Medieval Dress

O primeiro documento escrito que fai referenza á Confraría Numeraria do Rosario de Santiago de Compostela é a fundación dunha misa mensual, no altar da Nosa Señora do Rosario, a cargo de Lope Sánchez de Ulloa e Moscoso, I Conde de Altamira, o 15 de abril de 1500. Co gallo do 525º aniversario desta data, a Santa Sé otorgou á confraría un "ANO XUBILAR" que estamos a piques de rematar. Do mesmo xeito que o acaecido a fins do século XX polo V centenario, a confradía tentou organizar actos culturais ao longo do ano que, nesta ocasión queren poner o seu ramo co congreso que presentamos, preparado con agarimo dentro das nosas humildes posibilidades. O estudo polo miúdo dos misterios do Rosario redunda nun maior coñecemento que debe axudarnos a unha contemplación frutífera. Esa fecundidade repercutirá en obras cristiás na nosa vida, trocando a nosa contorna. Nas sesións do congreso, aunaránse teoloxía e historia da arte. As igrexas católicas de todo o mundo mostran fermosas representacións dos misterios da vida de Cristo que, amén da súa función estética, teñen tamén unha función catequética de especial importancia e que, xeralmente válese do simbolismo para afondar máis ou menos na reflexión segundo a capacidade do observador.

An outline of the Study of the Visual Landscapes of the Frankish World: Polychromy on Dress and Accessories, Monochromatic Apparel and Dyes.

There is a growing need today in the research of early medieval archaeological textiles to emphasize and re-evaluate the importance of multi-sensorial decoration such as structural details, seams, edges and borders, colour and patterns. Disregard of colour and texture in favour of form continues to this day in the research of decoration of early medieval archaeological textiles possibly due to the fact that there is still precious little data preserved in the archaeological record.  However, the growing body of material evidence of this nature from well-analysed recent datasets from the Merovingian and the early and middle Anglo-Saxon period makes a re-evaluation of the importance of these elements essential to the examination of usage and context of archaeological textiles.

Quantum valet Les valeurs de la mode aux XIIIe-XIVe siècles sous la direction d'Elisa Tosi Brandi
Quel a été l'impact de la mode au cours des deux premiers siècles de son émergence ? Ce volume répond à cette question en explorant les valeurs économiques, politiques, sociales et culturelles que le phénomène a revêtu aux XIIIe et XIVe siècles. À travers une enquête comparative portant sur les villes d'Italie centrale et septentrionale, le royaume de Naples, la Normandie et les royaumes de la péninsule ibérique, les contributions rassemblées  montrent comment la mode représente un prisme d'interprétation de la société médiévale tardive. En effet, l'analyse d'un riche corpus de sources documentaires révèle son omniprésence, ouvrant de nouvelles perspectives de recherche sur l'examen des prix, des salaires, de la consommation, des innovations, de la production et des dynamiques commerciales dans les secteurs du textile et du cuir. Grâce à une approche originale, ce volume contribue à enrichir notre connaissance de phénomènes cruciaux dans le développement économique et social de l'Europe, en révélant le rôle et les valeurs que les textiles, les vêtements et les chaussures occupaient dans la vie des gens et dans l'économie des villes.
Contributions de : F. Ammannati, J.V. García Marsilla, M. Giacchetto, L. Gonçalves Ferreira, M. Harsch, A. Kucab, L. Molà, M.G. Muzzarelli, L. Righi, M. Salerno, J. Sequeira, G. Todeschini, S. Tognetti, E. Tosi Brandi.
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Quantum valet The values of fashion in the 13th-14th centuries edited by Elisa Tosi Brandi What impact did fashion have in the first two centuries of its emergence? This volume answers the question by exploring the economic, political, social and cultural values that the phenomenon assumed in the 13th and 14th centuries. Through a comparative investigation involving the cities of central-northern Italy, the Kingdom of Naples, Normandy and the kingdoms of the Iberian Peninsula, the essays collected here show how fashion represents a lens through which to interpret late medieval society. Indeed, the analysis of a rich corpus of documentary sources reveals its pervasiveness, opening up new research perspectives on the examination of prices, wages, consumption, innovations, production and trade dynamics in the textile and leather sectors. Thanks to a novel study approach, this volume contributes to enriching our knowledge of crucial phenomena in European economic and social development, revealing the role and values that textiles, clothing and footwear occupied in people's lives and in the economy of cities.
Contributions by: F. Ammannati, J.V. García Marsilla, M. Giacchetto, L. Gonçalves Ferreira, M. Harsch, A. Kucab, L. Molà, M.G. Muzzarelli, L. Righi, M. Salerno, J. Sequeira, G. Todeschini, S. Tognetti, E. Tosi Brandi.

La Real Academia de la Historia conserva cinco dibujos de valiosas obras
de arte medieval gallego: el báculo y calzado del obispo Pelayo de Cebeira, la cruz procesional de la iglesia parroquial de San Adrián de Lourenzá, el sepulcro del Conde Santo del monasterio benedictino de Vilanova de Lourenzá y las pinturas murales de la catedral de Mondoñedo, que fueron enviados desde esta ciudad por José Villaamil y Castro, su autor, entre los años 1859-1863. Vamos a trazar un bosquejo biográfico de su autor para analizar después la fortuna histórica y el valor artístico de los dibujos y el estado y emplazamiento actual de las obras de arte originales.

Articolo realizzato per Ass.Cult.FAMALEONIS Pubblicato all'indirizzo: https://famaleonis.com/farsetto-da-armare.asp
PREFAZIONE
Il presente contributo nasce da un lungo e articolato percorso di ricerca storica e archeologia sperimentale, intrapreso con l'intento di comprendere e riprodurre con rigore filologico uno degli elementi fondamentali dell'equipaggiamento dell'uomo d'arme del XV secolo: il farsetto da armare. L'indagine, condotta con metodo e attenzione critica, si è sviluppata attraverso il confronto diretto con fonti documentarie, iconografiche e materiali, intrecciando studio teorico e applicazione pratica. Questo lavoro non si propone come conclusivo, ma come tappa significativa all'interno di un percorso ancora aperto, volto a restituire con la massima fedeltà possibile non solo l'aspetto materiale del farsetto, ma anche il suo significato funzionale, sociale ed estetico nel contesto della cultura militare del Quattrocento italiano.

Im Jahre 2001 wurden in der Hofkirche von Innsbruck im Zuge von Vermessungsarbeiten zum Dachstuhl mehrere Gewölbezwickel archäologisch untersucht. Diese bilden neben Blindböden und Rüstlöchern in profanen und sakralen Gebäuden ein großes Potential für die Mittelalter- und Neuzeitarchäologie bzw. der sogenannten „Archäologie oberhalb der Grasnarbe“.

U radu se problematizira pitanje upotrebe termina bjelobrdska kultura u srednjovjekovnoj arheologiji srednjoistočne Europe. Pojam je nastao početkom 20. stoljeća kao krovna odrednica za predmete s nekropola10. – 11./12. stoljeća pripisane Slavenima u okviru srednjovjekovne mađarske države, a zadržao se unatoč napuštanju običaja sagledavanja arheoloških nalaza prema strogo etničkom principu. Danas se pojam bjelobrdska kultura koristi u zemljama slavenskog govornog područja, prije svega u Hrvatskoj, kao kronološko-tipološka ili tehnička odrednica za karakterističan arheološki materijal. U Mađarskoj se iste grupe nalaza imenuju u povijesnom kontekstu upotrebom termina nekropole/nalazi (rano)arpadovskog perioda, koji, prema mišljenju autorice, konkretnije opisuje epohu. Nakon osvrta na povijest istraživanja teme namjera je ispitati mjesto i ulogu južne Panonije (prostora bivših jugoslavenskih zemalja) u društveno-povijesnim procesima koji su povezani s formiranjem srednjovjekovne Mađarske. Bez obzira na izvjesne regionalne specifičnosti arheoloških podataka na ovim područjima, autorica smatra da bi istraživanja trebalo terminološki usuglasiti na svim suvremenim administrativnim područjima koje je obuhvaćala srednjovjekovna Mađarska, radi boljeg razumijevanja među znanstvenim zajednicama koje se bave proučavanjem istog perioda.
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This paper addresses the issue of using the term “Bijelo Brdo culture” in medieval archaeology of Central Eastern Europe. Initially coined in the early 20th century as a collective term for artefacts from necropolises dating from the 10th to 11th/12th centuries and attributed to the Slavs within the medieval Hungarian state, the term has remained in use despite the fact that the approach in the analysis of archaeological finds on the basis of strictly ethnic principles has largely been abandoned. The term “Bijelo Brdo culture” is used today in Slavic-speaking countries, particularly in Croatia, as a chronological-typological or technical term for distinct archaeological material. In Hungary, however, the same group of finds is referred to within a historical context, by using the phrase “necropolis/finds from the (early) Árpád period,”  which is considered more historically accurate. After reviewing the history of research on this topic, this paper explores the role and position of the southern Carpathian Basin (the region encompassing the former Yugoslav countries) within socio-historical processes related to the formation of medieval Hungary. Despite some distinctive regional specificities in archaeological data from these areas, the author argues for harmonizing research terminology across all contemporary administrative regions that were part of medieval Hungary, to foster better understanding among scholarly communities studying the same period.

Male bodies dressed in brilliant silk clothing conveyed messages of power in late medieval Italy. Previous scholars examined how these glamorous bodies reflected contemporary ideals of gentility and whiteness in a courtly context. This article shifts the attention from secular to religious contexts through examining the fictive materiality of the attire of St. Augustine. Silk and wool were two driving forces of the pre-industrial economy. Yet they are rarely considered together, and the discussion has focussed on production. Much less thought has been put into the social implications. By pulling together the threads of silk and wool, this article illuminates how St. Augustine's dual silk-woollen attire transformed his body in the medieval imaginary and became a powerful visual tool to communicate messages of leadership, legitimacy and kinship.

Ming  yillik  tarixga  ega  bo‘lgan  mumtoz  adabiyotimizda  badiiyat  masalasi  hamisha  she’r  ahlining  diqqat  markazida  bo‘lib  kelgan.  Biror  ijodkor  salohiyati  haqida  so‘z  borganda,  uning  nimalarni  tasvirlagani  emas,  qanday  tasvirlaganiga  e’tibor  qaratilgan.  Shuning  uchun  ham  she’riy  san’atlardan  foydalanish  hamma  asrlarda  ham  badiiy  san’atkorlikning  asosiy  qirralaridan  biri  sifatida  baholangan. She’riy  san’atlar badiiy asardan o‘rin olgan g‘oyalarning hayotiyroq, ta’sirchanroq ifodalanishiga, lirik va epik timsollarning yorqinroq gavdalantirilishiga, misralar, baytlar va bandlarning musiqiyligini oshirishga xizmat qiladi.  She’riy san’atlarning qimmati baytda ifodalangan lavhalarning, timsollarning yangiligi, betakrorligi va hech kimnikiga o‘xshamasligi  bilan  ham  belgilanadi. Qo‘llanilayotgan  san’at, avvalo,  mantiqqa  mos  kelishi,  hayot  mantig‘iga  zid  bormasligi  shart. She’riy san’atlarga qo‘yiladigan talablarning yana biri ularda ifodalangan timsollarning o‘quvchilar ommasiga tushunarli bo‘lishidir. Bu timsollarni o‘quvchi anglab yetmasa, ular o‘z mohiyatini yo‘qotishi muqarrar. Yana bir talab she’riy san’atlarning nafosat qoidasiga ham muvofiqligi, har qaysi badiiy lavha, timsolning o‘quvchida go‘zal his-tuyg‘ular, tasavvurlar uyg‘otishi zarurligidir. Adabiyotshunosligimizda she’riy san’atlarni ma’naviy va lafziy san’atlarga ajratish an’ana bo‘lib kelgan. Ma’naviy san’atlar asardagi goyalarni yorqin ifodalash, lirik va epik timsollarni hayotiyroq, gavdalantirish, ularning ma’naviy qiyofalari, his-tuyg‘ularini ta’sirchanroq, aks ettirishga xizmat qilgan bo‘lsa, lafziy san’atlar asarning til jihatdan jozibadorligini, ohangdorligini ta’minlashga yordam bergan. Biz esa bunday yo‘ldan  bormadik. She’riy san’atlarni ma’naviy va lafziy turlarga ajratish noo‘rinroq. Chunki, badiiy san’tlarning hammasi go‘zallik va hayrat yaratadi.  Bir she’riy san’at g‘oyani  yorqin  va  hayotiy  hamda til  jihatdan  jozibadorligini  ko‘rsatishi  mumkin.  Bunda uni ham ma’naviy, ham lafziy san’at deb atash kerak. Barcha she’riy san’atlar ma’lum qirralaridagina bir-biridan farq qiladi, aslida esa  ular bir narsa – go‘zallik  uchun  xizmat  qiladi.  She’riy san’atlar haqidagi fan mumtoz adabiyotimizda ilmi bade’ (badiiylik ilmi) deb yuritilgan. Shuningdek, bu ilm “Badoye us-sanoye” deb ham atalib, badiiy san’atlar ma’nosini bildiradi. “San’at” arabcha “sun’”, ya’ni “yaratmoq” so‘zidan olingan bo‘lib, badiiylik yaratish demakdir. Ushbu qoʻllanmani tayyorlashda Atoulloh Husayniyning “Badoyi us-sanoyi” va Anvar Hojiahmedovning “Sheʼriy sanʼatlar va mumtoz qofiya” asarlaridan foydalanilgan.

Earlier on, just nine pilgrim badges from Somogy County were known. In recent years, though, another five have come to light, thanks to researches using metal detectors. Each of the five was discovered on a site where a village had stood in the Middle Ages, and each was found on a different site. In four of the five village locations, there was a church in the Middle Ages; and in each these four locations, the pilgrim badge was found within 100 metres of the church. All five badges were made from an alloy of tin and lead, with the result that all came to light in a fragmentary state. Of the badges, two could be linked with certainty to a particular place of pilgrimage, namely Aachen; they depicted the Virgin Mary and the infant Jesus. In the Late Middle Ages, Aachen was one of the destinations most favoured by Hungarian pilgrims. The third badge, circular in shape, bears the monogram M. It cannot be linked to a particular place of pilgrimage, but is, perhaps, connected to the cult of the Virgin Mary. On the fourth badge, which is in the form of a rhombus, the figure of a saint may be seen in sketch form. This may perhaps be St John the Baptist. On the fifth badge, which is circular in shape, the head of a hitherto unidentified saint may be discerned; here, too, John the Baptist comes to mind as a possible interpretation. The pilgrim badges from Somogy County show that pilgrimages abroad were embarked upon not only by inhabitants of larger, more important settlements, but also by people living in smaller villages.

This  article  presents  all  archaeologi-cally identified finds of the textile evidence dating to the Late  bronze Age  and  the early  Iron Age  from  Poland. They have been subjected to qualitative and technological analysis. The identified collection has been divided into in-dividual groups of finds/artefacts to discuss their internal differentiation and to capture the characteristics of changes. The amount of collected evidence allowed for a compara-tive analysis with the evidence from the neighbouring re-gions and an assessment of the level of weaving skills. The material shows that there was the leap in technological and qualitative progress occurring in the early Iron Age, also affecting Poland. This is apparent mainly in the southwest-ern regions of the country, through a significant increase in the number of medium and good-quality woven products and a clear diversification of textile production. Neverthe-less, this level is still significantly lower than that which can be observed in the evidence from the mediterranean, Austria, Southern Germany or Denmark.

Os arquivos das familias nobres constitúen unha parte importante do noso patrimonio documental. Con todo, por razóns de propiedade e dispersión, non resulta fácil a súa identificación, protección, descrición, clasificación, acceso e investigación. O presente artigo ten como obxectivo realizar unha aproximación aos aspectos xenealóxicos, patrimoniais, arquivísticos e históricos que ofrece o estudo do arquivo dunha familia da pequena nobreza galega, a Casa de Moruxo, conservado no Arquivo Municipal de Betanzos.

Una breve indagine sulla moda dei secoli XIII e XIV in area friulana, basandosi su alcune fonti iconografiche quali affreschi, sculture lignee, opere lapidee, miniature. L'articolo si concentra sugli usi vestimentari civili e in particolare delle classi agiate.

The Malom-dűlő multi-period archeological site is located approximately one and a half kilometers southwest of the village of Páty (county Pest, Hungary), on a flat hilltop just north of the M1 highway.  Between January and February 2022 a rescue excavation was carried out  in cooperation with the Ferenczy Museum Center and Salisbury Archeology Kft. During this short period of time a previously unknown, hungarian conquest-era cemetery (10th century A. D.) with 77 graves had been fully explored. The most significant finds - one mounted and one plate sabretaches - are briefly presented in this paper.

In: Virágos Gábor (ed.): Sabretache Plates. Treasures of the Hungarian Conquerors of the Carpathian Basin. Exhibition Catalogue. Hungarian National Museum, Budapest. 2022. 31-35.

2019-ben és 2020-ban előbb szondázó, majd teljes felületű feltárást végeztünk Kisszékely középkori temploma területén, ahol 2023-ban a feltárást kezdeményező Kisszékelyi Kulturális Egyesület romkertet alakított ki. A régészeti kutatás legjelentősebb eredménye a 17–19. századi személyes vallásossággal kapcsolatos fémleletek – kegyérmek, illetve egykor nyakban vagy rózsafüzéren hordott, kisméretű keresztek, feszületek – meglepően nagy mennyiségben történő előkerülése, hiszen tizennégy kegyérem és huszonegy kereszt (valamint egy-egy könyvkapocs- és csat) jutott napvilágra a feltárás során.

O papel xogado por reis e raíñas foi fundamental para a creación e consolidación do fenómeno xacobeo e da catedral compostelá, de maneira que cada gran proxecto desenvolvido na basílica foi posible grazas ao decidido apoio da monarquía.
Sen o pulo que lle deu Afonso II ao descubrimento do sepulcro apostólico, este
acontecemento non tería alcanzado tan grande dimensión; e grazas a Afonso III
configurouse un novo templo para acoller a uns peregrinos cada vez máis numerosos.
Ao apoio dos reis débense as diferentes etapas da construción da catedral románica,
iniciada por Afonso VI. En 1111 Afonso VII foi coroado por Xelmírez como rei de Galicia no altar maior do templo. Despois, outros dous reis de Galicia, Fernando II e Afonso VIII, resultaron chaves para rematar a construción da catedral, coa participación do Mestre Mateo, quen
rematouna no 1211. O templo íase converter na catedral nacional e lugar de enterramento dos reis de Galicia e a súa familia, para o que acabou por configurarse un novo Panteón Real, trasladado en 1535 á súa actual localización.
Por tanto, o percorrido pola arte na Era compostelá será unha viaxe artística á construción das primeiras basílicas asociadas ao sepulcro apostólico, ao proceso construtivo da catedral románica, dividido en fases sucesivas ata a súa conclusión coa cerimonia de consagración e a configuración do Panteón Real e, por fin, a aquelas testemuñas e obxectos artísticos que chegaron aos nosos días, ben nos seus emprazamentos orixinais, ben incorporadas, por diversas vías, aos fondos do Museo Catedral de Santiago.

In 2021, an egg cheese mold was found during an excavation in the old Innsbruck city moat. The mold, which probably dates back to the 16th century, shows a scene reminiscent of the story of The Three Ravens in Theodor Ravencroft's Melismata (1611) or the story of Pyramus and Thisbe.

This text is about the heraldic usages of Lourenço Vicente, Archbishop of Braga and advisor of King John I of Portugal, interpreting them within the framework of medieval practices of sharing emblems, as a manifestation of solidarity and communion of projects or devotions. In the case in question, the symbolism and uses of the heraldic rose are highlighted, particularly in the Portuguese scene of the late fourteenth century.

1968 wurden bei einer Ausgrabung in der Pfarrkirche von Lienz in Osttirol in einer Gruft vier Kopfbedeckungen aus dem frühen 16. Jahrhundert entdeckt. Alle vier Kopfbedeckungen sind bemerkenswert gut erhalten und zwei von ihnen zeigen Techniken, die in Anbetracht des frühen Datums überraschend sind. Ein Haarnetz mit Makrameeknoten und eine mit Klöppelspitzen verzierte Haube datieren höchstwahrscheinlich vor 1509 und sind damit die bislang ältesten erhaltenen Beispiele für diese Textiltechniken.
Vortrag gehalten am 09.05.2024 in Lienz, Osttirol

In an excavation carried out in 1968 four headdresses dating from the early to first half of the 16th century were discovered in a crypt in the parish church of Lienz in East Tyrol (Austria). All four headdresses are remarkably well preserved, and two of them reveal techniques that are surprising considering the early date. A hairnet with macrame knots and a coif adorned with bobbin lace most likely date before 1509 making them the earliest extant examples of macrame and bobbin lace to date.

The purpose of this study is to gain an understanding on medieval dress in Turku by examining archaeological textile remains. The textile fragments in question come from the 1998 excavation conducted on the locality occupied by the Åbo Akademi University, a medieval excavation that yielded a large amount of archaeological material dated to the 14th to 16th centuries. The textile fragments chosen to this study all bear some marks that suggest they once belonged to items of clothing; buttonholes, pleating, seamlines, hems, slits, other signs of sewing, and wear and tear that is due to everyday use as clothing. The aim is to identify the garments that the studied fragments belonged to. Comparative archaeological textile material and pictorial sources are the main sources in this attempt. Technical properties of the textiles are used in further aid of identification; yarn direction, density, and quality of weaving and sewing. The textile material has shown that dress in Turku was similar to that in neighbouring countries and followed the lines of European fashions. While the cut of garments was often complicated, even sophisticated, the quality of fabrics was rough and coarse. There were exceptions, however, with some high quality, foreign import fabrics being used for clothing. The fragments were shown to having been disposed in a way that allowed for the majority of the garment to be refashioned; seams, hems and cuffs were the usual parts to be cut off. Being clothed was economical, and the garments and fabrics were used as long as possible.

Pseudo-Dionysius the Aeropagite is believed to be a fifth century Syrian monk who was the main source for post-New Testament Christian ideas about angels. It states that: "his writings were taken to be those of a convert of the Apostle Paul, mentioned in Acts 17:34." Dionysius writings had a large influence on the depiction of angels in arts: retrieved from Kiefer, J. "Michael and All Angels"

Great palace and solid towers: the artistic patronage of Bishops Gómez Manrique and Juan García Manrique in Santiago de Compostela The current study analyses the artistic promotion driven by the Bishops Gómez Manrique (1351-1362) and Juan García Manrique (1382-1398), during their respective episcopal periods in Santiago de Compostela, and its impact. Both prelates undertook, in different moments and diverse historic situations, influenced by the relationships with the kingdom of Portugal, with the cathedral chapter and the city council, several projects of great importance. The works were made within the frame of the renovations that, during the XIV century, underwent the Romanesque cathedral and its dependencies, particularly the archiepiscopal palace.

This paper deals with the imperial usage of zoomorphic ornaments in Byzantium and in the lands under Byzantine influence. In my research findings, I noted the prevalence of one zoomorphic ornament from the first millennium, the two-headed eagle. In Serbia, the use of this ornament at court is attested in the first half of the 13 th century. Its popularity was due to the influence of Byzantine aesthetics, which emphasized proportional and symmetrical motifs. This and other zoomorphic and vegetable motifs were integrated in a system of circles or crosses, which was typical of the Byzantine emblematic costume of the late period.

In the past all textiles produced were imbued with symbols and meanings easily identified by all members of the community. These same symbols and designs are often echoed in other arts and crafts such as architecture ceramics and jewellery making. The long and turbulent history of Greece has left a visible legacy in its embroidery designs which have been influenced by Ottoman, Venetian, Genoese and Frankish rule. This paper seeks to explore the influences on the textiles of the Epirus region. Textiles have historically played a significant role in the household and in the dress of Greek women and tell a story rich with heritage and meaning. 1 Spelling is consistent throughout the paper except for direct quotes.

My essay on cloud collars from Lesnovo was published in 2014 in Serbian. Unfortunately, a paper with almost the same title was published in English last year. Its authors did not see fit to mention my work, although they mentioned my other publications also written in the Serbian language. The authors reasoned that they did not speak the Serbian language and could not use my research results. That influenced my decision to translate my paper on cloud collars into English and post it on Academia’s website as an attempt to protect it. On this occasion, I would like to appeal to fellow researchers that when they are dealing with a topic related to a small country and culture with a unique language, they should study the research work of local scholars and take it into consideration. With all the tools available today to translate all the world’s languages, there is no excuse not to do so. In the race for points and academic establishment, we must not forget the ethical norms of the profession to which we are committed.

Guy of Saint-Denis on the tones: thinking about chant for Saint-Denis c.1300 CONSTANT J. MEWS, JOHN N. CROSSLEY and CAROL WILLIAMS* a b s t r a c t. This article examines the thinking of Guy of Saint-Denis about plainchant tones as formulated in his Tractatus de Tonis (c.1300), preserved as the final item in an anthology of texts that he prepared (British Library, MS Harley 281). It examines his attitude to each of the major theorists singled out in this anthology. It argues that Guy's approach to chant combines the practically oriented writings of Guido of Arezzo with the Aristotelian perspective formulated by Johannes de Grocheio, but takes that perspective a step further by reflecting on the ways different types of chant impact on the emotions. Guy was also much influenced by Peter of Auvergne, a philosopher in the Arts Faculty at Paris committed to developing the teaching of Thomas Aquinas. Careful corrections to the Tractatus in Harley 281 reflect this ongoing concern to refine his thinking, possibly stimulated by Jerome of Moravia. His core conviction is that chant modes each have an affective attribute, and need to be chosen according to the subject matter of the text being sung. Guy criticised the practice of choosing modes sequentially in liturgical offices composed by those he calls 'moderns'. Guy argues his case by drawing on examples of chant from Saint-Denis. A case can be made, on palaeographic grounds, for identifying him with Guy of Châtres, abbot of Saint-Denis (1326-42) and author of a Sanctilogium that updates the traditional monastic martyrology by reference to more recent Dominican collections of saints' lives in order to make them more accessible for liturgical use. Sieglinde van de Klundert's edition of the Tractatus de tonis by Guy of Saint-Denis offers an important opportunity to reflect on the contribution of a relatively unstudied figure, concerned to combine traditional instruction about plainchant with new thinking about the emotional effect of music being developed in Paris in the early fourteenth century. 1 Of further interest is the anthology of writings, put together under the supervision of Guy of Saint-Denis and concluding with his Tractatus. The anthology is preserved in a manuscript formerly belonging to the ancient royal abbey of Saint-Denis and now kept in London, British Library, Harley 281 (hereafter referred to as: H). 2 It shows extensive autograph corrections that reveal Guy's

A brooch-fastener was found on the Nagyszilvás rise within the town of Felsőzsolca, east of the city of Miskolc in Borsod-Abaúj-Zemplén County (north-eastern Hungary), by a local inhabitant who presented it to the Hungarian National Museum. Close analogies of this silver-gilt, semi-spherical brooch-fastener, which is decorated with granite gemstones and plant ornamentation, are known both on 16th–17th-century depictions and in treasure hoards from the same period (uncovered at Radna, Tolna and Szombathely). Characteristically wives and daughters of better-off citizens in Hungary’s towns and market towns used to wear this type of jewellery. Based on the testimony of depictions from the period, between one and four pairs of such brooches were worn combined with a chain belt decorated in a similar style with trailer and flowers

The polylobed tympanums are a specific category within the Galician Romanesque, with seven examples found in the central area of Galicia. They all share the same decoration. Under a border of small arches, a human figure on a lion that he holds by the jaw. Since its first publications, it has been identified with the Biblical passage of Samson and the lion, although there is no shortage of those who attribute it to the story of David and the lion. The application of photogrammetry to its study has allowed us to correct previous interpretations and highlight the lack of rigor used by those who studied it over ninety years.

Keywords: Romanesque art, tympanum, carving, photogrammetry, Galicia

Resumen: Análisis y evolución del esplendor textil y de las características de la indumentaria en Al-Andalus, cuyas influencias se manifiestan en la creación de la moda española medieval. El uso de las prendas andalusíes se divulgó en la sociedad hispanocristiana de finales del Medievo. Se adjuntan 19 ilustraciones.

Il bello del falso: la zecca clandestina di Godano (SP) e l'archeologia della produzione monetale Monica Baldassarri Approccio transdisciplinare e multi-scala per l'interpretazione degli indicatori diretti di attività vetraria in contesti produttivi

This paper sheds light on the graffito-drawing from Hagia Sophia. It mainly discussed the possibility that the graffito presented a Western medieval woman donating a chalice. It is also very probable that the graffito was a work of the 15 th century, produced by a anonymous skilled author, who must have been familiar with the woman's fashion of his time.

Wearing the Texel stockings
was presented by Geeske Kruseman at the Knitting History Forum conference in Leiden on 2 November 2019.
Two volunteers have worn hand-knitted silk stockings, copied from a 17th-century original, with period shoes, and gathered qualitative data on subjective and objective questions, such as how the stockings fitted and felt, how they interacted with the shoe and the foot, how sweaty and/or dirty they got, how they responded to washing, how soon and where they showed signs of wear.
The original is from the 'Palmhoutwrak', a shipwreck off Texel (NL), and the copies were knitted by volunteers in a large-scale project which was presented in other talks at the same conference.
This PDF includes the slides, the talk, plus appendices with the 'Full Wearers' report' and data from the discussion which followed the talk.