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The article examines the political appropriation of medieval imagery in Portugal during the Estado Novo regime (1933-1974), focusing on the Lorvão Beatus manuscript and its depiction of the Four Horsemen of the Apocalypse. The Estado Novo, led by António de Oliveira Salazar, utilized this imagery as part of a broader cultural policy to legitimize its authoritarian rule and reshape national identity. By reinterpreting historical symbols, the regime aimed to connect itself with Portugal

Author

alimiguelez

Language

EN