Baroque Style Research Articles

Song Heritage of “The Beatles” in Academic Musical Interpretations

The purpose of the research. The paper reveals the features of the approaches of academic musicians to the creativity of “The Beatles” and characterises the musical projects created on the basis of the song heritage of the legendary British group. The research methodology consists in the application of historical cultural, comparative and musical analytical methods, which allowed to reveal the academic potential of “The Beatles” music and outline the ways and directions of academisation of their song creativity. The scientific novelty consists in the fact that for the first time academic interpretations of the songs of “The Beatles” group, carried out by L. Berio, J. Bayless and P. Breiner, were characterised, and two approaches to musical transcriptions of the song heritage of the group were outlined – academic and academicized, the type corresponds to all the parameters of academic music, the second gravitates towards classical crossover as a direction of pop music. Conclusions. Among the numerous cover versions, transcriptions and paraphrases of “The Beatles” music, a number of original musical interpretations are attractive, the authors of which turn to the Baroque style. The vocal cycle “Beatles Songs” by L. Berio (1967), the instrumental albums “Bach Meets the Beatles” (1984), “Bach Meets the Beatles. Revisited” (2004) by J. Bayless and “Beatles Go Baroque” (1993) by P. Breiner have already acquired the status of iconic. Their authors, who received a classical musical education, give priority to academic interpretive versions, where the songs of “The Beatles” group are considered as thematic material, which becomes the basis for academic type compositions with classical musical dramaturgy formed in the instrumental music of the Modern period. A number of compositions, in which the basic features of a song are preserved, gravitate towards academicized type interpretations, approaching a classical crossover, and can represent both academic and pop musical creativity.

TOMBSTONE OF PRINCE DMYTRO KOZEKA: A «NEW AND OLD» LAPIDARY MONUMENT OF VOLYN OF THE 16th CENTURY

The Scientific Archive of the Institute of Archaeology of the National Academy of Sciences of Ukraine holds a drawing of the tombstone of Prince Dmytro Kozeka. The drawing on a sheet of paper was made in pencil in the late nineteenth and early twentieth centuries. It contains two inscriptions (epitaphs) in Old Ukrainian and Latin and the princely coat of arms between them. The texts of the inscriptions were published twice in the nineteenth century. The large coat of arms on the tombstone has never been described. Its image, as well as the image of the inscriptions, is published for the first time. The large coat of arms has the shape of a heraldic shield inscribed in a circle. The shape of the shield is made in the Baroque style. Four heraldic signs are symmetrically arranged on the shield, the first of which, in the form of a bow and cross, is the minor coat of arms of the prince. This sign is present on the personal seals of Dmytro Kozeka. The second sign is still unknown in the heraldry of Ukraine in the sixteenth century. Two other signs belong to well-known arms used by many noble families. The paper is accompanied by illustrations that show a complete drawing of the prince’s tombstone and individual elements of this lapidary monument: two epitaphs and a great coat of arms, opening the way for studying the vocabulary of the inscriptions and performing paleographic analysis. The attribution of the coat of arms will allow us to clarify the genealogy of the Kozeka family. Prince Dmytro Kozeka died in 1583 and was buried in the Church of the Assumption of Our Lady in the monastery not far from Zymne village near Volodymyr city. The marble slab on the grave was installed by his wife Kateryna Falchevska. After the turn of the nineteenth and twentieth centuries, there is no evidence of the location of the slab. The Kozeka family appeared in Volhynia in the mid-fifteenth century. Their origin is not clear. Dmytro Kozeka is the most famous representative of this family, according to written sources. The paper describes some episodes of his biography, gives an overview of the princely estates, specifies the time period when his father died, and reveals the previously unknown names of his two sisters. The tombstone of Prince Dmytro Kozeka is a valuable historical source for the study of the elite stratum of the Ukrainian population of the early modern period.

TOURISM MANAGEMENT EXPLAINED BY THE CORRELATION BETWEEN THE AVERAGE TOTAL INCOME PER PERSON AND THE NUMBER OF OVERNIGHT STAYS IN ACCOMMODATION UNITS

In Romania’s tourism industry, in the last decade, following the European trend, small dimensioned accommodation units have appeared, bearing the name of boutique guesthouses or boutique hotels, depending on their accommodation capacity. The boutique guesthouses offer both accommodation services in rooms with traditional Romanian boyar characteristics, with Saxon and Szechuan influences, as well as food services with the same culinary characteristics. A particularity of these accommodation units is that each room had been furnishing according to a traditional noble theme, using either furniture that has been produced in Romanian workshops. Roomꞌ s names have been inspired by the woody essences that can be found in the Romanian forests and a large part of the furniture is made of cherry, beech, fir, oak, elm wood. The specific architecture of the accommodation units has been established in 18th century specific to the rococo and baroque style, predominantly found in buildings constructions in Romanian towns where niche tourism is a small part of mass tourism industry.

Baroque Architecture in West Siberia

The article shows the main directions of the architecture development in West Siberia in the 17th and early 20th centuries. Research of the last decades devoted to the artistic and decorative interpretation of stone and wooden buildings is summarized. The mutual effect of their ornaments is noted. It is found that the Baroque style, widely used in the architecture of West Europe and Russia of the 17–18th centuries, is not adequately developed in Siberian cities. Siberian Baroque originated at the beginning of the 20th century, affects mainly religious buildings. In construction of stone residential and public buildings, this style is quite rare.The purpose of this article is to analyze the development of this trend in Siberia. The main focus is on Baroque ornamentation. Baroque elements are widely used in wooden architecture of Siberia in the 19th century. Presently, it draws attention from architectural researchers. The article studies Baroque ornaments in terms of Russian traditions, identifies the relationship between the main architectural styles and customs of wooden architecture and ornaments in Siberia.

Соціотопографія Вільнюса в XVII–XVIII ст.: основні особливості та напрямки розвитку

The article summarises the characteristics of the development of the Vilnius community in the Grand Duchy of Lithuania, regarding the context of historical events between the 17th and 18th centuries. The summary is part of a scientific project carried out between 2018 and 2021, based on a research of real estate registers and lists of taxes collected by the magistrate. The research used a statistical method, a spatial relational database and the structured query language (SQL) as well as Python programming language libraries NumPy and Pandas for managing and analysing big data. A detailed description of the study and its results can be found in the collective monograph published in 2021. Based on these sources, the value of real estate in different districts of Vilnius, spatial distribution, size and function of the buildings as well as the distribution of their owners in the city between first half of the 17th and the end of the 18th century were analysed. It was determined that frequent large fires were causing the biggest changes to the spatial structure of Vilnius. The greatest changes in demography and sociotopography were recorded after the occupation of Vilnius by the Moscow army between 1655 and 1661 and plague outbreaks in 1657 and between 1709 and 1710. During these times, the city has lost between 30 and 50 percent of its population. As a result, the mediaeval spatial structure of the old city gradually disappeared and its current appearance was formed with large, almost completely built-up plots of land, elite residences and dominant brick architecture of the Baroque style. The social structure has been partially changed. Poor townspeople and some artisans moved from the city centre to the suburbs. In the fortified centre, most real estate passed from the hands of ordinary citizens to wealthy individuals and organisations, who often acquired entire groups of empty land areas. However, some characteristics of the sociotopography of the 16th and first half of the 17th centuries remained unchanged, including the locations of some areas where social groups were living.

ТВОРЧІСТЬ ТОМАСА ГУТТЕРА ТА ЙОГО СКУЛЬПТУРНІ ТВОРИ

The study of the work of the German-born sculptor Thomas Gutter, who worked in Galicia during the late Baroque period, is currently poorly studied, so it needs a thorough study. The article is devoted to the analysis of the work of the sculptor Thomas Gutter. It explores the life and creative path of the artist, the peculiarities of his style, and the use of materials in sculpture. Gutter's main works, their themes, and symbolism, in particular expressiveness in space, are considered. His works are distinguished by the expressiveness of the form, the drama of expression and the detailing of the plastic treatment of draperies. Thomas Hutter's style is characterized by a combination of South German traditions and Central European styles and shows an evolution from the late Baroque to greater geometrization. With his sculptural works, Gutter not only enriched local art, but also made a significant contribution to the formation of the late Baroque style in the Western Ukrainian region. His work influenced the style of many subsequent generations of sculptors. The sculptural works of Thomas Hutter have a high artistic value and belong to the cultural heritage not only of Ukraine but also of Europe. The results of the study can be useful for art historians, sculptors, and researchers.

St. William’s Bell Tower: A Structure That Sinks

St. William’s Bell Tower: A Structure That Sinks

Pročelja crkava u Međimurju u razdoblju baroka. Prilog poznavanju tipologije sakralne arhitekture kontinentalne Hrvatske

An overview of the façades of Međimurje churches built during the Baroque period reveals a typological affinity with comparable regions in continental Croatia – Hrvatsko Zagorje, Varaždin County, and Križevci-Koprivnica County – as well as some characteristic peculiarities. Most have a bell tower in front of the façade, following a traditional form since the Middle Ages, including churches in Sveti Martin na Muri, Selnica, Prelog, Gornji Mihaljevec, Sveti Križ, Cirkovljan, Donji Kraljevec, Dekanovec, Mursko Središće, Podturen, Sveta Marija, Ivanovec, Sveti Juraj u Trnju, Belica, Nedelišće, Kotoriba, and Razkrižje. The oldest among these are the churches of St Martin in Sveti Martin na Muri and St Mark in Selnica, with bell towers in front of the façade supported by buttresses, along with the likewise older parish church in Prelog. The bell tower of the church in Kotoriba stands out with its curved sides as a high-Baroque design. Apart from being positioned in front of the façade, the bell tower is sometimes located next to it, as observed in the parish church in Goričan and the Franciscan church in Čakovec, where the bell tower’s position follows the tradition of spatial organization in Franciscan building complexes. A third variant within this group is the bell tower’s placement next to the sanctuary, as yet another example of continued tradition, seen in churches in Donji Vidovec, Lopatinec (Sveti Juraj na Bregu), and Štrigova. These examples of adding a Baroque bell tower to the Gothic sanctuary emphasizes continuity and long duration, important features of re-Catholicization in regions with widespread Protestantism. Stylistically more pronounced is the type of façade with an integrated bell tower, prevalent in 18th-century architecture across Central Europe and exemplified by churches in Legrad, Novo Selo Rok, and Kapelščak. The most complex in terms of design are church façades with two bell towers, such as St Jerome in Štrigova and St Rochus in Draškovec. The Pauline church in Štrigova shows numerous parallels with the Maria Trost church in Graz, executed by the Stengg construction workshop – including its prominent position in the landscape, the wide façade with bell towers on the sides, the curved contour of the central gable, and the originally rich architectural articulation. The church in Draškovec is an exquisite combination of late Baroque style in its interior design and emphasized Classicism in the design of the façade and the bell tower. In addition to numerous common features, such as the typology and adoption of certain traditional solutions, the peculiarity of this group of churches in relation to other regions of continental Croatia is the appearance of dynamically shaped façades and bell towers. Churches in Lopatinec and, to a lesser extent, in Legrad have façades along the curve of the ground plan, while the bell tower of the church in Kotoriba has an accentuated dynamic plan, with recessed sides and prominent corners with pilasters. These examples demonstrate the adoption of influences from neighbouring Styria, especially the sacral architecture of Graz’s architect Johann Georg Stengg. Another specificity of the corpus of Međimurje churches is the number of churches designed in the Classicist style, with high-quality achievements in a combination with late Baroque, reflecting the proximity and connectedness of Međimurje to the Hungarian artistic circles. The analysis of bell tower and façade designs in this corpus has shown that within the typological groups present across the area, along with the general features of Baroque architecture, one also finds very specific solutions that corresponded to the needs of the environment. In other words, the adoption of models and their adaptation to the local context is an example of cultural transfer expressing the local character, in which the commissioning environment has left its visible mark.

PEDAGOGICAL ANALYSIS OF THE AESTHETIC FOUNDATIONS OF MUSICAL WORKS OF THE BAROQUE ERA

The article is devoted to the pedagogical analysis of the aesthetic foundations of the Baroque culture and identification of the most significant features of the musical art of this era. In the universal picture of the world created by Baroque thinkers, who tended to a comprehensive understanding of being, the main role is assigned to man, or rather, to the problem of human self-knowledge. The created hierarchy of moral values distinguishes between the “high” and “low”, “earthly” and “heavenly” in a person, directs a person to the path of conscious self-control and reasonable self-restraint. In this regard, at the present stage of cultural development, it is necessary to search for the embodiment of the immanent features of the poetics of Baroque compositions from the position of deep knowledge of all levels of their content and symbolism. In modern musical performance, the problems of interpreting Baroque music arise with renewed vigor. In professional training of modern performing musicians, mastering the works of the Baroque style and understanding its aesthetics is an important stage in the formation of their professional competencies.

THE GENRE FEATURES OF THE WORKS OF DIMITRY ROSTOVSKY ABOUT THE ILYA ICON OF THE HOLY MOTHER

The author of the article examines the two earliest works by St. Dimitry Rostovsky — “The Miracles of the Most Holy and Blessed Virgin Mary” (1677) and “The Bedewed Fleece” (first edition 1683), created on the basis of the first work. Both books, in terms of content and genre characteristics, represent a legend about the miraculous icon — the Ilya Icon of the Holy Mother of God. The icon was the main shrine of the Boldinsky Trinity Ilya Monastery. A historical and literary analysis of both books showed that both “The Miracles of the Most Holy and Blessed Virgin Mary” and “The Bedewed Fleece” have a certain set of motifs about its miracles and deeds, which puts them on a par with the texts of other legends about miraculous icons. The heyday of this genre occurred in the 17th — early 18th century. The main miracle and the main motif of the legends created by Dimitry Rostovsky is the flow of tears from the icon, which occurred in 1662: the Ilya Icon of the Holy Mother began myrrh-streaming and praying to the Divine Son for the salvation of the entire human race. The remaining miracles describe healings from illnesses and ailments that occur through prayer in front of the icon. However, the composition and style of these books, which reflect new trends and a new style — the Baroque style, differ significantly from the works of this genre. The main difference is that Dimitry Rostovsky inserts additional narratives into the text. He adds moral teachings to the book “Miracles of the Most Holy and Blessed Virgin Mary” and moral teachings, conversations and attachments to the book “The Bedewed Fleece.” They play an important role in the architectonics of the text and carry a significant semantic load, thereby creating a new literary form in the context of the genre of tales about miraculous icons.

The criterion of "polychrome correspondence" as a primary source for art history. The Virgin of the Rosary from Santibáñez de la Sierra, Salamanca

The Virgin of the Rosary of Santibañez of the mountain range of Salamanca is a devotional sculpture with historical interest in the cultural evolution of the village. With a Ghotic origin, it was modified substantially in Hispano-Flemish style and modified later to Baroque style during the XVIIth and XVIIIth centuries. The artistic study of the sculp-ture has been based on scientific analysis prior to the restoration because the work is un-derstood as an integral continuum to ensure the best interpretation and conservation of the piece. The restoration of the work has taken into account the materiality of the object, as a primary source for history and art, and the immaterial value, an aspect that is not usually considered and which is the starting point for the application of the criterion of correspondence of polychromes for the conservation of their religious value.

The “musicality” of modern prose: Towards the genesis and typology of forms (part 2)

The article explores the musicalization of modern fiction, reflecting such tendencies as the crisis of language and mimesis, the desire for abstraction and non-figurativity. With the reduction of the represented world, the role of the plan of expression and self-reflection of form increases. For the modernists, music becomes the language that allows them to express the utopian, the invisible and the (un)possible. The susceptibility of the contemporary reader and researcher to medial codes allows us to detect in the modernist novel’s imitation of music not only the extravagance of the author’s imagination, but also the unmasking of referential illusion and the tendency towards performativity. The novelty of the research consists in clarifying the typology of musical-literary dialogue, and in the historical-literary aspect in identifying the semiotic, epistemological and poetological foundations of modernist quasi-musical prose, which developed its own equivalents of musical techniques and styles on the way to deconstructing the bourgeois novel. As an example of musical prose, the novel “The Lime Works” (“Das Kalkwerk”, 1970) by the Austrian writer Thomas Bernhard is considered. It is interpreted as the culmination of the author’s creative evolution, from the lyricism imitating the baroque style and attitude, to experimental poetry and prose, and finally to the prose with a sophisticated syntax imitating the romantic musical phrasing. The polyphonic structure of Bernhard’s prose, its strict, abstract compositional pattern, is interpreted as a modern technique of ordering the existence chaos.

Клавирные концерты В. Ф. Баха: между барокко и классическим стилем

Wilhelm Friedemann Bach (1710–1784) was known by his contemporaries primarily as a virtuoso clavier player and a master of improvisation. In his quantitatively small compositional legacy, by 18th century standards, the primary position is reserved to clavier music, most notably, the large-scale genres — fantasias, concertos and sonatas. The six clavier concertos by Wilhelm Friedemann Bach (the authorship of five of them having been confirmed, while the sixth was ascribed to the composer) manifest the characteristic features of his musical style — a combination of baroque and early classical stylistic features. The present article is devoted to revealing these qualities. Thus, the attributes of the baroque style include the use of the ritornello form, the principles of unfolding in the episodes, the incorporation of rhetorical figures into the thematicism, as well as the characteristic textural calls-over between the tutti and the solo sections. The principles of the classical style are disclosed in the sonata-form attributes complexifying the ritornello form, in the concise segmentation of the expositional constructions (the ritornellos), and the turn toward the classical topics. In general, the model of Bach’s concertos fits into the type of “nested sonata” model proposed by Omer Maliniak and Yoel Grinberg, holding an intermediary position between the baroque (“ritornello-style”) and the classical types. Special attention in the article is given to one of the most crucial qualities that emphasized the originality of Friedemann Bach’s style — the fantasia quality. The latter is expressed in the sudden changes of melodic and rhythmical contours and types of texture, the emergence of fantasia-like compositions in ritornellos, as well as in quotations from the music of J. S. Bach and the inventive reassessment of the derived material.

Baroque History: The origin, growth and specimens in the district of Vila Real

This paper aims to talk about the history of the Baroque, since its appearance in Italy, a brief introduction to the theme, explaining what this architectural style is, what is its definition according to some authors and how is its presence today, specifically in the district of Vila Real. An attempt is made to give a definition of Baroque art according to various authors, and to demonstrate the different strands present. How Baroque art came about and what are the main characteristics that are present in the different art forms. Later on, some of the representations of Baroque art that exist in different types of art such as architecture, sculpture, painting, literature, theater, and music will be discussed. At the end of this work, the Baroque in Portugal will be exposed, as well as some of the representative works of the Baroque style existing in the District of Vila Real.

Theological Programme, Analogies, Innovations in Mural Painting of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894

The purpose of the article is to investigate the theological programme, continuity and originality of the mural paintings of the Exaltation of the Precious Cross Church of the Kyiv-Pechersk Lavra in 1894. The research methodology is based on historical and cultural analysis, as well as art historical analysis. The scientific novelty of the study. The theological programme of the mural painting of the Cross Exaltation Church of the Kyiv-Pechersk Lavra in 1894 has been studied: its genesis, ideological basis, main theme, thematic plot lines, and thematic hierarchy have been determined. The continuity principle is defined as the basis of the connection between the original (the 18th century) and renewed (1894; Daniil Davydov) decoration of the Cross Exaltation Church. The pictorial compositions analogies to the paintings of the compartments of Lavra Great Church (Dormition Cathedral) according to the programme of the 1720s are observed. Secondary analogies with some compositions in the Lavra Trinity Gate Church are also indicated. Along with analogies, the differences in the thematic, compositional, and stylistic interpretation of the paintings have been investigated. The academicism features in the mural painting of 1894 have been analysed. The originality of themes and plots addition in the mural paintings with icons in the iconostasis and the altar has been revealed. Conclusions. The mural painting programme’s primary source of the Cross Exaltation Church of the Kyiv Pechersk Lavra has been the programme of painting the interior of Lavra Great Church (Dormition Cathedral) in the 1720s. The renewed mural paintings of 1894 inherited the original decoration of the Cross Exaltation Church. Analogies with the paintings of the Great Church can be traced to the theme and general compositional schemes. A partial analogy to the mural painting of the Trinity Church narthex has been used as a component for another theme. Innovations in the paintings of the Cross Exaltation Church have been manifested in the formation of a peculiar thematic hierarchy, a change in compositional elements, and a transition from the baroque style to the traditions of academic sacred painting. The originality is manifested in the presentation of emotionally saturated subjects in the altar icons and paintings, due to which a calm and sublime rhythm of the wall compositions are created. Some icons are a plot addition to the murals. Several thematic lines are revealed in the mural painting, namely the sacrifice of the Saviour on the cross, the sacrifice of a man to God, the meeting of a man with God, the Divine Liturgy and Church of Christ. The main theme of the church painting decoration is the glorification of Christ’s atoning sacrifice and the Precious and Life-giving Cross of the Lord as the instrument of His victory and our salvation. The ideological basis of the mural paintings theological programme is a line from the Epistle of the Apostle Paul to the Hebrews [Hebrews 19:39–40, 20:1–2]. Keywords: sacral culture, Orthodoxy, academic painting, baroque painting, mural painting, sacral painting, Ukrainian painting, Great Church, Dormition Cathedral, Cross Exaltation Church, Holy Trinity Gate Church, Daniil Davydov.

Unveiling the Hidden Secrets of Bomarzo Cathedral: New Evidence from Last Ground-Penetrating Radar Survey

The Bomarzo Cathedral, also known as the Duomo di Bomarzo, is a remarkable historical and architectural masterpiece situated in Bomarzo (VT), Italy. Constructed in the 16th century under the sponsorship of the Orsini family, the cathedral’s design is a harmonious blend of Renaissance and Baroque styles. Despite enduring numerous challenges, including damage from the Italian Wars, extensive restoration efforts were undertaken to preserve its cultural legacy. Driven by a deep appreciation of the cathedral’s historical context, a ground-penetrating radar (GPR) investigation was deployed to gain insights into its foundations and potentially uncover buried remains beneath the floor and altar. The GPR investigation focused on the cathedral’s interior, specifically the central and left naves, altar, and oratory. This revealed the presence of disclosed rectangular chambers beneath the floor and altar, along with unique foundation structures. These findings, coupled with historical insights and architectural understanding, emphasize the cathedral’s cultural importance.

Presentation of older layers and findings on historical architecture using the method of analytical presentation: Example of the Old Town Hall in Bratislava, Slovakia

Abstract Analytical presentation is one of the methods used in the process of monument restoration. The method displays certain valuable older layers in the form of a cutout in the dominant layer of the facade´s surface. This article seeks to illustrate the method on the example of the facades of the Old Town Hall in Bratislava, Slovakia, and its restorations that were performed in several phases. The floor is presented in the Renaissance style – a part of the wall in medieval style over the arch of the underpass is exposed. The largest areas of analytical presentations are realized on the northern facade in the courtyard. The areas of arcades are restored in light beige colour, respecting the Renaissance colour palette. On the wall, research uncovered important medieval style findings and fragments of the chopped pillars of continuous balconies. A large-scale analytical probe encompassing two floors was realized. A system of various medieval windows, richly decorated and formed by a curved arch or triangular gable, is preserved here with some more recent openings in the Renaissance style. The main facade facing the town square could also be classified as a system of analytical presentations. The tower shows plaster in an Early Baroque style with various windows (Gothic, Renaissance, Baroque) on both facades (Main Square and Kostolná Street). Interesting are Late Gothic double windows with wimpergs. The rest of the facade facing the Main Square is prevailingly designed in the Renaissance style. But in the middle, there is a part reconstructed in the Gothic style with a rich curved decoration. Next to the tower, there is a Gothic portal with an arc and oriel above it. In the part of the Kostolná Street, there is a Gothic plaster reconstructed by applying two methods. One contains a grained plaster in sandy colour, the second has a surface with networking. Various windows and niches (medieval, Renaissance, Baroque) are present here. The complicated analytical presentations contained in the facades of the Old Town Hall raise many questions in the expert discussion.

Iconostasis sculpture of the XVIII century churches of the Slobodsky district of the Vyatka province from the collection of the Slobodsky Museum and Exhibition Center

The subject of the study is the peculiarities of carving of the iconostasis wooden sculpture of the XVIII century, made by the masters of Veliky Ustyug, as well as local artisans under their influence. The purpose of the work is to attribute and introduce into scientific circulation - iconostasis wooden sculpture, four figures of angels from the collection of the Slobodsky Museum and Exhibition Center. The paper makes an assumption about the source of receipt and origin of the sculpture, as well as a comparative analysis with Velikoustyuzhsky and Perm iconostasis carvings and wooden plastics. The wooden iconostasis sculpture, while preserving the traditions of Russian Orthodox art, absorbs the features of European art, while at the same time it corresponds to folk art and reflects the features of the Baroque style in local variants. The methodology of the work is based on the principle of stylistic and technological analysis in art history, as well as the principle of historicism in the study of wooden plastics in the context of the development of art in the Russian North. The scientific novelty of the research lies in the fact that four monuments of wooden plastics of the XVIII century from the collection of the Slobodsky Museum are introduced into scientific circulation, their detailed description and stylistic analysis are made. Two paired figures of angels were in the iconostasis and held a frame with a Crucifix, were made by Ustyug craftsmen in the first half of the XVIII century. Two other figures of angels in prayer were made by local craftsmen at the end of the XVIII century, under the influence of Ustyug masters. Further study of the collection of church art of the Slobodsky Museum will allow make reconstructions of the interiors of temples for the museum exposition.

The Counter-Reformation Art Serving the Orthodoxy: The Changes in the Artistic Concept of Ukrainian Iconostasis during the Second Quarter of the 17th Century

The paper analyzes the reasons causing the structural and plastic changes of Ukrainian iconostases during the second quarter of the 17th century and eventually resulting in the Ukrainian iconostasis of the Baroque period. During the period, the iconostasis achieved monumentality and plasticity in the interpretation of the façade side as a result of introduction of the broken entablature, deep niches for icons, and passages to the altar, as well as to exceptionally rich carved decor, which, in general, added spaciousness to its architectural composition. The specified structural and plastic iconostases characteristics appeared when the Metropolitan Petro Mohyla was the archpastor; they are notable in the iconostases built with his direct or indirect assistance. The hypothesis of the paper is that the concept of iconostasis’ new artistic image as a monumental and architectural space frame was formulated by Petro Mohyla in the context of the program he developed for the Orthodox Church of Ukraine renovation, which, in particular, included the domain of church art and artistic decoration of temples. Petro Mohyla’s idea of the iconostasis architectural image renewal was based on the desire to provide more artistic expressiveness to its form and carved decorations. During the era, these features were characteristic of the Catholic Church altars of the Polish-Lithuanian Commonwealth built in the Baroque style. The methods of significant emotional influence on the congregation developed by the post-Tridentine art as an instrument of the Catholic Church struggling against the Reformation ideas proved to be appropriate for the Kyiv Metropolis Orthodox art, that, after the Union of Brest, faced the problems similar to those of the Catholic Church, which arose with the spread of the Reformation.

The Features of Baroque Style in Graphics of Ukrainian Church Books from th 17th - 18th cc.

The Features of Baroque Style in Graphics of Ukrainian Church Books from th 17th - 18th cc.