Medieval Material Culture

Resumen: Este estudio exhaustivo aborda la evolución del conjunto arquitectónico del refectorio del Monasterio de San Salvador de Oña desde su fundación en 1141 hasta su última decoración entre 1430 y 1460. Se emplea una metodología interdisciplinaria que integra fuentes históricas, técnicas artísticas y avanzados análisis químicos, incluyendo FTIR, UV, SEM-BSE y GC-MS, para proporcionar una visión comprehensiva de este enclave patrimonial. La contextualización histórica examina la importancia del monasterio en el contexto medieval, mientras que la revisión bibliográfica evalúa críticamente fuentes documentales y estudios previos sobre arquitectura románica y gótica en monasterios medievales. La metodología propuesta abarca técnicas artísticas para el análisis de la talla y decoración, así como técnicas de análisis químico para identificar materiales y capas internas. Los resultados revelan la evolución estilística desde el gótico hasta el renacimiento, proporcionando una visión sinérgica de los aspectos artísticos y químicos. La discusión interpreta estos hallazgos en relación con eventos históricos y cambios en la práctica artística. Este estudio contribuye significativamente a la comprensión de la arquitectura monástica medieval, destacando la utilidad de una aproximación interdisciplinar para desentrañar la complejidad histórica y artística de un sitio tan emblemático como el Monasterio de San Salvador de Oña. Palabras clave: arte medieval, policromía sobre piedra, aplicaciones metálicas, color, técnicas artísticas, materiales,

The research is focused on an aspect of the material culture of the population of Tarnovgrad, who lived on the southern slope of the Trapezitsa hill in the 15th century. Several groups of objects related to the practice of some of the so-called "home crafts" were examined. These are: Spindle Whorls, Weights made of the Bottom of Sgraffito Dishes, Darak Spikes, Tensioners for a Horizontal Loom, Awls, Needles, Thimbles for Sewing. With the help of these objects, various crafts were practiced at home and through them products were produced to meet the needs of the home, with the availability of simple and affordable tools.
The classification, characterization and analogies of these finds from the first half of the 15th century are accompanied by an overview of the research on the crafts of Tsarevets and Trapezitsa and a brief history of the archaeological research on the Trapezitsa hill. Attention is also paid to the archaeological context of the relevant finds. In conclusion, an attempt was made to summarize the presented information and to present conclusions regarding some changes in the nature of the considered objects that occurred in the 15th century.

The subject of this paper is medieval leather scabbards from archaeological excavations in Turku, southwest Finland. In addition, the related accessories of swords – cover-guards and handle grips – are discussed. The purpose is to review these artefact groups, last surveyed for the author’s licentiate thesis published in 2005. Based on the latest review made for this paper, it can be concluded that the number of scabbards has slightly increased, and both their dating and distribution has expanded. Moreover, new information regarding the composition and refurbishment of scabbards is available.

Around 1879, a hoard was discovered in the village of Laz (Alba). The pieces were found under a rock near the village, in a hole covered with a slab and consisted of gold (a chain and rings), silver (two signet rings, a silver "crown" decorated with crosses, silver beads with flowers, a fibula, a bracelet, a belt, pearl-shaped beads) and coins. The discovery was described in detail by Albert Amlacher in 1889. On the basis of the Agnus Dei ring, we believe that the hoard is from the Middle Ages and was part of a Saxon female ceremonial garment worn by the elite of the Sebeș area. The hoard could have been hidden in the context of the Turkish raids in either 1438 or 1479.

Arnika Kameninová láhev z Mariánských Lázní s dobovým popisem výroby a ukončení používání, kterou darovali do městského muzea na začátku 20. století nájemci Zasílatelství minerálních vod C. Brem a Dr. W. Sbírka Městského muzea a galerie Mariánské Lázně, inv. č. LMV-4.

acad. Victor SPINEI (redactor responsabil) acad. Dorina N. RUSU (secretar de redacție) acad. Mihai BĂRBULESCU, acad. Paul Helmut NIEDERMAIER, acad. Ioan-Aurel POP, acad. Alexandru ZUB (membri) Alina-Bianca BĂLAN (secretar științific al Secţiei) EDITURA ACADEMIEI ROMÂNE Bucureşti, 2024 Copyright © Editura Academiei Române, 2024. Toate drepturile asupra acestei ediţii sunt rezervate editurii.

Karlovarský kraj je známý množstvím minerálních pramenů, slavnými lázeňskými městy a s nimi spojenou distribucí léčivých minerálních vod, která ve svých začátcích probíhala v lahvích vyrobených z kameniny. Kamenina je speciální druh keramiky, která se vyrábí z jemného, většinou bílého jílu. Je to pevný, nepropustný a trvanlivý materiál, který vznikne vypalováním při velmi vysokých teplotách, čímž získává svou odolnost proti vodě a většině chemikálií. Používá se nejen k výrobě nádob, ale i potrubí, dlaždic a soch. Historické kameninové lahve pro minerální vodu se dnes stávají zajímavými sběratelskými objekty. Jsou opatřeny otisky pečetí, které sloužily k zajištění identikace původu. Dají se z nich vyčíst inormace o jménu minerální

The material culture of the medieval and later foodways in Estonia was in a constant evolution, influenced by various changes in the local society as well as in the broader human environment. In this paper, we will broadly outline these changes through the development of the equipment used both for making and consuming food and liquids in the domestic sphere. Based on the surviving evidence, it is possible to note several processes, some bound with the cultural transfer from abroad, others connected with the political and economic situation in the area under discussion.

Deel van een mozaïekvloer met slibversierde vloertegels in Utrecht. Kelder met rechts onderin het 'schrobputje'. foto©C.van Rooijen Foto©Provincie Noord-Holland foto©gemeente Alkmaar Faience kan met 'putto' uit de beerput. Café-restaurant Koekenbier met links de parkeerplaats ( ). foto©gemeente Alkmaar foto©gemeente Alkmaar Het vondstcomplex Olofspoort bevatte huisraad uit de periode 1375-1425. De inhoud van de beerput werd integraal geborgen in bigbags en elders gezeefd.

In this paper, the authors’ aim is to present the cultural-historical significance of an undeservedly
forgotten type of object, the fire striker, of which two pieces were found in the heart of the
medieval city of Pest.
Despite the fact that fire strikers are among the most common finds of medieval settlements
either on excavations or during metal detecting surveys, the archaeological analysis of this type
of artefact is currently missing from the research. From the Migration Period and the Hungarian
Conquest Period, several fire strikers are known, mainly excavated from graves. This custom
generally disappeared during the Middle Ages and the Early Modern Age, when fire strikers
appear mainly in the archaeological material of castles, monasteries and settlements in the
Carpathian Basin.
In Hungarian ethnographical research, from the end of the 19th century until the 1950s many
books and papers were published dealing with this type of object. The Hungarian Museum
of Ethnography has a collection of nearly 400 fire strikers; however, their analysis has not yet
been carried out.
Due to the lucky finding circumstances of the two objects presented above, they can serve as
an important addition to the research of the type, including its dating possibilities. They were
found not far from each other, from the same sediment layer dated with a coin from the middle
of the 15th century, so that the two types can be considered contemporaneous.
Were the objects used here, in the place where they were found? Were they lost or intentionally
discarded? Can their origin be determined, and if so, is it of any significance?

This study proposes an incursion into several of the medieval sacred spaces of Sibiu /Hermannstadt (primarily the parish church of St. Mary with its successive sanctuaries, but also one of the neighboring chapels) considered through the prism of two (new) “tools”: a methodological one (Hierotopy) and another given by the new acquisitions in the research of the monuments of Sibiu. Hierotopy is considered by Lidov and his colleagues as special form of creativity, and a field of historical research which reveals and analyses the particular examples of that creativity. It contributes to a holistic approach to sacred space, seen as a unity between architectural space, light and lightning, liturgical and art objects, ritual, choreography, performance, sound, singing, psalmody, fragrance, etc. Although, as I suggested, this way of approaching the sacred space is by no means reserved for Hierotopy, the acquisitions of this type of approach are consistent. New methodologies are increasingly transforming the historical sacred space into a 3d or a virtual reality in which today’s audience immerses themselves in order to encounter a multisensory experience. The contributions of the latest researches of sacred spaces in Sibiu (provided by archeology and building archeology, as well as by dendrochronological investigations), as well as some unedited sources have been used in order to restore a vivid image of this Transylvanian hieros topos.

Arta Evului Mediu a avut o țintă foarte practică pentru majoritatea contemporanilor, fiind comandată din motive de diferențiere, de atitudine ostentativă dar mai ales deoarece acest act era consemnat ca una dintre modalitățile de exprimare ale penitenței religioase în contextul nevoii de dobândire a salvării sufletului 11 , frica sfârșitului lumii intensificându-se din secolul al XIV-lea, această anxietate a mântuirii fiind simptomatică unei stări mentale a "secolului negru", reflectată în temele principale ale artei 12. Această preocupare a salvării sufletului a fost indicată nu doar de către oamenii de rând, dar și de către regi, împărați, înalți clerici și nobilitate, profesată prin liturghii și în special prin donații către biserici 13. Așadar, se înțelege că fiecare imagine a avut o justificare, în special reprezentările aflate în biserici, al căror obiectiv principal era de a prezenta narațiuni complexe persoanelor de rând, necunoscătoare de carte, dar reprezentând și reflexul unei pietăți sau al unor orgolii sociale 14. În acest sens, donatorii acestor biserici sunt cel mai frecvent reprezentați în postura de persoană în viață, în vestimentație fastuoasă, potrivită statutului social al acestora 15 , sugerând contemporaneitate. Cei care iluminau manuscrisele erau la fel de atenți să marcheze distincții clare între statutul celor pe care îi reprezentau prin vestimentație, mai ales când era vorba de clase sociale diferite. Nu trebuie trecut cu vederea că pe lângă aceste diferențe de stare, ne ciocnim și de discrepanța sexelor, în așa fel încât misoginismul perioadei, predicat în special de către clerici, s-a prezentat atât în reglementarea vestimentației femeilor cât și în reprezentarea acestora în surse, limitată la apariția doar în situații speciale 16. Privitor la Transilvania, putem vorbi despre reprezentarea regilor Ungariei în pictura murală, aceștia semnificând modelele comportamentale și politice relevate de aceștia, deci prin ipostaza Sfântului Ladislau ca și miles Christi și athleta pathriae, prezenta un exemplu de urmat pentru tinerii nobili, fiind fezabilă presupunerea că vestimentația acestuia, adaptată în reprezentare pentru a fi contemporană, ar fi prezentat același fel de exemplu, fiind ca un fel de cod de ținută ideală 17 .

In 1992 a team of medieval historians, archaeologists, architects and architectural historians worked together on the investigation of a remarkable building in the center of the old town of Deventer, the Netherlands. It appeared the building, Sandrasteeg 8, also known as the Proosdij,  can be dendrochronologically dated to 1133 AD and is therefore the oldest stone building still standing and still in use in the Netherlands. This paper, Part III - Chapter 2 in a book dedicated to the Proosdij, presents an analysis of the archaeological data collected during the restoration of the main structure. It also contains a brief overview of the archeological material found during the 1966 excavation of the neighboring Stromarkt-site and some personal thoughts on the dating and occurrence of late-Carolingian and Ottonian pottery in the Netherlands.

Moats around historical buildings and towns contain a wealth of archaeological material. Before dredging these moats it is important to have insight in the strattigraphical layering of the sediments. Which filling is of a recent date and can be dredged without problems and which can contain important archeological material and should stay intact or be removed under archaeological supervision?. Through auq-lock corings this information can be obtained. On the basis of this information a decision can be made in which cases archaeological research is necessary. Depending on the way dredging is carried out  an archaeological stragegy should be chosen. Finds must always be collected stratgigrafically and in a grid of segments . This not only give insight in the date of the use of a moat but can also reveil depostition patterns and the location of specific funtions in buildings such as kitchens als latrines as well as the surrounding landscape. Sometimes interesting finds are dredged up such as a early 19th century Japanese porcelain netsuke in the shape of a monkey found in the moat of castle Marquette in Heemskerk or a musket  found in the moat of Het Everloo in Rossum. In other cases archaeologist only can do their research after ammuntion from WWII  is removed, such as in the case of the moat of the town of Tiel.

Despite the obvious impact of warfare on a society, very little work, using modern methodology, has been devoted to the way people fought in the Middle Ages. This pioneering work focuses on the archaeology of individual combat, that is, on how and with what means people fought in the Middle Ages, how it was reflected and its results. The way of fighting has some universal conditioning factors, the biomechanical ones, and others specific to the period and culture, the technological and social ones. In this sense, this work is innovative in the European academic field, and pioneering in Spain.

In 2018, a late medieval landfill excavated in the suburbs of Tallinn unearthed a few seeds of horse chestnut. The context within the landfill places the seeds to around 1500, making the seeds likely one of the oldest horse chestnut seeds in northern Europe (if not elsewhere). The paper gives an overview of the spread of the horse chestnut in early modern Europe, the first written evidence from Tallinn and the find situation.

My article is written in accordance with the narratives of contemporary Saxon inhabitants of Michelsberg and Heltau in Southern Transylvania, who emphasize their Nachbarschaft institution as a continously-referential folk heritage in post 1989 Romania. As a recurrent discursive theme, Nachbarschaft is particularly significant among Saxons to the extent they use to frame it within broader evocations about their collective identity and tradition. Based on recent ethnographic accounts, I argue that remembering Nachbarschaft could be seen as a persistent performative memory of Transylvanian Saxons, echoing as such their needs of cultural survival as a decreasing ethnicity in the 2000s Romania

Link: https://ifc.dpz.es/publicaciones/ver/id/3998

En este volumen se recoge una compilación de inventarios de bienes extraídos de los registros notariales del Archivo Histórico de Protocolos Notariales de Zaragoza (AHPNZ), situado en el Colegio Notarial de Aragón, en la ciudad de Zaragoza. Se trata, en concreto, de 124 documentos que se hallan dispersos entre los registros que conserva el fondo histórico de la mencionada institución desde el protocolo más antiguo, que data de 1316, hasta el año 1360. La documentación transcrita comprende fundamentalmente inventarios post mortem, particiones e incautaciones de bienes. En menor medida se incluyen, asimismo, relaciones de enseres de otra naturaleza, como entregas en comanda y cesiones directas de bienes muebles. El elemento común a todos estos listados es, en efecto, el hecho de ofrecer un registro detallado y descriptivo de las posesiones personales de hombres y mujeres cuya vida transcurrió en la Zaragoza de los primeros dos tercios del siglo XIV, transportándonos al interior de sus viviendas.

В статье делается попытка объяснения исторической судьбы халцедонового бюста императора Траяна из коллекции Берлинского античного собрания. Изготовленный во II веке, бюст был изменен в одной из ювелирных мастерских средневековой Европы. Изменения, внесенные в изображение, гипотетически можно объяснить использованием данного предмета в магико-медицинских практиках.

The article explains the historical use of the Emperor Trajan chalcedony bust from the collection of the Berlin Antikensammlung. Made in the II-nd century, the bust was elaborated in a medieval European jewelry workshop. It can be explained with use of the object in magical-medical practices.

Суздальский змеевик – гемма из гелиотропа, созданная в седине XII – начале XIII веков. Хронологически возрождение интереса к hystera-амулетам вообще и Суздальский змеевик в частности совпадают с новым этапом в развитии геммологии. В соответствии с минералогической традицией XI-XV веков гелиотроп обладал магическими и лечебными свойствами. Это соотносится с предположением о связи Суздальского змеевика с медицинскими практиками Средневековья. Выбор гелиотропа для изготовления змеевика был явно неслучайным: минерал по мнению современников обладал важными и полезными свойствами. Эти свойства усиливались и дополнялись изображениями, молельными надписями и действиями в соответствии с рецептами противостояния болезни. В этом контексте Суздальский змеевик может рассматриваться как материальное воплощение геммологической традиции, развивавшейся от Поздней Античности до Нового времени

The Suzdal hystera-amulet is a gem made of heliotrope gem in the middle of the XII-th - early XIII-th centuries. In the High Middle Ages there is a revival of interest in hystera-amulets. This corresponds to a new stage in the development of gemology. In accordance with the mineralogical tradition of the 11th-15th centuries, the heliotrope had magical and healing properties. This correlates with the theory about the connection of the Suzdal hystera-amulet with the medical practices of the Middle Ages. The choice of heliotrope for the manufacture of the hystera amulet was clearly not accidental: the mineral, according to contemporaries, had important and useful properties. These properties were enhanced and supplemented with images, prayer inscriptions and actions in accordance with the recipes for resisting the disease. In this context, the Suzdal hystera-amulet can be considered as a material realization of the gemological tradition that developed from Late Antiquity to Modern times

«Суздальский змеевик» - это медальон круглой формы, выполненный из гелиотропа (кровавой яшмы) с надписями и изображениями (Семь отроков Эфесских, горгонейон) на каждой из сторон. Стилистически и технологически амулет-змеевик близок гемме из г. Перемышль. Артефакты представляют собой уникальные памятники не только прикладного искусства X-XIII вв., но магико-медицинского знания Средневековья, сочетающего древние целительные традиции и христианские верования.

The "Suzdal hystera-amulet" is a round medallion made of heliotrope (blood jasper) with inscriptions and images (Seven Youths of Ephesus, Gorgoneion) on each side. Stylistically and technologically, the amulet is close to the gem from Przemysl. The artifacts are the masterpieces of European stone carving art of X-XIII centuries amd represent the magic and medical knowledge of the Middle Ages, combining ancient healing traditions and Christian beliefs.

Суздальский змеевик – обоюдовыпуклый круглый медальон из кровавой яшмы с изображениями и надписями на обеих сторонах. На одной его стороне расположены поименованные изображения Семи отроков Эфесских и молитвенные надписи о помощи, даровании животворного сна и преодолении лихорадки. Соседство изображений и надписи неслучайно: обращения к Семи отрокам Эфесским при лечении болезней зафиксированы в медицинских формулах-заклинаниях X–XIV вв. на латинском языке. Стилистическая и смысловая близость латинских формул и русских надписей Суздальского змеевика дает основание говорить о единой магико-медицинской традиции средневековой Европы.

The article presents an attempt to interpret Suzdal hystera-amulet in the context of medical practices of the Middle Ages. On the side of the amulet there are named images of the Seven sleepers of Ephesus and prayers for a life-giving dream and a decrease of the “fire power”. The appeals to the mediation of the Seven sleepers of Ephesus in prayers for good dream and against fever are fixed in medical Latin formulas of the X–XIV centuries. The stylistic and semantic parallels of Latin formulas and Russian inscriptions on Suzdal hystera-amulet gives reason to talk about a unified magic-medical tradition in Medieval Europe

The article analyses a comb discovered in the archaeological site Olteni-Cariera de nisip A, Bodoc commu-
ne, Covasna County, Romania, which is a representative cultural good for the Sântana de Mureș - Chernyakhov
Culture. The paper debates briefly the issue related to the raw material - antler or bone. At the same time, some
analogies, typological and chronological frameworks are disussed too. Thus, the comb from Olteni falls into the
type of pieces made of three rows of antler or bone, with the bell-shaped handle with turned heads that mimics
an animal's head. From a chronological point of view, such objects circulated in the late phase of the Sântana de
Mureș - Chernyakhov Culture, from the second half of the 4 th c. and 5 th c. The article ends with some conclusions,
including the need for closer collaboration between archaeologists and archaeozoologists, which would facilitate
better analysis and right assessment of osteological findings.

Boire à la Renaissance (XIV e-XVII e siècle) 65 e Colloque d'études humanistes 2023 26-29 juin 2023 à Tours Le 65 e Colloque d'études humanistes a pour ambition d'aborder les diverses modalités de l'acte de boire et leur évolution sur une longue durée menant de Pétrarque à Descartes, du XIV e au XVII e siècle. Boire est un geste vital mais c'est aussi un geste social. Qui boit quoi, pourquoi, comment, où et avec qui ? Autant de questions qui permettent d'explorer le coeur des sociétés de la Renaissance.

Boire à la Renaissance (XIV e-XVII e siècle) 65 e Colloque d'études humanistes 2023 26-29 juin 2023 à Tours Le 65 e Colloque d'études humanistes a pour ambition d'aborder les diverses modalités de l'acte de boire et leur évolution sur une longue durée menant de Pétrarque à Descartes, du XIV e au XVII e siècle. Boire est un geste vital mais c'est aussi un geste social. Qui boit quoi, pourquoi, comment, où et avec qui ? Autant de questions qui permettent d'explorer le coeur des sociétés de la Renaissance. D'autant que cette période connait d'importantes évolutions dans la production, la consommation et la représentation des boissons. On pense notamment à l'émergence de boissons coloniales inconnues jusqu'alors, à la rivalité qui s'instaure entre bière et vin, au retournement d'attitude concernant l'eau glacée. Toutes les boissons sont concernées. Le vin, bien sûr, qui a déjà fait l'objet de nombreux travaux mais qui est ici considéré sous toutes ses formes : vins fins et communs, vins rouges, blancs, clarets, jeunes et vieux, purs ou trempés, épicés, pimentés, miellés, saugés, hypocras et galants…. Sont aussi concernés la bière, l'eau-de-vie et autres alcools forts (gin et whisky, armagnac et cognac, calvados), le cidre et le poiré, l'eau, les jus de fruits et de plantes, le lait, le chocolat et le café-ou encore les médicaments liquides tels sirops et électuaires, les bouillons-voire ces semi-liquides que sont les bouillies, et même les poisons. On portera une attention particulière aux qualités des boissons : appréciation gustative et pratiques de dégustation, composition des produits (par exemple la sélection de variétés spécifiques de raisins, de pommes ou de poires pour produire vins, cidres, poirés…). On s'intéressera à tous les éléments de la chaine d'élaboration des boissons : depuis la culture et l'élevage jusqu'à la consommation et l'après-boire, en passant par la préparation ou la fabrication, et bien entendu les effets ou les usages médicinaux. Tous les lieux à boire peuvent être considérés : la maison (et dans celle-ci, la cave ou le cellier aussi bien que la cuisine, la salle de réception ou la « chambre »), le palais (aristocratique ou communal) et bien sûr la taverne, mais également le monastère, la prison et l'hôpital. Il s'agit d'envisager les comportements qui impliquent le fait de boire, de la soif et de l'ivresse au refus et au rejet en passant par la dégustation. Et ceci en mettant en relation ces comportements avec les grandes évolutions de la culture médiévale et moderne, en matière de sensibilités ou dans le rapport du buveur et de la buveuse aux représentations corporelles, aux exigences médicales, aux contraintes morales voire aux interdits religieux. La dimension du colloque est mondiale, et s'étend à toute l'Europe et même l'Afrique et l'Amérique, dans une histoire connectée des boissons, impliquant, d'une part, les boissons coloniales consommées en Europe, d'autre part les boissons européennes expédiées dans les colonies du nouveau monde et les comptoirs africains. Fidèle à l'esprit pluridisciplinaire du Centre d'Études Supérieures de la Renaissance, le colloque « Boire à la Renaissance » réunira historiennes et historiens, historiennes et historiens des arts et des sciences, spécialistes de littératures française et étrangères, lexicographes, musicologues, architectes, archéologues et botanistes, ampélographes. Toutes les sources peuvent être mobilisées : textuelles, archéologiques, iconographiques, musicales.

Proiectul este realizat cu sprijin financiar accordat de Departamentului pentru Relaţii Interetnice din cadrul Secretariatului General al Guvernului României, prin Forumul Democrat al Germanilor din Romania, de Beauftragte der Bundesregierung für Kultur und Medien, de Kulturwerk der Siebenbürger Sachsen e. V. şi de Bayerisches Staatsministerium für Familie, Arbeit und Soziales.

This study, analysing the (relatively more generous) documentary sources related to the religious foundations of the Hunedoara /Hunyadi family in Transylvania, but also a few other cases, aims to support the idea that medieval religious foundations (altars, chapels, churches) have to be considered not only as artistically designed "objects" (the dominant reading in the history of Romanian and especially Transylvanian art so far) but also as places of the ritual and of the remembrance. In other words, it will be argued that these institutions should be "reconstructed" as places for the commemoration (memoria) of the founders and successive donors (who enjoyed the spiritual benefits), as places with a specific liturgy, and loca with their own decoration (consisting in murals, altarpieces, statues, coats of arms, tombstones, effigies or portraits of donors, etc). The decoration, as it will be emphasized here, often made transparent references to the patronage and liturgy of that specific church, chapel, or altar. The study, using both documentary and visual sources, questions traditional assumptions concerning the dedication of several such foundation, and it attempts to reconstruct their original setting, endowment and memorial content. It also asserts that multiple foundations contributed to spread the memory of the founder, and to "upgrade" his/ her fame from a local to a regional scale, and from a liturgical commemoration to a historical significance.

Omagiu adus profesorului Adrian Andrei Rusu cu ocazia împlinirii vârstei de 70 de ani
Tanulmányok Adrian Andrei Rusu professzor köszöntésére 70. születésnapja alkalmából
Studies in honour of professor Adrian Andrei Rusu on his 70th birthday

À la recherche des «dents de poisson»
Depuis le XVIe siècle, les sources historiques moldaves enregistrent une marchandise au nom bizarre, généralement importée de Moscou et qui était régulièrement envoyée à la Sublime Porte en tant que présents (peşkeş): les «dents de poisson». En essayant d’identifier cette marchandise inhabituelle, les chercheurs ont proposé, jusqu’à présent, plusieurs hypothèses: ivoire, carapaces de tortues, crocs de morse ou dent d’espadon. D’autre part, les termes utilisés pour définir le produit dans les sources russes, mais aussi orientales et chinoises, pourraient désigner à la fois l’ivoire de morse et de narval. À l’époque, la dent de narval était confondue avec la «corne de licorne» – une sorte de panacée universelle, qui avait la capacité de détecter et de neutraliser tout poison, de purifier l’eau, de guérir de nombreuses maladies et d’avoir des propriétés aphrodisiaques. La «corne de licorne» était aussi une marque de pouvoir et un objet de prestige, que tous les souverains devaient posséder. L’auteur de cet article rassemble et analyse toutes les pistes pour voir laquelle des hypothèses est la plus plausible. Enfin, à l’aide des informations offertes par plusieurs catégories de sources, mais aussi par les analogies, on peut conclure que les «dents de poisson» doivent être identifiées seulement aux crocs de morse.

Utrecht's Cathedral Tower, the tallest in the Northern Low Countries, is discussed here. The architectural historian Aart Mekking claimed a central position for Utrecht's Bishop, in the design and commission of this tower and its many imitations. Here, however, is stated that everything connected to the Tower was the prerogative of the Cathedral Chapter, without any direct influence of the Bishop.

In recent decades, increasing scholarly attention has been paid to the economic and social connections between medieval Finland and Estonia, including the migration from south coast Finland to the Hanse town of Tallinn. However, the ways geographical closeness, family relations and trade networks influenced the practices of donating and commissioning religious objects have not merited much attention. The first part of this study, based on archival sources, explores instances where Finnish churches acquired artworks from Tallinn and Tallinn town-dwellers donated devotional objects to Finnish churches. The second part is a case study of a Tallinn bell founder, Tile Klotbrade, who in 1515 was commissioned to cast bells for Turku Cathedral. The paper argues that Tallinn was an important center for the production of religious objects that ultimately ended up in Finland.