Baltic Journal of Art History <p>THE BALTIC JOURNAL OF ART HISTORY is a publication of the Department of Art History of&nbsp;the Institute of History and Archaeology of the University of Tartu.<br><br>The concept of the journal is to publish high-quality academic articles on art history of a monographic character or in shorter form. These articles are focused on new and interesting problems and artefacts that can help broaden the communication and interpretation horizons of art history in the Baltic Sea region and Europe. The journal has an international editorial board and each submitted manuscript will be reviewed by two anonymous reviewers. The board will pass the decision on publishing the article on the basis of a short summary as well as the full text and reviewers’ opinions.</p> <p>The languages of the journal are English and German, but next to them also Italian and French.</p> University of Tartu Press en-US Baltic Journal of Art History 1736-8812 Foreword Kadri Asmer Copyright (c) 2022-01-31 2022-01-31 22 4 5 COUNT MICHAŁ JAN BORCH AS PATRON AND COLLECTOR: ART BETWEEN ITALY AND THE INFLANTY VOIVODESHIP IN THE AGE OF PARTITION <p>This article reevaluates the lifelong artistic patronage and collecting<br>practices of Polish-Lithuanian Count Michał Jan Borch (1753–1810/11)<br>against the historical background of Enlightenment Europe more<br>broadly and specifically the Age of Partition (c. 1750–1810). This article<br>examines how despite persistent financial shortcomings and political<br>difficulties, Borch staked for himself a strategic position as patron and<br>collector, staging a renovation of the present by engaging with late<br>baroque, rococo, and neoclassical Italianate forms that inflected Italy<br>and the antique not as fixed entities but as a malleable or notional<br>fragments that could be arbitrated, reassembled and transformed<br>through the intermediating agency of persons and objects, and related<br>to the past in form, style and language, thematizing the temporal<br>passage between venerable and modern in a way that reanimated<br>the grandeur of the past in honor of Borch’s re-envisioning of his<br>restored homeland. As a case study in period self-fashioning, the<br>article is structured around four portraits of Borch and his family<br>executed at crucial inflection points in his life and career.</p> Ruth Sargent Noyes Copyright (c) 2021 University of Tartu and the authors 2022-01-31 2022-01-31 22 9 70 10.12697/BJAH.2021.22.02 HIIU-SUUREMÕISA AND KOLGA. TWO MANOR ENSEMBLES OF THE DE LA GARDIE AND STENBOCK FAMILIES IN THE MIRROR OF THE 17TH–18TH CENTURY NOBLE CULTURE <p>Kolga (Kolck) and Hiiu-Suuremõisa (Dagö-Grossenhof) are two of<br>the most prominent manor ensembles in Estonia. Belonging to the<br>De la Gardie and Stenbock families, their architectural histories<br>have been thoroughly studied both in Sweden and Estonia. In the<br>1930s, Professor Sten Karling compiled a survey of Jacob and Magnus<br>Gabriel De la Gardie’s projects for the castles of Haapsalu and<br>Kuressaare (Arensburg). Based on unpublished archival materials,<br>the primary aim of this article is to introduce new data about the<br>ambitions and main trends of the Baltic high nobility in their faraway<br>Estonian estates. The second and even more important task of the<br>essay is to offer a new outlook on the building activities regarding<br>the Baltic villa rustica in its golden age within the Baltic aristocratic<br>architecture. Beside the patrons of both manor ensembles – the De<br>la Gardies and Stenbocks, the author has studied multiple sources of<br>international and local architectural development in tandem with the<br>archival findings and comparative art-historical research, to shine<br>a new light on the main trends of the Baltic cultural history of the<br>Enlightenment period.</p> Juhan Maiste Copyright (c) 2021 University of Tartu and the authors 2022-01-31 2022-01-31 22 71 141 10.12697/BJAH.2021.22.03 THE KOLGA MANOR ‘CHAPEL’ THAT ISN’T A CHAPEL <p>In the Estonian context, Kolga is a truly a gigantic manor, which was<br>owned by the powerful noble families of De la Gardie and Stenbock.<br>The focus of this article is the interior of the two-storey-high space<br>in the northern avant-corps of the Kolga manor house, called the<br>‘chapel’, which has survived almost untouched. A brief survey is<br>also provided of the fragments of the finishing details that have<br>been preserved in the other rooms of the manor house. The article<br>is based on research dealing with the building’s interior finishing<br>(in 2014) and archaeology (in 2021), which has been conducted by<br>the Estonian Academy of Art, and on information obtained in the<br>course of the on-going conservation.<br>What has the recent research and ongoing conservation work added<br>to the interpretation of the interior in Kolga Manor’s northern avantcorps?<br>As is known from previous studies, the northern avant-corps<br>room’s décor probably dates back to the period of a Neoclassical<br>reconstruction in the early 19th century. Only the building section<br>itself dates back to the earlier Baroque period, which also explains<br>the existence of previous finishing layers under the current one. The<br>Neoclassical approach transformed it into a two-storey space and<br>masterfully added an illusory design. However, the room, which for<br>a long time has been called the ‘(home) church’ or ‘chapel’, probably<br>had a secular function and was used as a ballroom or music hall.</p> Hilkka Hiiop Copyright (c) 2021 University of Tartu and the authors 2022-01-31 2022-01-31 22 143 162 10.12697/BJAH.2021.22.04 DE RERUM NATURA: THE LOD MOSAIC FLOOR AS A COSMOLOGICAL AND TRANSCENDENTAL ALLEGORY <p>The Lod Roman carpet mosaic, dated to around 300 CE, consists in<br>three panels containing images of animals. The centre and upper panels<br>present geometric forms enclosing various images, while the lower<br>panel portrays various marine creatures and ships within the same undivided<br>space. This portrayal seems to be offering a conceptual representation<br>of the universe as it was perceived in Antiquity.<br>Anchored in the methodology of artistic research, the present study<br>seeks to analyse both the aesthetic features of each panel and the mosaic<br>as a unified work, based on the approach that these features, together<br>and individually, contribute to the overall idea. Based on Roman<br>thought, this study focuses on the metaphorical and symbolic<br>meanings of the depicted animals and other images, interpreting them<br>as a cosmological and transcendental allegory.</p> Nava Sevilla-Sadeh Copyright (c) 2021 University of Tartu and the authors 2022-01-31 2022-01-31 22 163 187 10.12697/BJAH.2021.22.05 VENUS GALLERY PROJECT BY YURI KOLOGRIVOV: THE LIST IN ITALIAN <p>This article supplements what is known about the project to create<br>an exhibition space for the Classical art collection at one of Peter the<br>Great’s suburban palaces (either in Kadriorg or Strelna). The project<br>was proposed by Yuri Kologrivov (1680/1685–1754), whose main task<br>was to source pieces of both modern and ancient art in Rome. A letter<br>detailing the plans has survived and consists of the followings items:<br>1) a textual description (which has been published several times); 2) a<br>drawing of the interior; 3) a scheme with statues numbered and listed on<br>the same sheet; and 4) an additional page in Italian, which has not been<br>published until now. This sheet contains a list of the purchased statues<br>in Italian. It was probably meant for Nicola Michetti, the architect in<br>charge of the palace construction. The Italian text contains <em>Gruppi</em><br>which allows us to correct point 6 of the list in Russian, where in<br>place of <em>Труп Венусовых забав</em> (incomprehensible <em>The Corpse of Venus’</em><br><em>Amusements</em>) one should read<em> Груп Венусовых забав</em> (<em>The Group of Venus’</em><br><em>Amusements</em>, probably Venus and Cupid playing with a dove). Some<br>other new details are discovered: the statues were divided into two<br>kinds (‘statue isolate’ and ‘statue non isolate’, i.e. for display in niches);<br>and six statues left without specification in point 9 of the list in Russian<br>must have represented male characters (<em>Sign&lt;ori&gt;</em>).</p> Sofia Egorova Copyright (c) 2021 University of Tartu and the authors 2022-01-31 2022-01-31 22 191 196 10.12697/BJAH.2021.22.06 REMEMBERING PROFESSOR ENN TARVEL Krista Kodres Copyright (c) 2021 University of Tartu and the authors 2022-01-31 2022-01-31 22 197 199 10.12697/BJAH.2021.22.07