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The appearance of the Illyrian Armorial in the late sixteenth century has been linked to Petar Iveljin (son of Ivelja) Ohmućević-Grgurić, a native of Dubrovnik (Ragusa) in the service of the Spanish king. The main purpose of the Armorial was to demonstrate his noble descent. It was therefore designed in such a way as to make it clear to everyone who should see it that the Ohumućević-Grgurićs were an old and reputable noble family. In order for the Armorial to achieve the intended purpose efficiently, some ideas and be­liefs were slipped in which were current in the milieu in which it was created. The Illyrian Armorial cannot therefore be properly understood without taking into account the time and setting of its creation as it reflects various political, cultural and religious influences of its time.

info:eu-repo/grantAgreement/FCT/5876/147246/PT UID/HIS/00749/2013 UID/HIS/04666/2013 SFRH/BPD/69540/2010 ; The aim of this article is to analyze the presence of overseas elements in the armorials compiled in Portugal between the sixteenth and eighteenth centuries. Such representations frequently took the form of elements inserted into the coats of arms of families linked to overseas expansion, both through the addition of already existing insignia and the creation of new devices. However, from a certain time onwards, they also included the coats of arms attributed to the political entities exercising power in overseas territories that were either subject to the authority of the king of Portugal or subsidiary thereto. This was the case, for example, with some attempts at heraldic acculturation on the part of a restricted but significant group of municipalities. O objectivo do presente artigo consiste em analisar a presença do Ultramar nos armoriais coligidos em Portugal entre os séculos XV e XVIII. Tais representações podem tomar a forma de elementos inseridos nas armas de famílias ligadas à expansão ultramarina, tanto por acrescentamento de insígnias já existentes, como por criação de emblemas novos. Mas abrangem também, a partir de certa altura, as armas atribuídas às próprias entidades políticas que exerciam o poder nos territórios ultramarinos submetidos à autoridade do rei de Portugal ou subsidiários a ela: caso de algumas tentativas de aculturação heráldica de organizações políticas autóctones e, sobretudo, de um conjunto restrito, mas significativo de municípios. ; publishersversion ; published

Desde a década de 1970 no Brasil, o Movimento Armorial, liderado por Ariano Suassuna, articulou em Pernambuco uma série de relações mobilizadoras da música e identidade nordestina, sertaneja e pastoril. Nesse contexto regionalista, interessa-nos pensar as sonoridades e territorialidades das rabecas que modularam no discurso performativo de certos violinistas. Além do envolvimento em criações musicais relevantes, o Quinteto Armorial, a Orquestra Romançal Brasileira e a Orquestra Armorial de Câmara ajudaram a legitimar a adjetivação "armorial" como qualificadora pertinente às expressões e objetos artísticos, características estéticas, formulações intelectuais e enunciações ideológicas na cultura. Neste artigo, os sons modais e os modos territoriais da música armorial propõem uma recontextualização sonora da rabeca brasileira desde o último quarto do séc XX. Um "violino do povo" cuja escuta teria sancionado certa territorialidade material e simbólica do "mundo sonoro" de rabequeiros alocados no tempo da tradição. A rabeca armorial se candidatava então a instrumento representativo da cultura popular no Brasil com requintes de erudição musical de violinistas de concerto. Desse modo, a dimensão tempo-espaço do som na rabeca armorial se tornava central na construção de uma escuta dos violinos brasileiros e de suas credenciais de autenticidade e originalidade - entre compositores, músicos e audiências no Movimento Armorial.

National audience in the 1270s, a bourgeoise family being integrated into the nobility, was built a rich house in Lagrasse. She showed her new social rank by a reception room in the gothic style of fashion: sculpture of windows from the Carcassonne cathedral site; painted ceiling combining French and hispanic influences. The currently visible part of the painted design shows geometric patterns and fantastic animals alternating with weapon cavaliers. The heraldic decor, possibly produced by a prison workshop around 1278-1279, reflects the political and social situation. He referred to the war won in 1277 by France on Castilla y Navarra. This includes sovereigns involved in the conflict, barons from the Veneto de Carcassonne and members of the Mage family likely to be involved in the war. This is an outstanding testimony to the Australian houses of the late 18th century and the dynamism of a growing city. ; In the 1270s the Mage, a bourgeois family in integration with the nobility, had a rich house built in Lagrasse. It shows its new social status by a hall realized in the fashionable Gothic style : carved decoration of the windows coming from the site of the cathedral of Carcassonne ; Ceiling painted mixing French and Hispanic influences. The currently visible part of the painted decoration shows geometric patterns and fantastic animals alternating with armed riders. The heraldic decoration, realized around 1278-1279 maybe by a workshop of Carcassonne, reflects the political and social situation. It evokes the war won in 1277 by France on the Castile for Navarre. Are represented kings involved in the conflict, barons of the Carcassonne' Seneschalsy and members of the Mage family probably mobilized in this war. This decoration is an exceptional testimony to the patrician houses of the end of the 13th century and the dynamism of a city in full expansion. ; National audience in the 1270s, a bourgeoise family being integrated into the nobility, was built a rich house in Lagrasse. She showed her new social rank by a ...

Mode of access: Internet. ; Armorial book-plate (anonymous) with motto: Vivunt dum virent.