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.
The recently identified works by Xaver Ferenc Falkoner (Falconer, 1737–1792), a painter of Buda known so far mainly from verbal sources and works in Croatia, provide a more detailed and richer picture of his activity. After a review of the family workshop, the paper analyses his altarpieces in rural churches of historical Hungary. He delivered his altar pictures of Saint Catherine of Alexandria, Saint Elizabeth of Hungary, the Prayer of Saint Anthony of Padua and Saint Helen to the friars minor in the upper town of Szeged around 1770. The Franciscans ordered a painting (Stigmatization of Saint Francis of Assisi) for Bács (Bač, RS) in 1774; in Futak (Futog, RS) he was commissioned by András Hadik (side altar pictures of Saint Andrew, Saint Frances de Chantal, Saint Anne teaching Mary, and Crucifixion) in 1776; he probably painted the Prayer of St Francis of Assisi, St Francis Seraph, the Apotheosis of St Didacus, the Apotheosis of St Anthony the Hermit, the death of St Joseph and the picture of the votive Pieta statue at Sasvár around 1780 for Baja. His half-length pictures of saints (Ss Francis, Bonaventura, Francis Solano, James of the March, Bernardine of Siena, Anthony of Padua, John of Capestrano, and of the Mother of Good Advice, 1774–76) for praedellas and superstructures of altars in churches of the listed saints in the Franciscan province named after Saint John of Capestrano. Though repainted, his frescoes only survive in the Budakeszi parish church: Wisdom with Faith, Hope and Love, and painted altar architecture, dated 1784. The painting technique and easily recognizable language of forms and colouring typical of Ferenc Falkoner, who was trained in the academy in Vienna, are presented on the basis of restorers' researches.
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