Hausner Gábor - Kincses Katalin Mária - Veszprémy László szerk.: A Hadtörténeti Múzeum Értesítője. Acta Musei Militaris in Hungaria. 4. „Kard és koszorú”. Ezer év magyar uralmi és katonai jelképei. (Budapest, 2001)

KATONAI JELKÉPEK - B. KALAVSZKY GYÖRGYI: " Viribus unitis" Uralmi és katonai jelképek az első világháborús képes levelezőlapokon

„ Viribus unitis " 199 FORRÁSOK ÉS IRODALOM Balázs Károly: Régi tátrai képeslapok. Képeslapgyűjtők kiskönyvtára 1. Budapest, 1992. Erős László: Képeslapok könyve. Bukarest, 1985. Karácsony régi képeslapokon. Budapest, 1986. Makai Ágnes - Héri Vera: Kitüntetések. Budapest, 1990. Pandula Attila: A Szent Korona története. Budapest, 1990. Petercsák Tivadar: A képes levelezőlap története. Miskolc, 1994. Szabó András: Mezőtúri képeslapok. Mezőtúr, 1998. Széttépett évszázad. Két világháború képeslapjai. Kardos György és Ungvári Tamás előszavával. Budapest, 1995. „...Und Friede den Menschen..." A Heeresgeschichtliches Museum kiállítási katalógusa. Wien, 1992. 'VIRIBUS UNITIS' SOVEREIGN AND MILITARY SYMBOLS ON WORLD WAR I POSTCARDS Cicero's common saying, 'Muses are silent when surrounded by weapons', does not hold in respect of picture postcard production. On the contrary, the outbreak of World War I gave a new impulse to the issue of beautifully ornamented postcards. The picture card was the simplest and most practical way of connecting hundreds of thousands of soldiers in the field with their families back home. The picture postcard, at the same time, was a splendid device of war propaganda, as well. Professional and amateur painters and designers emphasised the moral and military superiority of the Central Powers in their works of art. The picture card, through its 130 years of history, has always represented documentary and cultural value; both science and collectors have been showing great interest in them. Shortly after the introduction of the postal card in 1869 picture cards also appeared. Quite independently, the first postcards decorated with figures and pictures were printed in the 1870s in Austro-Hungary, France, Prussia, Serbia and Britain. Even the first cards' illustrations aimed at affecting patriotic sentiments. With the outbreak of World War I, governments tried to gain people's favour through their propaganda machinery. An effective means of that was the picture card. Both illustrations and the printed text fired nationalist feelings, enhanced the fighting spirit. In times of war, emotions may be most directly influenced with the help of sovereign and military symbols. Ornaments applied to postcards, like state and military flags, olive and laurel wreaths, the sword, one of the most soldierly emblems or the figure of the Hussar, as a symbol of the Hungarian soldier, all manifest the firm faith in victory.