztof “the Orphan” Radziwiłł, and his engraver Theodoor Galle who embodied his client’s vision. [ABSTRACT FROM AUTHOR]

The article analyses how dreams and visions are conveyed in the iconography of St Dominic (Domingo de Caleruega, circa 1174–1221). The analysis is based on the examples of the 16th–18th century artworks that belonged to the Dominican and Franciscan convents in Vilnius, Lithuania. Comparing the images with the texts that shaped their iconography, different types of the visual representation of dreams and visions are distinguished. The author maintains that accounts based on the testimonies of witnesses to the canonization process helped to form the main attributes of St Dominic, although they usually did not evolve into popular themes in later visionary art. These attributes became the symbols of the Order of Preachers and the figure of its founder in the representation of the famous dream of Pope Innocent III in the Church of the Holy Spirit in Vilnius. Visionary art that became popular in the baroque era sought to present the exact moment of St Dominic’s vision. Its spectacular compositions overshadowed the previous ways of visualization, as is shown by the examples of the early 16th and 18th-century frescoes from the Churches of Sts Francis of Assisi and Bernardine of Siena and the Holy Spirit in Vilnius. Moreover, in baroque visionary art, legends from a later period were embedded into the iconography of St Dominic as visions of receiving the Rosary or the Portrait of Soriano. The texts dating back to the times of St Dominic and later legends all describe dreams and visions as encounters between heaven and earth. The examples of artworks from the Dominican and Franciscan convents in Vilnius confirm that the concept of dreams and visions was also expressed in the iconography of St Dominic. In the visual representations of these encounters, the saint was shown as a representative of his Order and a mediator between God, other saints and humankind. [ABSTRACT FROM AUTHOR]

Copyright of Kroatologija is the property of University of Zagreb, Centre for Croatian Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

U članku je provedena stilska i ikonografska analiza konzole s prikazom lava koja je kao spolij bila ugrađena na zabatu kuće Mangjer u Splitu. Kuća se nalazila na križanju Manđerove i Bribirske ulice. Nakon njezina rušenja, konzola je prenesena u Samostan sestara milosrdnica svetog Vinka Paulskog u Splitu, gdje se i danas čuva. Izvorni arhitektonski kontekst konzole nije poznat. Tipski i stilski srodan joj je par konzola na portalu crkve svetog Mikule (sv. Nikole) u Velom Varošu u Splitu. Autorica ih grupira u krug iste ranoromaničke radionice koja je djelovala koncem 11. i početkom 12. stoljeća. Konzola s kuće Mangjer nastaje nedugo nakon para konzola sa Svetog Mikule. Izradio ju je majstor koji dobro poznaje potonje konzole, vješto kopira njihovu kompoziciju i dimenzije. U oblikovanju zahtjevnijih dijelova (poput lavlje glave ili akantusova lista na konzolici pod lavljom figurom) otkriva nešto slabiji oblikovni kapacitet u odnosu na predložak.

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archaeology & Science / Arheologija i Prirodne Nauke is the property of Institute of Archaeology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arheološki Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Prispevek osvetljuje življenje in delo plodovitega in doslej slabo raziskanega kiparja, pozlatarja in restavratorja Ivana Sojča (1879−1951). Kiparsko in drugo potrebno znanje ter izkušnje je dolgo pridobival v različnih delavnicah doma in v tujini. Leta 1908 je odprl lastno delavnico v Vitanju, od leta 1911 pa je živel in ustvarjal v Mariboru. V okviru raziskav je bil njegov štirideset enot obsegajoči seznam del dopolnjen z več kot sto šestdesetimi novimi. Med njimi prevladuje lesena cerkvena oprema, pomemben del opusa pa predstavljajo polnoplastični in reliefni betonski figuralni nagrobniki. V prispevku, podprtem z arhivskimi viri in ustnimi pričevanji potomcev, je Sojčevo delo predstavljeno glede na slogovne usmeritve, vzore, ikonografijo, tehniko in materiale, namembnost in kvaliteto. Prvič je izpostavljeno njegovo pozlatarsko-poslikovalsko in restavratorsko delo. Ob naštetem je zapolnjena tudi vrzel v poznavanju njegove biografije.

Prispevek se osredotoča na novoveške bratovščine, ki so delovale pri samostanih klaris na Kranjskem do njihove ukinitve pod Jožefom II. in so bile doslej v strokovni literaturi obravnavane predvsem z zgodovinskega vidika. Z bratovščinama v Ljubljani (1702) in Mekinjah (1717–1718) so klarise na Kranjskem spodbudile češčenje Jezusovega in Marijinega Srca, škofjeloške bratovščine (1717, 1725–1726, 1775–1776) pa so pospeševale v deželi že vkoreninjene pobožnosti do Marijinega brez- madežnega spočetja, sv. Jožefa (sv. Družine) in Imena Jezusovega. Umetnostna dediščina klariških bratovščin je razmeroma skromna, povezana z usodo posameznih samostanov po njihovi ukinitvi, in tudi po kakovosti posebej ne izstopa, zanimiva pa je po ikonografiji z bogato simboliko srca. Zaradi narave ohranjenega gradiva ima prispevek različne vsebinske poudarke in težišča.

U članku se donose nove hipoteze o stilsko-oblikovnim svojstvima i izvornoj funkciji Ponzonijevih deset slika na platnu, koje su između 1682. i 1689. godine umetnute u drveni, kasetirani svod glavnog oltara splitske katedrale, a nastale su pedesetak godina ranije. Na temelju materijalnih ukaza i interpretacije već objavljenih arhivskih podataka autorica predlaže izvorni oblik slikarske cjeline kao jedinstvenog poliptiha u funkciji pokrovne pale (pale feriale) za veliku srebrnu gotičku palu Ivana Gerardova iz Pesara. Hipotezu autorica potkrepljuje srodnim poredbenim primjerima unutar jadranskog bazena. Također razrađuje ikonografsko-ikonološki aspekt slikarske cjeline, koji je po svoj prilici osmišljen kao vizualno didaktičko sredstvo u službi propovijedi s nizom euharistijskih egzempla i njihovih starozavjetnih prefiguracija koje su trebale poduprijeti nauk o transsupstancijaciji. Narudžbu ovog složenog ikonografskog niza autorica povezuje s pojačanom potrebom posttridentinske crkve u osnaživanju kršćanske vjere zbog vjerskih i političkih previranja u splitskoj nadbiskupiji tijekom 17. stoljeća.

Copyright of Zbornik Odsjeka za Povijesne Znanosti. Zavoda za Povijesne i Društvene Znanosti is the property of Hrvatska Akademija Znanosti i Umjetnosti, Zavod za Povijesne i Drustvene Znanosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents the findings regarding the cult of Mithra from the territory of the Southern and Middle Morava River valley, which are taken into consideration according to their iconographic characteristics, as well as within the historical-geographical circumstances of the area to which they belonged during the Roman era. On the basis of the analysis of artistic details, it was concluded that these are monuments that mostly do not differ from the famous monuments of the cult of Mithra from our area, confirming the previously stated opinions of researchers that certain atypical iconographic traits on them probably arose as a result of insufficient understanding of the Mithraic doctrine, i.e. a lack of control in reproducing the canonised pattern of this cult. Furthermore, by considering the broader context of their findings, we also looked at possible ways in which the cult of Mithra could have been practiced in this area. [ABSTRACT FROM AUTHOR]

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Copyright of Prodravski zbornik is the property of Koprivnica Town Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arheološki Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Tanulmanyok is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Godine 2011. Ivo Arany, Dragutinov sin, poklonio je Hrvatskom glazbenom zavodu očevu ostavštinu koju čine hemeroteka, glazbeni časopisi, koncertni plakati i programi te ostali dokumenti. Hemeroteku je vrijedni violist i organizator zagrebačkoga glazbenog života Dragutin Arany (1899-1964) sakupljao cijeloga života, a dosad je obrađen samo jedan njezin dio. Popis novinskih članaka iz razdoblja od 1912. do 1929. pokazao je da je samo u tom razdoblju sakupljeno gotovo 4.000 novinskih članaka, glazbenih kritika, najava, eseja, biografi ja i drugih napisa o glazbi. Osim što Hemeroteka Dragutina Aranya nudi bogat izvor podataka o glazbenom životu toga razdoblja, ona ga i oslikava ikonografskim izvorima. Tadašnji su glazbeni događaji i njihovi protagonisti zabilježeni fotografi jama, crtežima i karikaturama pa hemeroteka ne služi samo kao izvor o glazbenom životu već o cjelokupnom umjetničkom i društvenom životu Zagreba dvadesetih godina 20. stoljeća.

The paper was inspired by the need to acknowledge and identify the signs of war in the Lithuanian art of the 1930s. In order to keep the specificity of art historical research in view, the research is narrowed down to the visual artefacts of various kinds and purposes--from paintings (Justinas Vienožinskis) and graphic prints (Mečislovas Bulaka, Jonas Kuzminskis, and Žibuntas Mikšys) to the mass-produced press illustrations, posters, adverts, and decorations. The paper analyses historiographically lesser known artworks, including the posters by Vytautas Jurkūnas, Boleslovas Motuza and Liudas Vilimas, and the examples of imported art (lithographs by Louis Lozowick as well as foreign photography). The research material leads to the conclusion that Lithuania was preparing for a modern warfare which, similarly to the situation in the neighbouring countries, was widely associated with new types of weapons; tanks, planes, bombs and gas masks were regarded as symbols of the upcoming war. The image of modern warfare was reflected and disseminated not only via political texts of both local and foreign authors, reports from war zones, civil defense instructions, but also by images, primarily mass-printed press illustrations, public posters, event decorations, and advertisements. From a product of mass visual consumption, the motif of a gas mask got transposed onto paintings and graphic art where it acquired the status of the sign of modern warfare and acted as a premonition for the war that was about to engulf Lithuania. [ABSTRACT FROM AUTHOR]

This enquiry focuses on the portrait medal of King Sigismund Augustus attributed to the goldsmith Giovanni Giacomo Caraglio; the medal and its remake are kept in the Ashmolean Museum of the University of Oxford. The medal features in Caraglio's portrait painted by Paris Bordone in 1553, and is therefore also dated to the same year. The obscure occasion for which the medal was cast prompts reconsidering the relation between its obverse and reverse. The obverse features the bust of the king in profile facing left, while the reverse depicts the figure of Faith encircled with the quote from Virgil's Aeneid: "DVM SPIRITVS HOS REGET ARTVS" ("As long as the spirit directs these limbs", IV, 336). Avigdor W.G. Posèq has convincingly argued that the left-facing orientation of the profile coincides with the direction towards the past and is often used when representing humanists, females, minors, and clergymen rather than kings and politicians who are responsible for shaping the future. What is the message behind the medal that depicts the king looking towards the past in combination with the personification of Faith and Aeneas' promise to remember Dido? This essay argues that this combination acknowledges Sigismund Augustus' acceptance of his royal duties and his resolution to remain faithful to the Catholic creed of his ancestors in the wake of the death of his beloved spouse Queen Barbara Radziwill (1523-1551). Although, due to Virgil's authority and the privileged genre of medal art, this item has been regarded as high art, the association between the queens Barbara and Dido bore significant misogynist and erotic undertones. The latter have been exploited in the remake of the medal as its bronze aftercast was adjoined to a former pendant featuring Venus and Mars surprised by Vulcan and Olympian gods mocking them. Due to the identification of the hitherto obscured iconography of the reverse as well as the references to the Reposianus' epyllion together with Ovid's Metamorphoses and Ars Amatoria as its literary sources, this unique medallic remake comes across as a humorous gesture. The paper argues that the reverse being fixed to the obverse along the horizontal axis allowed the viewers to reveal the erotic reputation of the king and, by doing so, turn the image of Augustus (meaning, literally, "the elevated one") head upside down. This way, by a mere twist of fingers, the contradictory combination of reverse and obverse of this medallic remake allowed the erudite and powerful onlookers to join the Olympian gods in their laughter. [ABSTRACT FROM AUTHOR]

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Pod svodom zvonika, na zapadnom ulazu u splitsku katedralu, nalazi se luk s reljefnim scenama koje uprizoruju ljudske figure lišene svakog obilježja svetosti te razne životinje, stvarne ili izmišljene. Dosadašnji su istraživači suglasni oko toga da reljefi nisu zavidne umjetničke razine te da ih je vjerojatno izveo majstor Otto koji je uklesao svoje ime na reljefu s prikazom sv. Dujma, sv. Petra i sv. Staša. Taj je reljef uzidan u zvonik, nasuprot ulazu u splitsku katedralu. Uradci se gotovo jednoglasno smještaju u razdoblje zrele romanike, no po pitanju njihova ikonografskog značenja iznesena su heterogena mišljenja. Rudolf Eitelberger ih je još polovicom 19. stoljeća determinirao općenito kao lovačke prizore, a takvo tumačenje prevladava i kod današnjih istraživača premda je u međuvremenu postojalo više pokušaja njihova tumačenja. U ovom se članku donosi ikonografska analiza prvih dviju scena obaju krajeva splitskoga luka. Oni se prvi put razmatraju i uspoređuju s nekim europskim srednjovjekovnim primjerima. Uzimajući u obzir srednjovjekovnu polisemiju, dovode se u moguću vezu s ikonografijom antičkog junaka Herakla koji se u kršćanskom svijetu smatra prefiguracijom Krista.

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Članek obravnava tri miniature z upodobitvijo Križanja iz treh rokopisov romance Estoire del saint Graal. Obravnavani rokopisi so: dva iz British Library (signaturi Royal 14.E.III in Additional 10292) ter eden, ki je danes v zasebni lasti, označuje pa ga nekdanja signatura Amsterdam BPH 1 (ex-Phillips 1045/7, 3630). Vsi trije so nastali na območju Saint-Omerja, Thérouanna, Tournaija in Ghenta med letoma 1315 in 1325. Razlike med tremi miniaturami so v podrobnostih in analiza se jih loteva v treh korakih. Najprej so določeni vsi mogoči pomeni posameznih motivov, nato se posvetimo vprašanju, kateri od teh pomenov so dejansko navzoči na obravnavanih miniaturah; zato so preučena razmerja med posameznimi motivi na sliki. Pomeni, pripisani posameznim motivom in sliki kot celoti, so nato preverjeni še z ozirom na ostale miniature v vsakem od rokopisov, da se razkrije, ali obstajajo tematske ali ideološke zveze in ali se razvija slikovna naracija, ki več posameznih miniatur povezuje v eno zgodbeno nit. Ti kriteriji so upoštevani, da bi lahko opisali pomen slike, tj. ekfrazo podobe, ki jo sugerira slikovni tekst.

In 2011, Ivo Arany, the son of Dragutin, donated the legacy of his father to the Croatian Music Institute. The legacy consists of music magazines, concert posters, programs and other documents. The hardworking violist and organizer of Zagreb's music life Dragutin Arany (1899-1964) has collected newspapers almost his entire life, but so far only one part of his collection has been processed. A list of newspaper articles from the period 1912 to 1929 showed that 4,000 newspaper articles, music critics, announcements, essays, biographies and other texts were collected in that period only. Apart from the fact that the collection of Dragutin Arany off ers a rich source of information on the musical life of that period, it also depicts it with iconographic sources. Musical events and their protagonists have been recorded with photographs, drawings and cartoons, so the collection is not only a source for musical life but of the overall artistic and social life of Zagreb in the twentieth century. In the 1920s there are lot of amateur, but also professional photographers in Zagreb, such as Antonija Kulčar and Otto Antonini. Their photos, printed in newspapers and magazines document composers, conductors, opera singers, musical and other events. In that period, most of the painters do caricatures because it brings them money. Besides caricatures of musicians there is the interesting example of musician and caricaturist Ivo Tijardović, whose caricatures were also found in Arany's collection. There are also other drawings and music iconography elements mentioned in this paper. Altogether these elements of music iconography represent modern aspirations of that time and bring us closer to the reception of musicians between the world wars. [ABSTRACT FROM AUTHOR]