Helen Bome. Challenges of the Cistercians in the Figurative Corbels from Padise
37–67; >Summary 68–73<
Merike Kurisoo. ‘Was einstens Gott gegeben, auch fortan Gott bleiben sole…’ The Use and Adaptation of Catholic Ecclesiastical Art in Post-Reformation Tallinn
74–103; >Summary 104–111<
Karin Hallas-Murula. Facade Plastics and Discussions of the ‘Percentage Law’ in Estonia in the 1930s
112–129; >Summary 130–133<
Kädi Talvoja. ‘Severe style’ in the Context of Soviet Studies
134–167; >Summary 168–175<
Anders Kurg. Noise Environment: Jüri Okas’s Reconstructions and Its Public Reception
176–187; >Summary 188–190<
Triin Jerlei. An Era in Glass: Soviet Estonian Glass Factory Tarbeklaas and Finnish Glass Design
191–206; >Summary 207–211<
Ivar Sakk. Zhurnalnaya Roublennaya – The Austere Typeface of the Soviet Visual Image
Focus
213–229
W. J. T. Mitchell. Mida pildid tahavad? Translated by Ingrid Ruudi PDF
Findings
231–243; >Summary 244–246<
Anu Mänd. A Cat under the Bed. On a Motif in the Altarpieces by Hermen Rode and Bernt Notke in Tallinn PDF
247–260; >Summary 261–262<
Anne Untera. Die Geschichte des Bildnisses von Barbara Juliane von Krüdener
