Pub Date : 2019-12-30DOI: 10.12697/bjah.2019.18.04
Kerttu Palginõmm
The article focuses on the Tallinn (Reval) altarpiece of St. Mary's altar ofthe Brotherhood of the Blackheads, attributed to the Bruges Master ofthe Legend of St. Lucy, which arrived in the late medieval city in 1493.The altarpiece is noteworthy for its very dense network of luxuriousdetails like silk, velvet and gold cloth from Italy, ceramics from Spain,tapestries from Netherlands and an oriental carpet from Anatolia. Early Netherlandish painting is notable for the very detailed, texture andlight-sensitive rendering of everyday and luxury objects, from whichthe works of Jan van Eyck are the best examples.
{"title":"DIE ATTRIBUTE DER REVALER KAUFLEUTE – EIN BLICK AUF DAS RETABEL DES MARIENALTARES DER BRUDERSCHAFT DER SCHWARZENHÄUPTER","authors":"Kerttu Palginõmm","doi":"10.12697/bjah.2019.18.04","DOIUrl":"https://doi.org/10.12697/bjah.2019.18.04","url":null,"abstract":"The article focuses on the Tallinn (Reval) altarpiece of St. Mary's altar ofthe Brotherhood of the Blackheads, attributed to the Bruges Master ofthe Legend of St. Lucy, which arrived in the late medieval city in 1493.The altarpiece is noteworthy for its very dense network of luxuriousdetails like silk, velvet and gold cloth from Italy, ceramics from Spain,tapestries from Netherlands and an oriental carpet from Anatolia. Early \u0000Netherlandish painting is notable for the very detailed, texture andlight-sensitive rendering of everyday and luxury objects, from whichthe works of Jan van Eyck are the best examples.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42263295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-30DOI: 10.12697/bjah.2019.18.08
Natalie Gutgesell
The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.
{"title":"THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)","authors":"Natalie Gutgesell","doi":"10.12697/bjah.2019.18.08","DOIUrl":"https://doi.org/10.12697/bjah.2019.18.08","url":null,"abstract":"The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42040687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-30DOI: 10.12697/bjah.2019.18.02
Katri Vuola
It was oak that was preferred abroad, sometimes limewood, for such carvings. In the Nordic countries birch and other of our common wood species were used for this, yet, in the old account books one can also find remarks on the imports of wood during the 15th and 16th centuries, possibly for the material of the artworks, for the most part possibly mainly for the chairs and chests in the castles as well as bishops’ seats and choir screens, e.g. for the needs of the churches.1
{"title":"WOOD SPECIES AND THE QUESTION OF ORIGIN: REASSESSING THE SCULPTURE PRODUCTION IN THE DIOCESE OF TURKU (ÅBO) DURING THE 14TH CENTURY","authors":"Katri Vuola","doi":"10.12697/bjah.2019.18.02","DOIUrl":"https://doi.org/10.12697/bjah.2019.18.02","url":null,"abstract":"It was oak that was preferred abroad, sometimes limewood, for such carvings. In the Nordic countries birch and other of our common wood species were used for this, yet, in the old account books one can also find remarks on the imports of wood during the 15th and 16th centuries, possibly for the material of the artworks, for the most part possibly mainly for the chairs and chests in the castles as well as bishops’ seats and choir screens, e.g. for the needs of the churches.1","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"18 1","pages":"75-104"},"PeriodicalIF":0.1,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43791335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-30DOI: 10.12697/bjah.2019.18.05
Kurmo Konsa
The purpose of this article is to look at the ways in which heritage isapproached, based on the conceptual framework of critical inheritanceresearch. In case of approaches to inheritance, I distinguish betweenobject-based, value-based, and people-centered approaches –depending on which aspects of the heritage are at the heart of theinheritance management process. I use different case studies fromthe Estonian context as examples. I am particularly interested in thechanges in heritage management in the time frame of the 1970s and1980s to the present day.In order to describe object-based heritage management, I willuse Kalvi Aluve’s book “The story about architectural monuments”(1983). It is a popular work targeted for the general public, which iswhy many of the views and concepts that are obviously used on adaily basis by those involved in the matter and have often becomean invisible part of the work culture, are explained in detail anddefined. Value-based inheritance management sets at the heart ofheritage the values attributed to heritage by the various stakeholdersin society. While in object-based heritage management people act asgroups against the backdrop of monuments, this approach shifts thevalues that people attach to heritage objects and heritage phenomenato the forefront.
{"title":"DEVELOPMENTS IN APPROACHES TO HERITAGE IN ESTONIA: MONUMENTS, VALUES, AND PEOPLE","authors":"Kurmo Konsa","doi":"10.12697/bjah.2019.18.05","DOIUrl":"https://doi.org/10.12697/bjah.2019.18.05","url":null,"abstract":"The purpose of this article is to look at the ways in which heritage isapproached, based on the conceptual framework of critical inheritanceresearch. In case of approaches to inheritance, I distinguish betweenobject-based, value-based, and people-centered approaches –depending on which aspects of the heritage are at the heart of theinheritance management process. I use different case studies fromthe Estonian context as examples. I am particularly interested in thechanges in heritage management in the time frame of the 1970s and1980s to the present day.In order to describe object-based heritage management, I willuse Kalvi Aluve’s book “The story about architectural monuments”(1983). It is a popular work targeted for the general public, which iswhy many of the views and concepts that are obviously used on adaily basis by those involved in the matter and have often becomean invisible part of the work culture, are explained in detail anddefined. Value-based inheritance management sets at the heart ofheritage the values attributed to heritage by the various stakeholdersin society. While in object-based heritage management people act asgroups against the backdrop of monuments, this approach shifts thevalues that people attach to heritage objects and heritage phenomenato the forefront.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47853372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-30DOI: 10.12697/bjah.2019.18.07
Anu Ormisson-Lahe, Kristiina Tiideberg
Carl Julius Senff (1804–1832) as an Architect and Graphic Arti st. Additionsto the Building Hi story of the University of Tartu Ensemble.
卡尔·朱利叶斯·森夫(Carl Julius Senff, 1804-1832)是一名建筑师和平面艺术家。
{"title":"CARL JULIUS SENFF (1804–1832) ALS ARCHITEKT UND GRAFIKER. ERGÄNZUNGEN ZUR BAUGESCHICHTE DER UNIVERSITÄT ZU TARTU (DORPAT)","authors":"Anu Ormisson-Lahe, Kristiina Tiideberg","doi":"10.12697/bjah.2019.18.07","DOIUrl":"https://doi.org/10.12697/bjah.2019.18.07","url":null,"abstract":"Carl Julius Senff (1804–1832) as an Architect and Graphic Arti st. Additionsto the Building Hi story of the University of Tartu Ensemble.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48155308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-18DOI: 10.12697/bjah.2018.16.01
K. Heck
{"title":"Buildings, Portraits and Trees. The University Landscape of Greifswald in Pomerania Caspar","authors":"K. Heck","doi":"10.12697/bjah.2018.16.01","DOIUrl":"https://doi.org/10.12697/bjah.2018.16.01","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":"16 1","pages":"5-14"},"PeriodicalIF":0.1,"publicationDate":"2019-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/bjah.2018.16.01","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43344717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-15DOI: 10.12697/bjah.2019.17.03
G. Smirnov
The article deals with two unknown projects made by the Swiss-Italian architect Pietro Antonio Trezzini, who was active in Russiabetween 1726 and 1751. According to the Commission of the Senate,in 1747 Trezzini designed a five-domed cathedral in Stavropol, forwhich he provided two design options. One of these projects, whichwas approved by Empress Elizaveta Petrovna, was realized between1750 and 1757. In both projects, Trezzini presented the cathedralas a monumental five-domed centrally planned church, which isan integral part of Trezzini’s designs. All but one of the Orthodoxchurches designed by the architect had five domes (we know of13 such designs, including all the alternative versions). AlthoughTrezzini was not a initiator of this new type of five-domed centrallyplanned church, his work displays the most mature and diversedevelopment of this approach in Russian Baroque architecture. The article describes the general features of Trezziniʼs churches andcertain individual ones as well.Trezzini’s projects for five-domed churches were directly relatedto the revival of a traditional type of Orthodox church proclaimedby the Empress Elizaveta Petrovna. This idea was widely reflected inRussian church architecture of the time, but its concrete realisationwas rather varied. An attempt is made in article to characterise thissituation by briefly focusing on a comparison of Trezzini’s designsand the five-domed centrally planned churches designed by otherarchitects.The five-domed churches, which were revived in mid-18th centuryRussia and persistently promoted as a national and Orthodox solution,actually had nothing in common with local medieval tradition.Typologically, the five-domed Russian churches of the mid-18thcentury were rooted in European architecture, namely in ItalianRenaissance and Central European Baroque architecture. The mostimportant European sources of inspiration were probably St Peter’sCathedral in Rome (a project by Michelangelo), the Church of StCatherine in Stockholm and the Frauenkirche in Dresden, which theleading mid-18th century architects in Russia were undoubtedlyfamiliar with European, primarily Italian, churches with twosymmetrically placed towers on the western facade and a domeover the intersection, for example, Sant’Agnese in Agone in Rome,should also be taken into consideration.
这篇文章涉及瑞士裔意大利建筑师彼得罗·安东尼奥·特雷齐尼(Pietro Antonio Trezzini)的两个不知名项目，他在1726年至1751年间活跃在俄罗斯。根据参议院委员会的说法，1747年，特雷齐尼在斯塔夫罗波尔设计了一座五圆顶的大教堂，为此他提供了两种设计方案。其中一个项目由伊丽莎白·彼得罗夫娜女皇批准，于1750年至1757年间实现。在这两个项目中，Trezzini都展示了大教堂，一个巨大的五圆顶中央规划教堂，这是Trezzini设计的一个组成部分。这位建筑师设计的所有东正教教堂，除了一座外，都有五个圆顶(我们知道有13个这样的设计，包括所有的替代版本)。虽然trezzini并不是这种新型五圆顶中央规划教堂的发起人，但他的作品展示了这种方法在俄罗斯巴洛克建筑中最成熟和多样化的发展。本文描述了特雷齐尼教堂的总体特征和一些个别的特点。特雷齐尼的五圆顶教堂项目与伊丽莎白·彼得罗夫娜女皇宣布的传统东正教教堂的复兴直接相关。这一思想在当时的俄罗斯教堂建筑中得到了广泛的反映，但其具体实现却各不相同。本文试图通过将Trezzini的设计与其他建筑师设计的五圆顶中央规划教堂进行比较，来描述这种情况。五个圆顶的教堂在18世纪中期的俄罗斯复兴，并一直被宣传为国家和东正教的解决方案，实际上与当地的中世纪传统毫无共同之处。从类型学上讲，18世纪中期的五个圆顶的俄罗斯教堂植根于欧洲建筑，即意大利文艺复兴和中欧巴洛克式建筑。欧洲最重要的灵感来源可能是罗马的圣彼得大教堂(米开朗基罗的一个项目)，斯德哥尔摩的凯瑟琳教堂和德累斯顿的圣母教堂，18世纪中期俄罗斯的主要建筑师无疑熟悉欧洲的，主要是意大利的教堂，在西立面上有两个对称的塔楼，在十字路口有一个圆顶，例如，罗马的圣阿格内教堂，也应该考虑在内。
{"title":"THE UNKNOWN PROJECTS OF PIETRO ANTONIO TREZZINI. ON THE TYPOLOGY OF CENTRALLY PLANNED CHURCHES IN RUSSIAN AND EUROPEAN BAROQUE ARCHITECTURE","authors":"G. Smirnov","doi":"10.12697/bjah.2019.17.03","DOIUrl":"https://doi.org/10.12697/bjah.2019.17.03","url":null,"abstract":"The article deals with two unknown projects made by the Swiss-Italian architect Pietro Antonio Trezzini, who was active in Russiabetween 1726 and 1751. According to the Commission of the Senate,in 1747 Trezzini designed a five-domed cathedral in Stavropol, forwhich he provided two design options. One of these projects, whichwas approved by Empress Elizaveta Petrovna, was realized between1750 and 1757. In both projects, Trezzini presented the cathedralas a monumental five-domed centrally planned church, which isan integral part of Trezzini’s designs. All but one of the Orthodoxchurches designed by the architect had five domes (we know of13 such designs, including all the alternative versions). AlthoughTrezzini was not a initiator of this new type of five-domed centrallyplanned church, his work displays the most mature and diversedevelopment of this approach in Russian Baroque architecture. The article describes the general features of Trezziniʼs churches andcertain individual ones as well.Trezzini’s projects for five-domed churches were directly relatedto the revival of a traditional type of Orthodox church proclaimedby the Empress Elizaveta Petrovna. This idea was widely reflected inRussian church architecture of the time, but its concrete realisationwas rather varied. An attempt is made in article to characterise thissituation by briefly focusing on a comparison of Trezzini’s designsand the five-domed centrally planned churches designed by otherarchitects.The five-domed churches, which were revived in mid-18th centuryRussia and persistently promoted as a national and Orthodox solution,actually had nothing in common with local medieval tradition.Typologically, the five-domed Russian churches of the mid-18thcentury were rooted in European architecture, namely in ItalianRenaissance and Central European Baroque architecture. The mostimportant European sources of inspiration were probably St Peter’sCathedral in Rome (a project by Michelangelo), the Church of StCatherine in Stockholm and the Frauenkirche in Dresden, which theleading mid-18th century architects in Russia were undoubtedlyfamiliar with European, primarily Italian, churches with twosymmetrically placed towers on the western facade and a domeover the intersection, for example, Sant’Agnese in Agone in Rome,should also be taken into consideration.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42977746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-15DOI: 10.12697/bjah.2019.17.04
G. Smirnov
{"title":"RETURNING TO LUIGI RUSCA’S PROJECT FOR ST NICHOLAS CHURCH IN TALLINN","authors":"G. Smirnov","doi":"10.12697/bjah.2019.17.04","DOIUrl":"https://doi.org/10.12697/bjah.2019.17.04","url":null,"abstract":"","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-15DOI: 10.12697/bjah.2019.17.05
Juhan Maiste
The goal of this article is to examine the role of the new Russian rulingpower as it related to cultural policy in the Baltic provinces betweenthe Great Northern War (1700–1721) and the Russian Revolution (1917),in order to engender a discussion about the Russian influence inEstonia’s architectural history – its content and meaning – based onprimary sources in the archives of Estonia, St Petersburg and Moscow.The historiography of this topic dates back nearly a century; as aneighbouring country and an important centre of political power andculture, the influence of St Petersburg as the main Russian metropolishas been always been taken into consideration and studied in thehistory of Estonian art history. The articles by Sergey Androsovand Georgy Smirnov that appear in this volume have provided theinspiration to try and re-examine the entire spectrum of Estonia’sposition between East and West, and to point out the main subjectsin this new context and the relationship to the new geography ofarchitecture in the Age of Enlightenment and the stylistic changesof the 19th century.
{"title":"THE CONCEPT OF RUSSIAN ARCHITECTURE IN THE BALTIC PROVINCES BETWEEN THE GREAT NORTHERN WAR AND THE COSMOPOLITANISM OF THE 19TH CENTURY","authors":"Juhan Maiste","doi":"10.12697/bjah.2019.17.05","DOIUrl":"https://doi.org/10.12697/bjah.2019.17.05","url":null,"abstract":"The goal of this article is to examine the role of the new Russian rulingpower as it related to cultural policy in the Baltic provinces betweenthe Great Northern War (1700–1721) and the Russian Revolution (1917),in order to engender a discussion about the Russian influence inEstonia’s architectural history – its content and meaning – based onprimary sources in the archives of Estonia, St Petersburg and Moscow.The historiography of this topic dates back nearly a century; as aneighbouring country and an important centre of political power andculture, the influence of St Petersburg as the main Russian metropolishas been always been taken into consideration and studied in thehistory of Estonian art history. The articles by Sergey Androsovand Georgy Smirnov that appear in this volume have provided theinspiration to try and re-examine the entire spectrum of Estonia’sposition between East and West, and to point out the main subjectsin this new context and the relationship to the new geography ofarchitecture in the Age of Enlightenment and the stylistic changesof the 19th century.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48324948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-15DOI: 10.12697/bjah.2019.17.01
Tiiu Reimo
The materials in the Retrospective National Bibliography of foreignlanguagepublications printed in Estonia before 1830 provide variousopportunities for analysing the production of local print shops.The article focuses on the illustrative elements in printed funeralsermons and works of poetry, which cast a light on the memorialand commemorative customs in the early modern period.Visual decorative elements like headpieces and vignettes had ageneral symbolic meaning and were used to illustrate funeral textsirrespective of the age, vocation or position of the deceased. Oneobjective was to remind the viewers of their own mortality. Skulls andcoffins were among the main vignette motifs used to depict Death,and less often, Death was depicted as a skeleton or the Grim Reaper.Inscriptions added to the vignettes emphasised relevant passagesfrom the Bible to strengthen one’s faith. The fact that the same orsimilar vignettes were simultaneously used in different countries isnoteworthy. The motifs for visualising Death and mourning used inthe foreign-language funeral publications in Estonia are very similarto those used in Sweden and Finland during the same period.
{"title":"TOD! – GRAB! – VERWESUNG! VISUALISIERUNG VON TOD UND STERBEN IN DEN ESTNISCHEN FREMDSPRACHIGEN FUNERALDRUCKEN DES 17. UND 18. JAHRHUNDERTS","authors":"Tiiu Reimo","doi":"10.12697/bjah.2019.17.01","DOIUrl":"https://doi.org/10.12697/bjah.2019.17.01","url":null,"abstract":"The materials in the Retrospective National Bibliography of foreignlanguagepublications printed in Estonia before 1830 provide variousopportunities for analysing the production of local print shops.The article focuses on the illustrative elements in printed funeralsermons and works of poetry, which cast a light on the memorialand commemorative customs in the early modern period.Visual decorative elements like headpieces and vignettes had ageneral symbolic meaning and were used to illustrate funeral textsirrespective of the age, vocation or position of the deceased. Oneobjective was to remind the viewers of their own mortality. Skulls andcoffins were among the main vignette motifs used to depict Death,and less often, Death was depicted as a skeleton or the Grim Reaper.Inscriptions added to the vignettes emphasised relevant passagesfrom the Bible to strengthen one’s faith. The fact that the same orsimilar vignettes were simultaneously used in different countries isnoteworthy. The motifs for visualising Death and mourning used inthe foreign-language funeral publications in Estonia are very similarto those used in Sweden and Finland during the same period.","PeriodicalId":52089,"journal":{"name":"Baltic Journal of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44898289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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