Wyniki wyszukiwania - Biblioteka Nauki

1

A Rock Inscription of Ramesses IV at Gebelein: A Previously Unknown New Kingdom Expedition

100%

Wieczorek D. F.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

|

2015

|

nr 28

217–229

EN

The article presents a rock inscription of the Twentieth Dynasty king, Ramesses IV, found at the southern end of the Middle Hill of the Western Rock of Gebelein. It yields new evidence related to an unknown expedition sent via Gebelein to the south, and very likely, concerned with the acquisition of stone material for mortuary cult or/and king’s burial place.

2

A name tag on a piece of Late Roman Amphora (LR7)

86%

Danys K. , Kotyl M.

The Journal of Juristic Papyrology

|

2016

|

nr 46

1-7

EN

The paper offers an edition of an unpublished ostracon from the Giessen Collections bearing the siglum O. Giss. inv. 537. It is a potsherd of an Egyptian Late Roman amphora (LR 7) carrying a short one-line name tag that was most likely used to indicate the ownership.

3

Epigraficzna pozajęzykowość, czyli czego głazy nam nie powiedzą

86%

Mianowski J.

|

tom 5

103-109

EN

Runic and ogham inscriptions are contained within a form, place and shape which may pinpoint to a specific message that remains hidden on the level of the text itself. This extra-linguistic and extra-textual dimension of inscriptions was an iconic element of the process of shaping of early oral cultures in their transition to literacy. As Judith Jesch (1998) argues, due to the sole materiality of inscribed stones, which allows to contain words, as well as the fact that inscriptions create a space for convergence of oral and literate cultures, it is possible to pinpoint differences between these two types of cultures. The following article1 seeks to address the issue of transition from orality to literacy on the basis of early ogham and Latin traditions of inscribed stones. The main area of focus here lies in early Welsh inscribed stones, which represent a similar set of characteristics to runic inscribed stones. The extra-linguistic paradigm of these inscriptions allows distinguishing not only the meaning and addressees of the inscription, but also enables recovering information on the circumstances in which inscriptions were probably created.

4

Talking Stones: Royal Inscriptions in Medieval Karnātaka

86%

Mucciarelli E.

Cracow Indological Studies

|

2016

|

tom 18: Cosmopolitanism andRegionalism in Indian Cultural Dynamics

265-298

EN

The specific motivation of the medieval Hoysaḷa king Viṣṇuvardhana for a program of inscriptions that included both local and trans-regional elements was the necessity to present his lineage as a strong dynasty comparable to that of his forerunners. On the top of it, he chose a particularly shiny stone, the sandstone: this element of unicity in his program might be understood in relation to the necessity of the king to differentiate himself from other lineages and to make his presence on the territory quite noticeable. If the epigraphic sources—together with the temples, the sacred areas, and the literary courtly production—are to be considered as forms of media of communication, even of “mass-media”, we must read them in the space where they are located, as part of a broader cultural and political process.

5

Poetyckie inskrypcje na obrazach dynastii Qing

86%

Król A. I.

Roczniki Humanistyczne

|

2017

|

tom 65

|

nr 9: Sinologia

69-86

EN

The name of the poetic inscriptions on the Chinese paintings refers to those poems that describe or criticize images, but are necessarily part of the picture, that is, were written on them. However, along with the practice of inscribing poems, the inscriptions have adopted double meaning, referring to those and other poems that were physically included in the images, even if they did not depict or criticize the image, or if at a distant way they referred to the subject of the original image as The other border art genre proves extremely important in the study of Chinese poetry and painting, and presents various textual patterns of poetry-painting relations.

PL

Miano inskrypcji poetyckich na obrazie w malarstwie chińskim odnosi się do tych wierszy, które opisywały czy krytykowały obrazy, ale też koniecznie stanowiły element obrazu, czyli były na nich zapisane. Wraz jednak z praktyką inskrybowania wierszy inskrypcje przyjęły podwójne znaczenie, odnosząc się także do tych i innych wierszy, które były fizycznie zapisane na obrazach, nawet jeśli nie przedstawiały czy krytykowały obrazu, lub jeśli w odległy chociaż sposób nawiązywały do tematu oryginalnego obrazu. Jako gatunek z pogranicza innych sztuk inskrypcja okazuje się niezwykle ważna w badaniach nad chińską poezją i malarstwem i przedstawia różne wzorce tekstowe relacji poezja–malarstwo.

6

Postprawda inskrypcji w malarstwie ściennym - dylematy konserwacji

72%

Święcka E.

Ochrona Dziedzictwa Kulturowego

|

2018

|

tom Nr 5

177--185

PL

Inskrypcje stanowią istotny element wielu malowideł ściennych. Pełnią funkcje nie tylko dekoracyjne, ale także są dokumentem historycznym budynku. Po wielu latach każde dzieło sztuki może ulec znieszczeniu lub przekształcić się w wyniku przemalowań. W takich przypadkach konieczne są zabiegi konserwacyjne i restauracyjne. Podstawowym pytaniem pozostaje, czy działania konserwatorskie prowadzone na zniszczonych elementach winny być takie same w przypadku wszystkich malowideł, czy też istnieje oddzielny system wyłącznie dla inskrypcji. Przykłady praktyk konserwatorskich pokazują, że nie ma szczegółowych regulacji protekcji 'dokumentów zapisanych na ścinanach'. Zniszczone inskrypcje historyczne często są uzupełniane, a nawet rekonstruowane.

EN

Inscriptions are important element of many wall paintings. They are not only part of interior’ decoration but also written document of history of the building. After many years every work of art can be damaged or changed by overpainting and needs conservation and restoration. The fundamental question is if the rules of reintegration of lost parts are the same for all paintings or there is a system specific only for inscriptions? Examples from conservator’s practice show, that there is no strict regulation for protection of “documents written on the wall”. Damaged historic inscriptions are often completed and even reconstructed.

7

IDEA CZŁOWIEKA I BÓSTWA W STAROŻYTNOŚCI CZĘŚĆ II: Healing dreams at Epidaurus. Analysis and interpretation of the Epidaurian iamata

72%

Błaśkiewicz M.

Miscellanea Anthropologica et Sociologica

|

2014

|

tom 15(4)

PL

One type of the most important sources for the Epidaurian worship of Asclepius are theiamata inscriptions engraved on the four stelai that were erected in the fourth centuryBC by the authorities of a sanctuary of Asclepius at Epidaurus. The body of the survivingtexts contains approximately seventy tales, which are basically records of the cures and‘medical therapies’ carried out by Asclepius. However, the iamata inscriptions cannot besimply considered as an official index of afflictions registered and healed at the Epidaurianmedical centre: the analysis of the particular inscriptions enables modern scholars to revealtheir didactic, moralistic, economic and even advertising role. In my paper, I discussdifferent aspects of the iamata: at the beginning, I cite the leading theories concerningthe nature, veracity and authenticity of the iamata, since this particular issue constantlyattracts scholarly attention and remains controversial. Subsequently, I retrace the developmentof the Asclepiad worship and explain the phenomenon of the spread of the cult ofAsclepius as healing god. Since the problem of the iamata cannot be discussed withoutreferences to other sources, in my paper I frequently refer to iconographical, architectonicand literary pieces of evidence. The cited sources enrich my research with diverseperspectives: visual evidence allows us to comprehend the healing process; accounts leftby the classical authors, in turn, offer us a glimpse of the ancients’ attitudes towards thephenomenon of the ‘divine healing’ in Epidaurus and other medical sites. Finally, the architectonicdetails and reports from archaeological excavations make it possible to reconstructto a degree the infrastructure of the most famous medical centre in the Greek andRoman world. The content of the preserved inscriptions together with the aforementioned evidence reveal a detailed picture of the Asclepiad worship, expressed through the phenomenonof the iamata inscriptions.

8

“Who of us has never traced light over these walls”?: The archaeology of Stanisław Grochowiak’s poems

72%

Hejman H.

|

2020

|

tom 57

|

nr 2

129-144

PL

W prozaicznej ścianie, transparentnym elemencie scenerii życia, wiersze Stanisława Grochowiaka pozwalają odkryć konkret egzystencjalny, materię obdarzoną niesamowitym potencjałem hipnagogicznym, kronikę „przedmiotowości”. Ściana w imaginarium poety stanowi zarówno obiekt empiryczny, jak i fenomen, wykraczający poza ontologię materii, co warunkuje jej semantyczną płynność: raz przypomina antropologiczny dokument (miejsce inskrypcji kulturowej/biograficznej), kiedy indziej – substrat surrealistycznej wizji lub tworzywo artefaktu; może jawić się granicą strefy psychicznego komfortu bądź unaoczniać wewnątrzcielesną płaszczyznę, którą – niczym ściany prehistorycznych jaskiń – pokrywają archetypowe obrazy z epoki dzieciństwa (ludzkości). Szkic ten, zainspirowany kontekstami z pola historii sztuki, psychoanalizy oraz zwrotu ku rzeczom, jest próbą rozpoznania znaczeń koncentrujących się „na ścianie” w utworach: „Płonąca żyrafa”, „Malarstwo”, „Zejście” i „Ars Poetica”.

EN

Through a simple wall, a transparent element of everyday life, Stanisław Grochowiak’s poems enable one to uncover the existential concrete element, matter endowed with an amazing hypnagogic potential, a chronicle of ‘objectness’. In the poet’s imagined world, the wall constitutes both an empirical item and a phenomenon, which transcends the ontology of matter, which determines its semantic fluidity: at one point it resembles an anthropological document (a place of cultural/biographical inscription) only to, a moment later, resemble the basis for surrealist visions or the material of an artifact. The wall seems to be the limit of the zone of mental comfort or, e.g., expose the in-body plane, which, like the walls of pre-historic caves, is covered with archetypal images from (the) childhood (of humanity). This study, based on contexts in art history, psychoanalysis, and a material turn, is an attempt at identifying the references which focus “on the wall” in the following works: “Płonąca żyrafa”, “Malarstwo”, “Zejście”, and “Ars Poetica”.

9

Wizualizacja i poznanie: zrysowywanie rzeczy razem

72%

Latour B.

|

2012

|

tom 3

|

nr T

207-257

EN

The author of the present paper argues that while trying to explain the institutional success of the science and its broad social impact, it is worth throwing aside the arguments concerning the universal traits of human nature, changes in the human mentality, or transformation of the culture and civilization, such as the development of capitalism or bureaucratic power. In the 16th century no new man emerged, and no mutants with overgrown brains work in modern laboratories. So one must also reject the Great Divide between the cultures of the scientific and prescientific and replace it with multiple, uncertain and unexpected ‘not-so-great divides’, which can be described in meticulous anthropological studies. Although the achievements of science are certainly spectacular, and the gap between scientific practice and other areas of activity is so obvious, this does not mean that one must look for the “great” reasons behind this situation. One should rather focus on quite down-to-earth practices and tools used by scientists. A significant part of their activities can be described by referring to the craft of writing, reading and transforming of various types of inscriptions (records), and broadly understood visualization – their combining, performing, interpreting, confronting, comparing, shifting, shuffling etc. The important role of these tools and methods is especially visible in situations of scientific controversy. It is so because scientific controversies are won by the one able to muster on the spot the largest number of well aligned and faithful allies, and the technology of writing, printing and visualizing play a special role in mobilizing them. These are necessary to ensure that certain factors can be mobile – easy to move from place to place, and yet, immutable – not undergoing deformation as a result of the movement. This way, scientists are able to not only diffuse different types of factors relevant to the dispute and the process of constituting science, but also concentrate them in the centers of calculation, where, through accumulation, one can take actions not available elsewhere.

10

Cmentarz – jako przestrzeń obrazu i słowa. Postmigracyjne cmentarze ziemi tomaszowskiej – przykład Wierzbicy

72%

Kich-Masłej O.

|

nr 12

185-203

EN

In this study, we refer to the example of Wierzbica, where one of the largest and best-preserved post-immigration cemeteries in today’s Tomaszów Lubelski poviat is located. For the purposes of this text, we use material collected during the field exploration in 2014–2016, which the author developed and published in the form of catalogs in the Ukrainian and Polish language versions. In the proposed publication, we would like, first of all, to draw your attention to the richness of the tombstone inscriptions.

11

A Faction Acclamation Incised on a Pithos Found Near the North-West Church at Hippos (Sussita)

72%

Łajtar A. , Młynarczyk J.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

|

2017

|

tom XXX

289–302

EN

In one of the domestic rooms attached to the North-West Church at Hippos (Sussita), at least three ceramic pithoi were found, all of them in secondary use, possibly for the processing (storing?) of lime. One of them bore an inscription in Greek, scratched into its surface, which turned out to be an acclamation for the circus faction of the Blues. This interesting addition to the corpus of the factions’ inscriptions from Syro-Palestine is also lending the dating to the original period of the pithos’ use, which cannot be later than the Islamic conquest of the region in AD 636/638.

12

Na tropie spektakularnej omyłki. Nowe spojrzenie na toporek z „napisem” z Ostrowa Tumskiego w Poznaniu

72%

Kotowicz P. N. , mgr Piotr N. Kotowicz - Instytut Archeologii Uniwersytetu Rzeszowskiego

Acta Universitatis Lodziensis. Folia Archaeologica

|

2013

|

tom 29

EN

During excavations conducted by Witold Hensel and Jan Żak in 1951 in the capitular garden on Ostrów Tumski in Poznań the researchers discovered a small (8,1 cm long) axehead (ryc. 1), whose surface bore a set of cuts forming an „inscription”. This discovery was named as an archaeological sensation. Despite the fact that it was found in a layer dated to the modern period, it was identified,based on some analogies, as belonging to the 10th–11th c. A group of palaeographers was asked to partake in the studies of the artifact to help reveal the mystery behind this „caption”. Even though their opinions varied, it was generaly accepted that – most probably – these marks were latin STLA letters, interpreted as an abbreviation of the word stella („arrow”). Based on all these findings an entire pyramid of further ideas concerning the artefact’s function and symbolic connotations was built. It was emphasized that this is one of the oldest examples of native epigraphy, that it proved the local population to be able to write (and read) as early as in the 11th c. Additionaly, the axe was expected to hold an unspecified role assiociated with magical rites, etc. Nowadays, owing to a much more extensive knowledge on artefacts of this type, a critical typological-chronological analysis of the given specimen leads to quite different conclusions. Analogies invoked by J. Żak (1956) either bear serious disparities in details or are much younger than he suggested. The described axehead is a typical representative of M. Głosek’s (1996) late medieval/modern type IX. This identification is further reinforced by the chronology of this find’s context – the layer in which it was found was dated to the years 1500–1700 based on a large quantity of modern (glazed) pottery, fragments of stove tiles, roof tiles, bricks and iron objects. The small size of Poznań’s axehead is also not suprising. Beside the massive specimens of late medieval and modern axes, miniature forms are known as well (ryc. 2). Their function is not clearly specified in the literature, although they are usually identified as carpentry and fine woodworking tools or children’s toys. To sum up the elaboration so far, it is clear that the artefact from Ostrów Tumski in Poznań represents a typical late medieval, or – taken the chronology of the find’s context – modern form. Both the shape and dimensions are typical for many axeheads from Central Europe at that time. There is no reason whatsoever to continue to claim that this specimen is of early medieval dating and that it bore some special symbolic meaning. The revaluation of its dating allows a different approach to the set of marks, „inscription” if someone wills, found on the blade’s surface. If this set of cuts indeed forms a caption, in the context of widespread practice of labeling such items by their manufacturers and knowing a great handful of heavily ornamented axeheads from the time, the presence of these „letters” is not especially striking. Another thing is whether the newly outlined chronological context allows their proper interpretation, if any. This problem, however, should be left for specialists in the field of palaeography.

13

Duchy miejsca – napisy (graffiti) w przestrzeniach publicznych i prywatnych jako przedmiot badań archeologii współczesnej przeszłości

72%

Kajda K. , Frąckowiak M.

Acta Universitatis Lodziensis. Folia Archaeologica

|

2017

|

nr 32

345-363

EN

Writing, signing and carving names in public spaces are popular ways of indicating somebody’s presence in the world. Various inscriptions made in different places have been appearing from the ancient times until today. There are multiple motivations for such practice: a simple signing to indicate somebody’s presence, a declaration of sympathy or antipathy to some idea or person or political manifests and encouragement to engage in some actions. Despite the popularity of such phenomenon and its long duration, archaeologists, especially those involved in studying the recent or contemporary past, are not particularly focused on researching this source of knowledge. Most of the academic works which concern inscriptions and graffiti are conducted by sociologists or visual culture specialists. However, these sources may be truly significant in studying microhistories of the places and people. Thus, in our article we want to present a unique potential of graffiti in the studies related to the recent and contemporary past. The aim of our article is to show various spatial contexts in which graffiti may be encountered and to present how the archaeology of the contemporary past may take advantage of researching such inscriptions. After Laurent Olivier (2001), we think that discovering the local past is a characteristic feature of the archaeology of the contemporary past and our article aims to show how the specific “being” of graffiti around us may contribute to discovering the microhistories of people and places. According to Michael Bell’s concept (1997), we interpret graffiti as “the ghosts of place” which indicate the presence of those who are no longer in the place. Due to the breadth of topics connected with graffiti, we decided to focus on those inscriptions which manifest someone’s presence in the place, narrowing our studies only to its written form (not graphic).

PL

-

14

Dedykacja

72%

ABMK R.

Archiwa, Biblioteki i Muzea Kościelne

|

1970

|

tom 21

EN

-

15

O tajemniczym poprzedniku wielkiego żupana Serbii Stefana Nemanji, zwanym Tihomirem

61%

Szefliński B.

|

2016

|

tom 23

35-46

EN

The paper is focused on the figure of the predecessor of grand župan Stephen Nemanja. The name of thismysterious person has not been preserved in any source. However mentions in different sources enable toresearch major facts in his life. On the basis of convergent evidence of several sources, his name can bereconstructed as Stephen Tihomir. He was born probably about 1105 as the first son of one of membersof Vukanović dynasty – Stephen Vukan or Zavida. In his childhood he spent a few years in Zeta wherehis father escaped from Raška. There is no data about Tihomir until the year 1165 when he was appointedgrand župan by the emperor Manuel Komnenos. During his short reign he was driven by his brothersto capture the youngest one – Nemanja. However Nemanja managed to flee and take over the throne.Nemanja’s brothers had to escape. They came back with the Byzantine troops commanded by TheodorPadiates but they lost in the battle near Pantino. One of the brothers was drowned in the Sitnica river then.Most scholars believe it was Tihomir but more careful analysis of sources suggests it was another brotherof Nemanja (maybe his name was Constantin), not his predecessor. It is hard to say what happened toTihomir after the battle – maybe he lived in Skopie, maybe he came back to Serbia, acknowledged hisyoungest brother supreme power and received his own principality. If he had come back, he would havedied before September 27th 1186.

PL

The paper is focused on the figure of the predecessor of grand župan Stephen Nemanja. The name of thismysterious person has not been preserved in any source. However mentions in different sources enable toresearch major facts in his life. On the basis of convergent evidence of several sources, his name can bereconstructed as Stephen Tihomir. He was born probably about 1105 as the first son of one of membersof Vukanović dynasty – Stephen Vukan or Zavida. In his childhood he spent a few years in Zeta wherehis father escaped from Raška. There is no data about Tihomir until the year 1165 when he was appointedgrand župan by the emperor Manuel Komnenos. During his short reign he was driven by his brothersto capture the youngest one – Nemanja. However Nemanja managed to flee and take over the throne.Nemanja’s brothers had to escape. They came back with the Byzantine troops commanded by TheodorPadiates but they lost in the battle near Pantino. One of the brothers was drowned in the Sitnica river then.Most scholars believe it was Tihomir but more careful analysis of sources suggests it was another brotherof Nemanja (maybe his name was Constantin), not his predecessor. It is hard to say what happened toTihomir after the battle – maybe he lived in Skopie, maybe he came back to Serbia, acknowledged hisyoungest brother supreme power and received his own principality. If he had come back, he would havedied before September 27th 1186,

16

Znaki, inskrypcje i ślady na powierzchni drewna w zabytkowych konstrukcjach dachowych

58%

Mączyński D.

Wiadomości Konserwatorskie

|

2009

|

tom Nr 25

28--36

PL

Interdyscyplinarne badania drewnianych, zabytkowych konstrukcji dachowych ujawniły wiele nowych informacji naukowych, dotąd pomijanych i w związku z tym w niedostateczny sposób udokumentowanych. Analiza znaków ciesielskich pozwala na uzyska- nie informacji na temat jednorodności i kompletności konstrukcji oraz dokonanych w niej zmian. Pokazuje także ewolucję techniki budowlanej. Pęknięcia przebiegające przez znaki ciesielskie mogą świadczyć o tym, że do budowy użyto świeżo pozyskanego drewna. Napisy, podpisy i daty zachowane na powierzchniach elementów pozwalają ustalić czas powstania konstrukcji, jej przebudowy lub naprawy oraz mogą pomóc zidentyfikować wykonawców. Zupełnie nowym odkryciem są zachowane na niektórych elementach konstrukcji napisy handlowe. Świadczą one o przygotowywaniu części konstrukcji poza placem budowy i dostarczaniu jej w formie obrobionych elementów, prawie gotowych do montażu. Bada się także ślady pozostawione w czasie obróbki drewna przez tradycyjne narzędzia ciesielskie. Pozwala to ustalić dawne techniki obróbki drewna, kształt użytych narzędzi i metody wznoszenia konstrukcji. Można także stwierdzić, czy prace wykonywała jedna ekipa cieśli, czy też kilka zespołów. W szerszej perspektywie uzyskane z takich badań informacje mogą posłużyć do analizy historii rozwoju ciesielstwa i budownictwa na większych obszarach naszego kontynentu. Część z odkrywanych śladów nadal wymaga odpowiedniej interpretacji. W Polsce, w czasie remontów dawnych więźb dachowych, bardzo często zaleca się ociosać powierzchnie uszkodzonych elementów drewnianej konstrukcji. Jeśli nie wykonano odpowiednich badań i dokumentacji, po takim zabiegu ważne informacje naukowe ulegają całkowitemu zniszczeniu.

EN

Interdisciplinary research on historic wooden roof constructions revealed plenty of new scientific information, previously ignored and thus insufficiently documented. Analysis of carpenters’ marks allows for obtaining information concerning the homogeneity and completeness of construction as well as alterations made to it. Moreover, it illustrates the evolution of building techniques. The cracks running through carpenters’ marks could serve as evidence that freshly felled timber was used for construction work. Marks, signatures and dates preserved on the surface of elements allow for ascertaining the time when the construction was erected, rebuilt or repaired, and could help to identify the builders. Tradesmen’s marks, preserved on some construction elements, are a completely new discovery. They serve as proof that some sections of constructions were prepared outside the building site and delivered in the form of shaped elements almost ready for assembling. Traces left by the traditional carpenter’s tools during wood processing are also examined. It allows for identifying old techniques of wood working, the shape of tools used and methods of erecting buildings. It can be also stated whether the work was performed by one or several teams of carpenters. In a wider perspective, information obtained from such research can be useful for the analysis of the history of development of carpentry and construction work in larger areas of our continent. Some of the discovered traces still require appropriate interpretation. In Poland, during repair work on old roof constructions, it is frequently recommended to hew the surface of damaged elements of the wooden structure. If no appropriate examination and documentation had been done earlier, then after such treatment important scientific information is utterly destroyed.

17

Inwentarz zbiorów sztuki Prowincji Krakowskiej Zakonu OO. Kapucynów : (c. d.) : 3. Epitafia i inskrypcje

58%

Gadacz K.

Archiwa, Biblioteki i Muzea Kościelne

|

1966

|

tom 12

83-181

EN

-

18

Ksiądz Profesor Doktor Marian Rechowicz

58%

ABMK R.

Archiwa, Biblioteki i Muzea Kościelne

|

1970

|

tom 21

3-7

EN

-

19

[Dedykacja]: Słowo wstępne

58%

Nowodworski W.

Archiwa, Biblioteki i Muzea Kościelne

|

1971

|

tom 23

3-6

EN

-

20

Nieznane malowidło z 1805 r. pochodzące ze skasowanego klasztoru bernardynów w Barczewie

58%

Maciejko K.

|

tom 3

231-239

EN

The collection of the State Archive in Olsztyn holds a highly unusual item: a decorative inscription concerning the monks and donors of the Franciscan Observants monastery in Barczewo. It is a 200 by 100 cm, oil-on-canvas painting, whose textual part is composed of a decorative title, an outline of the monastery’s history, the list of donators, as well as of the deceased fathers and friars covering the period between 1599 and 1817. The fundamental content is organised into five columns. The painting was decorated with a composition of a geometrical ornament, a vine, and a bordure of skull and bones suspended on a ribbon. The dissolution of the order, which took place in 1830, led to the dispersal of the Franciscan legacy. In view of a small number of extant sources from the suppressed monastery, the plaque seems all the more valuable. The inscription, due to a poor state of preservation, has not been made available for research so far, a situation which the restoration works currently in progress will help to change.