15th Century

Title: Image and the Office of the Dead in Late Medieval Europe
Regular, Repellant, and Redemptive Death
Author: Sarah Schell
Series: Visual & Material Culture, 1300-1700
Publisher: Amsterdam University Press

Image and the Office of the Dead in Late Medieval Europe explores the Office of the Dead as a site of interaction between text, image, and experience in the culture of commemoration that thrived in the fourteenth and fifteenth centuries. The Office of the Dead was a familiar liturgical ritual, and its perceived importance and utility are evident in its regular inclusion in devotional compilations, which crossed the boundaries between lay and religious readers. The Office was present in all medieval deaths: as a focus for private contemplation, a site of public performance, a reassuring ritual, and a voice for the bereaved. Examining the images at the Office of the Dead and related written, visual, and material evidence, this book explores the relationship of these images to the text in which they are embedded and to the broader experiences of and aspirations for death.

For more info, visit https://www.aup.nl/en/book/9789463722117/image-and-the-office-of-the-dead-in-late-medieval-europe

Artistic authorship intends to define the relationship that unites an artist to an artwork. In the 1960s, artists who began to delegate the fabrication of their works of art to others challenged the conventional paradigm of authenticity as prime criterion of authorship. This article surveys the precedent of late medieval artistic authorship through a case study of French court painter Jean Fouquet (c. 1420-1481). In the 1490s, ducal secretary François Robertet ascribed most of the miniatures of an illuminated volume of the Antiquités judaïques to Fouquet's "hand", which François Avril reattributed in 2003 to the "hand" of his chief associate, the Master of the Munich Boccaccio. In attempting to reconcile these two seemingly opposing ideas of Fouquet's "hand", this essay unveils the strategies by which a late medieval French painter could assert, claim, or be credited with the authorship of artworks that had been respectively painted by his own hand, entrusted to his associate, or delegated to journeymen active in their workshop.

John of Hunyadi is known in historiography as one of the late Middle Ages' outstanding personalities in the mid-15th century's struggle against Ottoman expansion in the Balkans. However, numismatic studies argue that its economic and monetary policies are much less known. Through this study, the comprehensive analysis of an unpublished batch of coins consisting of 27 denars and obols from the Regency period (1446-1452) allows us to underline some innovative hypotheses related to the silver coinage of John of Hunyadi as governor. Hunyadi's counts of the Transylvanian Monetary and Mining Chamber, Christophorus and Antonius, have succeeded in implementing Transylvanian mints, a controlling silver coinage system, based on the obverse legend versions as well as the mint marks. A brief classification of these associations specific to certain mints and mint masters, related to the chronology of the issues and the version of the legend, looks as follows:
1. The version: “TЄMPORЄ – IOɧAȠIS” is specific exclusively and entirely to the Sibiu (Hermannstadt) silver coinage from 1446.
2. The version: “TЄMPORЄ – IO◦GVBЄR” is specific exclusively and entirely to the Buda and Baia Mare (Neustadt (Frauenbach) / Nagybánya) silver coinage from 1446.
3. Notably, for the Baia Mare denars (1446), some particularities are in detail described in the full text. 
4. The version: “IOɧAȠI◦DЄ◦ɧV◦GVBЄRȠAT” is specific exclusively for lion denars struck in 1447-1448, in Brașov (Kronstadt), for Wallachia. This coinage is signed by Christophorus, as well as the denars also struck in Brașov for the internal market of Transylvania (1447-1451), whose legend respecting the single formal version of that time: “TЄMPORЄ◦IO◦GVBЄRȠATO”.
5. The version: “TЄMPORЄ◦GVBЄRȠATORI” is specific to some late issues associated with the chronological level: 1451-1452, being characteristic for both Baia Mare and Buda coinages. In the case of Buda, they are associated with the specific iconography of the uncrowned lion, while the others, from Baia Mare, have preserved the iconographic identity of the crowned lion.
Two of these legend versions: “IOɧAȠI◦DЄ◦ɧV◦GVBЄRȠAT” (in relation with the mint from Brașov) and “TЄMPORЄ ◦ GVBЄRȠATORI” (in relation with the mint from Baia Mare) are novel and were identified based on the genuine coins, part of the unpublished coin lot. Both have an essential significance in the study of the monetary history of Transylvania and Wallachia. While the first one represents the numismatic evidence of the first attempt to unify the two monetary markets, the second one proved the Baia Mare mint’s continuous activity in 1451-1452. Moreover, the legend “TЄMPORЄ – IOɧAȠIS” is for the first time associated exclusively and entirely to the Sibiu coinage from 1446. Among the coins of the lot, two unique lion denars were identified, whose mint marks were previously unknown. Both come from the Sibiu mint, dated 1447-1451, based on crowned lion iconography. At one of them, instead of the mark reserved for the monetary master, there is also the initial of the city but seen in an inverted image. This graphic representation indicated a collective mark belonging to the saxon patricians, city council members at that time. For the second one, the Hermannstadt initial is sided by the famously crossed seal of Christophorus. This discovery confirms that in the period 1447-1451, the Florentine was directly involved, simultaneously, in the activity of mints throughout Transsylvania. His cross mark was also used in Sibiu, as well as in Brasov and Baia Mare.
Summarizing the conclusions of the transition stage of 1446, the two Florentines resumed in the name of Hunyadi the reorganization of coinage throughout Transylvania, a process started by Christophorus in Sibiu in 1443. The main outputs that characterize this period are the following: Restauration of the bimetallic, gold and silver, monetary system; Centralization of coinage mostly in Transylvania through a strategic spatial reorganization in those three urban centres: Sibiu, Baia Mare and Brasov; Implementation of effective quality control of coinage along with eradicating counterfeiting. All this contributed to shaping the needed circumstances for a successful implementation of the monetary reform of 1447.     
In Hunyadi's vision, the "lion denar" reform should have consisted of introducing a new silver coin that would circulate throughout the kingdom and respect a unique standard of metrological, iconographic, and finesse. The reform was successful, beginning in 1447, but only in Transylvania and in the royal chamber of Buda. It also had some effect on the Kremnitz monetary chamber, but the civil war had a significant contribution in jeopardizing the success of the reform in Upper Hungary. No documentary sources are known regarding the metrological and fineness standard, but as it results from archaeometry measurements, it should have been similar to that of the "eagle denar" from the reform attempts of 1442 and 1444. As we have shown in two recently published studies, in 1444, this reform was expected to be successful in Transylvania but failed due to political instability caused by King Vladislav I's death in Varna in December 1444. The system of legends variation in coinage was used for the first time in the monetary chamber of Sibiu, at the late eagle denars (1445), in order to reflect a specific political context. Complementary to the reform attends started in 1444 and consolidated in 1446, with the introduction of the lion denar, there is a rebalancing of silver coin production capacities between the three Transylvanian centres, with an emphasis on increasing the role of Brasov mint. This one had a central role, also, in practicing Hunyadi's monetary policies regarding Wallachia. The study shows that controlling and providing it with its current currency necessary for trading became his constant preoccupation between 1447 and 1452. However, the Wallachian monetary market, which the governor wanted to be subsequent with the Hungarian monetary system, was already under intense pressure from the Ottoman currency.
Finally, in addition to the conclusions regarding the monetary strategy that increased and strengthened the Man-at-arms political power, the study also reclassified the typology of Hunyadi's silver coinage during the Regency: 1446-1452 (Annex 3).

El Tríptico de la Natividad del Museo Nacional del Prado, procedente del convento del Zarzoso en Salamanca, constituye uno de los más refinados ejemplos de la pintura del gótico internacional castellano. Sin embargo, siempre se ha considerado una obra aislada. El presente estudio, a través del análisis de un conjunto de pinturas poco conocidas, propone sacar a este artista tanto de su aislamiento como de su largo anonimato. Gracias a la existencia de una obra firmada “Artifex philippus” podemos establecer que Maestro Felipe (alias Maestro del Tríptico del Zarzoso), tuvo una larga
y brillante carrera, que se desarrolló entre Toledo y el Monasterio de Guadalupe entre 1440 y 1475 aproximadamente. Asimismo, este estudio traza estilística e iconográficamente el origen del lenguaje del artista en tierras germánicas, en el espacio entre el Medio y Alto Rin.

Artículo en acceso abierto: https://xn--archivoespaoldearte-53b.revistas.csic.es/index.php/aea/article/view/1319

Статья посвящена жителям Старой Руссы по материалам писцовой книги 1497/98 г. На основе данного источника определяется количество землевладельцев периода новгородской независимости и уточняется происхождение своеземцев. Рассматриваются вопросы имянаречения, мобильности и профессиональной принадлежности посадских людей, а также структура домохозяйств. Дальнейшая работа позволит уточнить предварительные выводы и сопоставить эти данные с описаниями Старой Руссы XVII в.

The article deals the aspects of social history of Staraya Russa inhabitants according to the pistsovaya kniga of 1497/98. Based on the analysis of this source, the number landowners in the times of Novgorod independence is calculated, and the origin of svoezemtsy is determined. Regarding the posad people, the issues of their naming, mobility and occupation are considered. Besides, the structure of households is discussed. Further work will clarify the findings, as well it will give an opportunity to compare this data with the later descriptions of Staraya Russa in the 17th century.

The subject of the deliberations is an anonymous publicist text entitled “Fundamenta catholicae religionis”. The text from the manuscript of the Czartoryski Library refers directly to the Union of Horodlo. On the basis of an analysis of its content, the authoress of the article has dated it to the year 1632 – that is to the beginning of the period of interregnum after the death of Sigismund III Vasa; it was a time of persistent political struggle between on the one hand, the royalist faction which grouped supporters of hereditary monarchy and Catholic confessionalization, and on the other hand, the Protestant-Orthodox opposition under the leadership of Krzysztof II Radziwill. The most important feature of the above text, from the point of view of taking advantage of the tradition of the Union of Horodlo in the political argumentation, is emphasizing the contractual character of the union and refusing Lithuanians (and particularly Catholics) an equal share in the public and civil rig...

ELABORAT ISTRAŽIVAČKIH RADOVA I PRIJEDLOG PREZENTACIJE
RESTAURATORSKIH RADOVA NA ZGRADI ŠTEDOVNE I PREDUJMOVNE ZADRUGE U VIROVITICI 1995. 
Na zahtjev Zavoda za platni promet , Podružnica Bjelovar , Poslovnica Virovitica , dana 22.
studenog 1994. godine u zgradi Zavoda , održan je sastanak između gospođe Vesne Filipović ,djelatnice Zavoda i Milivoja Šegana , akademskog kipara - restauratora iz Zagreba , voditelja samostalne grupe Autora: restauratora i konzervatora
Konzervatorsko - restauratorskau  dokumentaciju izveli:

MILIVOJ ŠEGAN , akademski kipar - Voditelj radova
NIVES MAKSIMOVIĆ , likovni tehničar
JASNA BOGDANOVIĆ , akademski kipar

The word “book,” as we use it today, refers to printed or written pages that are bound together in hardcover or paperback. Arabs use the word kitāb to refer to both a book and a letter, inscription, document, or piece of written paper. In this study, it is used to refer to manuscripts, meaning codices, which are prepared by sewing the pages and binding them between two covers. Before Sultan Mehmed II conquered Istanbul and made it the center of culture and art, the relations of other sultans, especially his father Murad II, with books and libraries began in the madrasahs during the reign of Orhan Gâzi (r. 1324-1362). Although it is not possible to talk about intensive book preparation activities or large libraries during the establishment phase of the Ottoman Empire, during the struggling periods of Osman I (r. 1302-1324) and Orhan Ghazi, cultural activities began in Iznik during the Orhan Ghazi period, and it should be noted that the first madrasah was established here. With the conquest of Edirne by Murad I. (r. 1362-1389), scientific activities began to increase, the important scholar of the period Molla Fanari (d. 1431) and the scholars who grew up in the Ottoman madrasahs began to produce works. At the end of the examining of the manuscripts, which are stated to have been prepared for Sultan Mehmed Han (r. 1444-1446, 1451-1481) in the dedication text on the frontispiece, 148 manuscripts were identified. Currently, 86 of these manuscripts are in various collections in the Süleymaniye Manuscript Library. Forty-five of the rest are in the collections of the Topkapı Palace Museum Library and in various collections in Turkey and abroad. Sultan Mehmed II transported the manuscripts in his library first to the Old Palace in Istanbul and then to the New Palace (today’s Topkapı Palace), which was completed in the mid-1460s. In addition, after the conquest, he had libraries established in various centers in the city and donated books to them. The catalouge of the Islamic manuscripts in these manuscripts was written in 1502 and 1503, after the manuscripts were recorded in the “Register of Books”. It was sealed and recorded by Bayezid’s librarian, ‘Atufi. Except for four of the manuscripts examined within the scope of the study, Bayezid II’s seal has been identified. The manuscripts that were distributed to the foundation libraries established in the 16th and 17th centuries were stored in the library created with metal shelves in the small madrasah rooms of the Evvel and Sani Madrasahs in the Süleymaniye Complex. Apart from the manuscripts that Mehmed II donated or the ones were written for him in different locations and given as gifts, the manuscripts prepared by his own order have certain common features. Decoration patterns and motifs similar to each other are tooled on the leather bindings. Various textiles used in checkered, striped silk-cotton fabric bindings were used repeatedly in different periods. Among the manuscripts of Sultan Mehmed II, Chinese paper was used to cover a single paper binding. In this study, the manuscripts with dedication records of Mehmed II, the gathering of these manuscripts, the thoughts on the workshops they were prepared and finally their place in the collections of the Süleymaniye Manuscript Library, where they are preserved today, were examined.

The word “book,” as we use it today, refers to printed or written pages that are bound together in hardcover or paperback. Arabs use the word kitāb to refer to both a book and a letter, inscription, document, or piece of written paper. In this study, it is used to refer to manuscripts, meaning codices, which are prepared by sewing the pages and binding them between two covers. Before Sultan Mehmed II conquered Istanbul and made it the center of culture and art, the relations of other sultans, especially his father Murad II, with books and libraries began in the madrasahs during the reign of Orhan Gâzi (r. 1324-1362). Although it is not possible to talk about intensive book preparation activities or large libraries during the establishment phase of the Ottoman Empire, during the struggling periods of Osman I (r. 1302-1324) and Orhan Ghazi, cultural activities began in Iznik during the Orhan Ghazi period, and it should be noted that the first madrasah was established here. With the conquest of Edirne by Murad I. (r. 1362-1389), scientific activities began to increase, the important scholar of the period Molla Fanari (d. 1431) and the scholars who grew up in the Ottoman madrasahs began to produce works. At the end of the examining of the manuscripts, which are stated to have been prepared for Sultan Mehmed Han (r. 1444-1446, 1451-1481) in the dedication text on the frontispiece, 148 manuscripts were identified. Currently, 86 of these manuscripts are in various collections in the Süleymaniye Manuscript Library. Forty-five of the rest are in the collections of the Topkapı Palace Museum Library and in various collections in Turkey and abroad. Sultan Mehmed II transported the manuscripts in his library first to the Old Palace in Istanbul and then to the New Palace (today’s Topkapı Palace), which was completed in the mid-1460s. In addition, after the conquest, he had libraries established in various centers in the city and donated books to them. The catalouge of the Islamic manuscripts in these manuscripts was written in 1502 and 1503, after the manuscripts were recorded in the “Register of Books”. It was sealed and recorded by Bayezid’s librarian, ‘Atufi. Except for four of the manuscripts examined within the scope of the study, Bayezid II’s seal has been identified. The manuscripts that were distributed to the foundation libraries established in the 16th and 17th centuries were stored in the library created with metal shelves in the small madrasah rooms of the Evvel and Sani Madrasahs in the Süleymaniye Complex. Apart from the manuscripts that Mehmed II donated or the ones were written for him in different locations and given as gifts, the manuscripts prepared by his own order have certain common features. Decoration patterns and motifs similar to each other are tooled on the leather bindings. Various textiles used in checkered, striped silk-cotton fabric bindings were used repeatedly in different periods. Among the manuscripts of Sultan Mehmed II, Chinese paper was used to cover a single paper binding. In this study, the manuscripts with dedication records of Mehmed II, the gathering of these manuscripts, the thoughts on the workshops they were prepared and finally their place in the collections of the Süleymaniye Manuscript Library, where they are preserved today, were examined.

Pflugdarstellung aus dem 15. Jahrhundert in gotischen Sanktuarium der Pfarrkirche zu Sárospatak.
Auf den Maurresten des Chors, das 1530 oder später abgerissen und aufgefüllt wurde, ist eine primitive Darstellung eines Pflügevorganges zu sehen. Die Ritzarbeit stammt wahrscheinlich von Kinderhand. Der Verfasser versucht mit Hilfe von Kinderzeichnungen aus den umliegenden Dörfern, anderen zeitgenössischen Pflugdarstellungen und etnografischen Analogien den Typ des Pfluges festzustellen.
Der Verfasser nimmt an, dass es sich um einen Pflug mit asymmetrischer Pflugkarre handelt. Die Zeichnung kann in die Zeit zwischen 1480— 1490 datiert werden. Die Mitteilung wird durch die verhältnismässig wenigen Darstellungen in der ungarischen Pflugliteratur begründet. Die genannte Darstellung ist ungefähr gleichaltrig mit den zwei ältesten Pflugdarstellungen, die in Wappen vorkommen. Die Karre ist das früheste Denkmal dieser Art, das wir kennen, obwohl Pflugkarren in Ungarn schon viel früher benutzt wurden, wie den historischen Quellen über die Pflüge im 14. Jahrhundert zu entnehmen ist.

Wykorzystywanie znaków bojowych, szczególnie w postaci chorągwi, sztandarów, flag, bander, proporców i innych podobnych do nich przedmiotów w prowadzeniu działań wojennych jest od wieków widoczne we wszystkich armiach. Przedmioty te pełniły w przeszłości rozmaite zadania, zarówno w wymiarze praktycznym, jak też ideowym. Pozwalały na identyfikację armii i oddziałów, które się nimi posługiwały, wskazując zarazem na ich właścicieli i dysponentów, takich jak państwa (bądź ich władcy) czy zorganizowane zbiorowości. Ułatwiały walczącym orientację na polu walki, rozróżnianie i ustalanie położenia oddziałów własnych i nieprzyjacielskich. Za ich pomocą dowódcy mogli kierować działaniami podwładnych, którzy skupiali się wokół swoich znaków. W trudnych momentach walk obecność chorągwi mogła być dla nich skutecznym oparciem, a jej utrata zazwyczaj prowadziła do klęski. Jednocześnie znaki bojowe symbolizowały honor, waleczność i męstwo wojsk, do których należały. Z tego względu były otaczane czc...

The article deals with narratives about the Battle of Kamno (21 August 1407) in Pskov chronicles. The goal of this study is to determine the relationship between texts, as well as to propose a model which explains their origin. Chronicle narratives about the Battle of Kamno can be divided into two editions, brief (in the Pskov 2nd Chronicle) and vast (in the Pskov 1st and 3rd chronicles). The study of texts demonstrates that both editions have the same source – the archetype of chronicle narrative about the Battle of Kamno. Besides, the origin of a marginal note in the Prologue (dating back to the turn of 15–16 cc.) is discussed. This text cannot be considered independent, as it also derives from the archetype of chronicle narrative. In conclusion, it is argued that the original text was considerably revised while rewriting. Thus, the surviving note cannot be treated as a source contemporary to the Battle of Kamno.

The article explores the emergence of the Hussite movement and the establishment of egalitarian communities that embraced a lifestyle without taxes or private property. The concern of the authorities and the resulting internal conflicts highlighted significant changes and internal struggles. Leaders such as Jan Žižka adopted more aggressive and violent stances, considering Prague and other cities as enemies. In this context, Petr Chelčický, influenced by the Taborites, emerges as a prominent figure. His critical writings towards the clergy and the Church defend pacifism, egalitarianism, and communism, advocating for the autonomy of the Czech church and opposing German domination. Chelčický distances himself from the Hussites due to his rejection of violence and in his hometown, he develops an extensive body of work proposing a life free from materialism and power conflicts. His local influence is significant, leaving a legacy in the religious and social reforms of the era and beyond.

W artykule przedstawiono wyniki badań dotyczących udziału wydatków na żywność w budżecie domowym żołnierzy polskich i litewskich w połowie XVII w. Przyjęto hipotetyczny jadłospis zgodny z dzisiejszymi normami energetycznymi i uwzględniający podstawowe produkty spożywcze dostarczające odpowiednią ilość węglowodanów, białka i tłuszczów, które były wówczas popularne również wśród uboższych warstw społeczeństwa Rzeczypospolitej. Z szacunkowych obliczeń wynika, że jego koszt wyniósłby ok. 40% żołdu szeregowego wojskowego służącego w piechocie. W przypadku pobierania przez dowódcę większej części żołdu na wyżywienie swoich podwładnych, np. 50%, świadczyłoby to o możliwości utrzymywania z nadwyżki osób wspomagających działanie oddziału od zaplecza.

People, individually or in groups, move house for various reasons, motivated by economic, environmental, political, social (including personal), and spiritual reasons. The impetus for a move may be a push factor or a pull factor (or both). 2 To understand these factors in the past often only aggregated data of some sort are available, not records of why decisions were made to move. Even in the absence of detailed information, however, patterns of movement can be discerned that suggest, or provide hypotheses for, understanding why people moved.

Johannes Tinctoris (ca 1435 – 1511) is now remembered more for his theory than for his composition. His Missa L’homme armé, however, is a sophisticated work that both responds to earlier elements of the L’homme armé repertoire and offers the opportunity to evaluate Tinctoris’s compositional achievement against his contrapuntal teaching.

The ‘Et incarnatus’ of this mass seems simply to be one more example of Tinctoris’s dialogue with the broader tradition, holding up a mirror to the precursor canon around which Guillaume Faugues built his own L’homme armé mass. Examining this passage through the lens of compound counterpoint, however, expands this view enormously. Compound counterpoint provides a means of analysing structure and voice relationships within four-voice cantus firmus polyphony in purely contrapuntal terms, and reveals the ‘Et incarnatus’ to be a composition of extraordinary subtlety. Complicating the canonic structure of the passage, Tinctoris builds a complex network of relationships within and across voice-pairs, demonstrating a masterful control of contrapuntal complexity. This short passage, more than any other section of the mass, shows that Tinctoris’s technical facility matched his theoretical authority.

(Review of:) Alfonso Fernández de Madrigal, El Tostado, Breuiloquium de amore et amicitia / Tratado de amor y amiçiçia. I. De amore, Estudio y edición crítica bilingüe de los textos latino y romance por T. González Rolán y A. López Fonseca, Madrid, Guillermo Escolar Editor (Colección Hitos), 2021, 356 pp.

This paper deals with the complex relationship between Latin and Romance in the Middle Ages/Renaissance Period and focuses on the importance of translational activity from Latin for understanding the different stages of evolution of the Spanish language. We insist on the need to analyze translated texts, in comparison with the Latin source text, within a theoretical-methodological framework capable of accounting for the different manifestations of interface between source text and target text, and we offer examples of how the attitude of translators is not always a consequence of a faithful attachment to Latin despite the great admiration for the language of the classics in medieval and Renaissance times. It also highlights the importance of Latin sources not only for the evolution of genres that belong to the field of communicative distance but also of those in which the creation of a fictive dialogue is sought, suitable for the literary construction of an elaborated orality that will have a great repercussion on Castilian authors until the Modern Period.

W artykule na przykładzie rodzin Neledińskich i Kołyczewów omówiono powody emigracji do Wielkiego Księstwa Litewskiego z państwa moskiewskiego w drugiej połowie XV i początkach XVI w. Na podstawie przede wszystkim dokumentów z Archiwum Piłsudskich-Giniatowiczów (AGAD) udało się wyjaśnić nie tylko stosunki rodzinne, ale też szczegóły dotyczące urzędników centralnych. Źródłem do badań były głównie księgi Metryki Litewskiej, księgi pamiątkowe (przede wszystkim Subbotnik ili Pominnik monasteru supraskiego) i Rodosłowiec Neledińskich i Kołyczewów. Udało się uściślić czas zakończenia kadencji namiestnika kiernowskiego Semena Podbereskiego i ustalić nazwisko nowego. Głównym celem było poznanie korzeni rodzin Kołyczewów i Neledińskich, a także sposobu ich przybycia do Wielkiego Księstwa Litewskiego i prześledzenie procesie adaptacji w nowym otoczeniu.

The principality of Savoy kept on growing between the 13th century and the 15th century and more particularly in its western margins, always pushing its limits further, till they reach the Saône. Arriving at this river, the limit between the kingdom of France and the empire, the dukes found themselves caught in a power game between, on the one hand, ecclesiastical communities which had possessions across the Saône although located in the kingdom such as the abbeys of Tournus, Cluny, Ainay or Île-Barbe in Lyon, the Church of Lyon but also the Duke of Bourbon, heir of the Beaujolais possessions in the land of the Empire, and on the other hand the king of France who wanted to protect these communities pretending they had founded by their ancestors. Thus, in the 15th century, the clashes between Savoy with these different actors were frequent, thus forcing the King of France to intervene. The stakes were indeed power stakes that passed through the boundaries of these States. Thus, the marking of the limits by signs of wood, then of stone, was requested by Louis XI in 1476 in order to consolidate them and then avoid their destruction. These power issues went through the possession of strongholds such as that of Vimy (Neuville-sur-Saône) which had,been exchanged in 1435 by the Abbot of Île-Barbe Aynard de Cordon to Amédée VIII, giving him direct access to both one of the important strongholds on the left bank of the Saône but also to one of the main ports on the Saône upstream from Lyon. Finally, through various examples taken from the many documents kept in Lyon, Turin or Dijon, it is possible to retrace the exchanges and treaties made between the king and the duke, but also the means implemented to bring together the arguments to justify these limits and the duke’s claims.

El presente documento es un extracto de las páginas 200-216 de la transcripción del "Aucto del Finamiento de Jacob" que publicaría Louis Rouanet en el primer volumen de su obra "Colección de autos, farsas, y coloquios del siglo 16" publicado en el año 1901.

La obra en cuestión posee un valor significativo no solo por ser un auténtico ejemplo del patrimonio artístico español preservado con esmero, sino también por ser, en cierto sentido, un testimonio invaluable de elementos lingüísticos de la lengua de los romaníes de la Peninsula Ibérica.