Contrarily to most traditional accounts on the foundation of the Republic, Dionysius describes the passage from the Tarquins’ monarchy to the Republic as a lawful constitutional reform, in which L. Junius Brutus played a pivotal role. In my paper I analyze the speech that Brutus delivers to the Roman patricians to endorse the establishment of a new government in Rome. The new constitution, although remaining essentially monarchical, will keep its autocratic nature concealed from the people. Throughout this paper, I show how Dionysius in his presentation of Brutus picked up elements both related to the senatorial propaganda against M. Junius Brutus — Caesar’s murderer, who claimed descent from L. Brutus and the tyrannicide Ahala — and, at the same time, the character of Augustus’s newly-founded government. This account may thus be regarded as Dionysius’ own elaboration of Augustus’s constitutional reform.
The paper analyses the baroque ceiling paintings of the Pauline pilgrimage church in Šaštín (Slovakia), signed in 1757 by Jean-Joseph Chamant, scene designer and theatre architect at the Vienna court and protégé of Emperor Franz I Stefan of Lorraine. In 1736 Franz Stefan purchased manors in the neighbourhood, thus became patron of the pilgrimage church in Šaštín, built in 1736–62. The Emperor and Queen Maria Theresa frequently visited the pilgrimage shrine while sojourning in their chateau in Holiè and contributed with significant donations to the construction of the church, and then to the decoration of the church interior: the high altar was commissioned by the Queen in 1762 and designed by the court architect Nikolaus Pacassi. According to archival sources Chamant's fee was paid by the Paulines, consequently the frescos can not be qualified as explicit court commission. Chamant was the primary contractor of the work, yet, being a scene designer, his contribution to the fresco cycle must have been limited to the painted architecture, including a trompe-l'oeil dome over the nave. The figurative compositions of the fresco cycle were carried out presumably by Joseph Ignaz Mildorfer, professor of the Vienna Art Academy, who received several court commissions in the 1750s. The fresco cycle consists of allegorical scenes referring to Christ's redeeming death, in correlation with the miraculous statue, a Pietà, placed on the high altar.
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acquainted with works, dedications, and illustrations that grant almost divine attributes to the Habsburg dynasty. Through the Catholicism of the pietas austriaca we can experience the devout cult of the Virgin Mary, the blessed saints, and the Eucharist