1. 1These include the paintingsPowers Not of This Earth(1906),Mother of the World(1924),Madonna Laboris(1931),Glory to the Hero(1933),Shadows of the Past(1937), and the story "Towers of Sorrow" (1914).
2. 2bHowever, this piece is short and primarily descriptive, and it casually groups the Maeterlinck designs with those Roerich did forPeer Gyntand Wagner's operas.
3. 2cElena Soini , Severnyi lik Nikolaia Rerikha (Samara, 2001 ), 155 -63 , writes about the Maeterlinck designs, but, like Gutt, concentrates on description and overemphasizes the designs' northern qualities (she also argues unconvincingly that Finnish culture is their principal inspiration).
4. 2dE. P. Iakovleva , Teatral'no-dekoratsionnoe iskusstvo N. K. Rerikha (Samara, 1996 ), 68 -76 , 68 -76 , 68 -76 , 68 -76 , provides a good factual summary of Roerich's work onMaleineandBeatrice, as well as excellent illustrations. She astutely links the Maeterlinck designs with several of Roerich's other paintings. Her book, however, is a general survey, and Maeterlinck is not its main subject. The same is true of L. V. Korotkina, "Problema sinteza iskusstv v tvorchestve N. K. Rerikha (1890-1916)" (Ph.D. diss., Leningrad State University, 1983). Kenneth Archer's useful "The Theatrical Designs of Nicholas Roerich: Problems of Identification" (M.A. thesis, Antioch University, 1985); and works on Russian theater art, including those by Millicent Hodson, Lynn Garafola, Richard Taruskin, Nancy van Norman Baer, Simon Karlinsky, and others, who focus overwhelmingly on Roerich's designs forPrince IgorandThe Rite of Spring.Roerich biographies routinely mention the Maeterlinck designs, but not in depth.