Baby Jesus Research Articles

Учительство Христа в классической западноевропейской иконографии

The article examines the visual embodiment of the theme of Christ's teaching in the European visual tradition. The author shows that the pedagogical metaphors of the Teacher and the Educator, vivid in the New Testament texts and the works of the first Christian writers, were reflected in the fine arts through certain iconographic formulas. An assumption is made about the possibility of a pedagogical interpretation of the symbolic image of the Good Shepherd (basing on Clement of Alexandria). Variations in the image of the Teacher in the works of the 4-5th centuries are also analyzed: these are compositions with Christ the Wonderworker and Christ the Philosopher, which had different iconographic prototypes. Regardless of the characteristics of the portrait interpretation of Christ, special attributes (rhetorical gesture, pallium, scroll or open codex) allow to identify Him as a Teacher. The view on Christ as the Teacher and righteousness and divine wisdom, incomparable with earthly knowledge, is a specific of the patristic tradition. The development of Christian art under the influence of liturgical theological the formation caused appearance of new subjects and interpretations in medieval art. Plots previously associated with the theme of Christ’s teaching receive a different view within the framework of typological exegesis. The author shows that the main “pedagogical” plot, which received consistent development in the art of the Middle Ages, is the image of the young Christ in the Jerusalem temple (Luke 2:41-51). The plot was popular due to the veneration of the image of the baby Jesus, general interest in His childhood, and also in connection with the cults of the Mother of God. In the iconography of the 15-17th centuries the polemical component of the plot is often emphasized, with the scene being interpreted as a variant of a dispute. In apocryphal texts dedicated to the childhood of Jesus, there are episodes of interaction between the Divine Youth and school teachers, who generally showed pedagogical carelessness towards the child and recognized His “disability to learn.” In illustrations of the plot children sympathize and support their “classmate” and even glorify Him as God. Finally, in the late Middle Ages, the story of the giving of the Lord's Prayer was spread, with the direct interaction of the Teacher and Preacher with their listeners articulated.

Leopoldstadt

Leopoldstadt

Esther Fernández. To Embody the Marvelous: The Making of Illusions in Early Modern Spain

Esther Fernández. <i>To Embody the Marvelous: The Making of Illusions in Early Modern Spain</i>

Caroline Walker Bynum. Dissimilar Similitudes: Devotional Objects in Late Medieval Europe.

In her newest book, Dissimilar Similitudes: Devotional Objects in Late Medieval Europe, Caroline Walker Bynum continues with some of the ideas she penned in her 2011 book, Christian Materiality: An Essay on Religion in Late Medieval Europe. The two volumes form a compendium. Whereas the earlier volume takes up questions of miracles and the body, this one addresses religious, holy, charged, vibrant, and ordinary things. Constructing masterful arguments, she reveals that much of the repeated wisdom about ornate cradles, dolls, reliquaries, crowns, footprints, holy beds, and Eucharist wafers has been wrong. Chapters 1 and 2 form a diptych, each addressing a category of objects particularly found in female monasteries. The first analyses intricately sculpted miniature cradles, including the captivating example in the Metropolitan Museum of Art in New York. Although she asks a linguistic question about whether these objects should be considered cribs or cradles or both, what’s especially interesting is her close looking at the example at the Met, and her larger question, which motivates many of the studies in the book: To what degree did medieval people take metaphors such as “rocking the baby Jesus in the cradle of one’s heart” literally rather than metaphorically? As Bynum shows, when believers of the fourteenth and fifteenth centuries embraced meanings literally, their doing so was often related to the objects’ intense tactility, which insists on the user’s handling and performance. Encouraging this kind of reception, the Met cradle playfully engages with the senses, including the touchable velvet bedding and the bells affixed to the canopy. Moreover, the intricately carved woodwork depicts a shepherd cupping his ear and the ox licking the Christ Child’s feet. As Bynum astutely observes, the carved wood rises into microarchitectural Gothic towers, suggesting that the object is both a bed and a cradle. It presents a charged contradiction: in its empty state, the bed suggests waiting for the incarnation, and when the Christ Child doll is dressed and laid onto the velvet cushion, the intricate parts structure a sensuous encounter. Such an object toggles between inviting spiritual and literal meanings.

Rehabilitation of Herod the Great, King of Judea

It is accepted by the author as the axioma in the paper that Jesus Christ was born in Judea and the Christianity era started with his birth at point 0 BC and it was point 0 AD. This subject is very complex. The accusation of Herod the Great, King of Judea started from the description of the Massacre of the Innocents. This subject had, has, and will have implications in the future. Some individuals and some events have had significant imprints on the history of countries, nations and even on the Global population. One of these individuals was Herod the Great, King of Judea and one of the events was the Massacre of the Innocents. Herod’s individuality is very controversial and has been described in different sources with significant controversy. Many conclusions and many assumptions have been made in contradiction to the obvious facts and the truth. The name “Herod” became a synonym in Christian society equivalent to an appellative noun (common name), which was used especially against Jews to show the gruesomeness of the Jewish personality and their deeds. It is commonly assumed and presented to the congregation by clerics that Herod the Great was a Jew. Herod the Great could not be so intensely mentioned if not for the event of the Massacre of the Innocents which was described in the Gospel of Matthew as the attempt to kill the Baby Jesus by giving the order to kill all Innocents in Bethlehem. Was Herod the Great a Jew as the impression presented by the clergy on the congregations? Did the Massacre of the Innocents happen as it was described in the Gospel of Matthew? Did the Massacre of the Innocents happen at all? This paper will examine the known facts described in available literature and historical background in order to disclose the probability of the truth and the credibility of the histories presented about Herod the Great in connection with the events described as the Massacre of the Innocents presented by Matthew in the Gospel. This paper will make an attempt to answer these questions by analyzing available sources, facts, and events before, at the time and several hundred years after the reign of Herod the Great, in the Roman Republic, and later in the Roman Empire, and in the land of Israel.

BACK TO PARADISE: EXPERIENCES WITH FANALES AS A TOOL FOR APPROACHING THE RENEWAL SPACE

This article aims to show the complex object of a fanal -a glass lantern where a sculpture of Baby Jesus surrounded by miniatures depicting nature dwells- as a three-dimensional representation of the hortus conclusus. The reflection and data provided, show this object as a garden to take care of and as a reminder of the search and mental pilgrimage to the renewal space.

The Divine Feminine in Mormon Art

The Divine Feminine in Mormon Art

In Memoriam

In Memoriam Verlyn Flieger Priscilla Tolkien, 1929–2022 Priscilla Tolkien died on Monday, February 28, 2022. She was ninety-two years old and had lived most of her life in the bright spotlight of her father's work. She was ambassador at large to the myriad readers for whom she represented their most direct contact with his genius. In countless appearances at conferences and in interviews she shared her personal experiences of both the man and his work. In 1992 Priscilla and her older brother John published The Tolkien Family Album, a collection of family photographs with commentary, inviting Tolkien's readers into his and his family's domestic life. Only they could have done it, and the book remains the first and most genuine introduction to Tolkien as his family knew him. This essay will be a remembrance of Priscilla Tolkien as I knew her—a warm, witty, razor-sharp lady who carved out her own career independent of her father's fame, first as a social worker and probation officer, and then for many years as a teacher. I met her first in 1980 when, learning she was scheduled to give a talk at my local public library, I was emboldened to call the house where she was visiting and ask if she might be willing also to come and talk to my Tolkien class, at that time deep in The Lord of the Rings. She refused, politely but firmly, and I realized she must get such requests all too often. She did, however, take time to chat after her library talk, and so remembered me when I wrote a year later to say I was coming to England and would like to meet. That visit began a friendship that lasted forty years, during which time we both crossed and recrossed the Atlantic many times to visit one another. I treasure the memories. I remember her best in Oxford, pouring tea or serving dinner in her tiny but warmly welcoming house on Middle Way in Summertown. I remember its wall of windows facing the sun, its front room bookshelf overflowing with volumes of her father's works, the adjacent wall holding her mother's piano. I remember her beautiful garden behind the house, a long narrow space crammed with flowers but with a path to the blossoming apple (or was it crabapple?) tree, the statue of St. Joseph holding the baby Jesus. The sun seemed always to be shining. I remember walking with her down to South Parade, the beginning of the Summertown shopping district, and having her stop again and again to say hello to street people, vendors, buskers, panhandlers. They all knew her, and she knew them. Her hand was always reaching for her purse to find coins. I remember her visits to my home, wonderful, wide-ranging talks [End Page 3] around the dinner table on everything from problems of theology to the vagaries of social work. I remember the part she read in an Arthurian playlet I had written, the sultry, provocative Morgause whom she clearly enjoyed bringing to life. I remember the time she attended (incognito) a talk on Tolkien I gave at the Smithsonian in downtown Washington, and her amusement at the range of questions I was getting from the audience about the Tolkien family, especially at the one about "the daughter." In her later years, when travel became difficult, we talked often on the phone. It was when she didn't answer the last time I called, and my voice message went unreturned, that I knew something was wrong. I called Cathleen Blackburn, the Estate lawyer and her friend for many years, who told me the situation was grave. Thanks to Cathleen, I was able to send Priscilla a last message and to be assured that she got it before she died. She's a grand memory, one that I will always treasure—not because she was a Tolkien, but because she was Priscilla. ________ Tolkien Studies notes with sadness the passing of Edmund R. Meskys (1936–2021), who died on July 25, 2021, at the age of 85. Born in New York City of parents from Lithuania, Ed was educated...

Immigration in the Visual Art of Nicario Jiménez Quispe

Immigration in the Visual Art of Nicario Jiménez Quispe

Children’s consumption culture development through Christmas myths: ethical implications

PurposeThis paper seeks to explore the functions of Christmas mythemes for children’s consumption culture development. In addition, the purpose of this study is to provide an insight on the development of Central European Children into customers and how mythemes are associated with the wishing behaviour.Design/methodology/approachLevi-Strauss’ (1955) structural analysis was used to uncover the mythemes of the Christmas story for Austrian children. These mythemes then informed a thematic analysis of 283 Austrian children’s Christmas letters. Campbell’s (1970) functions of myths were used to reflect on the findings.FindingsThe Christmas mythemes uncovered were found to encourage materialism by linking self-enhancement (good acquirement) with self-transcendent (good behaviour) values. The role of myths to relieve the tension between the incongruent values of collective/other-oriented and materialistic values is expanded upon. Such sanctification of selfish good acquisition is aided by the mythemes related especially to the Christkind and baby Jesus. Instead, marketers should use Christmas mythemes which emphasise family and collective/other-centred values.Originality/valueBy first uncovering the “mythemes” related to Christmas, the authors contribute to the academic understanding of Christmas, going beyond origin or single myth understandings and acknowledging the multifaceted components of Christmas. The second contribution is in exploring mytheme’s representation in children’s Christmas letters and reflecting on their functions. This differs from previous literature because it looks at one of the main cultural vehicles for Christmas socialisation and its intersection with the mythemes that feed children’s consumption culture formation. Through the authors’ presentation of a conceptual framework that links mytheme functions with proximal processes using a socioecological viewpoint, the authors demonstrate the guidance of mythemes in children’s development. The third contribution is a reflection on the potential ethical implications for children’s formation of their consumer culture based on the functions of the mythemes. Furthermore, the authors add to the existing body of research by investigating a Central European context.

The Nativity Chapel in the Church of Santa Maria dei Martiri in Maranola: Court Patronage in Southern Latium

In Maranola there is the Church of Santa Maria dei Martiri, famous for the Nativity Chapel. Despite the fact that the sacellum was realized in modern age, it is very difficult to obtain sure information, because of the lack of documentation. The sacellum has a rectangular plan, at about half of its height it is divided horizontally by a barrel vault that simulates a cave; the two floors are connected by stairs on the left. In the cross vault of the upper level there are painted the four Evangelists with their symbols. In the lower level of the chapel are recognizable two pictorial layers in which the fragmentary Nativity is visible. It is possible to date these paintings to the beginning of the 16th century because they are stylistically close to the manner of Cristoforo Scacco, a painter well known in Southern Latium at that time. The decoration of the chapel is completed by a Nativity scene with twenty-seven terracotta sculptures. In the lower floor of the chapel there are: Baby Jesus, The Holy Virgin, St. Joseph, the ox and the donkey and two Prophets: king David and Malachi. In the upper floor there are the Three Magi, the Annunciating Angel, two shepherds and many animals. The crèche is stylistically close to the Neapolitan sculpture of the end of the 15th — beginning of the 16th century. Even if there are no documents, it seems possible to connect the patronage of the Nativity Chapel to Caterina Pignatelli, the wife of the count of Fondi Onorato II Caetani. With this patronage, she wanted to underline her power over the feud of Maranola.

The Accusation: Blood Libel in an American Town by Edward Berenson

Reviewed by: The Accusation: Blood Libel in an American Town by Edward Berenson Joel Streicker (bio) The Accusation: Blood Libel in an American Town By Edward Berenson. W. W. Norton & Co., 2019. 271 pp. When four-year-old Barbara Griffiths disappeared in the woods outside the upstate New York town of Massena on September 22, 1928, a rumor spread that she had been kidnapped by Jews intent on ritual murder. There is something mercifully anticlimactic about the recent book on the incident by Edward Berenson, a distinguished professor of history at New York University. The case drew national attention for a bit more than a week, occasioned widespread national support for the town's Jews among their co-ethnics and non-Jews alike, and has been mostly forgotten except by the area's dwindling Jewish population and their descendants, of whom Berenson is one. Perhaps most remarkable is that the accusation was leveled at all: it is the only known case of blood libel in American history. Given the uniqueness of the case, Berenson focuses mainly on explaining the historical circumstances giving rise to the Massena accusation. This requires a deep dive. Relying heavily on the work of Israel Yuval and David Nirenberg, he ably explores the genesis and significance of the blood libel in medieval Europe in the context of the Catholic Church's new (in 1215, that is) dogma of transubstantiation, the claim that the bread and wine of the Eucharist are literally—not merely metaphorically—the body and blood of Christ. Fascination with blood in that era, and the widely held notion that Jews engaged in satanic rituals involving cannibalism, also played a role. The miracles of Mary took on new importance in this era, with Jesus widely depicted as an infant in stories, paintings, and sculpture. This contributed to the notion that Jews sacrificed Christian children as a symbolic means of killing Christ. Moreover, Jews' supposed propensity for the ritual murder of children was, in Christian eyes, given credence by reports of Jewish fathers who killed their own children to prevent them from conversion at the hands of [End Page 287] Crusaders in the eleventh century. In some of these accounts, the murders were said to have taken the form of ritual sacrifice to atone for sins. While Jewish interpreters saw these as praiseworthy acts of martyrdom (many of these men were reported to have committed suicide after killing their children), they also disposed many Christians to believe Jews capable of murdering children. From these origins, Berenson traces blood libel and the anti-Jewish violence it generated through the modernera and, in an epilogue, to our ownday. The idea of blood libel never took root in America. Berenson attributes this to the dominance of Protestantism, which lacks a belief in transubstantiation, never developed a cult of Mary and baby Jesus, and, of course, postdates the Crusades. The author takes great pains to recount the antisemitism plaguing nineteenth- and early twentieth-century American society. However, antisemitism did not, by and large, result in anti-Jewish violence. When violence did occur, such as the lynching of Leo Frank, it did not take the form of blood libel. So why Massena? And who was behind the accusation? Here Berenson's account is swift, succinct, and convincing. He provides a brief history of the town's rise as an industrial center near the Canadian border, relying on mostly Catholic immigrant labor from Europe and, especially, Quebec. There is no hard evidence as to who actually started the rumor that Barbara Griffiths had been kidnapped by Jews for ritual murder, but many townspeople credited (or later blamed) an unnamed French Canadian immigrant. Others claimed that volunteer firefighters associated with the Ku Klux Klan, which was experiencing a revival in the area (and nationally), had spread the rumor. Timing here is everything. Berenson makes a case that Quebecois workers likely were behind the accusation. Quebec had, for decades and at that very moment, an active antisemitic press with clear connections to European antisemitism, which was ascendant on the Continent. Moreover, the United States was in the midst of a divisive presidential campaign. Drawing on decades of antagonism toward Catholic and Jewish immigrants...

Iconoclasm as Child’s Play. Joe Moshenska. Stanford, CA: Stanford University Press, 2019. Pp. x+248.

Iconoclasm as Child’s Play. Joe Moshenska. Stanford, CA: Stanford University Press, 2019. Pp. x+248.

“FOLIA DE REIS” EM MINAS GERAIS COMO RITUAL RELIGIOSO, FESTA POPULAR E PATRIMÔNIO IMATERIAL

estratégias de pesquisa da História e da Antropologia Social. Parte-se da mobilização documental e da vivência cotidiano entre um grupo de foliões que praticam a Folia de Reis de Carlos Chagas (MG). O objetivo foi analisar o núcleo motivacional presente na performance dos foliões. Destacou-se a narrativa mítica encarnada nas “passadas” durante a “vivência mítica” (mitopráxis) a Festa da Folia. A partir daí foi possível analisar os elementos simbólicos ligados ao eventos bíblicos relativos ao nascimento do menino Jesus. Tais elementos apareciam nas performances dos foliões durante o ritual da Folia. Este ritual rememora passagens bíblicas e ainda promove prestações, contraprestações entre os praticantes direta e indiretamente, e devoções ao Santo. A Folia de Reis, além de uma festa religiosa, um patrimônio imaterial, também é um tipo de ritual ligado à cosmologia do sistema religioso católico praticado na região mineira estudada há mais de um século.

PAINTING TECHNOLOGY OF ICONS “CHRIST ENTHRONED” AND “BLESSED VIRGIN MARY AND BABY JESUS” (POKROVSKY CHURCH IN PRIORKA) PAINTED BY IVAN S. YIZHAKEVYCH. PROBLEM OF AUTHOR AND NON-AUTHOR RENEWALS

This article is dedicated to features of the late period in the icon painting of Ivan S. Yizhakevych which coincides with the religion persecution in the USSR as well as features of the study of icons in functional churches.In this paper we have set out the complex analysis of nomadic icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” from Pokrovsky church in Priorka in Kyiv. By means of the visual research using the concentrated visible light and macro photography technical, technological and painting features of the icon painting have been specified.Based on the study of the painting layer features of the author icon painting style of Mr. Yizhakevych and stylistic features that are typical for his late creative period between 1940 and 1960 have been analyzed.Based on the comparative analysis between the above icons and other icons painted by Mr. Yizhakevych we have specified the attribution and considered the possibility of author icon finishing painting in a given period in order to return brightness to faded areas and restore partially lost ones. The possibility of repainting of separate parts of icons in order to specify dimensions of separate fragments or change in the compositional position of figures is also studied.In this paper we have specified typical techniques of the author style of Ivan S. Yizhakevych used by him for the primary layer of icons and author renewal and the assumption has been made that his students had likely helped him in preparation activities and painted parts of painting that are secondary according to their composition. Based on the analysis of the painting technique and features of Mr. Yizhakevych’s style the assumption have been made that the non-author finishing painting had been made approximately between 1990 and 2000 during one of the thorough repairs of the church.In this paper it has been established that the latter non-author renewals had significantly damaged the appearance of both icons by adding the rude and unprofessional performance to their separate elements which is not typical for the artist; this fact causes major difficulties when considering these icons to be integral works of Ivan S. Yizhakevych.This paper is illustrated by pictures of icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” as well as their schematic images including the analysis of author and non-author renewals.

Historia Domu Dziecka im. Dzieciątka Jezus w Sosnowcu w latach 1942–1962

Baby Jesus Orphanage was created in response to protective needs of years of the war and German occupation. God’s servant Mother Theresa Kierocinska took in orphan children at Mother-Home of Carmelite Sisters of Baby Jesus in Sosnowiec. The orphanage became officially registered in March 1945. Then children were divided into groups according to their age, younger were taken to the nursery, while older children (3–18 years) stayed in the custody of Carmelite Sisters in their educational institution. In 1946 the place was included into structures of ‘Caritas’ of the Dioscese of Częstochowa and since then was named Baby Jesus Orphanage. When ‘Caritas’ was liquidated in 1950 , for almost two years of the sisters tried in-house to gain indispensable funds to maintain the orphanage as the state suspended grants. To protect the orphanage from anticipated liquidation, at the end of 1951 Sisters decided to cooperate with ‘Caritas’. In September 1957 the place was transformed into an orphanage for girls aged pre-school and school to the IVth class. To limit the influence of Sisters on a young generation, since 1 January, 1961 the authorities of the state changed The Orphanage ‘Caritas, into a special institution for children who had lower intellectual efficiency. Although the Sisters achieved positive results while working with children, what was underlined more than once by people inspecting the place, in 1962 authorities of the Polish People’s Republic liquidated the orphanage.The Carmelite Sisters brought up children who did not have any care and they did it with commitment. They tried to create them a friendly environment, which could provide their development. The Sisters submitted to requirements of school superintendent’s office while working; they taught children fondness of their motherland, they inculcated them with human and religious values. The pupils were given Baby Jesus an example of behaviour. They prepared children to independent life, helped them to gain knowledge, an occupation and practical skills.Work of the sisters brought results in children’s further life which were entrusted to them, and it was visible during the meeting of pupils in 1990 in Sosnowiec.

Dzieje domu zakonnego Zgromadzenia Sióstr Karmelitanek Dzieciątka Jezus w Sosnowcu (1925–1989) – wybrane zagadnienia (cz. 2)

The Congregation of Sisters Carmelites of Baby Jesus was founded on 31 December, 1921 in Cracow by Father Anselm from St. Andrew Corsini OCD (Maciej Józef Gądek 1884–1969) with Janina Kierocinska’s participation (later: Mother Theresa from St. Józef). On the same day when the new community came to Sosnowiec, it started its activity in Christian Charity Organization, at the church Of Sacred Heart of Lord Jesus. The stabilization of the congregation was followed by its settlement in a house at Wiejska 25 in Sosnowiec (14 September, 1925). The religious house in Sosnowiec at Wiejska 25 was the place in which life of the convent was concentrated. The house was a seat of the general management (1925–1967), the noviciate (1925–1969), and also the place where the main directions of the activity of the institute developed. Within the convent which was patronized by St. Theresa from Baby Jesus, the charisma of the convent was shaped. Sisters who lived in the house in Sosnowiec led wide and various apostolic activities: educational-protective, charitable, and catechistic.

Pieczęcie sufragana płockiego Michała z Raciąża (1496-1513). Zarys problematyki

Artykuł stanowi omówienie pieczęci będących własnością sufragana płockiego Michała z Raciąża (1496-1513), którego system sfragistyczny opierał się na co najmniej dwóch typach pieczęci: mniejszej oraz sygnecie. Pierwsza z nich została użyta do opieczętowania korespondencji z burmistrzem i radą miasta Gdańska i jest egzemplifikacją typu popiersiowo-herbowego. Na szczególną uwagę zasługuje tutaj herb, który został skomponowany przez właściciela pieczęci na potrzeby pełnionego przez niego urzędu biskupiego i przedstawiał na tarczy gotyckiej (hiszpańskiej) pastorał oraz infułę. Jest to o tyle istotne, że Raciąski był z pochodzenia plebejuszem. Z kolei sygnet stanowi przykład typu popiersiowego i prezentuje ukoronowaną Najświętszą Maryję Pannę z Dzieciątkiem Jezus.

Sweet baby Jesus, the band who must not be named, and friends U can’t trust: Disparaging, immoral and scandalous trademarks in the United States and the European Union

ABSTRACT This article will compare the ways in which the European Union’s Office of Intellectual Property (EUIPO) and the US Patent and Trademark Office (PTO) have interpreted and applied their respective trademark laws, sometimes reaching opposite conclusions. Whereas EUIPO may not register trademarks considered to be “contrary to public policy and accepted principles of morality,” the US Supreme Court has struck down as unconstitutional a Lanham Act provision that had prohibited trademarks that were “disparaging,” and the US Court of Appeals for the Federal Circuit has struck down a Lanham Act provision that had prohibited trademarks that were “immoral” or scandalous.” After analyzing the legal arguments in trademark litigation in both Europe and the United States, this article concludes that the US Supreme Court should affirm the Federal Circuit’s decision in In re Brunetti because it is more efficient to “allow the marketplace to decide” rather than place the onus of keeping up with changes in cultural values on PTO examiners. This article assumes that the European Union will continue in its efforts to prevent registration of trademarks containing hate speech or racial slurs.

Saint Joseph and Baby Jesus by Valentin Metzinger and Other Paintings from the Strahl Collection in the Museum of Arts and Crafts in Zagreb

Karl Ritter von Strahl (1850−1929) was the last owner of the renowned collection of paintings and art objects kept in his castle of Stara Loka (Altenlack) near Škofja Loka in Carniola. In 1929, Strahl sold 32 paintings to Stanko Senečić, an antique dealer from Nova Ves in Zagreb. In the Museum of Arts and Crafts in Zagreb, there are five paintings of hitherto unknown provenance, which undoubtedly originate from the Strahl Collection. The paper discusses the circumstances of Senečić’ s purchase and the earlier provenance of the five paintings. Furthermore, different paths by which the paintings came to the museum in Zagreb are analyzed. As previous research of the interwar art market in the Kingdom of Serbs, Croats, and Slovenes (later Kingdom of Yugoslavia) has shown that Croatian private buyers and professional antique dealers visited regularly the sales of castle and manor furnishings in interwar Slovenia, we can assume that there are more art heritage items originating from Slovenia in present-day Croatian public and private collections, awaiting an analysis of their provenance.