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University professor D. Mikuláš Russnák came from a clerical family. His father, Pavol Russnák was a Catholic priest o f the Byzantine rite. His mother Many, originally itemed Brinszky, came from Varhaftovce, and was a daughter of a priest. Mikuláš Russnák was bom on 30 April 1878 in Sopkovce. He received the sacrament o f baptism and confirmation in Sopkovce on 7 May 1878. He had threesiblings. His younger brother Pavol was a priest and doctor o f sacred theology. He was a vice-dean at the seminaiy in Prešov, and a canon and a parish priest in Zavadka. He died on 18 March 1943. Of his two sisters, Gizela was older and Etelka was younger than Mikuláš. Gizela married Viktor Leukanič, a Catholic priest o f the Byzantine rite in Klečenov. Etelka married Julius Szinyei-Merse, a lawyer. The children were brought up in file Catholic faith, as would be obvious for the family o f the Catholic priest. The family atmosphere o f devotion and catholicity remained an everlasting value for Mikuláš. His mother Jolana died on 7 June 1898 and his father Pavol died on 27 June 1921.

The article aims to investigate the legal implications of the inclusion of pre-exposure prophylaxis (PrEP) in the SUS by presenting the right to health as a fundamental right, inserting the discussions of “risk group” and possible reserve; situate sexual rights from HIV and STIs; analyze the restrictions on the implementation of PREP based on silences. Technology represents a mechanism that ensures the right to health in the preventive aspect, so that it is protected by the prohibition of social retrogression. The regulation of this preventive public policy has legal effects that should not be ignored, including the incorporation of this aspect of the right to prevention as a fundamental right to health. The importance of the article lies in the visibility of LGBT+ population agendas and agencies, O artigo visa investigar quais implicações jurídicas da inclusão da profilaxia pré-exposição (PrEP) ao SUS ao apresentar o direito à saúde como direito fundamental, inserindo as discussões de “grupo de risco” e reserva do possível; situar os direitos sexuais a partir do HIV e das ISTs; e analisar as restrições na implantação da PREP a partir de silêncios. A tecnologia representa mecanismo assegurador do direito à saúde na vertente preventiva, de modo que está protegida pela vedação do retrocesso social. A normatização dessa política pública preventiva tem efeitos jurídicos que não devem ser ignorados, dentre eles a incorporação dessa vertente do direito de prevenção enquanto direito fundamental à saúde. A importância do artigo reside na visibilidade das pautas e agências da população LGBT+

This article centres on four albums compiled by a British soldier of low rank serving in the Mandates of Iraq and Palestine from 1922–1926. It addresses how they have taken on new meaning as family albums after decades of neglect. In addition, it argues that the content of the albums brings into focus those whose role in history is usually overlooked, and simultaneously acts as a catalyst to shed light on a relatively unknown chapter of British history.

This paper analyses the relationship between Franco Scaldati’s drama and the staging of his work made by Enzo Vetrano and Stefano Randisi. Totò e Vicè, Assassina and Ombre folli, staged by Diablogues, are three examples of how actor’s dramaturgy can interact with author’s writing, within common aesthetics, showing the possibilities for a “popular-experimental theatre”.

På kva måtar framstår familiealbumet som ein identitetskonstruksjon, og kven har eigentleg makta over konstruksjonen? I denne artikkelen vert desse spørsmåla stilt. Mellom anna ved å referere til antikkens omgrep techne tou biou, livskunst, argumenterer eg for at familiealbumet er eit sosialt medium, som i stor grad reflekterer dei subjektive og ideelle minna albumets skapar helst ønskjer å formidla. Nyttar ein albumet til å konstruere identitetar, kan det få konsekvensar for dei som er inkludert i forteljinga.

Nel cuore di Villa Borghese sorge, fin dal 2003, la replica di un teatro elisabettiano, il Silvano Toti Globe Theatre, nato da una felice intuizione di Gigi Proietti che lo propose come dono alla città di Roma in occasione delle celebrazioni per i cento anni dalla trasformazione dell’aristocratico parco in giardino pubblico. Walter Veltroni, allora sindaco, accolse con grande entusiasmo il suggerimento e la Fondazione Toti, con atto di moderno mecenatismo, finanziò il progetto: dopo appena tr...

Dance is rooted in the ritual sphere of a specific time and it interact with the political sphere, questioning ideological and social practices and pursuing strategies of resistance against them. The dancing body, first, relies on a system of conventions that defines itself in every society and it carries out an ideological power. Around this theory, this essay examines the phenomenon of Voguing, highlighting the redefinition of gender identities, ritual practices and the function of community. Through the historical analysis of ballroom culture phenomenon, a multiform practice of collective identity is outlined and it responds to urgent social phenomena. Performance Studies, Gender Studies and the analysis of media products – carried out in the last decades – could help us to understand how sub-cultural community processes have become part of a pop performativity.

This paper aims to reconstruct the two plays Assoli (1977) and Udunda Indina (1980), emblematic productions by Leo de Berardinis and Perla Peragallo, staged during the most daring phase of their research. Both characterized by an obsessive taste for the manipulation of idioms and for the shredding of meanings, the two theatrical performances – alongside the diagnostic and cathartic function of the word (ironically vilified among wordplays and puns) – bring to light the experimental potential of a very distinctive “teatro di parola”. These verbal phenomena, in terms of scenical praxis, reflect the intimate deconstructive project pursued, in those same years, not only by the two actors theirselves, but also by the wider framework of the so-called Italian “Nuovo Teatro”. The analysis is conducted on the basis of archival sources, direct testimonies, press clippings and, from a methodological point of view, by adopting studies of an interdisciplinary nature: both theatrical and linguistic.

In the late 60’s and early 70’s the topic of free improvisation has played an important role at the Summer Courses in Darmstadt. Particularly significant were the seminars of Vinko Globokar (with the group New Phonic Art) in 1970, especially focused on the importance of the performative moment, on the question of authorship in the case of collective performances, as well as on the absolute necessity of internal democratic dynamics within the improvisation group. The emphasis accorded to this latter aspect can be explained by the particular conditions in which the question of improvisation was introduced into the Darmstadt debate: the dispute between Karlheinz Stockhausen, Globokar and many other participants of the courses during the last session of Stockhausen’s seminar about Aus den sieben Tagen at the Summer Course of 1969. The whole debate (a very passionate dispute lasting about two hours) was about the “dictatorial” role of Stockhausen during the performances of his “intuitive music”, in which Globokar’s Group was actively involved as well. The essay aims to reconstruct and contextualise the main phases of this debate, in which two opposite visions of collective musical improvisation collide.

Familiebilder må studeres i lys av deres forankring i familiekonteksten for å kunne forstås i sin kompleksitet. Med utgangspunkt i, blant andre, Stanley Cavells refleksjoner rundt fotografi, skeptisisme og selverkjennelse, demonstrerer teksten hvordan familiefotografiet, til tross for at det er en genre styrt av en rekke begrensninger, også har et stort potensial for å uttrykke individualitet. Artikkelen viser også hvordan familiefotografiet har dette til felles med dagligspråket.

The aim of the article is to familiarize the reader with sermons delivered during World War II by Marcin Chrostowski OP, chaplain of the Polish Armed Forces in the West. Father Chrostowski’s legacy of sermons, stored in the Archive of the Polish Province of the Dominican Order, is an interesting supplement to information we currently hold on his service as chaplain of the Polish Armed Forces. The sermons reflect the spirit of his times and also present the morale of the military. Studying them allows us to capture moral attitudes preached to soldiers. This edition contains sermons delivered in Great Britain (Scotland), the USSR (where Fr. Chrostowski accompanied the field bishop during his official visit with the Polish forces), Iraq, the Holy Land, the Netherlands, Belgium, and the Reich. To date, these sermons have not been commonly known, although selected passages were published in Chrostowski’s printed biography (see H. Gallus, E. Mikołajczak, Ojciec Marcin Chrostowski, Poznań 2001). The remaining texts have yet not been analyzed by researchers. Father Marcin Chrostowski volunteered for the army in France, where he was staying at the outbreak of the war. Later, he became chaplain of the Polish Armed Forces in the West – in France and Great Britain, secretary of Field Bishop Gawlina, with whom he travelled to the USSR. After his service in the Holy Land, he was transferred to Great Britain, where he joined the ranks of General Maczek’s 1st Armored Division. As chaplain of the 9th Rifle Battalion, he followed the battle trail from “Maczuga” to Wilhelmshaven. Notably, he was rewarded for his heroism during the hostilities at Baarle Nassan with the War Order of Virtuti Militari.

Esta contribución expone la descripción, origen y desarrollo del proyecto de investigación financiado Biblioteca Digital Ovidiana, que se encuentra en la quinta fase de implementación. El proyecto, cuya investigación se desarrolla dentro de las bibliotecas con fondo antiguo que poseen ejemplares de las ediciones ilustradas de la obra del poeta romano Publio Ovidio Nasón, ha producido un sitio web especializado en la obra ovidiana a través del que se difunde la investigación y se ofrece una herramienta digital para el estudio del libro, de la tradición de la ilustración de las obras ovidianas y de la iconografía del mito entre los siglos XV y XIX.

espanolJuan Temboury Alvarez fue un hombre poliedrico que trabajo siempre por y para la defensa del Patrimonio, la Cultura y el Arte. Estaba destinado a ser un miembro mas de la indocta burguesia comercial malaguena a la que pertenecia, pero diversas circunstancias lo pusieron en el camino de interesarse por el Patrimonio. Posiblemente comenzase su andadura como lo haria un senorito diletante, pero, si asi fue, eso debio durar poco tiempo, su compromiso con el Patrimonio y el Arte se fue haciendo cada vez mas fuerte y aunque nunca fue su medio de vida, si fue su eje de actuacion vital. EnglishJuan Temboury Alvarez was a many-sided man who always worked for the defense of heritage, culture and art. He was destined to be one more member of the minimally educated Malaga commercial bourgeoisie to which he belonged, but various circumstances put him in the way of becoming interested in Heritage. Possibly he began his journey as an amateur. If so, that should have lasted a short time. His commitment to Heritage and Art, was becoming stronger and although it was never his livelihood, it was the centre of his vital action

This white paper briefly outlines two co-dependent research initiatives: ‘Global Emblems’ and ‘Transmission and Intermediality: the impact of the emblematic culture in Ibero-America’. Both projects are in their initial stage of development, at Brown University. ▪ ‘Global Emblems’ is set to map, document and study the presence of emblems in material culture, around the world, and cross-link these occurrences with pre-existing digital collections of emblem books. The database will be fed by an international network of specialists, which is already active, with members in over ten countries and the support of the Society for Emblem Studies. The platform will allow searches by concepts (using Iconclass classification system) and a number of locations will allow users to ‘visit’ them through Virtual Reality (360 annotated photos). The database will be systematically studied through ‘thematic clusters’. Although at first glance the focus on emblems may seem narrow, emblems have a broad geographical and historical spread, which can be traced, and that provides the necessary data for the kind of analytical and interpretative study required in the second research initiative, which illustrates the importance of emblems within the wider frame of Latin American cultural history. ▪ ‘Transmission and Intermediality: the impact of the emblematic culture on the Early Americas’ will analyse the data from ‘Global Emblems’ in order to understand the role of emblems in the colonial process in the Americas. More specifically, this project will look at the ‘pictorial dispute’ in the New World, by examining the ‘pictorial turn’ from the ‘catecismos jeroglíficos’ to the displayed emblems in the 17th-century (many of them resulting from the remediation of European prints), and the ideological, political and sociological implications around the presence of these emblems in buildings and early-modern festivals.

espanolSe presenta el proyecto de iconografia teresiana que he llevado a cabo en las tres ultimas decadas, partiendo del deseo de conocer los temas y tipos iconograficos de una de las mujeres mas importantes en la Historia de la Iglesia, la fundadora del Carmelo teresiano, a la que se han dedicado numerosas representaciones artisticas, lo que hizo que la tarea no fuera facil por el ingente material a examinar que, finalmente, se ha dado a conocer a la comunidad cientifica en cuatro volumenes que recogen los objetivos planteados, La herencia del espiritu de Elias (2016) que incardina a la reformadora en el Carmelo de la antigua observancia, Las series grabadas (2017) que permitian la tras-mision de temas y tipos, que se abordan en el tercer volumen De las visiones a la vida cotidiana (2018), para concluir con la Iconografia de los reformadores descalzos y la estampa alegorica (2919). EnglishThis is a presentation of the Teresian iconography project I have worked on for the last three decades, based on a desire to discover the themes and iconographic types of one of the key female figures in the history of the Church, Saint Teresa, the founder of the Teresian Carmel. Countless artistic representations have been made of her, which makes it a daunting task to collate them, due to the huge amount of material that has had to be studied. However, this has finally been made available to the scientific com-munity in four volumes which cover the four main objectives of the study: The Legacy of the Spirit of Elijah (2016), which situates the reformer in the context of the old Car-melite doctrine, The Series of Engravings (2017), which led to the transmission of themes and types, which are, in turn, addressed in the third volume From the Visions to Everyday Life (2018), and finally the Iconography of the Discalced Reformers and the Allegorical Illustrations (2019).

espanolEn este estudio se anade al catalogo del pintor Manuel Cabral Bejarano la obra firmada El descanso de la frutera. Supone un ejemplo tardio, dentro de su produccion, de la practica del genero costumbrista en la pintura sevillana del siglo XIX. EnglishIn this studio the signed work El descanso de la frutera is added to the catalogue of the painter Manuel Cabral Bejarano. It's a late example, in his production, of the practice of the customes genre in the sevillian painting of 19th-century

espanolEl grupo Iconografia e Historia del Arte (IHA) de la Universitat Jaume I desarrolla desde hace veinte anos una intensa labor en la Historia del Arte y, en concreto, en es-tudios iconograficos. Uno de sus proyectos principales de los ultimos diez anos ha sido Triunfos Barrocos. Este proyecto tiene como objetivo principal localizar, clasificar, analizar y editar las manifestaciones graficas del arte festivo barroco en todos los terri-torios que formaron parte de la Monarquia Hispanica. Con esta finalidad ya han sido publicados seis volumenes dedicados a los distintos reinos de la corona espanola, mas un septimo volumen recopilatorio. EnglishThe Iconography and History of Art (IHA) Research Group, at the Universitat Jaume I, has been doing an intense work in Art History for twenty years and, in partic-ular, in iconographic studies. One of his main projects of the last ten years has been Baroque Triumphs. The main objective of this project is to locate, classify, analyze and edit the graphic manifestations of Baroque festive art in all territories that were part of the Hispanic Monarchy. For this purpose, six volumes dedicated to the different king-doms of the Spanish crown have already been published, plus a seventh compilation volume.

Symbola es una base de datos y biblioteca digital destinada a recopilar el mayor número posible de divisas o empresas históricas que usaron reyes, caballeros, damas, eclesiásticos, académicos, impresores, etc. entre los siglos XIV y XVII, tanto en el ámbito español como internacional. Se ofrece como una aplicación de acceso gratuito a través de Internet junto con otros recursos creados por el mismo grupo de investigación (SIELAE-Grupo Hispania, de la Universidade da Coruña –España­–) con financiación del programa estatal I + D de España (proyectos BIDISO 5 y BIDISO 6). Este artículo expone la motivación del planteamiento del proyecto, objetivos, las especificaciones para el diseño conceptual de la base de datos y detalles sobre el desarrollo de la herramienta web de gestión y la interfaz web de consulta.

El objetivo de este trabajo es dar a conocer el proyecto de traducción y edición de la enciclopedia de emblemas e imprese Mundus Symbolicus de Filippo Picinelli que se lleva a cabo en el Centro de Estudios de las Tradiciones de El Colegio de Michoacán. Así, la traducción permitirá al lector moderno y, en especial, a los historiadores del arte descifrar los significados latentes de los símbolos empleados en la producción plástica y literaria, así como en diversos espacios culturales en donde floreció la emblemática.

En este artículo se estudia e identifica un original de La Virgen y el Niño en la huida a Egipto, tradicionalmente atribuido a Pieter Coecke van Aelst, como obra de su hijo Paul Coecke van Aelst, quien solía copiar pinturas de Jan Gossaert incluyendo algunos detalles personales.

Este artículo se centra en la documentación sobre el lienzo de San Gregorio Nacianceno, firmado por el pintor flamenco Erasmus Quellinus II, que tenía la iglesia de los jesuitas de Cuzco antes de la expulsión de la orden del virreinato peruano en 1767. La documentación revisada ha permitido seguir la obra desde su llegada hasta la iglesia de la compañía cuzqueña, y sus posteriores vicisitudes tras la expulsión de los Jesuitas y su llegada a la iglesia del Sagrario en Lima. Por lo que este estudio también permite comprender cuál fue el proceso de dispersión de muchos de los bienes artísticos de la Compañía en Perú.

El papel desempeñado por las artistas en la América colonial del siglo XVIII continúa siendo un tema de candente debate y del que falta todavía mucho por investigar. La escasez de oportunidades y los obstáculos encontrados no excluye el camino de algunas de ellas hacia el aprendizaje y posterior desarrollo de la pintura, de modo que, desde su estado laico o religioso, pudieron llegar a alcanzar cierta nombradía. El presente trabajo analiza justamente el panorama suscitado al respecto en la Real Audiencia de Quito a través de una serie de ejemplos, que derivarán en el caso concreto del lienzo de la Virgen de la Merced del Museo de Las Conceptas en Cuenca. Alrededor de la autora, las circunstancias históricas de la obra y sus características estéticas e iconográfícas girará este estudio, con visos de intentar desentrañar diferentes incógnitas., The role played by female artists in 18th century colonial America continues to be a subject of heated debate and one in which further research is needed. The lack of opportunities and the obstacles encountered did not prevent some female artists, whether religious or not, from learning and developing their skills, and attaining a certain degree of acclaim. The present work analyses a series of examples related to the Real Audiencia of Quito, in particular the case of the painting known as the Virgen de la Merced (Virgin of Mercy) in the Museum of Las Conceptas in Cuenca. This investigation will focus on its author, history, and aesthetic and iconographic characteristics, in an attempt to unravel varying mysteries related to the artwork., Universidad Pablo de Olavide

Los retablos de la iglesia colegial de la abadía del Sacro Monte son fiel testimonio de los avatares que sufrió durante los siglos XVII y XVIII, como consecuencia de la defensa de los libros plúmbeos. En este artículo, a través de documentos inéditos, además de su iconografía, conocemos a los artistas que intervinieron en ellos, desde Miguel Cano o Pedro de Raxis, hasta Francisco de Paula Castillo y Pedro Valero. También ponderamos la ingente labor de patrocinio y mecenazgo llevada a cabo por sus abades y canónigos, entre otros, Pedro de Ávila y Francisco de Barahona en el XVII, y Vázquez de Figueroa o López de Mesa en el XVIII. A estos unimos las donaciones de particulares, fundamentales en la configuración de los altares del templo., The altarpieces of church of the Sacro Mnte Abbey are a faithful testimony of the upheavals it underwent during the 17th and 18th centuries as a consequence of the defence of its Lead Books. This article offers first-hand knowledge of both the artists of the altarpieces such as Miguel Cano, Pedro de Raxis, Francisco de Paula Castillo, Pedro Valero, etc. and their iconography, through many previously unpublished documents. Sponsorship and patronage actions performed by abbots and canons such as Pedro de Ávila y Francisco de Barahona (17th century) or Vázquez de Figueroa and López de Mesa (18th century) are also documented. Among them, it should be noted that individual donations were crucial for the temple¿s altars., Universidad Pablo de Olavide

En 1625 nació la Infanta María Eugenia, la tercera de las hijas del matrimonio compuesto por el rey Felipe IV y la reina Isabel de Borbón. Esta niña, nacida en veinte y uno de noviembre, fue bautizada en junio de 1626, con la pompa festiva propia de una infanta primogénita, ya que sus dos hermanas mayores habían fallecido al poco tiempo de nacer. Gracias a la relación de sucesos de Antonio Ferrari, de ese mismo año, podemos conocer muchos de los detalles que protagonizaron el día del bautismo de la pequeña infanta, incluido que sus padrinos fueron la reina de Hungría, doña María y el legado papal, el cardenal Barberini. En este trabajo analizaremos los datos existentes sobre el bautismo de la infanta, e intentaremos examinar los diferentes elementos del protocolo, propio de este tipo ceremonias., En 1625 nació la infanta María Eugenia, la tercera de las hijas del matrimonio compuesto por el rey Felipe IV y la reina Isabel de Borbón. Esta niña, nacida en veinte y uno de noviembre, fue bautizada en junio de 1626, con la pompa festiva propia de una infanta primogénita, ya que sus dos hermanas mayores habían fallecido al poco tiempo de nacer. Gracias a la relación de sucesos de Antonio Ferrari, de ese mismo año, podemos conocer muchos de los detalles que protagonizaron el día del bautismo de la pequeña infanta, incluido que sus padrinos fueron la reina de Hungría, doña María y el legado papal, el cardenal Barberini. En este trabajo analizaremos los datos existentes sobre el bautismo de la infanta, e intentaremos examinar los diferentes elementos del protocolo, propios de este tipo ceremonias., Universidad Pablo de Olavide

espanolLa contribucionpretende examinar los resultados que las medidas de puesta en valor del patrimonio cultural aportan a la arquitectura rural y al paisaje sicilianos, centrandose en la mejora de la construccion en las zonas rurales y sobre la posible capacidad de devolver centralidad y valor adecuado al territorio, en quanto recurso multifuncional, capaz de garantizar servicios fundamentales para el bienestar de las comunidades locales y de conservar el patrimonio historico, cultural y paisajistico. A tal efecto, se analizaun caso de estudio de recalificacion de un ejemplo arquitectonico siciliano EnglishThe work proposes to examine the results that measures to redevelopment of the cultural heritage brought to the rural architecture and the Sicilian landscape. Attention is focused on the landscape retraining and the possible ability to return centrality and appropriate value to the earth, understood as a multifunctional resource, able to assure essential services for the comfort of the local communities and to preserve the historical, cultural and landscape patrimony. For this purpose, a case study on the subject of the renovation of a Sicilian architectural building is analysed italianoIl contributo si propone di esaminare i risultati che gli interventi di riqualificazione del patrimonio culturale apportano all’architettura rurale e al paesaggio siciliani, focalizzando l’attenzione sulla eventuale capacita di restituire centralita e adeguato valore al territorio e alla terra in quanto risorsa multifunzionale, in grado di assicurare servizi fondamentali per il benessere delle comunita locali, e di conservare il patrimonio storico, culturale e paesaggistico. A tal fine, si analizza in maniera dettagliata un caso studio di riqualificazione di un manufatto architettonico presente sul territorio del paesaggio rurale siciliano.

Fray Agustín de Otero (ca.1675-1730) fue un monje cisterciense perteneciente al monasterio de Santa María de Sobrado (A Coruña) que ejerció como arquitecto y aparejador en Galicia durante el primer tercio del siglo XVIII. Inició su carrera de lego constructor trabajando para su propio cenobio. En 1717 fue reclamado en Mondoñedo por el obispo fray Juan Muñoz y Salcedo para diseñar la renovación de la fachada de la catedral. A partir de entonces el prelado le confió otros proyectos en la ciudad como la reforma del palacio episcopal, la traza de una traída de aguas y de una fuente monumental, y también la de su propio sepulcro. Puesto que su figura apenas resulta conocida por la historiografía, en el presente trabajo abordaremos su biografía, carrera profesional y personalidad artística., Brother Agustín de Otero (c.1675-1730) was a Cistercian monk belonging to the Monastery of Santa María de Sobrado (A Coruña) who worked as an architect and master mason in Galicia during the first third of the 18thcentury. He started his career as a lay brother and master builder working for his own monastery. In 1717, he was called to Mondoñedo by the Bishop Brother Juan Muñoz y Salcedo to redesign the Cathedral¿s façade. From that point on, the prelate entrusted him with other projects for the city such as the reform of the Episcopal Palace, the design of a water supply and monumental fountain, as well as his own tomb. Since Brother Agustín de Otero is a little known figure in historiography, in this paper we will analyze his biography, professional career, and artistic personality., Universidad Pablo de Olavide

El texto analiza el libro publicado por José ELoy Hortal Muñoz, Félix Labrador Arroyo, Jesús Bravo Lozano y África Espídora García, en la trascripción que hacen del Ceremonial de la Capilla Real del Alcázar descrito por Manuel Ribeiro.

The author introduces into scientific discourse the collection of corps weapons from the State Hermitage museum. This unique collection is of great importance for the study of mensur duels that were practiced among the Russian student groups in the second half of the 19th– the beginning of the 20th century. In the “Arsenal” department collections of arms and amour, used in such duels and marked with the corps emblems of Dorpat, Riga and Saint-Petersburg universities are curated. On the territory of the Russian Empire, the corps were organized in the Baltic universities as well as in the Saint-Petersburg and Moscow ones, while the very notion was borrowed from Germany, where the tradition of such students groups has deep roots. In Russia, the corps were mostly widespread among the Baltic students of German parentage. Students’ life was full of various occupations, including concerts, wines and the so-called “mensur” duels. Student straight fights made up an important part of the corps life. The history of these duels is long, they were known in French and Italian universities in the Renaissance time, and by the 16th century every German university had employed a fencing-master. The keystone of the duel presumed the exchange of points without leaving the spot. Duelers were forbidden not only to quit the position but also to elude the opponent blows. The main weapon of mensur duels was schlager. Its several variants belonging to the given corps are described in the article. Different pieces of armour like fencing masks, helmets, quilted leather cover for belly and legs, leather arm cover with glove, leather fauld, which were used in such type duels, are also presented. The weapons from the Hermitage collection have doubtless scientific value and are quite rare in the museums.

The article is devoted to a small sword with an award badge of the Order of St. Anne from the collection of the Moscow Kremlin Museums, and to the fate of its owner, Junior Captain A.G.Erkudov. In the course of investigation, the author managed to ascertain that A.G.Erkudov was rewarded with the badge of the order of St. Anne of the 4th Class for the participation in the Russo-Japanese war of 1904-1905. The archival records found by the author permitted him to trace some details of Junior Captain Erkudov’s life and to provide insight into the circumstances by which he earned the award. The short life of this Russian officer, who participated in two wars, the Russo-Japanese and the First World ones, was entirely devoted to the military service. Born into a peasant family, Aleksandr Grigoryevitch Erkudov strived for officer rank with hard work and honorable service. He showed himself with dignity both on the battlefield and in the everydayness of the military service in the peacetime. His small sword, now curated in the museum, appeared to be the only surviving material proof of his life, which he gave for the motherland in the very first battles of the First World War.

The article deals with the objects from the collection of the Russian museum of ethnography, which were presented on behalf of Dalai Lama XIII to Nicholas II on the 300th anniversary of the Romanov dynasty. The author briefly analyzes the political situation and Russian-Tibetan relationship both in diplomatic and spiritual spheres just before the participation of the Tibet formal representative in the festivities on the occasion of the Russian ruling house jubilee. The presents to the Russian tsar are explained to have been a thoroughly measured stroke of policy, aimed to bring Tibet the international recognition in political affairs. Unfortunately, this move did not have ramifications because of either the weakness of the Russian diplomacy at that time or, to the contrary, the firmness of the Russian cabinet, which had already been bound by obligations with other foreign partners, mostly with Great Britain. On the Nicholas II’s personal order, the presents he got from Tibet on those days were moved to the Ethnographic department of the Alexander the III Russian museum (currently the Russian museum of Ethnography). The author ascertains that the presented weapons, which are a sword in the scabbard, a suit of armour, a helmet, a quiver, and a bow case, were chosen from those availabe-off-the shelf and not made specially for the presentation. Previously, along with other objects they were stored in the monastery arsenals. The author argues against the dating, preserved in the archive documents of the museum. Which was put down in accordance with the oral information of Dalai Lama envoy A. Dorjiev. He spoke the weapons to be too ancient, tracing the suit of armor, for example, to the early Middle ages. However, the author sees the point for such an early dating, underlying the centuries-old conventionalism in the arms and amour of Tibet and taking into consideration the features of traditional culture and diplomacy, which presumes the archaicism as thier important and meaningful element, especially if it concerns the correspondence of objects and epochs or legendary people. It is very remarkable and demonstrative that the Buddhist cult objects, which also formed a part of the presents to the Russian tsar were estimated as contemporary pieces or ancient ones of Tibetan (or Lhas) workmanship, dating back to the times of spiritual power of Dalai Lamas in Tibet, while all the presented arms and armour were traced to the most glorious and imperious days of the Tibetan civil state.

Together with first 19th century literary visions by J.U. Niemcewicz, there appeared an image of M. Zebrzydowski as a proud magnate who, driven by private interest, contributed to Poland’s downfall. Opponents of such portrayals of Zebrzydowski also took the opportunity to voice their opinions in that period. As a result, interest in Mikołaj Zebrzydowski as a partly mysterious figure grew, and his attitude was re-interpreted, sometimes looking at his rebellion from the perspective of contemporary events. In spite of the keen interest in Zebrzydowski in the second half of the 19th century, no answer was found to the commonly asked question of his attitude. In connection with the 400th anniversary of Mikołaj Zebrzydowski’s death, the author analyzed the portrayals of Zebrzydowski, starting with those created during his life to the 19th-century works, in an attempt to determine the reason for the extreme ways in which the magnate of Zebrzydowice was portrayed. Visual images are juxtaposed with literary descriptions, since information contained in these sources is complimentary (e.g. we may ascertain Zebrzydowski’s appearance).

Uniwersytet Krakowski w XV-XVI w. wypracował fundamentalne elementy swojej kultury pamięci i świadomości historycznej. W I połowie XVII w. krakowskie środowisko akademickie wzmocniło przekaz dotyczący swojej przeszłości. Bardzo ważnym medium tego oddziaływania była literatura okolicznościowa, a zwłaszcza panegiryki. Liczne druki akademickie poświęcano biskupom krakowskim, ponieważ byli oni kanclerzami uniwersytetu, a często jego wychowankami i mecenasami, uniwersytet zaś był jedną z najważniejszych instytucji diecezji, mocno związaną z Kościołem. Panegiryki takie powstawały głównie z okazji nadania biskupstwa, uroczystego wjazdu biskupów do miasta i ingresu do katedry wawelskiej oraz z racji śmierci i pogrzebu. W analizowanym okresie diecezją rządziło siedmiu biskupów. W tym czasie profesorowie i studenci uniwersytetu dedykowali im 65 panegiryków, z których 43 utwory zawierały treści i nawiązania z przeszłości uniwersyteckiej. Panegiryki były nośnikiem zinstytucjonalizowanej uniwersyteckiej kultury pamięci. Głównymi figurami tej pamięci były: fundacja 1400 roku, fundator król Władysław Jagiełło, dynastia Jagiellonów jako dynastia fundatorów i reprezentantów złotego wieku w dziejach uniwersytetu, otoczony kultem profesor teologii Jan Kanty (zm. 1473) jako wzorzec profesora i patron uniwersytetu oraz katalogi sławnych profesorów i wychowanków uniwersytetu. Katalogi te miały formę wyliczania nazwisk, a przytaczano je jako dowód żywotności i zasług uniwersytetu dla społeczeństwa, państwa i Kościoła. In 15th-16th centuries, Krakow University developed fundamental elements of its memory culture and historical awareness. In the first half of the 17th century, the Krakow academic community strengthened its message concerning its past. Occasional literature, in particular panegyrics, was a particularly important medium of this message. Numerous academic prints were dedicated to Krakow bishops, since they were the University's chancellors, and frequently its alumni and supporters, while the University itself was one of the key institutions in the diocese, closely related to the Church. The panegyrics were created mostly to celebrate the award of bishopric, a ceremonial entrance of a bishop to the city, an ingress to the Wawel Cathedral or were written in the event of death and the funeral. Seven bishops ruled the diocese in the analyzed period. In that time, university professors and students dedicated a total of 65 panegyrics to them, of which 43 contained references to the University's past. Panegyrics were a medium of the University's insti-tutionalized memory culture. Key facts and persons mentioned in the works include: the foundation of 1400, founder King Władysław Jagiełło, House of Jagiellon as the dynasty of founders and representatives of the golden age in the University's history, Jan Kanty - a revered professor of theology (deceased in 1473) as an exemplary lecturer and patron of the University, as well as catalogues of renowned professors and alumni of the University. The catalogues were in fact lists of surnames, and they were supplied as an evidence of the University's long history and service to the society, the country, and the Church.

Este artículo plantea la veracidad de una serie de noticias relativas a supuestos oficios cortesanos para pintores en la corte de Madrid, oficios sobre los que no existe ninguna referencia clara en la documentación perteneciente a la administración palaciega. No obstante, se conocen otros documentos indirectos que invitan a pensar que tales oficios existieron, al menos, como títulos honoríficos. En cualquier caso, consta que se llegaron a emplear, aunque fuese de forma fraudulenta o abusiva. Estos oficios o títulos honoríficos son los de pintor del Rey, pintor de cámara del Príncipe, pintor de cámara del Infante y un segundo pintor de cámara del Rey. En este trabajo se presentan diversos ejemplos de estos casos relativos a los pintores Francisco Zurbarán, Alonso Cano, Pedro Carvajal, Francisco Ginete, López Polanco, Gómez de la Hermosa, Antonio Rizi, Francisco Rizi e Isidoro Arredondo. En base al análisis de los documentos que dan noticia del empleo de estos títulos, se presenta la hipótesis de que los artistas en cuestión hicieron un uso legítimo de ellos.

Se reseña la exposición y el catálogo de la exposición celebrada en Burgos entre julio y noviembre de 2020 sobre el pintor burgalés, Mateo Cerezo el joven, que trabajó en Madrid muy vinculado al taller de Carreño de Miranda.

The inventory of boyard Boris Fyodorovitch Godunov’s treasury 1588, was published about one hundred fifty years ago. The part of the document with weapon descriptions is the oldest Russian inventory of the hand-held weapons, armour and other military equipment. The inventory was made before Godunov’s obtention of the monarch title, but the objects listed there could be later incorporated in the royal arsenal. This important document has not been in focus of a special research of weapon historians yet. The author analyzes the inventory layout, the problems of classification and terminology, and possibility to find out the design of the objects listed. In the inventory the weapons are generally grouped according to types, while the chapter titles repeat the names of such weapons as saadaks (bowcases and quivers), sabers, rogatinas (heavy spears), samopals (fire arms), helmets, etc. The order the chapters were organized in shows the weapons to have been basically divided into the edged ones, including bows, the fire arms, including cross bows, and the defensive weapons. The starting of arms listing with saadaks is no accident. Most probably, it reflects the oriental tradition, which presumes bow to be a status weapon of a horseman. In the inventory along with the chapter called “Boris Fyodorovitch’s saadaks“ there is the one under the name “Servants’ saadaks”, but for the rest categories of weapons the division on the ceremonial arms used by Godunov himself and the combat ones is not very distinctive. In terms of quantity in the inventory of 1588 predominate sabers (they are fifteen), small arms (there are twenty two samopals, one arkobus, fifteen pishchals), helmets (there are ninety four of them and one arming cap), but the most common is the ring armour, counting one hundred and sixty nine pieces, though mostly they are the servant ones. The weapons vary geographically. The most part of sabers are Turkish, three pieces are of Iranian workmanship and one saber is of Hungarian origin. The helmets represent the wider range of national variants (the “Moscow“, Iranian, Turkish, “Circassian“, “Lithuanian“, “German“), the armour suits are also Russian, European and Oriental. However, these geographical remarks must not be necessarily treated as a matter of fact. The fire arms are usually European ones, equipped with wheel locks, but there are also pieces of Russian workmanship, which were probably mounted with Russian snaphaunce. The chapter names do not define the base level classes of objects, while two of them, “Plate armour“ and “Ring armour“, incorporate the terms that are catchall for several groups of different type objects. The most interesting section is located in the middle of the inventory. In disregard of the document typology layout it describes ostrich-plumes, a wimpel, a helmet and a shield, both marked with the name of Boris Godunov. All these objects in accordance with the rules of blazonry correspond with the main elements of coat of arms, that are crest (plume, wimpel), helmet and shield. This concurrency looks fantastic because the first Russian coat of arms following European examples appeared not earlier than the second half of the 17th century. The total number of weapons, which in the inventory of the 1588 was marked with the name of Boris Godunov, is much larger than the quantity of actual personal weapons of any other tsar of the Romanov dynasty in the 17th century. The terminology concerning arms and armour used in the inventory of 1588, should not be always considered as the basis for the typology classification of the objects. For instance, in 1588, the word “knife“ could designate a curved blade dagger (Turkish knife like a saber), “English rogatina“ was probably a halberd, while the term samopal (“a pair of short samopals with iron stocks”) worked occasionally as a name of a handgun. The armour terminology is the most difficult for comprehension. Sometimes type and origin of a weapon is not at all understandable. For example, it is just conceivable that the “German gunskup“, which was described the last among the helmets, is a helmet, as the word “German“could mean “Western-European“, while the term gunskup was not used in any other Russian document. Whether any of the weapons listed in the inventory of 1588 survived to this day remains unclear. There are no firm evidences to attribute a famous baidana with a Russian inscription on every ring from the collection of the Kremlin Armoury chamber to Boris Godunov. Unfortunately, the inventory was not published in full. The index of the inventory of Boris Godunovs personal property is appended to the article.

The article is devoted to the contacts between Iran and different European countries in the field of weapon use and warfare. The author traces the presence of European arms and military forces in the armies of Iran starting from the days of the Achaemenids and up until the 19th century. In the ancient times, Greek soldiers, equipped with their native weapons served in the army of Iran. Some of them were granted membership in the Iranian aristocracy. Later, with the beginning of the Muslim era, European military technologies were used in the armies of those who ruled in Iran. It specially included the firearms, which were developed poorly there. Primary sources fix firearms imported from European countries, starting from the 70-ties of the 15th century. However, the strongest European influence in the field of weapons use and warfare in Iran became obvious in the 19th century. In the context of turf war between France and England and increasing interest from Russian Empire in the country, the European presence during all the 19th century was represented by weapon itself and European instructors. These specialists, including the Austro-Hungarian ones, delivered lectures in Dār al-funūn (arab. “the art house”), which was organized in the middle of the 19th century by Amir Kabir, the Grand Vazir of Naser ad-Din shah Qajar, as the first military and technical college in the country. From the late 70-ties of the 19th century, Austro-Hungary became the main supplier of firearms to Iran. Werndl Holub rifle, Krnka rifle, and Martini-Henri rifle were put into service in the Iranian armies. European arms imported to be used by different military units in Iran, finally influenced the Iranian weapon, including the edged ones that were specially made for the rituals. A sample of such a weapon was analyzed in the present research. Initially the saber functioned in the annual mourning ceremonies, devoted to the third Shi’a Imam Hussain, and now it is curated in the State Hermitage museum.

Tekst przedstawia dynamikę i zmienność opcji politycznych oraz sojuszy, które ukształtowały granice współczesnej Syrii w decydującej fazie pierwszej wojny światowej oraz w pierwszych latach powojennej rzeczywistości na Bliskim Wschodzie. Badacze przedstawiają sposób, w jaki zewnętrzne interesy mocarstw przeważyły and wewnętrznymi sprawami Syryjczyków. Dla mieszkańców Lewantu wiązało się to z praktyką ignorowania przez Zachód opinii i aspiracji Arabów w następstwie pierwszej wojny światowej, przypieczętowaną w Traktacie Wersalskim. Mimo pozytywnych rozwiązań zaproponowanych przez komisję Kinga-Crane'a (1919), nowy post-osmański porządek wprowadzono bez względu na lokalne tożsamości i preferencje polityczne. Nowe granice zostały utworzone sztucznie i ustalone w sposób arbitralny. Umowa Sykes-Picot sprzyjała nie tylko teoriom spiskowym na Bliskim Wschodzie, lecz także kształtowaniu mitologii powstania arabskiego. Rywalizacja zachodnich mocarstw odbywała się kosztem lokalnych mniejszości, podsycając niechęć i wzmacniając sekciarstwo. W latach 1919-1920, pansyrianizm umocnił się i przyjął charakterystyczną formę dążenia do poskładania rozbitego narodu Wielkiej Syrii. W uchwałach Kongresu Syryjskiego z 2 lipca 1919 r. zawarto ponadczasowe założenia orientacji politycznej syryjskich nacjonalistów, co miało znaczący wpływ na politykę na Bliskim Wschodzie w ciągu następnych kilkudziesięciu lat. Jednak podział Wielkiej Syrii po pierwszej wojnie światowej okazał się jedną z najgorszych spośród wielu politycznych traum, jakich doświadczył w tamtym czasie Bliski Wschód. Pansyrianizm ulegał systematycznemu osłabieniu przez kolidujące ze sobą aspiracje Syryjczyków, Libańczyków, Palestyńczyków i Jordańczyków. The text presents the dynamics and variability of the political options and alliances which shaped the borders of modern Syria in the most crucial period of World War I and the first years of post-war reality in the Middle East. The researchers show how the external interests of the Great Powers took priority over the Syrians' internal affairs. For the inhabitants of the Levant, it meant the Western practice of ignoring Arab opinions and aspirations in the aftermath of the Great War, which was sealed in the Treaty of Versailles. Despite the positive solutions proposed by The King-Crane Commission (1919), the new post-Ottoman order ignored local identities and political preferences. The new borders were created artificially and determined arbitrarily. The Sykes-Picot agreement reinforced both conspiracy theories in the Middle East and the mythology of the Great Arab Revolt. The competing Western powers took advantage of the local minorities, fueling dislike and strengthening sectarianism. In the years 1919-1920, Pan-Syrianism solidified and took a characteristic form of striving to consolidate the fragmented nation of the Greater Syria. The resolutions of the General Syrian Congress of 2 July 1919 provided timeless premises for the political orientation of the Syrian nationalists, which strongly influenced politics in the Middle East in the following decades. However, the partition of Greater Syria after World War I proved to be one of the worst of many political traumas experienced in the Middle East at that time. Pan-Syrianism was systematically weakened by the conflicting aspirations among the Syrians, the Lebanese, the Palestinians, and Jordanians.

espanolEl presente articulo se ocupa de algunos aspectos economicos y sociales de los oficiales escultores y ensambladores que trabajaron en los talleres limenos, en la primera mitad del siglo XVII. La informacion que se proporciona proviene de documentacion de epoca, como contratos de trabajo y otros documentos diversos, los cuales se presentan de manera sistematizada. En primer lugar, el texto se centra en las relaciones laborales entre el oficial y el maestro dueno del taller, las condiciones de trabajo, apuros economicos y pleitos derivados del ejercicio de su oficio. Y posteriormente, en el contexto de la corporacion gremial al que pertenecian, mediante el estudio de dos casos sugestivos en concreto. Las relaciones profesionales entre ellos y de estos con el seno gremial, ayudan a comprender mejor los hechos escultoricos de la epoca estudiada. EnglishThis paper deals with some economic and social aspects of the official sculptors and assemblers who worked in workshops in Lima during the first half of the seventeenth century. The information provided comes from colonial documentation, such as labor contracts, and various documents, which are presented in a systematic way. Firstly, the text focuses on the labor relations between the official and the master owner of the workshop, working conditions, financial hardships, and lawsuits arising from the exercise of their trade. Two specific cases will be studied in the context of the Guild corporation to which they belonged. The professional relations between them (and between them and the Guild) help us better understand the sculptory events of the studied period.

The article deals with the weapons made by Michele Lorenzoni, the most famous Florentine gun master of the late 17th- beginning of the 18th centuries, which are curated in the Gatchina palace museum. These are a gorgeous repeating gun № ГДМ-65-IX and an ordinary flintlock gun № ГДМ-707-IX, which lock was made by Lorenzoni. The repeating flintlock gun № ГДМ-65-IX represents a very rare constructive variant of the Lorenzoni system that is usually called the ‘mixed’ system (sistema misto). The ‘Mixed’ system guns, by contrast with the ones of its simpler and quite widespread variants, were made by Michele Lorenzoni solely. This system presumes powder magazine and bullet magazine to be situated in fore-end and butt-end respectively while on sluing successively the handle fixed on the left side of the stock and placing gun barrel up and down, a specially designed mechanism brought powder charge and bullet to the gun breech, sent priming powder to the pan and cocked the gun. In such a way it took about three-five seconds to reload the weapon. The master’s marks, «LORENZONI», and the place of manufacturing, «FIRENZE», were engraved on the gun’s barrel and lock, while on the side-plate there is a mark «COCCHI», which is probably the one of a master who made the gun mounts. The gun forestock and the mounts are silver, decorated with relief and engraved images of antic mythology heroes, while a scene from Homer’s “Iliad” ornaments its side-plate. The gun goes back to the end of the 17th century and is one of the most valuable specimens of weapon art of the time. In case of the gun № ГДМ-707-IX, according to the stamps, its barrel was made by a master from the family of Leoni in a Tuscan town of Pistoia. The gun lock was produced by Michele Lorenzoni, whose name («Lorenzoni») was engraved on the lock-plate. This is the classical flintlock. Its constructive feature, which is distinctive for the Tuscan gun smiths, is an extra cover for the priming powder pan. The cover is fixed on the same screw with the steel. The cover served as a kind of safety – having poured priming powder on the pan and closed it with the cover, one could leave the steel open and even not use half-cock. The chance of occasional shot was shut out while the lock could be rapidly brought into firing position. The lock dates back to the beginning of the 18th century, probably to the 1720-ies. In general, the gun could be referred to as a reliable working piece, designed for an exacting client – its decoration is quite modest and inexpensive, but the barrel and lock were made by one of the most famous masters of Tuscan.

Master mark is one of the main basics for the correct attribution of the European armour. However, on studying the armour suits, manufactured before the second half of the 15th century, scholars are inevitably faced with the problem that no country saving Italy practiced armour marking in that time. The aim of the article is to point out and trace the origin of armour marking outside of Italy, and it can be rightfully considered as a turning point in the history of the European armour manufacturing. The author describes the backstory of existence and interconnections of Italian and German gunsmith schools in the 15th century. On the grounds of the analysis of armour suits, made in the German-speaking lands, he proposes a thesis that the practice of armour marking in the German dukedoms started earlier than in 1460-ies, and this fact supplements the sight presented by Allan Williams. The origin of armour marking practice in the German-speaking lands is naturally and inseparably connected with the technology of iron production and processing due to using high furnaces and water streams. In this vein an Innsbruck master of Italian origin Conrad Treyz the Elder comes to the carpet, as it was he who introduced technological innovations to the German armour manufacturing. Analyzing primary sources, the author links the role of Innsbruck as a lading gunsmith center of that time with the development of iron production technology and the emergence of armour marking practice. At the end of the article A. Bogdanov states that from the middle of the 15th century on in Innsbruck under the duke patronage the work houses and set of craftsmen capable to manufacture high quality armour comparable in their properties with the Italian pieces had appeared. The location of manufacture was probably determined by the felt-need of water energy appliance both for polishing mills and hammers and for the production of high quality metal itself. Thus, the combination of the patronage, nature factors, and adopted Italian hardening technology in Innsbruck laid the basis for the emergence of marked armour, produced of high quality metal in the German-speaking lands.

The essay analyses the theatrical cosmogony of Carlo Quartucci and the Compagnia della Ripresa, built around the understanding of Samuel Beckett’s dramaturgy with a primary focus on Waiting for Godot (The three first performances, 1959 - Teatro Brancaccio, Compagnia universitaria Latino-Metronio; 1964 – Teatro Stabile di Genova, Compagnia del Teatro Studio; 1965 – Festival di S. Beckett, Prima Porta Roma, Compagnia della Ripresa – Teatro Mobile). Furthermore, with the aid of unpublished interviews with Carlo Quartucci and Carla Tatò, Cosimo Cinieri and Emiliano Tolve, this study digs deeper inside the lesser known influen- ces on Quartuccis’s poetic such as the study of texts on figure and form by the art historian Carlo Lodovico Ragghianti and the “conceptual” work in the studio with the photographer Lisetta Carmi and his ideal and posthumous relationship with conceptual artist Marcel Brodhears..

En esta reseña se analiza el contenido del libro recientemente publicado "Restauración de la Sala Capitular de la Catedral de Toledo", desde un punto de vista crítico. Así, se ponen en valor sus aportaciones, al tiempo que se señalan algunos puntos débiles y detalles que habrían enriquecido esta documentación aún más.

La figure exemplaire d’Alexandre Farnèse, duc de Parme et de Plaisance, gouverneur des Pays-Bas et général militaire de grand génie au service de Philippe II, fut célébrée après sa mort par une série de monuments qui le glorifient comme défenseur de la foi catholique. Dans ces statues, le visage du prince se distingue par un large front aux sourcils froncés, une chevelure flamboyante, une fière moustache et une barbe pointue. L’étude s’attache à retracer la construction de cette physionomie guerrière du vivant du prince. Mis à part les portraits de jeunesse, quand il était héritier du duché de Parme puis otage politique à la cour de Philippe II, l’essentiel des portraits d’Alexandre Farnèse se concentrent après 1585, date à laquelle il prit avec éclat Anvers, devint duc de Parme et reçut officiellement le collier de la Toison d’or. Après les excès de représentation commis par le duc d’Albe, qui s’était lui-même glorifié d’une statue, Alexandre Farnèse fit preuve d’une grande prudence et attendit d’avoir accompli un exploit suffisamment digne pour diffuser son image triomphale de foudre de guerre et défenseur de la foi. C’est à ce moment qu’apparaît en ses portraits ce caractéristique front froncé, porteur du nuage propre à la physiognomonie léonine, tel un masque de guerre qui n’est pas sans évoquer le Leo Belgicus, la cartographie léonine des dix-sept provinces des Pays-Bas. The exemplary figure of c, Duke of Parma and Piacenza, governor of the Low Countries and among the most brilliant generals in the service of Philip II, was celebrated after his death with a series of monuments that glorified him as defender of the Catholic faith. In these statues the face of the prince presents a characteristic broad forehead with frowning brows, flamboyant hair, a proud moustache and a pointed beard. The study attempts to trace the construction of this warlike physiognomy during the lifetime of the prince. Apart from the portraits of his youth, when he was heir to the Duchy of Parma and political hostage at the court of Philip II, most of the portraits of Alessandro Farnese are dated after 1585. In that year he famously took the city of Antwerp, became Duke of Parma and received the collar of the Golden Fleece. After the excess of representation committed by the Duke of Alba, who arrogantly erected a statue to himself, Alessandro Farnese acted with great prudence and waited for an accomplishment sufficiently worthy to diffuse his triumphant image. At this exact moment, the particular frowned forehead appears in his portraits: the tension between the brows creates the shadow of a cloud, characteristic of the leonine physiognomy, a mask of war that suggests a parallel with Leo Belgicus, the leonine mapping of the seventeen provinces of the Low Countries.

Inspired by Gérard Sabatier’s seminal research on representational strategies and encomiastic codes manifested in visual arts, architecture, ceremonies and literature during Early Modern French Monarchy and most eloquently displayed in the complex of Versailles, this overview – with emphasis on religious architecture - will focus on the semantics of the royal image, re-presenting, doubling or substituting the prince’s charismatic presence. Taking as the point of departure Frederick’s Church in Copenhagen – founded by the absolute monarch, King Frederick V in 1749 during the tercentenary of the Oldenburg dynasty – the architecture and the imagery employed are discussed as meaning-laden elements in a symbolic communication. The grandiose ambitions linked with the expensive project of extraordinary dimensions, which at one and the same time would incarnate the Felicitas Temporum of the king’s reign and represent a site of memory to the success of the Danish Absolutism, would nevertheless finally prove fatal to the royal enterprise. Building works stopped in 1770 and the church would remain unfinished for the following 150 years. In 1894 the building was finally finished by a private citizen, the banker C. F. Tietgen, forty-five years after the introduction of a democratic government replaced absolutism with a constitutional monarchy. As a result, the initial vision of the church was redefined, transforming it into a monument to the Lutheran Reformation, as demonstrated in inscriptions and the iconographic programme. S’inspirant des recherches majeures de Gérard Sabatier sur les stratégies de représentation et les codes encomiastiques manifestés dans les arts visuels, l’architecture, les cérémonies et la littérature sous la monarchie française à l’époque moderne et qui trouvaient leur expression la plus élaborée au sein du domaine de Versailles, notre étude s’intéressera, à travers l´architecture religieuse, à la sémantique de l’image royale, représentant, doublant ou remplaçant la présence charismatique du prince. Prenant comme point de départ l’église de Frédéric à Copenhague, fondée par Frédéric V en 1749 durant la célébration du tricentenaire de la dynastie des Oldenbourg, l’architecture et l’iconographie sont envisagées comme des éléments signifiants d’une communication symbolique. L’ambition grandiose de ce coûteux projet aux dimensions extraordinaires, incarnant à la fois la Felicitas Temporum du règne de Frédéric V et le succès de l’absolutisme danois, se révèlera en définitive néfaste pour le projet royal. Le chantier fut arrêté en 1770 et l’église resta inachevée pendant 150 ans. En 1894, l’église fut finalement achevée grâce à l’intervention du financier C. F. Tietgen, 45 ans après l’introduction de la constitution qui remplaça l’absolutisme par une monarchie constitutionnelle. La conception initiale de l’église de Frédéric fut alors redéfinie : elle fut transformée en un monument de la Réforme luthérienne, comme en témoignent les inscriptions et le programme iconographique.