Preis und Wert der Malerei um 1700: Zu den Kosten von Gemälden in der Steiermark

Pričujoči prispevek nudi pregled stroškov za oljne slike in zlasti oltarne podobe v času od konca osemdesetih let 17. stoletja do okrog leta 1750 na Štajerskem. Na podlagi dokumentiranih izplačil Frančišku Karlu Rembu, Hansu Adamu Weissenkircherju, Johannu Veitu Hauckhu, Franzu Ignazu Flurerju, Lucasu de Schramu in Johannu Baptistu Scheitu je pripravljen pregled vsot, ki so jih umetnikom izplačali za njihova dela. Dražje so bile oltarne slike beneških umetnikov, na primer na Dunaju delujočega Antonia Belluccija ali nemškega slikarja Johanna Carla Lotha, ki je deloval v Benetkah. Ugotovimo lahko, da cene oljnih slik okrog leta 1700 niso bile odvisne samo od velikosti slik in števila upodobljenih figur, ampak tudi od ugleda umetnikov in finančnih zmožnosti naročnikov. Domnevati smemo, da so bile slike za graške cerkve in samostane v splošnem dražje od slik, namenjenih okoliškim krajem ali območjem ob meji habsburškega cesarstva.The present paper offers an overview of the costs of oil paintings and especially of altar paintings in Styria from the 1680s to circa 1750. The compilation of the sums that the artists received for their works is prepared based on the documented payments to Franz Carl Remp, Hans Adam Weissenkircher, Johann Veit Hauckh, Franz Ignaz Flurer, Lucas de Schram, and Johann Baptist Scheit. The altar paintings of Venetian artists, for example, Antonio Bellucci, who worked in Vienna, or the German painter Johann Carl Loth, who worked in Venice, were more expensive. It can also be established that around 1700, the prices of oil paintings were dependent not only on the size of the paint- ings and the number of the figures depicted, but also on the reputation of the artists and the financial means of the patrons. It can be presumed that paintings produced for the churches and monasteries in Graz were generally more expensive than the paintings intended for the surrounding towns or the areas on the borders of the Habsburg Empire

Gene expression analysis indicates CB1 receptor upregulation in the hippocampus and neurotoxic effects in the frontal cortex 3 weeks after single-dose MDMA administration in Dark Agouti rats.

BACKGROUND: 3,4-methylenedioxymethamphetamine (MDMA, "ecstasy") is a widely used recreational drug known to impair cognitive functions on the long-run. Both hippocampal and frontal cortical regions have well established roles in behavior, memory formation and other cognitive tasks and damage of these regions is associated with altered behavior and cognitive functions, impairments frequently described in heavy MDMA users. The aim of this study was to examine the hippocampus, frontal cortex and dorsal raphe of Dark Agouti rats with gene expression arrays (Illumina RatRef bead arrays) looking for possible mechanisms and new candidates contributing to the effects of a single dose of MDMA (15 mg/kg) 3 weeks earlier. RESULTS: The number of differentially expressed genes in the hippocampus, frontal cortex and the dorsal raphe were 481, 155, and 15, respectively. Gene set enrichment analysis of the microarray data revealed reduced expression of 'memory' and 'cognition', 'dendrite development' and 'regulation of synaptic plasticity' gene sets in the hippocampus, parallel to the upregulation of the CB1 cannabinoid- and Epha4, Epha5, Epha6 ephrin receptors. Downregulated gene sets in the frontal cortex were related to protein synthesis, chromatin organization, transmembrane transport processes, while 'dendrite development', 'regulation of synaptic plasticity' and 'positive regulation of synapse assembly' gene sets were upregulated. Changes in the dorsal raphe region were mild and in most cases not significant. CONCLUSION: The present data raise the possibility of new synapse formation/synaptic reorganization in the frontal cortex three weeks after a single neurotoxic dose of MDMA. In contrast, a prolonged depression of new neurite formation in the hippocampus is suggested by the data, which underlines the particular vulnerability of this brain region after the drug treatment. Finally, our results also suggest the substantial contribution of CB1 receptor and endocannabinoid mediated pathways in the hippocampal impairments. Taken together the present study provides evidence for the participation of new molecular candidates in the long-term effects of MDMA

Cell-specific microarray profiling experiments reveal a comprehensive picture of gene expression in the C. elegans nervous system

A novel strategy for profiling Caenorhabditis elegans cells identifies transcripts highly enriched in either the embryonic or larval C. elegans nervous system, including 19 conserved transcripts of unknown function that are also expressed in the mammalian brain

Contraphe der abgeleibten fürstlichen Bischöff zu Seccau. On the Portrait Gallery of Seckau Bishops in Seggau Castle

V škofovski galeriji v reprezentančnih prostorih gradu Seggau je razstavljenih 58 dopasnih portretov sekovskih škofov. Portretna galerija je bila prvič omenjena v in- ventarju, ki je bil spisan leta 1675, v času škofa Venclja Viljema Hofkirchna (1670–1679). Portreti so bili prvo- tno nameščeni v prostoru, imenovanem velika dvorana (großer Saal) ali škofova soba (Bischofszimmer). Okrog leta 1830 je mogoče škofovo sobo locirati v prvo grajsko nadstropje. Med letoma 1835 in 1867 so portrete prenesli v dve sobi v drugem nadstropju, kjer so še sedaj. Vzor za škofovsko portretno galerijo so bile freske v škofovski kapeli samostana Seckau, ki jo je zasnoval škof Martin Brenner. Galerija je primerljiva z drugimi škofovskimi portretnimi galerijami v Salzburgu, Augsburgu, Dillin- genu, Kroměřížu in Šentandražu (danes v Mariboru). Paradigmatični za portretne galerije so trije temeljni koncepti: tradicija, nasledstvo in memoria.Nowadays, 58 half-length portraits of the bishops of Seckau are included in an episcopal gallery in the representation rooms of Seggau Castle. The portrait gallery was first mentioned in an inventory, written in 1675 under the reign of bishop Wenzel Wilhelm von Hofkirchen (1670–1679). At the beginning, these portraits were presented in a room called the great hall (großer Saal) or the bishop’s room (Bischofszimmer). Around 1830 the bishop’s room was located on the first floor of the castle. Between 1835 and 1867 the portraits were moved into the two rooms on the second floor where they are today. The model for this type of gallery can be found in the bishop’s chapel (Bischofskapelle) in Seckau Abbey, founded by Bishop Martin Brenner. The gallery is similar to other portrait galleries of bishops in Salzburg, Lavant, Augsburg, Dillingen, Kroměříž, St Andrä (now in Mari- bor). It is a paradigm for the three fundamental concepts of portrait galleries: tradition, legacy and memoria

Gradec in Rim – bazilika sv. Petra kot vzor za cerkev sv. Katarine in mavzolej

The Mausoleum in Graz was built after 1614 by Giovanni Pietro de Pomis on commission of Archduke Ferdinand (since 1619 Emperor Ferdinand II). The first design of the façade was influenced by Andrea Palladio’s church fa- çades. After 1621 the façade was raised by an attic storey, which runs around the entire building, and crowned with a triangular pediment, which is vaulted by a mighty segmental arch. This motif, first used by Michelangelo, can also be found above the entrance portals of the Cathedral of Reggio Emilia and Il Gesù in Rome. The structure of the outer walls of the building can also be traced back to Michelangelo’s design of the outer walls of St. Peter’s. The rich decorative forms are of Milanese or Lombard character. Jesuit Wilhelm Lamormaini was the mediator of the Roman architectural forms. Active in Graz as an advisor and confessor to Ferdinand and the archducal family he likely held a decisive role in the transformation of the Mausoleum into a Monument of the Counter-Reformation.Mavzolej v Gradcu so gradili od leta 1614 dalje po načrtih Giovannija Pietra de Pomisa, njegov naročnik pa je bil nadvojvoda Ferdinand (od leta 1619 cesar Ferdinand II.). Prvotna zasnova fasade je nastala pod vplivom cerkvenih pročelij Andrea Palladia. Po letu 1621 je bila fasada povišana z nadstropjem atike, ki poteka okoli celotne zgradbe, in zaključena s trikotnim čelom, nad katerim se pne mogočen segmentni lok. Ta motiv, ki ga je prvi uporabil Michelangelo, najdemo tudi nad portali stolnice v Reggiu Emilii in cerkve Il Gesu v Rimu. Tudi arhitekturna členitev zunanjščine sega vse do Michelangelovega osnutka zunanjščine bazilike sv. Petra. Bogate dekorativne oblike imajo milanski ali lombardski značaj. Posrednik rimskih arhitekturnih oblik je bil jezuit Wilhelm Lamormaini, ki je v Gradcu deloval kot svetovalec in spovednik nadvojvode Ferdinanda in njegove družine in je verjetno imel odločilno vlogo pri preoblikovanju mavzoleja v spomenik protireformacije