Symbols of the New Districts in Ukraine: Chervonohrad Raion as an Example

The article examines the beginning of the creation of symbols for the new raions (districts). In 2020, Ukraine underwent an administrative reform to merge most of the existing 490 districts, resulting in the creation of 136 new raions. We have proposed three options for solving the problems with the coats of arms and flags of the new districts. The practical implementation of these methodological developments is considered in the example of the Chervonohrad raion (the Lviv region). The symbols of this district were developed and approved in the summer of 2021. They managed to combine the symbols of the ancient historical land, and the current administrative center, and the old districts.

Armorial Lockplates: A Story of Success in Renaissance Rome

This article was prompted by a gilt bronze lockplate in the Rijksmuseum, originally the decorative fastening of a chest and one of a large group of similar objects. Hardly any other metalwork design was more extensively reproduced in Italian Mannerism. Its success was based on the appealing design and the fact this type of lockplate offered the possibility of integrating coats of arms and thus personalizing a chest. The paper presents new examples not yet listed in Charles Avery’s comprehensive overview (2001), identifies a whole series of clients for these lockplates on the basis of heraldic and genealogical analyses and deduces from this an origin in Rome and a dating of the entire group (previously dated 1540) to the last third of the sixteenth century.It has been generally assumed that the specific function of these objects was to decorate marriage chests. Closer analysis argues against this thesis. The lockplate in the Rijksmuseum is particularly significant in this context. The coats of arms on its lateral cartouches identify the Roman Orazio Ruspoli and his wife Felice Cavalieri (marr. 1594) as the clients for the piece. Surprisingly, however, the crest on the hasp belongs to a family that was not related to this couple. A comparable finding is made for a lockplate in the National Gallery in Washington, which has also been misinterpreted so far. In this case, too, the coats of arms on the plate and on the hasp do not point to a family connection, but to neighbouring and presumably friendly families. The analysis of other examples, such as one in the Palazzo Venezia, confirms that these lockplates and the chests to which they were attached were not exclusively bound to the context of marriage. As travelling chests, which became must-have items for the Roman upper class, they seem to have been open to a variety of functions.

Heraldry in the Republic of Macedonia (1991–2019)

Every European country now has some distinctive heraldic conventions and traditions embodied in the designs and artistic representations of the emblems forming part of its national corpus. This paper deals with these matters in the period from independence in 1991 to the recent change of name in 2019. It deals with the successive designs proposed for the emblem of the state itself, some of which conformed to international heraldic conventions closely enough to be called “arms” or “coats of arms”, not including the emblem adopted in 2009. Special attention is given to the distinctive conventions created for municipal heraldry, including its novel legal framework, as well as those governing personal heraldry developed in the twenty-first century. The paper examines the evolution of heraldic thought and practice in Macedonia in the three decades in question, especially in the context of the Macedonian Heraldic Society and its journal, The Macedonian Herald, and its Register of Arms and the Civic Heraldic System it created.

Biodeterioration of Salón de Reinos, Museo Nacional del Prado, Madrid, Spain

The Salón de Reinos, a remnant of the 17th century Palacio del Buen Retiro, was built as a recreational residence under the reign of Felipe IV between 1632 and 1640 and was the main room for the monarch’s receptions. This Salón owes its name to the fact that the coats of arms (shields) of the 24 kingdoms that formed Spain in Felipe IV’s time were painted on the vault, above the windows. In addition, the ceiling shows an original decorative composition. The painted ceiling and window vaults showed deterioration evidenced by fissures, water filtration, detachments of the paint layer, and black stains denoting fungal colonization related to humidity. Ten strains of bacteria and 14 strains of fungi were isolated from the deteriorated paintings. Their biodeteriorative profiles were detected through plate assays. The most frequent metabolic functions were proteolytic and lipolytic activities. Other activities, such as the solubilization of gypsum and calcite and the production of acids, were infrequent among the isolates.

Heraldry in the Republic of Macedonia (1991-2019)

Every country has some specific heraldry. In this paper, we will consider heraldry in the Republic of Macedonia, understood by the multitude of coats of arms, and armorial knowledge and art. The paper covers the period from independence until the name change (1991-2019). It covers the state coat of arms of the Republic of Macedonia especially the 2009 change. Special attention is given to the development of the municipal heraldry, including the legal system covering the subject. Also personal heraldry developed in 21 century is considered. The paper covers the development of heraldry and the heraldic thought in the given period, including the role of the Macedonian Heraldic Society and its journal Macedonian Herald in development of theoretic and practical heraldry, as well as its Register of arms and the Macedonian Civic Heraldic System.

The Heraldry of the Noble Gruževskis Family and Its Actualisation at the Kelmė Regional Museum

From the sixteenth to the eighteenth centuries, the heraldry of the nobility of the Grand Duchy of Lithuania was influenced by local, Polish, and other European heraldic traditions. The coat of arms became one of the most important elements representing the culture and identity of the nobles. It reflected their family and marital ties, titles, positions, and other important aspects in the life of the nobility. The coats of arms that have survived to this day act as a reminder of the past lives of their holders. The article explores the heraldry of the noble Gruževskis (Grużewski) family from Samogitia between the sixteenth and eighteenth centuries and its actualisation in the twenty-first century in the manor estate in Kelmė that was formerly owned by this family. The analysis revealed that the Gruževskis, a Polish noble family, who moved to Samogitia in the sixteenth century, enriched the heraldic tradition of the region’s nobility with the Lubicz coat of arms originating in Poland. The Lubicz coat of arms depicts a white horseshoe on an azure field with two crosses, one cross inside the horseshoe and the other outside with a crest of three ostrich feathers. The article looks at the heraldic seals held by the members of the Gruževskis family be­tween the sixteenth and eighteenth centuries, the seventeenth-century coat of arms of Jurgis Gruževskis in the joint coat of arms in Kelmė Evangelical Reformed Church, and the eighteenth-century coat of arms of the Gruževskis family above the entrance to the manor house they used to own. It has been observed that the members of the Gruževskis family preserved their coat of arms from the sixteenth century up to the second half of the eighteenth century and that it was passed down from generation to generation. The analysis of the records shows that the family’s heraldic tradition featured both single-field and combined coats of arms. The emergence of the former in the seventeenth century is traced back to Jurgis Gruževskis. Today, the Kelmė Regional Museum is one of the main memory institutions that preserve and actualise the legacy of the noble Gruževskis family. While the coat of arms of this family is not forgotten by the museum and receives relatively comprehensive attention, there are few attempts to provide more detailed information or more critical insights about it. The heraldry of the former owners of the manor estate is usually presented using easy-to-understand visual resources such as illustrations, stands, interactive materials, and souvenirs. It is believed that visitors could be offered a more detailed picture of the heraldic traditions of the Gruževskis family and a more critical approach to these traditions could be developed by drawing upon a relatively extensive range of heraldic sources and scholarly materials. The possibility of showcasing the copies of the sources featuring the family’s heraldic traditions or developing thematic educational activities is to be considered.

Diego de Valera and his Treatise on Coats of Arms (15th century)

Monuments of heraldic reflection – heraldic treatises – are of particular value. Diego de Valera grew up among the Castilian nobility at the be-ginning of the 15th century, began a knightly «caree»" at the age of 15, and was elevated to the dignity of knighthood. He visited many Euro-pean countries, took part in tournaments. He is one of the most famous writers of the late Middle Ages, the author of a number of works on topics related to chivalry. «Treatise on Coats of Arms» (Tratado de las armas) (1458–1467) Valera follows the European traditions of heraldic treatises. Along with other theoretical texts on chivalry, it contains chapters on the origin of coats of arms, coat of arms cotta and banners. The presence of the heraldic part in the treatise is due to the participa-tion of the heraldic officials in the procedure of the duel. Valera's trea-tise makes up for the lack of heraldic material of the sources, which is available in relation to Castile of the 15th century. «Treatise on Coats of Arms» had a huge impact on all subsequent heraldic treatises on the Iberian Peninsula. Diego de Valera's treatise can be considered the founder of the era of the Castilian heraldic treatises, which determined their theme.

Paintings off the Peg: The Retail Sale of Paintings in Tudor and Early Stuart England

The scholarly consideration of the marketing of luxury goods like paintings in Renaissance Europe has rightly concentrated on the Italian and Netherlandish experiences, while the discussion of an English retail market for paintings has focused on a later era. This article investigates the retail sale of painting in Tudor and early Stuart times. It asks what sorts of paintings were sold, who sold them, and what sorts of spaces accommodated such sales. Whereas conventional art historical research has concentrated on the production and sale of portraits, the discovery of an early seventeenth-century list of coat of arms painters holding retail shops in London adds additional support to the prominence of arms painting in such retail sales. This article considers the social context underlying the importance of displaying coats of arms and shows that arms painters engaged in the retail sale as well as the production of arms. The article proceeds to examine the varieties of retail spaces in which sales took place and concludes with a consideration of how retail sale of paintings contributed to London's role as a cultural center.