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224 Archivum Lithuanicum 2

nia Minor and a brief discussion of their importance for the study of the history of

the Lithuanian language. The otherwise interesting and competent article is marred

by such stylistic infelicities as (concerning the Lexicon Lithuanicum): There also

exists an opinion that it is a copy of a written earlier and perished manuscript of

a German-Lithuanian dictionary [...] (p.316). I would correct this to: There also

exists the opinion that it is a copy of a manuscript of a German-Lithuanian dictio-

nary which was written earlier and later lost.

The l6th century can be looked on as the golden age of culture, both in Lith-

uania and Prussia (p.333) writes Vytautas Landsbergis in his article 16th cen-

tury musical culture of Lithuania: links between the Grand Duchy of Lithuania and

Lithuania Minor (pp.333-341). Landsbergis suggests that there are good reasons

to suspect cultural relationships in the both the popular and the court music of

Lithuania Minor and the Grand Duchy of Lithuania.

In his article Texts and melodies of Latin hymns in Maþvydas translation

(pp.343-360) Guido Michelini suggests that Maþvydas, following the model of the

translations of Luther and other authoritative figures of the Evangelical church,

translated freely into Lithuanian in order to make the content of the message more

accessible to the ordinary people. Michelini shows that one must also take into

consideration the melody of the hymn and whether it differs from that of its Latin

source or not.

Jûratë Trilupaitienë discusses the relationship between folk songs and hymns in

her article, Hymn melodies in Martynas Maþvydas books (pp.363-387). She

writes: The Prussian Lithuanians used to re-arrange the Protestant choral in their

own way, i.e. they adapted their intonations to folk creation (pp.384-385).

In her article The book of the Renaissance (pp.389-410) Jolita Liðkevièienë notes

that in sixteenth century Lithuania printing combined both the western and the

Byzantine tradition. She notes that the western tradition, as one might indeed expect,

was the basis of the Reformation centers of printing. For example, Nicolaus Radvilus

the Black, the founder of the Lithuanian printing house in Brest invited printers from

Cracow where the art of book printing was already quite advanced (p.393). Asym-

metrical book decorations are in general characteristic of the early Renaissance, but

in Lithuanian publications the asymmetrical decoration is found in books of the

second half of the 16th century. For example, the title page of M. Maþvydas Giesmës

ðv. Ambraziejaus ir ðv. Augustino (Hymns of St. Ambrose and St. Augustine) is framed

by a massive border of diverse ornament and style. A stylized ornament of margue-

rites on a dark background on the top [...] clashes with the overall ornamental unity

of the book. A contour frame of different geometrical configurations is imprinted on the

right and the left. The bottom part of the title page bears two images of saints [...] to

reflect the content of the publication (p.403). But in fact the images of the saints

according to Paulius Galaunë have nothing in common with the contents of the book

1Paulius Galaunë, Dailës ir kultûros baruo-

se. Straipsniø rinkinys, Vilnius: Vaga,

1970, p.130.

1 2 ... 219 220 221 222 223 224 225 226 227 228 229 ... 303 304

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