Two ancient Egyptian child mummies at the University of Tartu Art Museum (Estonia) were, according to museum records, brought to Estonia by the young Baltic-German scholar Otto Friedrich von Richter, who had travelled in Egypt during the early 19th century. Although some studies of the mummies were conducted, a thorough investigation has never been made. Thus, an interdisciplinary team of experts studied the remains using the most recent analytical methods in order to provide an exhaustive analysis of the remains. The bodies were submitted for osteological and archaeothanatological study, radiological investigation, AMS radiocarbon dating, chemical and textile analyses, 3D modelling, entomological as well as aDNA investigation. Here we synthesize the results of one of the most extensive multidisciplinary analyses of ancient Egyptian child mummies, adding significantly to our knowledge of such examples of ancient funerary practices.
The article is inspired by the fascinating findings and conservationwork done on the Pompeian style murals in Estonian manor housesduring the last few decades. The focus is on the murals in the manorhouses of Voltveti, Suure-Kõpu and Vana-Võidu – all of whichbelonged to different members of the von Stryk family of BalticGermans. The article focuses on the figurative paintings and the styleof the murals, as well as on an art-history-related interpretation anda wider contextual analysis of the Vana-Võidu wall paintings. Thesefinds are the most recent, and this article will study the possiblemodels and ideas for them, search for their art history context andimportance among the triple Pompejanum of the von Strycks. Thewall paintings in the Suure-Kõpu and Voltveti manor houses areused as reference material.The Vana-Võidu, Suure-Kõpu and Voltveti manor houses wererebuilt in the late neoclassical style between 1830s and 1840s. Thewall paintings in these late neoclassical manor houses were madeduring the second half of the 19th century and were inspired, in allcases, by a desire to achieve the look of an ancient interior. There arePompeian-style murals in all three manors. In Suure-Kõpu and Vana-Võidu, can see figurative paintings as well as the division of the wallsinto panels, which is characteristic of the Pompeian style. In Voltveti,there are no figurative paintings and the colour palette – alternatingwarm and cool pastel shades – is not characteristic of the Pompeianstyle, but the ornamental motives are derived from antiquity. It isknown that different publications about the excavated Campaniancities, were available in Estonia in the 19th century. Apparently, thevon Stryk brothers and the painter(s) were able to use the publishedmotifs, because the figurative paintings at Vana-Võidu and Suure-Kõpu are very accurately detailed.
In his 1959 paper “On linguistic aspects of translation,” Roman Jakobson distinguished between interlingual, intralingual, and intersemiotic translation. As Gideon Toury (1986, Translation: A cultural-semiotic perspective. In Thomas A. Sebeok (ed.), Encyclopedic dictionary of semiotics, vol. 2, 1111–1124. Berlin: Mouton de Gruyter) pointed out, such an approach centers on verbal systems and comprises only the translations that one or another way include some linguistic system, while it discards all the cases of translation from one non-linguistic sign system to another. Consequently, it seems reasonable to add intrasemiotic translation to these types of translation to encompass these cases. The paper follows from an assumption that translation studies could offer a productive perspective to describe the history and development of copy art, as well as to define and typologize the phenomenon itself. The copies in the collections of the University of Tartu Art Museum are analyzed as intrasemiotic translations, distinguishing between a number of different subtypes, while the basis for this distinction is the way and how the copy has changed in comparison with its prototype.
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