It could be said with some precision, that in Antiquity the myth of the Argonauts and especially of Medea herself as a personage of this myth, has enjoyed popularity not only in Greece but also outside its territories. The first among the Italic tribes to be introduced to the personage of Medea no doubt were the Etruscans, who were the first to establish intensive contacts with the Greeks from Euboea founding a colony in Cumae, Italy. It is noteworthy that the first image of Medea in the World Art is seen on Etruscan ceramics. The paper gives detailed analyses of   Etruscan artefacts on which Medea appears, providing a solid precondition for substantive conclusions. Some new versions of an interpretation expressed in relation to each of the artefacts on the basis of critical analysis of Etruscan archeological material, of classical texts and of previously undertaken modern research, are provided. Images of Medea in Etruscan art confirmed from the Orientalist era to the Hellenization period represent an original, local interpretation of Medea's image. Medea's magical art turned out to be familiar to the Etruscans, who were well known all throughout the Mediterranean for divination and being experts of magic. In contrast to the Greeks, they turned Medea into an object of cult worship, identifying her with the Etruscan sun god Cavatha.

The significance of arts incorporated with culture inclusion makes the arts a matter of pressing interest. The arts are vital elements of a healthy society that benefits the nations even in difficult social and economic times. Based on the previous studies this research was conducted for the first time in Pakistan to explore the historical background of public art correlated with cultural and religious ethics. Though, Pakistan has a rich cultural history yet the role of modern public art is new and often used unintentionally. Our findings of different surveys conducted in Pakistan including oldest cities such as Lahore, Peshawar and newly developed, the capital city, Islamabad concluded that Public art has a rich cultural and historical background and the local community are enthusiastically connected to it. Different community groups prefer different types of public art in their surroundings depends on the city’s profile, cultural background, and religious mindset of the local community. Overall, the sculptures and depiction of animated beings are not considering right and debatable among the Pakistani societies. On the other hand, the cultural and historical monuments are highly appreciated and welcomed by the local community of Pakistan. This study may create scope for future estimation and development of public art in Pakistan in association with Islamic laws and cultural norms of the local society.

Architecture is more than just buildings. Its associated production and reception pro­cesses take place through a variety of different media. Among those media, the model is of special significance: because architecture, like almost every science or art, works with models as representa­tionally or theoretically simplified images mediating between the abstract and the reality. The properties that characterise models give them a special significance in archi­tecture—both in the abstract, as well as in the concrete. The following article sketches out the history of the architectural model as a medium in a short tour d’horizon. A special focus is placed on showing the versatility of the model—for design and presentation and as an artefact, teaching resource and research medium. It transmits a specific form of knowledge which can be replaced by no other medium.

In the second half of the 19th century a wave of modernisation, industrialisation and urbanisation swept the Nordic countries, catapulting what had until then been lagging and primarily rural countries into modernity. These major upheavals, however, also plunged the Nordic countries into a profound social and cultural crisis resulting from their consciousness of their own backwardness vis-a-vis the countries on the European continent, as well as the recognition that a nostalgic nationalism recalling a mythical past had become obsolete in the industrial age. In response to this crisis, a life reform movement emerged that was based on Arts and Crafts movements as well as various artistic and literary reform movements and—equally absorbing rural traditions and progressive social ideas—tried to establish a new national everyday culture. In this article, the two key terms coined by Ellen Key, “Festive Customs” (‘festvanor’) and “Everyday Beauty” (‘vardagsskönhet’)—the programmatic core of the Nordic life reform movement—are analysed and illustrated in various typical manifestations. It also examines to what extent the Nordic life reform movement with these two key concepts as its core agenda found expression in arts and crafts, in painting as well as in the architecture of the late nineteenth and early twentieth century and contributed to the progress of social and cultural renewal.