Kármen Anita Baráth the BELT in LATE-MEDIEVAL HUNGARY A

CEU eTD Collection

A A COMPARISON OF ARCHAEOLOGICAL PICTORIAL AND EVIDENCES THE BELT IN LATE

MA ThesisMA in MedievalStudies Central European University Kármen Anita Baráth May 2013 Budapest - MEDIEVAL HUNGARY

CEU eTD Collection

Central European University, Budapest, in partial A A COMPARISON OF ARCHAEOLOGICAL PICTORIAL AND Accepted in conformance with the standards the CEU. of Thesis submitted toDepartment Medievalthe of Studies, ______of the Masterof degree Arts of in Medieval Studies. THE BELT IN LATE Chair, Examination Committee

Kármen Anita Baráth Thesis Supervisor EVIDENCES requirements ( Examiner Examiner May 2013 Budapest Hungary - MEDIEVAL HUNGARY by

)

fulfillment the of ___

CEU eTD Collection

Central European University, Budapest, in partial fulfillmentthe of A A COMPARISON OF ARCHAEOLOGICAL PICTORIAL AND Accepted in conformance with the standard Thesis submitted toDepartment Medievalthe of Studies, ______of the Masterof degree Arts of in Medieval Studies. THE BELT IN LATE Kármen External Reader EVIDENCES requirements ( May 201 Budapest Hungary

- Anita Baráth MEDIEVAL HUNGARY by

3 )

s of the CEU. s of

CEU eTD Collection

Central European University, Budapest, in partial fulfillmentthe of A A COMPARISON OF ARCHAEOLOGICAL PICTORIAL AND Accepted in conformance with the standards the CEU. of Thesis submitted to of the Masterof degree Arts of in Medieval Studies. THE BELT IN LATE ______

Kármen Anita Baráth the Department Medievalthe of Studies, EVIDENCES requirements Supervisor ( May 201 Budapest Hungary - MEDIEVAL HUNGARY by

)

CEU eTD Collection Budapest institution higher of education anacademic for degree. also declare the thesis that nopart of hasbeen others, part andno the of thesisinfringes onany person’s or institution’s copyright. I bibliography. Ideclarethat nounidentified and illegitimate the made work of useofwas researchmy only such and external information aspro Studies, declare herewith that the present is thesis exclusively own my work, based on I, the undersigned, , __ May2013 Kármen Anita Baráth

, candidate the MA degree for in Medieval 4

submittedin thisother to any form Signature ______

perly credited notes in and

CEU eTD Collection al helped to make style my and grammer alwaystohelpready Sz Zsolt Béla and Szende Katalin work. proper a do to ablte been have not would I which without topic my on supervisor. he however night, at late even problems discuss to ready were who and say encouraging always were him with consultations my advices, l of problems. my thank A great thanks for Annabella, who patiently endured my late answers and still solved still and answers late my endured patiently who Annabella, for thanks great A sharp and useful his for Laszlovszky József supervisor, my to grateful truly am I you

He showed me the library of Krems, and brought me several precious literature precious several me brought and Krems, of library the me showed He to Gerhard Jaritz who patiently read and corrected every single text I sent him, him, sent textI singlecorrected every and patientlyread who Jaritz Gerhard to

I wish to say thank you to Judith Rasson who wentlinestothankwho tothroughyousayRassonJudith wish my I and ACKNO akács prettier. weee I se s asked I whenever , W LEDGEMENT 5

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CEU eTD Collection III. CONCLUSION II. BELTS IN THE LATE I. INTRODUCTION II. 3.The beltin visual representations II. 2.Introduction tomedieval the beltin Hungary II.Late 1. I. 2.Sources and themethodology I. 1.Material examples II. 3. II. 3. cooperation andcontradictions between visual representations and artifacts II. 3.2.Interpretation ofthe represented belts in the Angevin II. 3.1.Depicted belts in Angevin I. 2.4.The case ofwater I. particularly 2.3.A important source I. 2.Chronological frame ofthe sources I. 2.1.Geographical framework ofthe sources Two unexampled representations:mounted the beltVizsolyin and Žehra Beltswith fittings purseA depiction in UpperHungary Decorated and undecorated hip Long Undecoratedwaist belts Belt buckle Characteristic featuresthe of Hungarian material Belts onfemalefigures Particularforms belt of decorations Depicted purses The decorated belts depicted onthe frescoes in Levoča Mounted ordecorated hip Undecorated hip Long strap decorated orundecorated waist belt Undecorated waist re A Belts onfemale figures 4. Interpretation ofthe represented belts in the Sigismund 3. Belts depicted latively rare type - - medieval beltin Europe and the international research strap decorated orundecoratedwaist

and - cultural studies

...... dichotomies

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...... - belts

...... - -

MIDDLE AGES belts belts in Sigismund – -

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colorsand drawingsmade after quondam mural paintings

...... thehip belt

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between visual representations and artifacts ...... –

- themy roots of methodology belts

TABLE OF CONTENTS ...... - - ......

belts ...... period muralperiod paintings ...... –

......

...... mural paintings and artifacts

...... – ......

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...... murals the of Saint Ladislaus legend - periodmural paintings

...... - ...... 6 ...... belts

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period muralperiod paintings

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......

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parallel ......

37 37 30 23 21 19 16 15 11 61 54 41 23 73 71 70 69 68 67 65 59 58 57 55 52 51 49 45 43 40 39 37

8 8

CEU eTD Collection VII. FIGURES VI. BIBLIOGRAPHY LISTV. IV. LISTFIGURES OF OF THE USED MURAL PAINTINGS

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103

97 96 81

CEU eTD Collection (Warsaw: Ossolińskich,1978.) Zakład Poland], im. Narodwoy 4 73): 537 3 1979) 2 26. Press, 2010), (Oxford: University MaryBeaudry Oxford C. 1 für Institut The Europe. in studies cultural material of centers largest the of one become Science of Academy Polish the in Ethnology and base a as sources archaeological the using mainly culture, discipline. Tadeusz the first II, War World the for term the defined he after life; everyday on research of importance the recognized Poland Roslanowski In etc. fashion, food, as life, everyday mate economic traditional Capitalisme et Économie materialon focused threewithculturalhisstudies France In Europe. of regions different scholars. social the between relationships of intersection the at field broad archaeology anthropology, and involving historyand art his a creates It materials. source and perspectives research areas, different together bringing life, everyday of aspects different researches studies ma Basically symbol. and article personal a as society the in played it roles the and object of type certain a better understand to approach its borrow to intend I way, another I. 1. Materia iod esl Jn Pazdur, Jan Hensel, Witold Tadeusz Roslanowski, “ Roslanowski, Tadeusz Dan Hicks, “ Hicks, Dan Fernand Braudel, Fernand

- n this In 566. 1

Three schools of research can be particularly mentioned in this context from three from context this in mentioned particularly be can research of schools Three

The material The l - 3 cultural studies

atrs hss hp t cnrbt t mtra clue tde, r utn it putting or studies, culture material to contribute to hope I thesis master’s Witold Hensel and Jan Pazdur published the first book summarizing material summarizing book first the published Pazdur Jan and Hensel Witold

Civilisation Matérielle, Économie et Capitalisme 15e Capitalisme et Économie Matérielle, Civilisation

Les étudesmédiévales en Pologneaprès 1945,” 1945,” Pologneaprès en étudesmédiévales Les - cultural turn,” in in turn,” cultural itra utr mtranjPlk w zarysie w Polski materialnej kultury Historia 1400 , rial with descriptions of social effects on the components of of components the on effects social of descriptions with rial

–

- the roots of mythe of roots methodology - cultural phenomena and the material should be used by by used be should material the and phenomena cultural 1800, I.

The Oxford Handbook of Material Culture Studies Culture Material of Handbook Oxford The I NTRODUCTION

the historian Fernand Braudel of the Annales school Annales the of Braudel Fernand historian the 2

hr h dat ih oil itr b mixing by history social with dealt he where 8

- – volumecalledbook

dealing with Polish material culture material Polish with dealing

- line. torywell,as the based on idea that Anua - 18e siècle 18e 4

1 rio de estudiosmedievales de rio Archaeology of Institute The - 2 [History of material culture in in culture material of [History 2

CivilisationMatérielle, 1 - 3

(Paris: Armand Colin, Armand (Paris: , ed. Dan Dan ed. , terial culture terial

8 (1972 8

Hicks, –

has has - CEU eTD Collection Társulat,1939 et. Történelmi(Budapest:al. ed. Magyar Sándor Domanovszky 1912); Nyomda, Stephaneum (Budapest: Békefi] emlékére Remig Békefi Dolgozatok emlékkönyv. 8 7 6 (1991): 102. 5 of amount large drew cultural his who into material archaeological first the but history, cultural in artifacts of significance the representations. visual and evidence archaeological history economic rather were works effo some sciences. social the in things material of study interdisciplinary an make to problems, anthropological to deployed were and studies archaeological between divisions the thinking reinforced anthropological it practice in and subjectivity Cultu versa.vice and materialisticturn a was turn cultural the that means which turn, cultural the of theory the developed Scholars experience. and identity, consumption, as such themes humanistic in objects materialistic on a 1980s the during anthropology social and archaeology British were studies cultural Anglo by Material recognized framework. theoretical my defines e work the their and Basically Ages Middle the on mainly focusing texts, and images, Austrian the by 1969 in Science.materialAcademy interdisciplinaryanarchaeology,researchesas cultureItof unit of established was institute Krems The whose life. everyday (Austria), of th aspects researching Krems Europe in institute in large other the Neuzeit is myself, frühen use I methodology der und Mittelalters des Realienkunde

Hicks, “ Hicks, “ Hicks, Gerhard Jaritz, “ GerhardJaritz, ei Bkf’ wrs n utrl itr wr gtee ad ulse tgte, see together, published and gathered were history cultural on works Békefi’s Remig n ugr aray rud h tr o te nineteenth the of turn the around already Hungary In Thematerial Thematerial 7

rts to represent Hungarian everyday life in historical publications, but the first first the but publications, historical in life everyday Hungarian represent to rts The Image as Histori Image as The - - cultural turn:”cultural 26. turn:”cultural 28.

- ao rsac i te 90, n i bcm priual pplr in popular particularly became it and 1980s, the in research Saxon –

ewe te mtra” n te “cultural”. the and “material” the between

ov svrl infcn, long significant, several solve cal Source or: GrabbingContexts,” or: Source cal

ral turn was characterized by a shift from objectivity to objectivityfrom shift acharacterized by was turn ral n sca history social and -

historical work was an ethnologist, Kálmán Szabó. Kálmán ethnologist, an was work historical [In memoriam Remig Békefi. Essays in memory of Remig Remig of memory in Essays Békefi. Remig memoriam [In ayr Művelődéstörténet Magyar 9

Archaeologists immediately recog immediately Archaeologists - ae, n te brl da with deal barely they and based, Historische Sozialforschung Sozialforschung Historische - - standing archaeological and and archaeological standing wnit cnuy hr were there century twentieth nd 1990s, sheltering research research sheltering 1990s, nd -

40) 1 - 2 [Hungarian cultural history], history], cultural [Hungarian 2

ry oen period. modern arly : Remig Békefi, Békefi, Remig : 6

aeil cultural Material multiple e 16, No. 416,No. nized Békefi Békefi 5

CEU eTD Collection medieval type], weapon 12 103 11 1944) Kiadása, (Budapest: Élet Magyar 10 (Budapest: O Alföld] living the in 9 thethe culture.parts creatorResearching thehelpsto themof understandas filter of in objects material culture surrounding peo the of sets collective also are images But context. cultural social, a in interpreted be must built intentionally are compou bears space, personalor public context,religious or profane a in is it whether image, An material. the of unit whole the understand and learn to be should step first the and perspective, particular this from entirely explored been never because images on emphasis greater a put to aim I thesis this In materials. source different on emphasis equal relatively places materialculture, of segment certain a describing constantly is subject this on literature of amount the because history research into further go to want not whorelies visual on most sources the frequentlyin his studies on Cumanmaterial culture. I do object certain sources. pictorial and a archaeological identify to possible is it how example proper a provided usin culture material medieval studyingto made step the Lászlófirst alreadyGerevich interdisciplinary, and worksof the but Csút. at cemetery the in found material clot of perspective the from life described he when representations. visual several included he and period Conquest Hungarian the in life everyday people’s the publications. reconstruct to archaeology his in absent still are though, sources, Pictorial

Szabó, Kálmán László Gerevich, “Acsúti középkori sírmező” [The medieval cemetery in Csú Gerevich, in medieval [The cemetery “Acsúti középkori sírmező” László yl László, Gyula András Kubinyi, “Bicellus: Adatok egy középkori fegyverfajta meghatározásához” [Bicellus, Defining a a Defining [Bicellus, meghatározásához” fegyverfajta középkori egy Adatok “Bicellus: Kubinyi, András - 166.

nraig Tog I ut a, vn oaas t s ae ht shlr when scholar, a that rare is it nowadays even say, must I Though increasing. Az alföldi magyar nép művelődéstörténeti emlékei művelődéstörténeti nép magyar alföldi Az hnoll mga np élete nép magyar honfoglaló A

Budapest Régiségei - in, others might be unconscious connotations, but eventually an image an eventually but connotations, unconscious be might others in, rszágos Magyar Töreténeti Múzeum 1938 Töreténeti rszágos Magyar

g multiple sources. multiple g ple, thewayobjectsand thisgroupple, of are representedthrough

12 23 (1973):23 189

Among archaeologists it is András Pálóczi András is it archaeologists Among

11 [Life of Hungarians during the Hungarian Conquest period] period] Conquest Hungarian the during Hungarians of [Life 10

h eris rsac cn aey e considered be barely can research earliest The László Gerevich did something similar for Csút, for similar something did Gerevich László 10

193. András Kubinyi’s article about the about article Kubinyi’s András hing based on the excavated late medieval late excavated the on based hing

nd, specific messages, some of them of messages,some specific nd, [Cultural remnants of the Hungarian nation Hungarian the of remnants [Cultural )

9 t], t],

Gy Budapest Régiségei ula László also used used also László ula

sn textual, using

they have have they - Horvath, 13 (1973):13 bicellus

CEU eTD Collection dissertation,2010. University, PhD Central European 15 16. den über Österreichisc Bericht 14 philosophisch 174. Wissenschaften, 1984), 433(Vienna: Akademieder Verlag derWissenschaften Österreichischen der Sitzungsberichte = 6 Österreichs Methode Mittelalters. 13 al on book comprehensive no still complete. less or more considered be can materialpainting wall the of image included Transylvania. from some and Hungary from (present fittings,brooches, belt of kinds every on focusing I artifacts. with representations visual the compare late chose I generalmural aimedrather toapictureaboutprovidepotentials visu as of paintings clothing I. 2 paintings. base or units, source independent as treated Chronicle, Illuminated Hungarian the of miniatures the on Anna of dissertation doctoral the like images, of treatment this change to aimed sources. other Vav studies. cultural material of conception the well serve can context visual a

Elisabeth Vavra, “Mittelalterliche Kunstwerke “Mittelalterliche Elisabeth Vavra, naái Kovács, Annamária lsbt Vva “ Vavra, Elisabeth . a oe, eivl mgs r uuly sd ny s ee lutain fr representing for illustrations mere as only used usually are images medieval notes, ra S ources s a As - I pn ruhy n ya o cletn mtra fr y rvos atr thesis. master previous my for material collecting on year one roughly spent I . a Rmna ad present and Romania) day the whole Upper Hungarian (present Hungarian Upper whole the

eivl ua painting mural medieval ujc o ti tei I hs a ahr aktv sget f aeil culture material of segment talkative rather a chose I thesis this of subject and and 14

n ugr te iuto i smlr Atog tee r wrs ee which here works are there Although similar. is situation the Hungary In usgshct ud Realienk und Kunstgeschichte the –

“

Ziel Court, Fashion and Representation, The Hungarian Illuminated Chronicle Revisited.” Revisited.” Chronicle Illuminated Hungarian The Representation, and Fashion Court, methodology buttons –

Verwirklichung hen Historikertag in Krems/Donau in Historikertag hen

costume

and beads. and l the known mural paintings in medieval Hungary, medieval in paintings mural known the l

- a Hungary day . Veröffentlichungen des Instituts für mittelalterliche Realienkunde mittelalterliche Realienkunde Instituts für Veröffentlichungen des .

a bss f y eerh n I ae n tep to attempt an made I and research my of bases as s cesre dpce i f in depicted accessories –

There Illustration ober die Illustration Sachkulturforschung,” für Quelle ne” in unde,”

- - line. In this thesis I plan to apply that to mural to that apply to plan I thesis this In line. itrshn lse der Klasse historischen 11 - day Slovakia) fresco material, with which the which with material, fresco Slovakia) day

o m suc bs i mr etnie I extensive, more is base source my Now I gathered muralfromTransylvaniapaintings gathered I n that work that n

mainly material artifactual different and i Efrcug o Ala ud ahutr des Sachkultur und Alltag von Erforschung Die

25 (1984),430 15

visual representations are rarely rarely are representations visual

also ecs nldn headdress, including rescos Österreichi

I have dealt with clothing, with dealt have I - 448.

schen Akademie der der Akademie schen

13 Though there is there Though

mária Kovács mária s Elisabeth As al sources.al

one can one

– I

CEU eTD Collection Központ,2002 és Restaurálási Műemlékhelyreállítási Alapítvány, faberendezések László Teleki (Budapest: megyéiből északkeleti Magyarország Lángi, József Jékely, Zsombor 2008); Alapítvány, László Teleki (Budapest: 16 contexts. different three in dresses examine in where context single every in representationsand surviving artifacts. choice. my beside problems dating the and research archaeological the in circumstances artifacts, in and frescos which object worthwhile be would shoes and buttons) and beads to (related cuts of belts group paintings. new anywhere else,can soIcertainly thatmysaymaterial source was researches costume, fro than view of point historical art from rather analyzed are frescos album these and albums paintings increased. sharply frescos decades two past the in that say

Zsombor Jékely, Kiss Lóránd, Lóránd, Kiss Jékely, Zsombor eiiu o secular or religious .

According to my experiences cloak buckles could show could buckles cloak experiences my to According of dress accessories, I chose I accessories, dress of I have been always interested in clothing in interested always been have I

– fashion, . 16

newly found newly s contain data which is not easy to detect, to easy not is which data contain s

multiple I , Upper Hungarian fresco examples show such such show examples fresco Hungarian Upper

1 However my first aim was to follow my previous path and analyze again analyze and path previous my follow to was aim first my However - 3 [Transylvanian mural paintings and painted furniture 1] (Budapest: Állami Állami (Budapest: 1] furniture painted and paintings mural [Transylvanian 3 believe,

Through belts I aim to do a complex research on fashion, clothing, visual clothing, fashion, on research complex a do to aim I belts Through n mtra culture, material and

- oue books volume context

concerning and old ones old and a fr h ms ptnil n it in potential most the far has

Several öékr falké Középkori

they appear they ,

n pbi o piae space. private or public a in Mrl anig fo te north the from paintings [Mural the fresco research has revived, and revived, has research fresco the 09; ósf ág, iáy Ferenc, Mihály Lángi, József 2009);

to fo to

e mrl anig wr dsoee, oe n more and more discovered, were paintings mural new oh h sae n te a o waig it. wearing of way the and shape the both ih high with

–

got to be restored be to got cus only one only cus

– pek Erdélyben Erdélyben pek the

- i 2006)

n 12 is, from First,

everyday life or life everyday representation -

ult poo ad eald analyses detailed and photos quality , since d since ,

tiny [Medieval mural paintings in Transylvania] Transylvania] in paintings mural [Medieval they lack they

resses and fashion are fashion and resses . It shows high high shows It . col ,

but more important more but and etos hr uuly valuable usually where lections are s

- ral speaking Broadly atr pr o medieval of part eastern high details which cannot be seen seen be cannot which details in then Falfestészeti emlékek a középkori a emlékek Falfestészeti significantly depiction

proper quotations proper diversity and the research research the and diversity rty sfl o further for useful pretty published in spectacular in published

Erdélyi falképek és festett festett és falképek Erdélyi

of artifacts also a also artifacts of

too, the number of known of number the m the perspective of of perspective the m aiblt bt in both variability

s but the belt is the is belt the but

of everyday life, life, everydayof

enrichedthe by

part of it, the the it, of part various

coas can scholars T e current he

Hungary] Hungary] . and the and

Albeit Albeit - rgued sided each each

CEU eTD Collection type visual of mural the source, paintings. identity and repres visual compare archaeology and history objects everyday paintings D mak images. might together fashion proper the and composition. tradition the cases their In slippery. aspect fashion the dead status high of case unpredictable the in especially show Paradoxically even or customs burial particular regarding information proper carries it that mean not does it worn, was object an that claimed surely purpos burial for produced was it or grave the in put was it before examiningthe up dressed people how way the of reasons or purposes them. of compositions understand th or buried was corpse the clothing related objectscan beconsideredindicatorsas the current of atthe fashion when time cannot objects cemetery area slippery rather layer. dresses Remnants of dresses of Remnants ee kept, were (including h cneprr fashion contemporary the ressing nt ny ige ics f cloth of pieces single only not s ; and I have chosen one particular clothing accessory, the belt to do so, and one and so, do to belt the accessory, clothing particular one chosen have I and ;

o ae rltvl eat image exact relatively a make To condition

like i

s hc are which regarding fashion, regarding

iitrs mrl anig, ae paintings, panel paintings, mural miniatures, entations with material objects material with entations in unavoidable textiles,

Nevertheless the intention of of intention the Nevertheless

of the certainof is e ul u undoubtedly up built be ,

h bs o m research my of base the and es and y rather ey

mainly el o coins or seals pecially , its presence can easily just just easily can presence its ,

objects it is notdifficultis itwasalreadyobjectstouseddecideitif tn for stand principally niaos f h cohn o a thin a of clothing the of indicators iua dpcin o at works art of depictions figural

dress accessories appear in cemeteries, which is a a is which cemeteries, in appear accessories dress 13 . hs hr cnet n t and context third This

previous o pee o acsois u particular but accessories of pieces or s

h tid context third the because of two reasons. two of because wih raise which , .

regarding shape, their assumed agency agency assumed their shape, regarding Hereinafter lcn gos n h grave the in goods placing

aho tendencies. fashion h da bd cn be can body dead the esnl ( personal s

the

a using am I ol poie help provide could ev a og tradition long a serve es.

usin hte those whether question and

e intersection he

But even if it can be be can it if even But emotional uh as such

The chronology of chronology The , tie glass stained illustrious n aho one fashion In h iae to images the a be can varied ) sculptures,

reasons. and

social f art of really – . )

e a a e

the the the By or or of

CEU eTD Collection 1976) Corvina, 17 detailed, therefore I believeisitworth placingemphasis this on comparison they periods; one thatwouldI to plan fillmywith work work of deal great a is there and costume, of aspect the from explored are paintings mural the of all not that say must I still but Ladislaus, Saint of legend the of episodes the in figures of clothing the for especially comparison, for thesis. master previous potential unexploited of lot a have still They Hungary. medieval in survived them of number great a lot a help t illustrations neglected. often are paintings mural and role this serve codices illuminated of miniatures or paintings and used, were often beenas used pictorial to sources identifyto objects, define accuratelyhowwhere or they culture. depictions material of analogies contemporary as them represent a Nevertheless important most and oldest here are here

László, Zolnay, Ernő Szakál, Szakál, Ernő Zolnay, László, rso i mdea Hnay r rte mnmlss epcal fo te earlier the from especially minimalists, rather are Hungary medieval in Frescos Using s

just just

in fashion analysis. fashion in I chose mural paintings of all the visualallsourcesmural thepaintingsthere because of chose I n hm epcal rgrig aeil utr a I ae niae as i my in also indicated have I as culture material regarding especially them, in give

and panel and

visual representations visual a few significant sculpture finds, as the one from Buda castle, Buda from one the as finds, sculpture significant few a rchaeological publications are rather inconsistent in using pictorial sources to sources pictorial using in inconsistent rather are publications rchaeological have s

h ipeso of impression the ht oe hy lyd n every in played they role what

change paintings in the fourteenth and early and fourteenth the in paintings In the research on weaponry or costume, murals a murals costume, or weaponry on research the In A budavári gótikus szoborlelet gótikus budavári A d

Frescos though is a large and relatively closed artistic unit; artistic closed relatively and large a is though Frescos vr ie oee, n they and however, time over ehd a methods

as observing them in their original milieu. Paintings have have Paintings milieu. original their in them observing tools for analyzing artifactsanalyzing toolsfor

regarding belts methodologies. research comparative the mong 14 left related to them. This research This them. to related left

a life. day

[Gothic statue find in Buda castle] (Budapest: castle] Buda in find statue [Gothic .

fifteenth century fifteenth n ulctos oee panel however publications In have

is not not is

eoe oe n more and more become Examining are a new but one of the of one but new . re frequently used frequently re

only a few codex codex fewa only

17 Hungary.

hc might which eelr in jewellery hiatus is the is hiatus Also Also

and and CEU eTD Collection 18 is It role. indirect an only plays analysis style case my In defensible. also but vulnerability, we Lángi, József to according at paintings the examining I artists. same the by pa wandering of existence the with reckon I thatknow restriction;I necessary above listed late generalof featurethe (present them of number large a preserved and whiting North and Empire, Ottoman per churches will already of territory the in paintings only belts the however, Basin, Carpath the in monuments pictorial surviving the all of examination critical a Ukraine; of areas examinedto I.

Jékely, Lángi, 2 . 1 include . Geographical the framework of sources - Eastern region of present of Easternregion In Medieval Hungary Medieval In of emerges question the topic the of selection After - covered day Slovakia). day present

my previousresults

get ished. Basically ished. lae u fo te research. the from out leave I . In order to limit the material I have decided to deal with deal to decided have I material the limit to order In . Falfestészeti emlékek Falfestészeti

reliableresults.ideal The would option all be of - the is too extended for extended too is day

archaeological

studies Hungary, Romania, Serbia, Croatia, Slovenia, Austria, Slovakia, and and Slovakia, Austria, Slovenia, Croatia, Serbia, Romania, Hungary, which I believe that e that believe I - medieval mural painting in the country, theinmural medievalpainting

Hungary, Romania and Romania Hungary,

the church of of church the there are three large areas large three are there of lot a conquest Ottoman the of expansion the to due probably

Chornotysiv uh way such , 217. , -

e l pitd y n master. one by painted all re day Hungary day here toohere it may separate some items from the same stylistic whole. If whole.If stylistic samethe items fromsome may separate material and mural paintings mural and material

a Master’s thesis Master’s a xamples from these three territories characterize well characterize territories three these from xamples

. are

(Ukraine) and and (Ukraine) Maramureș (Romania) Maramureș inters I might separate works that were produced were that works separate might I inters still

15 (where

a cncos f h dsdatgs f this of disadvantages the of conscious am I

this way this xetoal rc i mrl paintings mural in rich exceptionally

Slovakia. protestants

even if I deal with one type of object, of type one with deal I if even , which were beyond the pale of the of pale the beyond were which , ) , Transylvania and Upper Hungary Hungary Upper and Transylvania , Pidvynohradiv

18 o lre n ra hud be should area an large how Sin

medieval

painted over the frescos theoverpainted of Hungary and Romania, I I Romania, and Hungary of Methodologically this is a a is this Methodologically

so the other areas that were thatareas otherthe so ce in ce for instance for

my previous thesis I thesis previous my

Hungary,including the relevant the Urie, which, (Ukraine), ,

but I avoided I but mural –

with

ian ian the CEU eTD Collection (1995):2 137. 21 Kiadó,1954) Corvina 20 Kutatóintézete,1989) Művészettörténeti (Budapest: MTA fourteenth century] 19 more and more appear Sigismund Saint of figure the instance iconography in changes particular are there because conspicuous, rul given a to refer certainly which up shows find such If that. specify usually scholars kings, Angevin of reign the under occurred opportunity. the have they dynasty theyuse tocenturies and dated usually are These finds objects archaeological also but material historical art only not with deal I since complicated dynasty historical, a used having for criticized was 1954 in materialwaspublished muralpainting known currently the analyzing bookwhose Radocsay Dénes pieces. art with dealing publication a in irrelevant is scheme historical the historica art the or historicalthe use should I whether was questions main the of One paintings. mural examinable and known first the by defined was limit lower the since limit, upper the regarding especially one, geographical I. 2 L Austria. and Slovenia, Hungary, whose and name by known is who era this from Hungary other; each from Aquila Johannes of works itself style the treating but influences, foreign identify helps it and dating accurate for important

adislauslegendin theway. same Melinda Ernő Marosi, ed., Marosi, Ernő Dénes, Radocsay, Radocsay, Dénes, .

as an independent whole is irrelevant. I took this into consideration when I separated theseparatedinto whenthisconsiderationtook I irrelevant. isI wholeindependentan as .

Chronological the frame of sources akn te hoooia faeok perd o be to appeared framework chronological the Marking

Tóth, „Falfestészet az Árpád az „Falfestészet Tóth,

Johannes Aquila és a 14. századi falfestészete századi 14. a és Aquila Johannes

kzpoi ayrrzg falképei Magyarország középkori A

f bl blns o ht at f h futet cnuy which century fourteenth the of part that to belongs belt a If

19 - korban” [Mural painting in the Arpadian Period], Arpadian the in painting [Mural korban”

I treated the sequence of the mural paintings on the Saint Saint the on paintings mural the of sequence the treated I

er, they never miss mentioning it. mentioning miss never they er,

l periodization. According to certain art historians, art certain to Accordingperiodization. l 16 h pitns f the of paintings the

Mrl anig o mdea Hnay (Budapest: Hungary] medieval of paintings [Mural - based time frame. time based

[Johannes Aqui [Johannes

mural - based historical dating,historicalon based vn oe ifcl ta the than difficult more even

n h Sgmn period Sigimund the in paintings are identifiable are paintings

after dynastic changes dynastic after only 21 la and mural painting in the the in painting mural and la

My case is a bit more bit a is case My In frescos it is more is it frescos In master Ars Hungarica Ars

okn in working

23, no. 23, , for , ly ifly . 20

in – – .

CEU eTD Collection Kiadó,1983) (Budapest: Akadémiai 22 styles art Gothic Late century sixteenth the of beginning the to up century fifteenth the century begantheinthebeginning fourteenthof centurythe and art Gothic High in. seeping started gradually elements Gothic early when century, thirteenth Marosi in lapse timethe account possible. not is lines defined Ro of survival the obviate not does whole closed a is Period Angevin the of art the that idea The opposition. in not are they thatbelieve I and opinions;two thesebetween difference slight a only is there Basically, well a Maria Era. Gothic is Great the Louis the and Hungary of I Charles of era theartistically that stand the into took Prokopp well significant and detectable are which of characteristics long a about talks historians art of group broad have not did changes Dynastic influence isundeniable.A their impactartisticphenomena,but of on immediatelygreat deala classification. dynastic the methods, analytical used withprev model elaborated already an reconcile to had then.Scholars forward put were suggestions concrete first the least at or 1960s, early the around scheme European Western ha a than more L archaeology

uckily Mária Prokopp, Prokopp, Mária - Questions emerging from the periodization of Hungarian art have been disputed for disputed been have art Hungarian of periodization the from emerging Questions

eie ad lsd eid esl separa easily period, closed and defined until the 1430s the until s described apparent h poi the lf century. A classification of Hungarian frescos was devised according to the the to according devised was frescos Hungarian of classification A century. lf tla Teet Ifune n uas n at eta Erp, atclry Hungary particularly Europe, Central East in Murals on Influence Trecento Italian changes hlr se h dmnne f oaeqe r utl h mdl o the of middle the until art Romanesque of dominance the see cholars

s o te dynastic the not is is characterized by characterized is medieval occurred aeqe tlsi eeet, u i i tu ta daig strictly drawing that true is it but elements, stylistic manesque

ial, uiid lsiiain a md wih ok into took which made was classification unified a Finally,

Hungary compared with Western Europe Western with compared Hungary afterthe Árpádianeraand the Angevin periodwell.as

the International Ghotic style Ghotic International the hne u te hne n h mtra culture material the in change the but change 17 -

lasting survival of t of survival lasting e fo peiu atsi phenomena. artistic previous from ted

periodfromthe he Romanesque style, the style, Romanesque he

turn of the of turn .

From the From . As Ernő Marosi Ernő As .

fourteenth thirties iously

of of 22 .

CEU eTD Collection 25 24 23 archaeologicalmyfifteenth timeframematerialtocentury;thus of seems late the to dated objects some use I reason this For revised. be should dating the belts century be may accessories dress yo certain that believe I misinterpretation. mere a often is which periods, later to jewellery decorated prosperously and periods earlier to jewellery decorated when rather publications old also is jewellery for practice problematic. Most scholars followthe tradition previous of researchers; theyand often lean on dating The timeframe. same the approximately panel paintings style Gothic International the and th of end the relatively it makes century. fifteenth the of part mid the around since research, my to belong that paintings the Era LatetheGothic of threshold thecenturythe on fifteenth middle of the in lineimaginary upper all at analogy. co which accessories of representation such no is there but abundant classification. dominated.

Marosi, Marosi, Gerevich, „A csúti középkori csúti Gerevich,sírmező”„A ne ta te hv be dtd y te shlr; seily n h cs o fifteenth of case the in especially scholars; other by dated been have they than unger

where apporxiamtely the International GothicInternationalthe apporxiamtely where , so the lower limit was easy to define. to easy was limit lower the so , h ohr ru o m pri my of group other The are sources archaeological the century fourteenth the to prior centuries those From A magyarországi magyarországi művészet,A magyarországi művészetA In mural painting mural In 23

e Since this is more or less still accepted tod accepted still less or more is this Since

, when, Iwith deal visual representations. reign of Sigismund of Luxemburg. of Sigismund of reign - fifteenth century, and century, fifteenth easy.

hy ae priua object. particular a date they

All the mural paintings I will use for my research were made before made were research my for use will I paintings mural the All s

of the Arpadian period one cannot find visually represented belts represented visually find cannot one period Arpadian the of

h cer iiin f h Itrainl n Late and International the of division clear The , 26. ,

18. , because if I did it would be hardly justifiable why I ignore I why justifiable hardly be would it did I if because ,

ay sources, mary

scholars usually date monuments to the first or second or first the to monuments date usually scholars Following the concept of Ernő Marosi I drew an an drew I Marosi Ernő of concept the Following 18

r hsoia dtn taiin rw a line a draws tradition dating historical art Era

the I do not go beyond the Sigismund Period Sigismund the beyond go not do I 25

ends

rhelgcl aeil wl b from be will material, archaeological There is a tradition of dating simply simply dating of tradition a is There

ay, I chose my upper limit from this this from limit upper my chose I ay, . 24

This makes it possible to define define to possible it makes This l b ue a visual as used be uld

be wider,although it be - Gothic style style Gothic

CEU eTD Collection 28 163. ed. Társulat,1980), István Mezey(Budapest:Szent László on Ladislaus], Saint in painting], mural medieval 27 Böhlau13 (Cologne: Verlag,2009), funde archäologische „Mittelalterliche 26 dedicatetodecided cycleI muralpainting particular this from are mostsourcesnumerous and detectable. is cycle depicted the of traces some painting.where known are churches mural Hungarian medieval of inventions iconographical (1077 saint royal Hungarian the of life the from episodes certain depict which paintings I. 2 and objects other each well a is period Sigismund and Angevin the of art the both since but significant, was classification time historical art traditional the framework, In references. dynastic any without centuries for only hints finds also one however, coins, by possible is dating precise more when cases in especially literature, historical art in than materi often more the appears periodization classifying about is it if periodization cemeteries paintings numerous relatively of phenomenon signific the present the from be willmaterial comparative my of Most not. is

Béla Hankovszky, Terézia Kerny, ZoltánTerézia Mózer,Kerny, Béla Hankovszky, Zsuzsa Lukács, „A Szent László legenda a középkori falképfestészetben” [The Saint Ladislaus legend in in legend Ladislaus Saint [The falképfestészetben” középkori a legenda László Szent „A Lukács, Zsuzsa E.g. Elek Benkő describes properly the problems of szekler archaeology in Romania. (Elek Benkő, Benkő, (Elek Romania. in archaeology szekler of problems the properly describes Benkő Elek E.g. .

te areas other 3 . -

1095). The depicted episodes of the legend based on his life are th are life his on based legend the of episodes depicted The 1095). A particularlyA important source

nl fwr eeey excavations cemetery fewer antly Mainly in the fourteenth century there is a large thematically coherent group of mural of group coherent thematically large a is there century fourteenth the in Mainly

. r 26 I decidedto choose the dynasty egarding its artistic style as well as style artistic its egarding

n rhelgcl ulctos hr i n oe nvral acpal time acceptable universally one no is there publications archaeological In

(present

Athleta Patriae. T Patriae. Athleta - a Rmna n Slovakia) and Romania day

- 43.

im Szeklerland,” in in Szeklerland,” im

my previous Master’s thesis marking the chronological the marking thesis Master’s previous my – anulmányok Szent László történetéhez László Szent anulmányok

murals the of Ladislaus Saint legend Ave Rex Ladislaus Rex Ave - based periodizationbased , .

19 and also since also and Szeklerland opposed to the to opposed

- i Selr n Siebenbürgen in Szekler Die defined unite and clearly separable from separable clearly and unite defined l bt h dynasty the but al;

there

(Budapest: Kirosz Kiadó, 2000), 6. Kiadó, Kirosz(Budapest:

s poe eape o the for example proper a is it is relevant for both the frescos frescos the both for relevant is it

r fwr riat de o the to due artifacts fewer are exiguous

for thewholefor material - day Hungary day

number of number [Athleta Patriae. Articles Articles Patriae. [Athleta

oa cra sixty circa Today e only independent only e 28

Since my richest richest my Since ae historical based , ed. Harald Roth, Roth, Harald ed. , , because from because , –

excavated Ladislaus .

CEU eTD Collection 35 et Dvoráková, al., 1941); Great] Nyomda, Királyi (Budapest:Egyetemi Magyar Louis the 1927), R.T, Fiai) és F. (Wodianer R. Lampel (Budapest: 34 32. Könyvkereskedés,1874.), Akadémiai 33 32 (Budapest:Tájak Ladislauslegend] 31 Kiadó,67. 1995), Hungary] (Budapest: Akadémiai 14 a valóság és Művészet 30 Ladislaus water or paintings 29 Con Hungarian the to back go should depiction the of origin the and West of oriental certain that argue scholars Hungarian Some Norman of importance the emphasized roots. artistic Italian of examples. other the all for point base as by painted Rómer Flóris disputed. still are iconography the of roots and knightly behavior, rolemodel as men. in front of of examples served and function didactic instructive, an had They understand. to easier images the made actuality their feature, profane the Marosi Ernő to According proven. strict less intheRadocsaysymbolismDénesshowed depictions. up suggestedthatdepictions thefirst of assumed the and figures the of appearance fashionable the in manifests which characteristics, suc analogies pictorial other using and weaponry, and clothing depicted with László Gyula and Marosi Ernő by elaborated Theiconographic mighttype evolvethe in latethirteenth century. i or thirteenth, the of end the at appeared depictions summary brief a

Dvoráková, et Dvoráková, al., Marosi, Flóris, Rómer, Rómer, Flóris, The mo The Kornél Divald, „Magyarország középkori képzőművészete,” in in képzőművészete,” középkori „Magyarország Divald, Kornél Lukács. „A Szent László legenda a a legenda László Szent „A Lukács. Gyula, László, László, Gyula, The official center of the Saint Ladislaus cult was in Nagyvárad, but the origin and and origin the but Nagyvárad, in was cult Ladislaus Saint the of center official The ) st recent published book which deals with the complete surviving material surviving complete the with deals which book published recent st Kép éshasonmás Kép

iconographic contexts like castles, although without evidence this idea cannot be be cannot idea this evidence without although castles, like contexts iconographic

an Italian master in master Italian an Régi falképek Magyarországon falképek Régi - Set Lászl Szent A color copies, photos of them of photos copies, color Středověká nástěnná Středověká o it to

- 15. századi Magyarországon Magyarországon századi 15. , 70., befor 34

ó legenda középkori falképei falképei középkori legenda ó h Soain coa Vat Doáoá a te is o first the was Dvoráková Vlasta scholar Slovakian The I tr t do eape o te group the of examples drop to start I e - Korok

a sas cis n miniatures. and coins seals, as h Oradea (Nagyvárad Oradea középkori falképfestészetben:” 177.; Ernő Marosi, Marosi, Ernő 177.; falképfestészetben:” középkori

, 164 - Múzeumok Egyesület, 1992), 11.; Marosi, 11.; 1992), Egyesület, Múzeumok - 166. – -

33 [Ol rnh nlecs n hs vsa representation. visual these on influences French

is the book of Béla Hankovszky (Hankovszky, et al., al., et (Hankovszky, Hankovszky Béla of book the is

Later many significant scholars accepted this idea this accepted scholars significant many Later d mural paintings in Hungary] (Budapest: Eggenberger (Budapest: Hungary] in paintings mural d 20 [Picture and image. Art and reality in the 14 the in reality and Art image. and [Picture

115; Dezső Dercsényi, Dercsényi, Dezső 115; , Romania , n the beginning of the fourteenth century. fourteenth the of beginning the n 32 - [Medieval mural paintings depicting the Saint Saint the depicting paintings mural [Medieval nomadic elements point to East instead East to point elements nomadic

mvsee története művészetek A brought up the idea that the that idea the up brought )

was the prototype, and served served and prototype, the was 30 31

A relativeA chronology was

Nagy Lajos kora Lajos Nagy h cce a profane has cycle The . 29 Kép éshasonmás Kép

– Supposedly the first first the Supposedly

whether they are mural mural are they whether Středověká nástěnná Středověká

2, ed. Zsolt Beöthy Beöthy Zsolt ed. 2, Kép és hasonmás. hasonmás. és Kép quest period or period quest courageous

- [The age of age [The 15 , 69. , th

Ave Rex Ave

century century fresco fresco

- féle féle ne ne

CEU eTD Collection Műemlékvédelmi 105. Hivatal, 1996), Országos (Budapest: Haris Andrea Bardoly, István ed. protection] monument Hungarian the (1872 Hungary in protection monument institutional 39 38 Hungary,”King Ladislaus in 37 36 from Protectio Monument partially as such reliability. their question can one as horizon similar a in considered were they paintings aquarelle mural numerous I. warriors an ethnic of group, the Cumans, andalso a femalecharacter,the abducted characters secular partially depicts it because lays hist head on thewarrior, Cuman Romania) Oradea, articles. clothing the profoundly analyzes which far so repres the and clothing of importance the mention to and problems stylistic on mainly focused legend the visualof representationswith dealt who Scholars far. so consensus further. even

Mihály Jánó, Mihály Jánó, etHankovszky, al, Annamária Kovács, „Costumes as symbols of warrior sainthood: The pictorial representations of the legend of legend the of representations pictorial The sainthood: warrior of symbols as „Costumes Kovács, Annamária 2 ils olr „z némne melkéee kzee Mgaosáo (1872 Magyarországon kezdetei műemlékvédelem intézményes „Az Horler, Miklós . 4 what . The water case of The 37 adherence ie a re hand free a given

is scene five Usually they saw on the church walls but walls church the on saw they demand Színek é Színek 36

vn oaas hs eae iie shlr ad hr i n satisfactory no is there and scholars divides debate this nowadays Even wihaearay otrmie n hs ieenhcnuy rpis and graphics century nineteenth these in remained lost already are which s

he laphe the maiden. of Ave Rex Ladislaus Rex Ave te b the ,

s legendák beheading o h oiia painting, original the to n T . ee ois evd oh representation both served copies hese o dcmnig ua paintings mural documenting for 39

Annual of Medieval Studies at CEU CEU Studies at Medieval of Annual - Probably it is not that the that not is it Probably

colors andmade drawings aftermural quondam paintings tl o Kré, the Kerlés, of attle this ad hy were they and ;

[Colors and legends] (Sepsiszentgyörgy: Pallas Akadémiai Kiadó,72. 2008), legends] (Sepsiszentgyörgy:Pallas [Colors Akadémiai and

East versus West argument. T argument. West versus East

of this warrior and the and warriorthis of ;László, 38 represented

At the same time they must have followed certain criteria criteria certain followed have must they time same the At

Concerning fashion the cycle is interesting, particularly

A Szent László legenda középkori falképei középkori legenda László Szent - 1922)], in in 1922)], ne te oto o the of control the under

21 – in the place of already lost parts they invented they parts lost already of place the in independent artistic works; and works; artistic independent rsln see with scene, wrestling n toe rit, rwn teachers drawing artists, those and

eatr from Departure f eea kinds several of depicted

copiers drew or painted details differently differently details painted or drew copiers A magyar műe magyar A entation of fashion but there is there but fashion of entation Resting scene, when the exhausted king exhausted thewhen scene, Resting 6. (2000): 6. 145

n t wt te xeto o a few a of exception the with it, in rose here is no literature which misses which literature no is here and

Várad mlékvédelem korszakai mlékvédelem te ig hs ngt, the knights, his king, the , n h nntet century nineteenth the in - 162. ouet protection monument Saint Ladislaus and the the and Ladislaus Saint National Committee of of Committee National

ie Nagyvárad (i.e.

- 1922)” [The early early [The 1922)”

for this reason reason this for

maiden. were

[Periods of [Periods no work no ;

now now just just and

;

CEU eTD Collection 40 still use their some of examples disadvantages the about on insignificant quite had which figures Cuman those painti perishing the of copies of couple a made Hanuka this accessories original. the after notification without details

László, S aint A Szent László legenda középkori falképei, középkori LászlóSzent A legenda

Ladislaus

might be a problem. a be might

does not appear, yet in the real fresco it is there is it fresco real the in yet appear, not does

n cmaaie eerh hc das ih uh d such with deals which research comparative a In

and the and or any kinds of sign showing that the given detail was not was detail given the that showing sign of kinds any or

, which possible

Just to mention one example one mention to Just

representimportant details unreliability

122 22 - 123.

straps

of them, of ngs. However he he However ngs.

on their waist, the long the waist, their on

but József 1905 at Vítkovce in , regarding belts

relying on my on relying . 40

I am fully conscious conscious fully am I d tis s costume as etails re w belts even on even belts w . -

judgment strap girdle girdle strap made ,

CEU eTD Collection 44 Kunstverlag,Deutscher 1971) 43 Landesmuseum,Oberoesterreichisches 2004. 42 41 could scholars which decoration, and shape, structure, material, to according examples goods. grave and collec treasure church deposits, in up turned them of to reconstructwhole the and analysis material extensive make to scholars allowed which plates), buckle or ends strap them of pieces some only detect could scholars sometimes length, complete good a in preserved also were cases many in since situation, lucky relatively demonstrated are analogies relevant drawn, is workshops Fuchsenhof phases) ceramic in but centuries in specified not elaborated classified, is material the together, represented the of treatment The exist publications representations literature international II.

Fingerlin, Frances Egan,Geoff Pritchard, See Egan, Pritchard, Pritchard, Egan, See

1. Late e Shtfn vn Fuchsenhof von Schatzfund Der Due to the to Due Gürtel des hohen un späten Mittelalters un späten deshohen Gürtel - using the chronology of the pottery the of chronology the using medieval in belt hoard

by multiple other sources multipleother by

and written documents written and 44 , on

ample and spectacular material remained, medieval belt has a great deal of of deal great a has belt medieval remained, material spectacular and ample

The large material made it possible to set typologies, and distinguish their distinguish and typologies, set to possible it madematerial large The well outstandingly an is which

rs Accessories Dress belts’ place in fashion including their value and meaning in the society. society. the in meaning and value their including fashion in place belts’

II. artifact object.

ocrig s the as concerning BELTS IN THE LATE Dre Europe and the international research

ss Accessories c. The belt materialThe belt is s eeoe. ag aon o ojcs s olce and collected is objects of amount Large developed. is condition ,

d Brhr Poic, hms ütebr 133 Kühtreiber, Thomas Prokisch, Bernhard ed. Is Fingerlin, Ilse ;

. 43 where the accessory shows up shows accessory the where

Regarding dress accessories Western Europe is in is Europe Western accessoriesRegarding dress

, 14 , gathered smtms te ta rmie i is almost its in remained strap the a (sometimes

1150 23 -

24. arti found nearby found

o ol srp itns u srp themselves straps but fittings strap only not - - 1450 an at, o h research the so facts, Gürt find. new elaborated - huge 41 , and the whole material is supported and and supported is material whole the and , MIDDLE AGES the d tions, among castle and settlement finds settlement and castle among tions,

l e hhn n ptn Mittelalters späten un hohen des el 3. (London: 2002), Press, Boydell or

in eachNumerous context. examples

te finds other typo

in England (where the dates are dates the (where England in - hoooy s oe r less or more is chronology

. s n h cs o the of case the in as

Significant amount of amount Significant 42

T he network of the of network he f hi visual their of trapped between trapped -

2, Linz: 229,

(Berlin: (Berlin: a

CEU eTD Collection 46 45 people illustrious less second to sent were outmoded considered already were which classes merchant as law by middle ages. designs becom had the to prior ornate few mountsfromare examples neither amongarchaeological norinliteraryvisual finds or sources. century twelfth early the belts. for abundance real the brought century fourteenth the ornaments and types regarding but and twelfth the in already appeared belts on decoration of way varicolored can perfect belts find for parallelsin decora heraldic together,the and social statuswealth the or of personwhowore them. b the on location their and material, their decoration, their of character or types the size, Their clothing men and women for both indispensable is it and ornament ostentatious regarded is chronologicalarrangea to line. d i fil tlaie bu fsin te ye r ucin f h cohs hc i hold it which clothes the of function or type the fashion, about talkative fairly is ody

Lightbown, W.Lightbown,Ronald

After the highly decorated early medieval belts from the from medievalbelts early decorated highlythe After

In particular Despite Europe. in homogeneous rather is material belt medieval The from Western sgiiaty ih n soe i showed and rich significantly e privilege Medieval Medieval

h scn qatr n mid and quarter second the tion regional differences between the certain states are insignificant, and one and insignificant, are states certain the between differences regional tion . the1160s

Fashion trends could reach lower social layers only when certain clothes certain when only layers social lower reach could trends Fashion Europe

uropean Jewe Medieval of

late thirteenth century beside buckles and strap ends strap and buckles beside century thirteenth late ol by hm ntrly ihu ter rcos tn o metal or stone precious their without naturally them, buy could h upr lse wt ocsoa cnesos en md t the to made being concessions occasional with classes upper the there , but the material is relatively poor these times, and there are only a arethereandonlymaterial times, these therelatively butpoor is , before the thirteenth century thirteenth the before European Jewe European

Belt is a crucial element of thewellcrucialelementisathearmor dressandBelt as of is a gap when gap a is llery, thetheand continent BritishIsles 310.

llery l o te orenh etr, all century, fourteenth the of dle 24

(London: Victoria & Albert Museum 1992), 306. & Museum(London: 1992), Albert Victoria even in even ncreasingly wide and flourishing variety of of variety flourishing and wide ncreasingly

Western

high fashion was frequently defined frequently was fashion high

high middleages high - Europe - ad lte daes where dealers, clothes hand 45 . Scholars agree. thatthe

one cannot find their their find cannot one thirteenth century thirteenth

. The earliest belt 46 ln te late the along

– The material The

the tenth to tenth

–

it it - . CEU eTD Collection 54 53 52 51 50 49 48 47 down and it tied then body, their around once strap the involved people fashion. and sizes, millimeters. sixty than wider not were they belts, sword from apart but strap, the of width the influenced also function and fashion middle fashion, sizes: diverse. also be could belts the of size The chronology. the to related not is ornament of presence or lack the onwards; century fourteenth the from together knifes pouches for except maybe unadorned completely simple, be could them silk, with woven or leather either is which strap a is basis Its elements. ornamental purely or functional after weddings lot; widespreadinitbecame and g century fourteenth the from but fitting

Lightbown, Egan, Pritchard, Egan, Pritchard, Lightbown, Lightbown, Lightbown, Lightbown, Margaret Scott,

wardstoo, and t vle s ersne wl i te custom the in well represented is value its

s. in the front the in with Belts were worn above or around the waist or on the hips. They can consist of several of consist can They hips. the on or waist the around or above worn were Belts 47

Already in the thirteenth century belts are centurybeltsthirteenth the Already in which were hooked to small metal loops metal small to hooked were which

, not only in the earlier periods when jeweled belts were counted as curiosities but but curiosities as counted were belts jeweled when periods earlier the in only not , These times wearing spectacular belts was also the privilege of high of privilege the also was belts spectacular wearing times These linen, or worsted. The decoration of it could be also varied. Certain examples of examples Certain varied. also be could it of decoration The worsted. or linen, the Medieval Medieval Medieval Medieval Medieval Medieval ra, middle broad, it o bls a standardized. was belts of width A visual history of costume of history visual A Dress Accessories Dress Accessories - ie ad arw tas ee ahr on y men. by worn rather were straps narrow and sized . 54

itmore became more andwidespread, inthe late

European Jewe European Jewe European Jewe European Jewe European Jewe European

In the thirteenth the In - ie ad narrow and sized more and more circles of the society. morecirclesof more and

, 36. , 35. , llery llery llery, llery llery irdles of solid metal were already worn by rich bourgeoisie rich by worn already were metal solid of irdles

, 310. , 309. , 320. , 318. , -

306. (London: B. T. Batsford Ltd. 1986), 14. Ltd. 1986), (London:Batsford T. B. fourteenth century it reached almost to the feet of the of feet the to almost reached it century fourteenth 52

In certain areas t areas certain In 25

strap.

53 .

50 longer than the circumferencthethan longer of matter the purely was it of length The f iig et t bie, e brides, to belts giving of

The decorated and plain versions existed versions plain and decorated The

hl te ra belt broad the While here were regulations for girdles’ for regulations were here

Medieval girdles came in 3 in came girdles Medieval 48 a pendant was left to hang hang to left was pendant a

- Fine gird Fine middle ages. 51

Vagary of the current current the of Vagary pre, es or keys purses, , les were worth a a wereworthles etrd female featured e of the waist the of e e at ven 49 people, rank

royal royal ; ,

CEU eTD Collection 60 59 58 57 56 55 sub additional many and types buckle several distinguished scholars frame the of shape the diffe from examples European several using frames the of width the various;formbe framecan typologyunifiedaccordingof and wasup set the and toshapes pieces. shaped elegantly to crude very from decorative, highly to plain from is range considerat main the probably was fashion shapes, different functional the no between differences are there Since periods. all in them features diversity high society of level fit. was richly or simple absolutely be could which frame the on tailed is plate flat a necessarily not but occasionally o consist nowadays. even follow scholars that typology a created and material, buckle high the analyzed and together collected Fingerlin Ilse corpus extensive punched decorationbe can examined them. on to there are itself strap the shaping by but survived solution. seen often an is body the around belt the to twice or once it Looping slides. of usage the avoiding always but strap obs can one brasses monumental and effigies on manuscripts illuminated of depictions In unlikely. idea this make representations visual but ground the in fast composed thatmaterials such of made were they that possible be could wearer.

Ronald W.Lightbown,Ronald Egan, Pritchard, Egan, Pritchard, Geoff Egan, Frances Pritchard, Frances Egan,Geoff Pritchard, Ilse Fingerlin, Ilse Fingerlin, 55 The most common metal or bone element if there elementif bone or metal mostcommon The 59

a rm wt a i, whic pin, a with frame a f and even the fo the even and Interestingly in this period slides do not appear to have to appear not do slides period this in Interestingly Since buckles provided a modest opportunity for fashionable expression at every every at expression fashionable for opportunity modest a provided buckles Since Gürtel des hohen un späten Mittelalters un deshohen Gürtel späten Mittelalters un deshohen Gürtel Dress Accessories Dress Accessories ornamented

Medieval European Jewe European Medieval rmal variants of such belts which were not ornated by anything else else anything by ornated not were which belts such of variants rmal Dr . On the other side of the strap the strap end end strap the strap the of side other the On .

ess Accessories , 35. ,

56 36.

In Western In

i often is h llery , 50. , analyze. Stitched, stamped, incised, engraved, or engraved, incised, stamped, Stitched, analyze. - 26 Europe 57 , 319. ,

, 11. , (Berlin: Deutscher Kunstverlag,1971) (Berlin: Deutscher re ifrn wy o hnln te flagging the handling of ways different erve

from the same material as the frame, and and frame, the as material same the from

several variously elaborated belt straps belt elaborated variously several are any on belts is the buckle.the is belts on anyare rent countries rent been used. Theoretically it it Theoretically used. been - –

and late and also a flat plate flat a also 58 .

According to According Usually they they Usually - medieval o. Its ion. 60 In her In

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CEU eTD Collection 69 68 67 66 65 64 63 62 61 and metal same the mostlyfrom are strap the on Mounts strap. the on repetition on based was fromdamage.them strapprotectedand alth decorative, purely probably were mounts Belt belonged tothe armorhorse equipment or connectingtogether two separatestraps. functi specialized a had it Possibly onwards. century themwith furnishedinternal andan a pin) plate between them.is It presentthe fromthirteenth tu market. probably buckles oval double mid when the time from same prevalent the became century, but fourteenth century thirteenth late the in appeared bar central purposes. both serve could actually them of some brooches, confuse to easy are millimeters thirty over are that those and shoes on used late Their buckles. circular for true particularly is It buckle. from standardized were fittings strap because cloaks, or shoes to belong of those from buckles belt rectangular the of middle the From century. fourteenth the than earlier far examples their with meet can one up, showed frame ‘D’ and oval the First together. present is them of variant most ages middle etc. pins, their in variations and elements, decorating further plate, attached an of absence or presence the considering types

Egan, Pritchard, Lightbown, Egan, Pritchard, Egan, Pritchard, E Egan, Pritchard, Egan, Pritchard, Egan, Pritchard, SeeFingerlin, gan, Pritchard, h futet cnuy nad, n ol te ie a tl hw o nepe a certain a interpret to how tell can size the only and onwards, century fourteenth the In the high society usually even ordinary wear was richly o richly was wear ordinary even usually society high the In 66

There are some isolated types as for instance buckles with two loops (only one of of one (only loops two with buckles instance for as types isolated some are There -

Medieval Medieval or square or Gürtel des hohen un späten Mittelalters un deshohen Gürtel Dress Accessories Dress Accessories Dress Accessories Dress Accessories Dress Accessories Dress Accessories Dress Accessories

European Jewe European - shaped buckles spread. buckles shaped hrenh etr owrs h pan iclr buckle, circular plain the onwards century thirteenth

, 210. , 109. , 82 , 64. , 95 , 57 , 89 , 61 llery - - - -

89. 101. 64. 93. Not all Not

, 307. ,

They were never used singly; theirdecorative singly; effect wereused never They

ftetps pera tesm iebt n late in but time same the at appear types the of 27 64 , orPritchard, , Egan,

In some cases it is not easy to differentiate to easy not is it cases some In ough to some extent they strengthened the strengthened they extent some to ough on which is not yet identified; maybe it maybe identified; yet not is which on 65 - eivl xmls ee also were examples medieval Dress Accessories

Square rnamented - hpd uke with buckles shaped nd p n the in up rned -

shaped buckle shaped

or studded. or ih annular with 67

certain 62 68 -

CEU eTD Collection 78 77 76 75 74 73 72 71 70 up show examples their of most already, deposits centurythirteenth late in pieces figurative find can one Notwithstanding latest. the appeared mounts figurative horse on as well be military or belts waist men’s on depictions contemporary in represented often is It fittings. belt sword used frequently most the of one became and century thirteenth the in also a mounts, shaped frequent, became mounts Circular colorful. century. thirteenth ot with 1150, around already detectable detachedand remounted again on a new belt. fourteenth mid the in century appear might girdle the on fittings strap different of combination spaced. widelymore are they cases other in together close very set are they cases some well. as clothes of fringe the on or purses shoes, on but straps on only not up showed they century fourteenth late the from and evolved, them of forms different many when century, thirteenth mid the century twelfth mid the in fashion intocame identical.isusually sizeand examp are therenevertheless

Egan, Pritchard, 198, 234. DressEgan, Accessories,165, Pritchard, Egan,Pritch Lightbown, Egan, Pritchard, Egan, Pritchard, Egan, Pritchard, Egan, Pritchard, Fingerlin, . Probably the first strap fittings were rectangular were fittings strap first the Probably 74

It presents some difficulty to define the date of mounts since sometimes they were were they sometimes since mounts of date the define to difficulty some presents It Gürtel des hohen un späten Mittelalters un späten deshohen Gürtel Medieval Medieval ard, ard, 72 Dress Accessories Dress Accessories Dress Accessories, Dress Accessories Dress Accessories Dress Accessories

nd certain asymmetrical forms.asymmetricalcertain nd - They are are They ans srp cvrn te hl late whole the covering straps harness 76

European Jewe European In the last couple of decades of the century, the image is already pretty pretty already is image the century, the of decades of couple last the In usually evenly spaced, spanning the whole width of the leather. In In leather. the of width whole the spanning spaced, evenly usually 70 les for combination of two different kinds of mounts, their shape their mounts, of kinds differenttwo combinationof for les

Similarly to buckles mounts show high diversity. Probably they they Probablymounts diversity. Similarlyhightoshow buckles , 209 , 198. , 209. , 198. , ,

244. 215. llery -

210. , 307. ,

her square her

, 84 ,

, along with foiled fittings, lozenge (or diamond) (or lozenge fittings, foiled with along 75 71 28

85. but became widespread and varied rather from from rathervaried widespreadandbecame but

- A particular type, the bar mounts appeared appeared mounts bar the type, particular A shaped variants from the beginning of the of beginning the from variants shaped - shaped. Pyramid shaped. - ide ages. middle

rather after the middle of of middle the after rather 78

- shaped mounts are mounts shaped Ring mounts and and mounts Ring 73 lts, as as lts,

The

CEU eTD Collection 82 81 80 79 about picture accurate give to on relied after long sometimes commemorate, and Sometimes determinable be to seem sculptures funerary of date the identified, be can deceased depicted the three the reproduce can which medium funerary mainly are arethevisualpredominantlypictorial,whilei Europesurviving sources fashion of culture material the with dealing scholars among trend research a visualtreatedrepresentationswho imagination. scholars’ completing help to guide scene contemporary coulde bepiecesthatart to ideaarttothe historianssometimeaccept Though first muchless flexible, theywere considerably lesscommon thanthe textile examples. square of wholly were belts hip Some girdles strap dangling waistgirdlethearound wore Men dec of couple first the in already detectable accessory. used commonly a considered be cannot still it but material century. fourteenth the

Stella Mary Newton, StellaMary Newton, Lightbown, Egan, Pritchard, Egan, Pritchard, iul represen Visual ra ad ihy eoae sod et rud h hp i adto t a narrow a to addition in hips the around belt sword decorated richly and broad funerary monumentsfunerary Medieval Medieval , artworkswere interpolated to only explain forms dress andof details

oehr with together Dress Accessories Dress Accessories Fashion in the Age Black Age the Prince of the in Fashion

European Jewe European

n mk sc cmlx nlss n r a cnet o ol a visual as only not context as art on analysis complex such make and – and by the fourteenth century their examples vanish from the market. the from vanish examples their century fourteenth the by and . 79

ain are tations Fashion of belts worn on the hips slowly replaced the fashion o replacedfashion theslowlyhipsthe beltsworn on Fashion of e

ffigi Rarely one can find loops too in the fourteenth century belt fitting fitting belt century fourteenth the in too loops find can one Rarely

h cran eitd aho trend fashion depicted certain the s bass ad nie slabs. incised and brasses, es,

, 154. , 200. 184, ,

llery were commissioned within the lifetime of those they were to were theythose of lifetime thewithin commissioned were , especially muralpaintingsespecially ,

well , 317. , - shape metal plaques but since they were weighty and and weighty were they since but plaques metal shape

the - -

dimension xlie i Western in exploited

their death. their age ades of the fourteenth century in male fashion. fashion. male in century fourteenth the of ades 29

or social status social or

Stella Mary Newton is one of the pioneers the of one is Newton Mary Stella al

(Suffolk: Boydell Press,(Suffolk:1980) Boydell

In many cases f cases many In effect of clothing on a body a on clothing of effect

in a different level different a in T - of the dead the of uoen ieaue n belts. on literature European ee cltrs r te only the are sculptures hese s I i nt h cs though. case the not is It . uneral effigies cannot be cannot effigiesuneral yewitnessrecords n the Britishthe n 80

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CEU eTD Collection 87 Eperjesen 86 85 84 83 fifteenth the in later, much spread century Europe Western In peoplewore it. way the and elements, decorative its of shape the material, of characteristics the estimate testaments. and inventories in listed often medieval in found often are they valuable; belts considered People perspectives. many from examined be can connotations symbolic and functions, characteristics, formal its that means which sources, written and visual both and fourteenth the from graves medieval in found accessories II. 2 the represented female fashio diversity higher much dress official in positions certain hold they if rarely or armor in up scale. broad a every cover Fashionable not do costume their of types the representations, visual in diverse scale. broad quite a in falls usually is date their problematic also are sources Pictorial differently represented was person given the that examples

Szende, details.in more them about I write goingHereinafter to am Scott, Scott, Kata . Introduction to medieval the in belt Hungary i Szende, lin A visual history of costume, historyvisual of A costume, historyvisual of A

The wriThe Hungary In onwards

(Budapest: MTA Történettudományi Intézete63. 2004), Történettudományi (Budapest: MTA Otthon a városban a Otthon tten documentstten mentioning belts

thn vrsa. ásdlm s nai utr a öékr Spobn Pzoya és Pozsonyban Sopronban, középkori a kultúra anyagi és Társadalom városban. a Otthon , 86 day garment rarely appears on sculptures, since men were men since sculptures, on appears rarely garment day

device while inventories which provides most of the object the of most provides which inventories while also . 84

, 131. , , On pictorial representationspictorial On

t became multitudinous in civil medium from the twelfth the from medium civil in multitudinous became e et s n o te ot motn ad pcaua costume spectacular and important most the of one is belt he

n seemsto be

14. 13.

, since most of them do not depict concrete persons and and persons concrete depict not do them of most since , –

sixteenth

lesswide hoards and metal decorations and belt buckles are buckles belt and decorations metal and hoards 85 30

These sources significantly help scholars to to scholars help significantly sources These

do not match with the period I deal withthematchwithnotdealperiodhere do I However men’s clothing appear to be more be to appear clothing men’s However

century. .

the situation is the opposite the is situation the

, or in a rather a in or , 87

fifteenth century. It abounds It century. fifteenth n Hungary In ; women’s clothing show show clothing women’s ; - focused standardized

h frt known first the usually , the ,

descriptions - thirteenth scale of of scale dressed dressed

way.

in 83 .

CEU eTD Collection 93 92 19 91 Régiségei Budapest 90 89 88 problematic, andit but regarding w money straps. textile precious on sewed were which mounts and buckles with belts and mentioned not are bases is concerned silver. are always mounts as far as least at sources written these in material Their mor provided and objects of purposes different served Inventories value the or material the only representative them. identify to able are readers which to according objects certain listed than test culture. material contemporary the of of aware be to even 1254, from inventory Stephan’s King as exceptions few very a With widely prevailedwilling of custom the testamentsare

Szende, Szende, Szende, Szende, László Zolnay, “ Zolnay, László 34),67. Kálmán Szabó, Szabó, Kálmán ato using two using enumer later, codn t ter value. their to according important less was chattel mentioning people, richest of case the in especially and r,

Otthon a városban a Otthon városban a Otthon városban a Otthon városban a Otthon s akd n inventories. in marked as the

thantestaments, ation of ation

- value Due to their relatively high prices they were often pledged often were they prices high relatively their to Due There are t are There three hundred years later years hundred three from the midthefourteenthcentury, from objects are described only by a few salient or unique characteristics unique or salient few a by only described are objects certain features certain A pártaöv A Ifjabb Istváb király számadása 1264 számadása király Istváb Ifjabb

21 (1964),21 79

might work

of belts of

elis and realties . [The decorated belt] (Kecskemét: Első Kecskeméti Hírlapkiadó Kecskeméti Első (Kecskemét: belt] decorated [The . , 138. , 130. , , 73., 70. wo types of belts in documents: plate documents: in belts of types wo

. and theyandprevailwidelythe inseventeenthonlycentury. -

93 114.

e details. e

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therefore Regarding belts inventories contain the contain inventories belts Regarding as among nobility so t so nobility among as , ee are here

scripts etmns ee cnan h utr elh f the of wealth utter the contain never Testaments and 31 - ből” [King Stephan the younger’s inventory from 1264], 1264], from inventory younger’s the Stephan [King ből” hr ws o ed o further for need no was there

as sources for sources as

in ideal cases their writers their cases ideal in

but money. ay tm rmie i witn sources written in remained items many

it is thefifteenthitis when he/ she uses them for the analysis the for them uses she he/ when - documented in the early the in documented

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the medieval material medieval the - belts regarding which textile which regarding belts 90 -

sixteenth i nventories showed up up showed nventories o ti rao those reason this For

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century és Nyomda és modern age, modern most items most 91 that they that , usually , is rather is O almost ne hasne

when - Rt, Rt, . 89 92 .

CEU eTD Collection mediev [The sírmező” középkori csúti Régiségei “A Gerevich, László belts: weapon 97 Karcag in cemetery settlement 96 Cuman the of Hungariae Archaeologicae Communicationes grave first the of interpretation possible 95 246Gyula Kiadó,1988), ed.Zrínyi (Budapest: Kristó, period], 94 vindicate. they which listed are objects those all and inheritance document century seventeenth headdress. to related closely is that belt of sort a means girdle. belts. with dealing works in found is that way traditional the still is it but methodology, weak rather a is This h define to trying finds, the examining by person dead a of grave the analyze first archaeologists Usually cemeteries. with belts military as defined and hoards in found terms. two the mix often they and terminology in consistent not are publications reason, this For name. by them to identify archaeologists help finds of contexts the only often and features, similar several show plain absolutely together garment a holding for made only belts and Hungarian other each from different strikingly not are types these belts of types several distinguish cl with meets weaponry. of part considered often beltsthe weapons,theyandaredepictionsusuallythoseelaborated areasas of of detailed and

Selmeczi, “A Karcag “A Selmeczi, László Kovács, “Viselet, fegyverek” [Clothing and weaponry], in in weaponry], and [Clothing fegyverek” “Viselet, Kovács, László L In the case of Csút, László Gerevich states that since the dead were lower were dead the since that states Gerevich László Csút, of case the In ászló Selmeczi, “A Karcag “A Selmeczi, ászló ugra triooy a is w tr fr t aey the namely it for term own its has terminology Hungarian n visual In 13 (1943):13 150. scholarly tradition identifies tradition scholarly assifications regarding the shape of decoration and material, Hungarian s Hungarianmaterial, and decoration of shape the regarding assifications . 95 representations

The military belt, the so the belt, military The -

orgondaszentmiklósi kun szállástemető”orgondaszentmiklósi 265. kun n h Hnain aeil d material Hungarian the In

is/her social status, and after that they decide on the type of belt. of type the on decide they that after and status, social is/her - orgondaszentmiklósi kun szállástemető első sírjának lehetséges értelmezése” [A [A értelmezése” lehetséges sírjának első szállástemető kun orgondaszentmiklósi

o te is time first the for There is n is There

from ie cltrs mnaue, ae ad ua pitns the paintings, mural and panel miniatures, sculptures, like 94

2006

medieval Hungary based on on based Hungary medieval

poe t Western to Opposed three types of girdles: of types three o formal difference if one compares the fastenings the compares one if difference formal o : 260. - called 32

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Az Anjou Az

either - The expression shows up in a a in up shows expression The militare uoen ieaue hr one where literature European

military - - class people, their belts cannot be be cannot belts their people, class háborúi kor

Rgrig their Regarding . al cemetery in Csút], Csút], in cemetery al et, hc ae on in found are which belts, From the late seventeenth late the From their function as well as function their pártaöv , and the and , belts, ihr eoae or decorated either

- [Wars of the Angevin Angevin the of [Wars Orgondaszentmiklós] Orgondaszentmiklós] ,

decorated hc literally which decorated function, Budapest cholars

belts,

, but , belt belt 97 f

CEU eTD Collection country], Békés in belts decorated [Medieval K megyében” Békés pártaövek Csengele], from Évkönyve Múzeum Ferenc 102 101 100 MúzeumTöreténeti 1938 Országos Magyar 99 98 consid be cannot field that on research headdresses, and belts like accessories, and dresses of remnantstextile the with dealing known and survived chronology. the is other the and century fourteenth the like periods to have presum their to according p Such theirwife as symbolized probably elder, in corpse. the of head the on found were headdress decorated richly most the cases many with do to though.something are connotations these what sure be to seem not thematerialWesternmight it but additional have connotationsin century. fourteenth the in belt Decorated appeared strap the to attached plates metal small those and but mounted not were examples first its and century twelfth the it 1700s the the from of probably disappears, end very the at but documents, written in frequently up shows it century

özleményei Kálmán Szabó, „A pártaöv,”Kálmán„A 67 Szabó,

Szabó, Szabó, László Selmeczi, “A Karcag “A László Selmeczi, Gábor,“Közép e eg Mra ntk „álcks zvs saatrdkk [Tablet szalagtöredékek” szövésű „Táblácskás Knotik, Márta e.g. See ublication which ublication Hungarian literature on belts is not small in numbers, but it cannot be called extensive. called becannotit inbut numbers, isnotHungarian smallliterature belts on face two major, closely related problems related closely major, two face z löd mga nép magyar alföldi Az

28 (2006):28 111 not only not token their of l s are characterized are s kori pártaövek Békés125. megyében,” pártaövek kori Mr Frn Mzu Évkönyve Múzeum Ferenc Móra A matured,

pureness but fidelity at the same time, married men could also give it to it give also could men married time, same the at fidelity but pureness belt fragments ma fragments belt

párta 1974 - 142. would have intended to elaborate a typology on belts on typology a elaborate to intended have would - - d hoooy s tl missing. still is chronology ed orgondaszentmiklósi kun szállástemető,” 260 szállástemető,” orgondaszentmiklósi kun 75/1: 375 75/1: oyalty.

, the common headdress that maidens wore. maidens that headdress common the , - 65.

married women’s grave as well. According to the tradition it it tradition the to According well. as grave women’s married

Clua rmat o te ugra nto lvn i Afl] (Budapest: Alföld] in living nation Hungarian the of remnants [Cultural ma

by long, narrow strap of the similar kind that one c one that kind similar the of strap narrow long, by terial culture as well. as culture terial 101 - 37 ), ),

8.; Márta Knotik, „Szalagtöredékek Csengeléről” [Stripe fragments fragments [Stripe Csengeléről” „Szalagtöredékek Knotik, Márta 8.; 64. belts came from such graves, where similarly ornated similarly where graves, such from came belts de of of de rd extensive. ered

organic 33

100 1976 : One is the ‘lack of artifacts’ in the earlier the in artifacts’ of ‘lack the is One :

At the same time decorated belt is present is belt decorated time same the At - 71 127 77/1: fabric 98 ot f h mutd et fud in found belts mounted the of Most

Its wear Its

Archaeologists dealing with belts belts with dealing Archaeologists ; and albeit there are a few works few a are there albeit and ; - t nm asms that assumes name Its 134.; Gabriella Gábor, “Középkori “Középkori Gábor, Gabriella 134.; - -

ornamented woven stripe fragments] fragments] stripe woven 261. certaincontexts. Scholars do might come might

Bks eyi Múeumok Megyei Békés A T

And And here are only a few few a only are here

with metal piles, piles, metal with , i

t is true that i that true is t and into fashion in fashion into

align an see in see an Móra A t had it 102

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CEU eTD Collection etc. belt, the on knot the to sewed or garment, the over all “A (Hatházi, sewed differently, them wore they workshops 107 the dynasty],kings Angevin and Anjou és Árpádok utolsó viselet az 106 Dolgozatok Iasians 105 (1972): 72. 104 Évkönyve Múzeum 103 Cuman analyzing by Hungarians, as them characterized repertoire culture material same the everyone same el the bought they workshops: Gothic of productions are cemeteries their ethno called be can thatcharacteristics b Cumans, armor). paga after early relatively Christianized were graves in girdles are there century thirteenth the of half second simple centuries. both ea to mounts certain place to attempt an is there century, fifteenth the than older being cemetery particular a of evidence rare suspiciouslymaterial, European t century fifteenth the of half second to dated are graves e ae o cmltl asn, u te ae eaiey ae finds rare relatively are they but absent, completely not are hey

This tendency was already described in the nineteenth century by Ödön Boncz: Ödön Boncz, “Kun és magyar “KunésBoncz, Boncz:Ödön Ödön by century nineteenth the in described already was tendencyThis See e.g. Bánkút, Csólyos, Erdőtelek, etc. (András, Pálóczi H., H., Pálóczi (András, etc. Erdőtelek, Csólyos, Bánkút, e.g. See András H. Pálóczi, „A felsőszentkirá „A Pálóczi, H. András Gábor Hatházi, Hatházi, Gábor E.g. mounts bore special roles in Cuman clothing. Nevertheless they bought mounts produced in gothic gothic in produced mounts bought they Nevertheless clothing. Cuman in roles special bore mounts E.g. n features remainedintheir ] ,

105 n eea, t general, In although Bdps: ovn, 99, 9) Jns anr “ bnúi oasr [os bra i Bánkút], in burial [Horse lovassír” bánkúti “A Banner, János 89.); 1989), Corvina, (Budapest:

7 (1931),7 187 oee cran pagan certain However kunok régészeti emlékei a Keletemlékeikunok a régészeti y seinthat did era. The onlydifferencewas in how theywere worn. or used

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it does not makenotit does archaeologists of the job easier. mid A perkátai kun szállástemető” [Cuman settlement cemetery in Perkáta], Perkáta], in cemetery settlement [Cuman szállástemető” kun perkátai A of high of

- e ihs gae ae trbtd o the to attributed are graves richest he 85/2: 658.; László Gerevich, “A csúti középkori sírmező,” 141. Gerevich,Lászlóközépkori 141. “A csúti 85/2: 658.; sírmező,” early - phenomenon might have multiple reasons. The first one sounds rather rather sounds one first The reasons. multiple have might phenomenon dle dle 199. of

status Cumans. status periods Archaeo

the Angevin period, period, Angevin the - k alatt” [Cuman and Hungarian clothing during the reign of the last Arpadian last Arpadian of the reign the during Hungarian clothing and [Cuman alatt” k

burial customs lyi kun sírlelet” [Cuman grave finds from Felsőszentkirály], from finds grave [Cuman sírlelet” kun lyi lógiai Értesítő lógiai

ie h titet cnuy or century, thirteenth the like

ie sc a paig od i te grave the in goods placing as such rites . onwards - Several Dunántúlon:” 80 Dunántúlon:” - cultural.

104 oig o h Craha bsn u sm o their of some but basin Carpathian the to coming

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times the presence of decorated belt finds is the is finds belt decorated of presence the times

In the In 7 (1887):7 193

106 for longfor (e.g.

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103

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taste that ing 1 -

CEU eTD Collection 113 112 111 110 91.) Cumans], of clothing the for data archaeological [Some viseletéhez” kunok 109 Opuscula Hungarica 108 up showed mounts shape finds belt to linked often workshops. Cuman in not Hungarian, in made considered priority. Sou b the Donets. Seversky the along centers khan and peninsula, Crimean Russia. armor. full in lying was deceased nation. a as independence t until military belts. military Cuman rich but Cumans, to publicationsmost in and common, from belts regarding tradition found. were belts supporting weapon be to show however,graves, Cumanin costume onec

Pálóczi, „A felsőszentkirályi kun sírlelet:”kun felsőszentkirályiPálóczi, 194 „A viseletéhez:”kunokPálóczi, a 95. adatok „Régészeti viskunokPálóczi, a adatok „Régészeti viseletéhez:”kunokPálóczi, a 89. adatok „Régészeti Gábor Hatházi, “A kun szállástemetők néhány tanulsága” [The testimony of Cuman settlement cemeteries], cemeteries], settlement Cuman of testimony [The tanulsága” néhány szállástemetők kun “A Hatházi, Gábor See belts of Felsőszentkirály, Csólyos, or Kígyóspuszta, etc Kígyóspuszta, or Csólyos, Felsőszentkirály, of belts See

th elt was a part of the weaponry, but weaponry, the of part a was elt

- a different a usa seps u steppes, Russian

Their weapons and armature probably came from the Caucasus, or the cities of the of cities the or Caucasus, the from came probably armature and weapons Their h tre ih one belt mounted rich three The of

xetoa i Cmn aeil ad hy ee rbby it t tee warriors, these to gifts probably were they and material, Cuman in exceptional r ooting an alsoan draw conclusions about ‘Hungarian’ he he

even in their case their in even

case VI. (2005):VI. 103. Sigismund

eti belt certain

h al adhg mdl ages. middle high and early the , because , from Bulgaria from , 110 sually it remained undecorated, and its functional role was the the was role functional its and undecorated, remained it sually 113

uas ros ee significant were troops Cumans

The most significant examples are their are examples significantmost The

but Fingerlin proved that the type was far not unknown in the the in unknown not far was type the that proved Fingerlin but

period, and for this reason reason this for and period,

seilyfo tetitet century thirteenth the from especially

s just the opposite phenomenon opposite the just s ty eletéhez:” 91. eletéhez:” The burial rites can be related to Cuman burials in burials Cuman to related be can rites burial The analyzing belts the idea does not even appear even not does idea the belts analyzing pes pes mainly 109 s

from or the Cuban areas Cuban the or rm íysuza Cóys n Felsőszentkirály and Csólyos Kígyóspuszta, from

In Hungarian In 195. as

concerning the concerning

it is seen in the surviving Cuma surviving the in seen is it

h Es ad h Bznie E Byzantine the and East the 35

112

Especially the belt from Felsőszentkirály is is Felsőszentkirály from belt the Especially . (See András, Pálóczi H., „Régészeti adatok a a adatok „Régészeti H., Pálóczi András, (See .

F belt research there is a long a is there research belt o tefutet cnuy t s less is it century fourteenth the rom

clothing. , where similar double fleur double similarwhere , hrenhcnuy material century thirteenth hy ee all were they auxiliary Archaeológiai Értesítő Archaeológiai – 111

the belt.the 108

single Among Cumans as well as Cumans Among

One costume accessory

a few a

ocs n Hungarian in forces wd o ep their keep to owed

burials, where the the where burials, Military belt used used Militarybelt pr, especially mpire,

n statues in the in statues n ihy mounted richly , only related only , 109 (1982): 109 - standing standing , as the as , - South de - lis

is - - CEU eTD Collection (1989) 119 medievalsettlement], of thethe history 118 Évkönyve 117 116 Transdanubia], 115 114 beltsof non reconstruct to helpful really be can material archaeological warriors. represent all they and depictions, Cuman of lot compa is that anything provides fourteenth the belts concerning but exceptions, always intervalanywhere.timewhichthoseobjectthreedefinedaincouldbe hundred century found were child and female few narrow decorationstr the of theystraps could be belt On well. as fittings belt but mounts dress be could which waist the around up turned theythetied belt. leathertextilemountkindthey flatprobablyandof orsome used only of made straps woven narrow, with garments their closed have might They trace. without mostProbably some and buckles belt simple small, are graves their similarly decoratedtypes do not even come up. o Eastern the sources, archaeological and representations visual both concerning either. West

András H. Pálóczi, “A Balota pusztai középkori pusztai Balota “A Pálóczi, H. András szállástemető,” Gáborperkátai„A 659. kun Hatházi, Fingerlin, Gábor Hatházi, “A kunok régészeti emlékei a Kelet a emlékei régészeti kunok “A Hatházi, Gábor Ferenc Horváth, „Szer plébánia temploma és a település középkori története [The parish church of Szer and and Szer of church parish [The története középkori település a és temploma plébánia „Szer Horváth, Ferenc Ferenc Horváth, „Csengele középkori temploma [Medieval church of Csengele], Csengele], of church [Medieval temploma középkori „Csengele Horváth, Ferenc

The

scholars have torely thematerial on scarce that comes from churchyard burials. 1976 y scholars by Gürtel des hohen un späten Mittelalters un späten deshohen Gürtel . 118 pártaöv - 114 Opuscula Hungarica 5 Opuscula Hungarica 77/

Cumans in the fourteenth and fifteenth century wore belts that practically sank practicallythat belts wore centuryfifteenth and fourteenththe in Cumans These Cuman embossed dress accessories are dated to the fourteenth the to dated are accessories dress embossed Cuman These

1: 91 n gn n Picads ok oeig hg Wsen et material belt Western huge a covering book Pritchard’s and Egan In 115

- mr eat ae s not is date exact more , Certainlythere Perkáta are exceptions.In (Hungary) sometiny, flatplates is also is 126. graves contained mounted belts. mounted contained graves

absent from absent

rable with rable (2004): 151. A Móra Ferenc Múzeum Évkönyve Ferenc Móra A their cemeteries their

sírlelet” [Medieval grave finds of Balorapuszta], Balorapuszta], of finds grave [Medieval sírlelet” my visual sources, despite sources, visual my , 53 , 36

- ely possible really Dunántúlon” [Cuma Dunántúlon” -

55.

ips that hang ips

117

rgetd etl o lahr pieces leather or textile fragmented .

In Szer some embossed belt mounts belt embossed some Szer In Usually what Usually

This means, however, that Cuman that however, means, This - etr Cmn aeil barely material Cuman century . from the girdlethefrom

1974 eadn Se is researcher its Szer Regarding n archaeological findings in eastern in findings archaeological n - Cuman clothing; in the case case the in clothing; Cuman - 75: 342

totheknotcover the fact that there are a a are there that fact the

archaeologists find in find archaeologists A Móra Ferenc Múzeum Múzeum Ferenc Móra A - 374. . 116

119

In Csengele a Csengelea In

So t So rigin of of rigin Cumania - fifteenth here are are here where

the

11 . CEU eTD Collection 120 waist o crown a with person gate the of front in people scene period. Sigismund and Angevin the Undecorated examples. from go Vitkovce ( Podolínec in representations Vizsoly. and Velemér Tereske, Hungary ( in perceptible, In theminsignificantnot somethinganalysis. innumberandfashion istherate far of unique; and ( II. 3. 1 II. 3 Fig. 1. Fig. Kökös

Zsombor Jékely, present . . The belt in visualrepresentations – Similar kind of belt of kind Similar . )

Undecorated waist belt is clearly one of the most commonly depicted types, both in both types, depicted commonly most the of one clearly is belt waist Undecorated ). period Angevin the From Depicted belts inAngevin which ,

I could gather five murals, fivegather could I et on belts I (

oubni ai ( Mari Porumbenii n the following the n Vitfalva - day Podolin

waist belts is situated the churches of of churches the

oai (rnyvna I on sx ua pitns wee ide are girdles where paintings, mural six found I (Transylvania) Romania A bögözi templom bögözi A ) h wais the )

Chyžné

and , Šivetice hs head his n

Žehra

inthe undermost thezone northern of wall nave

I was shown was of Paradise two me two Paradise of

t ta o on of that to t list ( Hizsnyó

Nagygalambfalva ( ( Mugeni ( Mugeni Zsegra Süvete

them all, because there are there because all, them [Church of Mugeni] (Sepsiszentgyörgy: Baász Kiadó,1996), 25. (Sepsiszentgyörgy:Baász [Church ofMugeni] - twenty wall twenty

period (

i. 2. Fig. In beltsexamine toit worth is itwhere n present In )

) ) in the in , Mugeni . ,

Bögöz Both in this chapter and in the next one followingi one next the inand chapter this inBoth ek Lomnica Veľká Š – mural paintings vábovce

) mural paintingsmural artifacts and is ad rm neoae bls o ornamented to belts undecorated from and hips, .

120 one 37 ) n

paintings represent belt as costume accessory costume as belt represent paintings , - in

h ti, pla thin, The )

a Soai I aae to managed I Slovakia day - is Filia time and the

wear ( Svábóc

( mid early Erdőfüle aa ( Daia ing

- (Kakaslomnic), fourteenth century fourteenth

several

) belt, one of them must them of one belt, fourteenth century fourteenth , n stra in pšk Kapitula Spišská Székelydálya ) , Ghelinta ( Ghelinta

depictions which represent which depictions s r wr aon their around worn are ps ,

– in Füzér, Keszthely,Füzér, in

Plešivec among the blissful ) Gelence .

Last

In mural paintingmural

(

Szepeshely id girdle find present

Judgement

be a royal a be ) , (

Pelsőc Chichiș - day t

) ) I , ,

CEU eTD Collection 128 Prokopp, 285.; 1982), KirályMúzeum, (1342 I. Louis of court the 127 126 125 124 123 42. 2003), (Sepsiszentgyörgy:Kiadó T3 122 121 ( scenes Passion the from soldiers like them, on belts have characters several Christ, of life per the in repainted legend Ladislaus Saint period time same the from wall, In mounts depicted is it scene scenes sequential garment century fourteenth Ladislaus the of representations fresco earliest the of one depicted commonlymost the is variant this the in Cuman the like just 1300 to dated Kerlés of battle to down slid belt military thicker of i. 1 Fig.

László László et Dvoráková, al., Marosi, Marosi, Jánó, Ernő Marosi, „A falképfestészet” [Mural painting], in Művészet I. Lajos király korában (1342 korában király Lajos I. Művészet in painting], [Mural falképfestészet” „A Marosi, Ernő Filia Ši iod István Balázs, Mihály Jánó, Jánó, Mihály Balázs, István 125 vetice Š . 128 vábovce Saint vábovce 2

Színek éslegendák Színek (only the waterthe(only a preying figure has a simple dark line around his waistlinesimplehisaaround darkpreying ahas figure

. A Szent László legenda középkori falképei, középkori LászlóSzent A legenda falképei, középkori LászlóSzent A legenda ( ), Kép éshasonmás Kép magyarországi művészet,A Fig. 6. Fig. In

n te ig fo te drto o te Magi the of Adoration the from kings the and in loe nro srp ete wt a atraig e ad ht pten r with or pattern white and red alternating an with either strap, narrow loose, a

the parish church of of church parishthe

a mid a ) seven

( . . In the In . Středověká nástěnná, Středověká Fig. 7 Fig. The , 124

- fourteenth century fresco detail depicting the Last Judgment on the apse the on Judgment Last the depicting detail fresco century fourteenth

as Š as

Ladislaus is wearing a double strap double a wearing is Ladislaus teenth century, the painting the century, teenth , 102 - h Saint the - Cuman 32,e.En aoi eid óh íi ag (zkseévr Set István Szent (Székesfehérvár: Varga Lívia Tóth, Melinda Marosi, Ernő ed. 1382),

colorpaintingsurvived) , 21., - 8 rm rud 1380 around from beheading vábovce . ) mural painting mural - . 103. This ulterior option is rather unlikely but not entirely impossible.entirely not but unlikelyrather is option ulterior This glne Set me t Imre Szent gelencei A

1340, figure

350. Köz

Podolínec on strap belt simple have his 127

épkori falképek Szepességben, falképek épkori a 89.

122

scenes his belt is a plain, white line, but in the fighting fighting the in but line, white plain, a is belt his scenes

one can find this find can one hips in Vítkovce in

a Cuman warrior wears a narrow, dark strap dark narrow, a wears warrior Cuman a

( of of Fig. 3. Fig.

belt type belt the fresco cycle from the chancel representing the the representingchancelthe cyclefrom fresco the

118. 12 Tereske ( 38 Fig. Fig. 8. , on the figure of SaintLadislaus,the figureon of ,

) wears two different kinds of belt of kinds different two wears hardly preserve hardly . emplom 121 11 . In .

(

. In In Fig. 5. Fig. plain type on type plain ) bt ic te rso a radically was fresco the since but , Veľká Lomnica Veľká Ghelinta

legend Te an Eea cuc i Ghelinta] in church Emeran Saint [The ( Fig.

( ) him Fig. .

123 48.

( 10

Fig.

the of third first the to dated

Angevin the from detailed s In Upper Hungarian frescos frescos Hungarian Upper In in the depicted scene of the of scene depicted the in odn together holding . 13 )

; most 126 . 9 ) . . ) and in and . In In , which is considered is which ,

In a In of the figuresthe of Füzér

1360 Žehra

along withaalong - s h only the as 1382) [Art in [Art 1382) -

70s in the two the in

his (

Fig. 4. Fig. da

fresco fresco of the of ted to to ted loose ) ,

CEU eTD Collection 134 133 44. Kiadó,2009), Méry Ratio 132 131 130 129 fro in mural the of episode, Another century. fourteenth mid of reign the during later decades painted all were belts decorated throne. the on was I. Charles when painted murals ( Szepes of castellan depicts roundedknot long and pendantinthe front( fragmented. highly are ( arrows of quiver the to next buckle belt circular white tiny, a possess belt warrior’s Cuman In end in legend LadislausSaint the from battle Kerlés of figure Saint of Ladislaus but type described previously most the occasionally Long a belt woman bearingthis accessory, Fig.

Prokopp, László, etDvoráková, al, Balázs,Jánó, Jékely, Lángi, the duel the ái Prokopp, Mária m ek Lmia lo wie h kn’ bl lcs n kn o srp itns te riding the fittings, strap of kind any lacks belt king’s the while also, Lomnica Veľká

of the strapthe of - - V 17 strap like line on herwaist ( árad The mural painting of the of muralpainting The are examples these although belts, waist decorated for examples less find can One . one waist mounted ). A Szent László legenda középkori falképei, falképei, középkori LászlóSzent A legenda 131 Középkori falképek Szepességben, falképek a Középkori scene ’ decoratedundecorated or

– The muralsThe Vítkovcemade weretheof around 1330s, A Szentgelencei Imre templom,

Falfestészeti emlékek, emlékek, Falfestészeti shows decorated belt on the waist of Saint Ladislaus ( LadislausSaint of waist the on belt decoratedshows

right beside the dagger, the beside right K Středověká nástěnná Středověká between zpoi akpk Szepességben a falképek özépkori

Fig. Fig. outstanding 133 - belts

inmuralthe painting of

19 In each scene Ladislaus wears a light greenish light a wears Ladislaus scene each In the Cuman and Cuman the - Fig.

20.

ih og agig strap dangling long with the highly ih og ta ad bit a and strap long with ). 14 88. collegiate chaptercollegiate 134

, 160 ones in the era. era. the in ones .

) This is the only known long known only the is This . 129 waist - 167.

the painter the 42. 18. fragmented

Saint Ladislaus Saint

See belts 122 39

Fig. 8. Fig. [Medieval Mural paintings in Szepesség] (Budapest: (Budapest: Szepesség] in paintings Mural [Medieval 123. ( Ghelinta Fig. A

depicted a a depicted church in Spišska Kapitula Spišska in church

simple leather simple Virgin M Virgin 15.

h next The and

)

ihr n details in richer o . (dated to the 1330 , the , Ghelinta 130 to iue, h king the figures, two n Fig.

On one of the Ladislaus figures figures Ladislausthe of one On square ary Calvarythe from scene belt 18 earliest -

. 132 strap belt strap

Luis the Great the Luis - – is not mounted but in the in but mounted not is like

- Fig. but thesurviving details shape shape the

strap

iuly represented visually scene of ‘ of scene 21 - c – olor stripe with a a with stripe olor -

- buckle . representation in in representation ). 40s) i son n the on shown s – , made in 1317 in made , It appears also also appears It

similar to the to similar

n then scene

around the around ( Departure Fig. 16. Fig. n the and has has ) .

CEU eTD Collection 139 138 137 Központ,80 2002), ésRestaurálási (Budapest:painted furniture 1] Műemlékhelyreállítási Állami 136 135 Plešivec Keszthely, of church thepaintings fromwall the Filia, of frescos the type,which the occurs Decorated and undecorated hip treated Žehra 28. Demeter Saint and George Saint assumedly full standing f mainly also Marithemural painting is well the with depiction rough mid in arch triumphal the of wall eastern the from virgins foolish and wise century fourteenth the of half second the from wall nave northern knight preparing churc Unitarian the of wall western the on inishes

Prokopp, Jékely, Lángi, etDvoráková, al., Kiss,Jékely, József Lángi, Mihály Ferenc, Mihály Lángi, József ) - . 138 fourteenth century fourteenth

was probably made during made probably was

by I am writing about hips belts together, whether they are decorated or not or decorated are they whether together, belts hips about writing am I O The scene of Judas’s kiss Judas’s of scene The . in

n the south the n

In the depiction from Keszthely one one Keszthely from depiction the In

Jesus Középkori falképek Szepességben falképek a Középkori a

strap end - the length figures of two soldier saints were depicted in the mid fourteenth mid the in depicted were saints soldier two of figures length Középkori Középkori Falfestészeti emlékek Falfestészeti

w way of of way

( Středověká nástěnná Středověká ears Fig.

- western wall of the triumphal arch in the catholic church of Vizsoly, the Vizsoly, of church catholic the in arch triumphalthe of wall western .

falképek Erdélyben falképek similar

22 ( wearing Fig. . in acondition, poor only someline dottedis distinct, least in frescos of theleast of in era frescos ) Erdélyi falképek és festett faberendezések festett és falképek Erdélyi , 135

24 decorated belt -

known narrow strap belt, decorated with dots. with decorated belt, strap narrow known n h wit f eae servant female a of waist the on - , 424, - belts 26. decorated b decorated located on the northern wall of the chancel the of wall northern the on located the reign of Louis the Great. the Louis of reign the , 96 ). - 425.

137 - , 154. 97. , 53.; Marosi,, “ 53.;

What one can see can one What

in as

elts 40 ern vr dtie mutd et ( belts mounted detailed very wearing Chichiș it isit present in Vizsoly

a se ny dr ln o te hips the on line dark a only see can is detectable is .

A falképfestészet,”A 285. In watercolors In painted afterthe one , also ,

Chichiș in the in . The strap is strap The .

1 [Transylvanian mural paintings and and paintings mural [Transylvanian 1 139 Daia

n oubni Mari Porumbenii in The kneeling soldier kneeling The Várad , and Ghelinta is a rather a is Ghelinta and ,

( Fig.

, Tereske, Velemér, Tereske, , ( Fig. 29.Fig.

Chyžné

scene 23

looped

. in the church of of church the in ) , ) In Porumbenii In

136 and . on , made in t in made , -

, since this is this since , 81.

and on the the on and figure of of figure in Chyžné

once, and once, i. 27 Fig. century, on the the on

being being - ( time

Fig. and he he a -

CEU eTD Collection 144 143 Daia], in of church the Calvinist templom [Research kutatása” 142 28. Kiadó,2007), 141 385. falképei” 140 l the or belt the lacks costumethe times many figures;on cut realistic not and thefrequentuntilthe of end fourteenth century.onlyclothseewrinklesstylized canone Often cooperation andcontradictions betweenvisual representations and artifacts II. 3. 2 Filiathe two ends o square a wears Velemér in legend Ladislaus Saint the form figure knight Another and hips the of circumference ( Velemér of paintings Aquila’s Johannes hips the and waist the on strap the both articulatesbucklebelt minimalistic a but also rather be to seems depictiontheTereske In seemingly pearl with 1350. under deep line thick a but else nothing is which on, belt hip a has Crucifixion the of scene the from soldier a of 30. Fig.

Marosi, Marosi, Lángi, Mihál Lángi, Mária Prokopp, Mária Marosi, )

; 140 141 34 - . Interpretation the of representedin beltsthe

shape elements shape In the surviving mural paintings schematic way of depicting costumes is rather rather is costumes depicting of way schematic paintings mural surviving the In

just as in as just

[Gothic mural paintings int he parish church of Keszthely] of church parish he int muralpaintings [Gothic . I ) A magyarországi művészet,A n . 144 mgaosái művészet, magyarországi A - without any intend from the artist to picture to artist the from intend any without magyarországi magyarországi művészet, ie ml dt wih ih b ol a tlsi, uey raetl decoration ornamental purely stylistic, a only be might which dots small like Daia

y, The strap is thick but unlike most of the hip belts, it is a bit longer than the the than longer bit a is it belts, hip the of most unlike but thick is strap The

Erdélyi falképek és festett faberendezések festett és falképek Erdélyi

Középkori freskók Gömörben Gömörben freskók Középkori

also there is just a narrow strap narrow a just is there also Plešivec f thef belt are attachedin ‘V’ a

the waist( the

( Fig. . . There it appears on the southern wall of the presbytery; the figure figure the presbytery; the of wall southern the on appears it There 35

a pendant a .

Fig. Fig. ) 482. 350. . of frescos perished already the after drawn sketches the In

597 (

Fig. 31 - 9. Mra rkp, A ezhli lbnaepo gó plébániatemplom keszthelyi “A Prokopp, Mária 598.; . ). Probably it was painted by an Italian master around master Italian an by waspainted it Probably ).

dangles down dangles 33 – [Medieval mural paintings in Gemer] (Budapest: Méry Ratio Ratio Méry (Budapest: Gemer] in paintings mural [Medieval

made in 1377 in made . ) . 41 143

- The belt on the on belt The shape ( on the riding Saint G Saint riding the on 1, 104.; Mihály Jánó, “ Jánó, Mihály 104.; 1, Angevin Műemlékvédelmi Szemle Műemlékvédelmi after the rounded buckle rounded the after authentically Fig. Építés - 78 - period muralperiod paintings 36 – -

Építészettudomány . i ).

s a kind of transitional of kind a s figure of Saint Ladislaus in in Ladislaus Saint of figure

mounted A székelydályai református református székelydályai A

e 1993. 1993. No35. 1, orge,

oose dress itself dress oose from built strap

142 belt

12. - like element. like intersper

(1980):367 ( – Fig.

32 type tikus tikus sed sed . ) – .

CEU eTD Collection Gerevich,középkori“A csúti Csút: 150. sírmező:” 147 146 145 frescos fresco given a date scholars only frescos dating with careful be to has one years, fifty hundred one for present are which types are there murals deadin and time, long a for theworn were belts of kinds certain since on Although situation their to according dated were belts several time same the fashion cases I piece. art an or grave a of dating the for significance crucial has sources visual in depicted figures worn again was becamethewidespreadat theturnpractical fourteenth of again century, so for thebelt reasons clothes Loose hips. their on down further it slid people stylish popular, became body the of followhentightthereafter,dresses it, below littlebit waista theor wornon was beltthe centurythe middleof the thatuntil claimed catalogueshe fashion British Germanand sourc visual correct. be to seem thatstill C attemptto sketchthe development c of to first the was Csút, of cemetery the analyzing Gerevich, László fashion. costume changing so the the diversity of depicted belttypes and frescos, of number the includingas territories, three examined the all of plentifulpicturemost entirely. it of line supposed the covers ertain arguments of the work the of arguments ertain

See e.g. Svinica, Last Judgement scene. Jékely, Lángi,Jékely,Last Seee.g. Svinica, scene. Judgement Gerevich,középkorisírmező:”“A csúti 150. See the case of Kinána: Szabó, “Gótikus pártaövek a kisnánai vár temetőjéből:” 63 or regarding or 63 temetőjéből:” vár kisnánai a pártaövek “Gótikus Szabó, Kinána: of case the See codn t them. to according hog te orenh etr te a pol wr bls hne floig the following changed belts wore people way the century fourteenth the Through datedaccording to general fashiontrends actually es mainly from France and Germany, and using arguments from previous French, French, previous fromarguments using and Germany, and France frommainly es representations

at the waist. the at agree with him with agree

n diin t a esl hpe ad culy t s apnn that happening is it actually and happen easily can it addition In

based on based Relying on the material he got from Csút, along with the relevantthe with along Csút, from got material he the on Relying 146

helped scholars to refine the dating of certain paintings and at and paintings certain of dating the refine to scholars helped . He states that the l the that states He . might , nevertheless

the depicted clothing, theclothing,depicted the be outdated, but there are several important statements important several are there but outdated, be ostume fashion,touching upon everykind accessory. of

145

Upper Hungary, present Hungary, Upper also thealso abundance details. and preciseness of 42 this is an undoubtedly slippery area slippery undoubtedly an is this

Falfestészeti emlékek Falfestészeti as evidences datingcertain for objectstoand ocation of the belt on a corpse and also on on also and corpse a on belt the of ocation n later other scholars use these use scholars other later n , 358. , - day Slovakia showed the the showed Slovakia day

wing the lineswing the . In several In .

the finds of finds the body.

such such

147

CEU eTD Collection 151 150 Szeged a (1906): 361 ‘Ásatás Móra, Ferenc mounts: without remained Anjou buckles the only often well as Öttömös of cemetery the in 140; sírmező:” középkori csúti “A Gerevich, remained: fragments textile or buckle only Csút 149 148 significance. international gained it trade, European Central the of routes important most one was which Poland, to going valley Poprad of route trade the to next situated was it Since fast. really developed city the period Angevin the In Hungary. Upper in Podolínec, A purse depictionin Upper Hungary dark si a than else something wear rarely very paintings of ends two the together holding knot the covered mount this Presumably them. of evidences indirect common most the are hips the around found mounts waist, the around buckles tiny strap; the on fitting without in only find can one aspect. this from region particular a elaborates that articles such only material, survived the on publication comprehensive no is there and exiguous, are elements I as condition good a in preserved were switchtothe ornamented they finds. a have earliest research stage of define

Marosi, Kelet“A emlékeikunok a régészetiHatházi, See footnote This is the most common type of belt finds in cemeteries. Ju cemeteries. in finds belt of type common most the is This

line cannot stand alone as evidence. In the following first I deal with plain belts and after I I after and belts plain with deal I first following the In evidence. as alone stand cannot -

oi temetőben’ kori Obviously there are perceptible tendencies which certainly help to define the age, but but age, the define to help certainly which tendencies perceptible are there Obviously

hn hy ped Te ny ouin o ti cci argumentation cyclic this for solution only The spread. they when relatively certainly relatively h ms rmral eape o dpce uonmne bl srp wr md in made were straps belt unornamented depicted of examples remarkable most The Western in Unlike

just likejust A magyarországi magyarországi művészet,A - 371. Etc. 371. 102 .

Ecvto i te no cmtr o Szeged of cemetery Anjou the in [Excavation theCuman inmural the Tereske painting of ( direct traces of of traces direct , mounted, girdles. separates

- defined date defined uoe wee osdrbe mut f etl ad ete belts leather and textile of amount considerable where Europe,

350.

the images dating of and finds and relate

simple woven or leather belts. belts. leather or woven simple , -

Dunántúlon:” 115. Dunántúlon:” like an inscription on the painting the on inscription an like mentioned above, in Hungary medieval organic belt belt organic medieval Hungary in above, mentioned

4 3

st to mention a few examples in several graves at at graves several in examples few a mention to st mple strap. Usually it is it Usually strap. mple

- Öttömös], Öttömös], 149 the strap. the

in the case of Cumans flat flat Cumans of case the in see 148 Fig.5. They could be could They rhelga Értesítő Archaeológiai

Mostly in cemeteries in Mostly 150 s

or ).

Cumans in mural in Cumans

only those whichonly those 151 is coins regarding coins only

f one if

- narrow, with or or with Ö

n the in of the of tömösi tömösi The

26 CEU eTD Collection 71. Kiadó,2001), Archaeolingua és Alapítvány 153 152 ( isithangingattachingcases fromtwo stripe theoneways Intwo to strap. noticeable pursesof ma its to due or context burial Christian a in needed not was it because rather but clothing everyday the to belong non inknow I as the around situatedweremounts bag the hanging for used be might which found, was chain a grave another in purse, quondam a of decoration be to material iron knives, keys, organicas equipment of only not made were they that proving a grave Perkáta of cemeterysettlement purses small unique. completely is Podolínec in see can Sigismund the from related. closely are they sense physical a in but strap. the to attached waist. the around any have not do themselves belts on and Jesus Child the of Presentation of scene the in torturingsoldierson the Christ, on thechancel,in scenesin several up turnsbelt Fig. 38 Fig.

Hatházi, Hatházi, Ferenc Horváth, Horváth, Ferenc

bag kept. found in cemeteries, but certain finds indirectly refer to their presence. their to refer indirectly finds certain but cemeteries, in found

- ic o scrapped of piece 39.

„ agn fo it. from hanging A perkátA ) and in and ) I a grave a n

- A csengelei kunok ura és népe népe és ura kunok csengelei A Cuman materialpursesCuman ( ai kun szállástemető:” 661. ai kun See tl tee is there Still -

period, these attachments do not appear in muralpaintings, in appear not do attachmentsthese period, all P Fig.

urses, bags, knife holder elements are not considered parts of the belt belt the of parts considered not are elements holder knife bags, urses,

terial it disappeared without disappeared it terial iy ed wr fud to found were beads tiny the other the

hi mi ws on, hc wr poal reuse probably were which found, was mail chain 37 s a a I nw n ugra artifacts Hungarian in know I as far As

) several signs referred to the to referred signs several . rings together refer to some kind of a bag in which theywhich in bag a of kind some to refer together rings

waist, 152 cases oehn ottnig n hm te purses the them, in outstanding something eakbe characteristic remarkable

n snee n gae f ltl gr sm star some girl little a of grave a in Csengele In

probabl the two ends of the bag is fixed to the belt ( belt the to fixed is bag the of ends two the

do not show up but very likely not because it did not itdid because not likelyvery but up shownot do [The Lord and people of Cumans in Csengele] (Budapest: (Budapest: Csengele] in Cumans of people and Lord [The Five 44 y decoratingy

Except for a couple of depictions in Levoča in depictions of couple a for Except iue ae eitd h have who depicted are figures ehr n the in gether detectable traces. detectable two kings in the Adoration scene. Adoration the in kings two formal an already per alreadyan s ;

hy r bons ti lines thin brownish are they ( line of the waist serving as as serving waist the of line i. 37. Fig.

presence of purses. of presence hr ae o surviving no are there In Podolínec there are are there Podolínec In ) i Ohrie small Otherwise . s hed

In the Cuman the In bag. and a malefigure a a a purse a as d n pouches and et with belt 153 what on what Fig. 40 Fig.

- In one In As far far As shape shape used used The a e -

CEU eTD Collection 159 158 157 156 155 154 the than longer calves. the as much far as even sometimes down, usually hung waist persons’ the wasof circumference well as here which strap, the so century, fourteenth t Europe whole in Like 1330 the to ra is detailsmall fittings: other any mentionedthataboveI wellcemeteriesas Belts withfittings fourteenth century,whichmeans thatmatchesit well pretty withthe the dating of frescos. ( London Jesus Undressing of scene the one only is therePodolínec paintings. wall discussed currently the in appear they as leather of piece rectangular type rarer the scene Presentation Hungarianmuralpainting on girdles, to attached textile. or leather in appear which 42

. Balázs, Jánó, Balázs,Jánó, Egan, Pritchard, Egan, Pritchard, DressEgan, Access Pritchard, be interchangeably. These can used terms two Kovács, 246. “Viselet, fegyverek:” ). In London a great deal of medieval purses and pouches were preserved. were pouches and purses medieval of deal great a London In ). However the plain belt was the most widespread type widespread most the was belt plain the However i. 46. Fig. - 40s), in the scene of Kerlés battle from the Saint the from battle Kerlés of scene the in 40s), A Szentgelencei Imre templom,

( Dress Accessories Dress Accessories re, not only in this early period but also afterwards. also but period early this in only not re, Fig. the frescos of Podolínec are present i present are Podolínec of frescos the

). – iul ore poe ta te wr wo were they that proved sources Visual wears it wears n hlna n in and Ghelinta in usually

157

there is no traceof no is there

43 – hs Biih nlge cm fo dpst d deposits from came analogies British These he belt loop was unknown in Hungary too until the middle of of middle the until too Hungary in unknown was loop belt he

- and only twoexamplestheonlyexistwhichandon b depict buckle 44

ories,342. (with a few exceptions) few a (with on the left (see left the on depiction representing decorated pouch, on the side of a soldier insoldier a of side the on pouch,decorated representingdepiction )

. mostthe of

( h ms common most The

, 354. , 344. , Fig. 45. Fig.

ek Lmia Te iul ersnain f uh a such of representation visual The Lomnica. Veľká )

visual representation of knotvisual representationof , which slightly reminds of a of reminds slightly which , 42.

figure

Fig. 38. Fig. 45 s

it is on theisitsidon right ).

to the right of the buckle. the of right the to ye f pouches of type The purse danglin purse The n British artifactual material made of of made material artifactual British n n both rn – Ladislaus legend ( legend Ladislaus

in the mural paintings and in and paintings mural the in

e - One is in Ghelinta (datedGhelinta in is One

covering mountscovering and only one manonlyand one mounted

y ae ad females and males by was g from one stripe was stripe one from g td o thirteenth to ated

made of of made 155 purse found in found purse 154

In this upper upper this In Fig. 47. Fig.

Both types types Both elt withoutelt

159 – larger,

156 in those

This This ).

the the the 158 In In -

CEU eTD Collection 164 163 Homokmégy 162 161 160 find typical a not is fittings other without bone of made buckle although Sin representations. ( depiction( 152 the in made end rounded with ( fresco the in like other each with parallel fourteenth the to dated was which Hom of cemetery the From painting. the in like shape square the of head The which type represent Ghelinta in Ladislaus of buckle detailed unusually this that note of t possible not isit minimalso rather aredepictions square two shapes: their by buckles belt of types four differentiate archaeologists material Hungarian century fourteenth the In strap. 48. ( arrows of quiver the to Cuman next buckle riding belt circular the white tiny, fittings, a strap possess belt of warrior’s kind any lacks belt king’s the while also, Lomnica d painter the dagger, the beside right strap the of end the in butmounted not is belt saint’s the Ladislaus, Saint and Cuman the between duel the of fresco this In decoration. without and with both be could girdle of kind This belt. the the attached they so fighting, during troublesome been have could fashion i. 51. Fig. Homokmégy temetőrészlet és temető “Középkori Lantos, Andrea, Szabó, Szabó, “Gótikus vár kisnánai a Szabó, 63. temetőjéből:” pártaövek Kárpát Varga, a “Középkori csontveretes övek etDvoráková, al, ). 160 -

shape Its function here is in quest in is here function Its Az alföldi nép Az alföldi magyar ). 164 Fig. 50. Fig. - Szentegyházpart], Szentegyházpart], is

heads. t s qeto wehr n cn rw n cnlsos f h clr n visual in color the of conclusions any draw can one whether question a is It absent not only in t in only not absent Středověká nástěnná Středověká ),

e h dpce bcl i wie t ol rfr o oh ea ad bone, and metal both to refer could it white is buckle depicted the ce 163 161

- and a few fifteenthfew a and In paintings In shape belt buckles in this period is usually short and flat, not oblong not flat, and short usually is period this in buckles belt shape Archaeológiai ÉrtesítőArchaeológiai ,

72.

he Angevin he , 160 ion, but most probably it might fasten the quiver to the belt belt theto quiverthe mightfasten most it probably but ion, - ye wt rounded with types both the oval the both fifteenth century, but the two sides of the head are not not are head the of sides two the but century, fifteenth 0s from the cemetery of Kisnána is the closest to the the to closest the is Kisnána of cemetery the from 0s - 167. - medencében:” 286 - sixteenth century buckles found around Kecskemétaround found centurybucklessixteenth

Fig. 49. Fig. 46

- 134 134 (2009): 272.

but in the Sigismund the in but

o distinguish any further types further distinguishany o pce a square a epicted and square and ).

162 okmégy there is a trapezoid belt buckle belt trapezoid a is there okmégy

Regarding shape an elongated buckle buckle elongated an shape Regarding – - - Szentegyházparton” [Medieval cemetery in in cemetery [Medieval Szentegyházparton” 287. 287.

oval

shape - shape -

hp bcl. In buckle. shape types are shown, but the the but shown, are types -

period artifacts as well. as artifacts period –

he –

d ad w with two and ads hanging strap into strap hanging they always show show always they s such a buckle a such s . It is worthy is It .

Veľká Veľká Fig. Fig. - CEU eTD Collection a Szepességben falképek Középkori 169 168 country. mountedonmetal Békés belts from of different archaeologists 167 166 165 the and himself local king a the like by coronation, the painted of not participants secular painting the a Notwithstanding after fashion local the regarding conclusions draw Italy. in trained someone or Italian be revere pay to ( Hungaryin historical painting first the considered is it and throne, the in dynasty Árpád the from king last the following painted. was it when known is date exact an cases other many in unlike so 1317, in made was fresco, belts. aspects. many in they if andtheyplain do, show straps. Thoughisexamplethereonewhich israther significant whichbelts,the depict century, fourteenthof thebeginningtomanymural paintings dated not archaeologists, to according century the of end the at rather century, fourteenth the in probably fashion into arti Hungarian appear type latter this results straps the on set elements color related with conclusions. careful be to has one restorations and repainting numerous the paints, fading morocco,with red base coveringthestrap of leather.data Thereare mounts. with together up

Prokopp, Szabó, Kárpát a övek Seee.g.“Középkori csontveretes Varga, Gábor, “Középkori pártaövek Békés megyében,” 127. 127. megyében,” Békés pártaövek Gábor,“Középkori Dvoráková,

The mural painting of the provostal church in Spišska Kapitula, as it is written on the on written is it as Kapitula, Spišska in church provostal the of painting mural The h nx gop s the is group next The Az alföldi nép Az alföldi magyar eod t Second, Középkori falképek Szepességben, falképek a Középkori

et al, al, et nce to Charles I. when he visited the town. Scholars agreed that the painter must painter the that agreed Scholars town. thevisited he when I. Charles to nce fact material fact 167

First of all supposedly it is the ear the is it supposedly all of First Středověká nástěnná Středověká albeit visual sources tend to show otherwise. In medievalHungary otherwise.In show to tend visualsourcesalbeit e mg de image he

165 , 64. , bt tps r cnieal frequent considerable are types both ,

is really poor in poor really is Concerning the strap, with its dark shade most likely it represent it likelymost shade dark its with strap, theConcerning , 20.

s Fig. 52. Fig.

og ide wt pan ta or strap plain with girdles long

it te is Agvn ig Calss hr coronation third Charles’s king, Angevin first the picts U interesting. more be to , 143.; Radocsay, 143.; , 169 ).

168 18. The question emerges immediately whether one can can one whether immediately emerges question The

The provost of Spišska Kapitula ordered the work the orderedKapitulaSpišska of provostThe mounted belts. As I mentioned above, they came they above,mentioned I As belts. mounted 47

- – medencében”

G A középkori Magyarország középkori A abriella Gábor in her article summarizes the results results the summarizes her article Gábor in abriella liest survived representation of mounted of representation survived liest

tl h lt futet century, fourteenth late the ntil Rgrig archaeological Regarding . 166 ih ifrn decorat different with

but due to the nature of of theto nature due but falképei,

170.; Prokopp, Prokopp, 170.;

there are are there ive s - . CEU eTD Collection Magyarországon” 174 173 119 Nagytálya], in medieval church of the [Excavation templomának feltárása” Szentg in church the of [Excavationa feltárása” templomának “Szentgyörgy Nepper, Ibolya megyében”; Békés pártaövek “Középkori 1972], Museumin Ottó Herman the of excavations fourteenth the to them dated and mounts 172 belt possible as mounts century. certain identified he fourteenth, the from sírmező:” 103 171 170 of opinion the In depict. murals that figures and topics the and paintings mural like context a to them fantasize to problematic still is it time, same the At century. fourteenth the to date the mounts are bone sincecomparison, in logically use (later) certain centuries. both in popular equally were they most century, fifteenth the metal both century. fourteenth the to date to dare usually scholars mount tothe fifteenthcentury only and undecor Angevin the to were scholars of half first the in written works earlier In publications. in given dating the accepts one if rare quite are examples although century, fourteenth late the from starting definitelyaimto picturematerial the which theymight be produced from. which strap yellowish a on dots greyish simple are there rough, are decorations the painting, layer. certain a feature might that provost

Benkő, “A középkoriBenkő, Nyársapát” Prokopp, e eg Judi e.g. See e Mr, Áaá a Szeged a “Ásatás Móra, See - ag, “Középko Varga, 158.; etc. 158.;

et wt bn mut ae iptd lhuh hs s h ol tp o bl which belt of type only the is this although disputed are mounts bone with Belts medievalHungary in spread mounts metal with archaeologists,belts of opinion the In of Szepes wear mounted belt with long, dangling strap following the fashion trends fashion the following strap dangling long, with belt mounted wear Szepes of Középkori falképek Szepességben, falképek a Középkori -

- 166.; Szabó, Szabó, 166.; and bone and Gdr Mgon Hlernt “ Hellebrandt, Magdolna Gádor, t braver

representations - period. yörgy], i snvrts vk Kárpát a övek csontveretes ri

in their dating and in these publications some mounted belts were dated were belts mounted some publications these in and dating their in - mounted belts, mounted 171 Az magyar alföldi A Déri Múzeum Évkönyve Évkönyve Múzeum Déri A

Nevertheless, later it became a tradition to date every single metal single every date to tradition a became it later Nevertheless, scholars who have dealt with them recently are of the opinion that opinion the of are recently them with dealt have who scholars - tms Anjou Ötömösi

Fg 53 (Fig. 170

173

ehp nt ny eas o te peri the of because only not Perhaps nép, -

54 c 20. laims that this belt type should have been dated to to dated been have should type belt this that laims

64. Herman Ottó Múzeum Évkönyve Múzeum Ottó Herman - A Herman Ottó Múzeum 1972. 1972. Múzeum Ottó Herman A )

oi eeőe: 361 temetőben:” kori As, hs s h ol mtra wih could I which material only the is this Also, . 174

However Kálmán Szabó does not present entire garnitures garnitures entire present doesHoweverKálmán not Szabó 48

- 1983 ated buckledated to belts the fourteenth century. Their forms show significant similarities with with similarities significant show forms Their medencében”;

- 84: 91 84:

only belt mounts which some scholars somewhichmounts belt only However - 114.; Béla Kovács, “Nagytálya középkori középkori “Nagytálya Kovács, Béla 114.;

Németh, “Csontosövek a középkori középkori a “Csontosövek Németh, - Az Egri Múzeum évkönyve Múzeum Az Egri 371; Gerevich, “A csúti középkori középkori csúti “A Gerevich, 371;

lk ek, h studied who Benkő, Elek

12 (1973): 599 12 évi leletmentései” [Rescue [Rescue leletmentései” évi the twentieth century, twentieth the

hd tt o the of state shed - 607.; Gábor, 607.;

10 (1973): 172

CEU eTD Collection 176 Magyarországon” 175 a is saints the of clothing The worthwhile. undoubtedly is culture material of aspect the precise some depict they because Two unexampled representations: the mountedin belt Vizsoly and Žehra trul be can paintings mural believe, I which, among works, art of knowledge substantial a with along unavoidable, is finds and sites of knowledge extensive profound, a so do To revisiting. research the to according bone the namely, sense, social a in irrelevant is which material with depictions the compare to choose I either options: two I culture.material of field the in a vacuum and belts for sources visual in abundance relative a is There issue. serious rather a face Western ( century fourteenth early the from them of examples numerous are there Britain Great from but century, fourteenth the to dated ( (Hungary) circular mostly and connotations. unavoidable the by worn never muralthenobility.time,paintings same At were and bourgeoisie, the or peasants as such strata social lower the Sándor and NémethK. András

Szabó, Szabó, yinspiring, but separated fromthe the rest of evidencesclearly not enough. ag, Kzpoi snvrts vk Kárpát a övek csontveretes “Középkori Varga, n hi dtis h mrl anig o Vzoy n Žha r te ot remarkable, most the are Žehra and Vizsoly of paintings mural the details their In – - Az alföldi nép Az alföldi magyar

European collection European they are one of the significant examples which proved that researching murals from murals researching that proved which examples significant the of one are they Fig. element of stylish appearance and rank, whether it carries positive or negative or positive carries it whether rank, and appearance stylish of element Both from deposits and graves there are headdresses which consists a strap base strap awhichconsists headdresses arethere gravesanddeposits fromBoth

55 ). -

shape mounts on it, like those from the excavations around Kec around excavations the from those like it, on mounts shape 176

Nonetheless , an entire century older. The chronology apparently needs further needs apparently chronology The older. century entire an , thing which absolutely standalone, and surprisingly elaborated and elaborated surprisingly and standalone, absolutely which thing , 59. , s

. I .

Varga, - n conclusion, in the case the in conclusion, n one bls o I opr te wt mtra wih is, which material with them compare I or belts, mounted in Fig. 175

Hungary there is no belt find with similar decoration decoration similar with find belt no is there Hungary

f I f bone 56 representing want to deal only with Hungarian material I material Hungarian with only deal to want . n cn etil fin certainly can One ). 49 - mounted belts were the costume accessories of of accessories costumethe were mountedbelts - medencében”;

belts always imply a message.is an Itimplya always belts

of the fourteenth century I have to have I century fourteenth the of

Németh, “Csontosövek a középkori középkori a “Csontosövek Németh, aeut mtra in material adequate d

skemét

have CEU eTD Collection 179 178 177 of composition exceptional the explain might this East, to related closely is girdle of kind be could which archaic definitely is one if But belt. this with together unusual garment pretty considered their Vizsoly in murals these In range. full of Vi in saints two the of clothing of way specific the explain might it because them. produce to started also workshops Hungarian society high of th by worn were they andimpact, great a had Empire Byzantine thewhere Europe, present are garnitures decorated archaically but uniquely often and richly tim and another in found Zagyvapálfalvaone Zenta of graveyard Hungary in found mounts garniture) sometime earlier, it century, fourteenth the of middle the in probably buried was Felsőszentkirály of belt.the publicationon his inPálóczi H. András parallelsrepresentedby lis de fleur immediately ( ornament artistic random than more be must Ghel in dots painted sloppily the unlike which mounts, shaped and arranged irregularly painted master the end strap elongated an in finishing strap the On belt. military peculi

Pálóczi, “ Pálóczi, “ Pálóczi, “ Pálóczi, eframe from the mid fifteenth to the mid sixteenth century. sixteenth mid the to fifteenth mid the from eframe ar paradox in the combination of their archaic their of combination the in paradox ar - length figures of Saint George and Demeter are popular mainly in areas of Byzantine of areas in mainly popular are Demeter and George Saint of figures length

A felsőszentkirályi kun sírlelet:”kun felsőszentkirályi 196. A sírlelet:”kun felsőszentkirályi 195. A A (see

felsőszentkirályi kun sírlelet:”kun felsőszentkirályi 190 ons rm h bl griue f essetiáy ln wt toe oriental those with along Felsőszentkirály of garniture belt the from mounts –

the belt from the Árpádian cemetery of Szentgyörgy ( Szentgyörgy of cemetery Árpádian the from belt the i. 58. Fig.

( i. 61 Fig. rud h lt titet cnuy te ae ple t te Szentgyörgy the to applies same (the century thirteenth late the around -

Paphalom dated to the turn of the fourteenth the of turn the to dated Paphalom ) Ms lkl i ws ryl it o h Cuman the to gift royal a was it likely Most . . )

. In Hungary they might spread through Cumans; and slowly slowly and Cumans; through spread might they Hungary In . r al rm etre ltr eid, s h oe cm fo the from came ones the as periods, later centuries from all are

- -

Kotyháza ( 195.

50 Fig. Fig.

Fig. - 57 taste cloak and outstandingly decorated outstandingly and cloak taste 179 . . s nlg to id cud occur could finds two analogy As ).

60 hs da s motn t mention to important is idea This .

), which), is dated toa rather broad accepts the presumption that this that presumption the accepts 178 -

fifteenth century ( century fifteenth According to Pálóczi these these Pálóczi to According Fig. 177 ‘aristocrat’ 58

Although zsoly. Depictions zsoly. . ) and the double the and )

inta or Chichiș or inta n South in e members e

was made was Fig. 5 Fig. . Similar Similar . this find find this - East East 9 . ), ), CEU eTD Collection 181 180 line the wearing woman a of depiction one only Ange thein notonlyconcerning cutsbutcostume Beltsfemale on figures these why?so if oriental And tradition?an of belt. and garment similar an unit fresco this in even unique possible.assoon madeas thatup shortcoming abe believe,should such archaeology any in up shown middle the in element circular tiny a and ends wider with mounts bar thin and ends, strap rounded small several and longwith onetype sameFelsőszentkirály theexactlygirdlerepresents from attached. The narr and shorter other belt the of body main this to but hips or waist the century,consist earlycenturythatthebeltfourteenthexamples perce clearly depictions. century fifteenth the mounts,theare strapandendsthe buckles of girdle shapeand thestructurePractically of both in also and contemporary the in unparalleled is which church Trinity Holy the of painting painting wall Hungarian Upper the through going either, and here. accessory and clothes

Kovács,“ Fingerlin,

depictions could occur likeherethis. Female costume of the fourteenth century show less variability than male clothing, male than variability less show century fourteenth the of costume Female after but Vizsoly in depiction unexampled totally something found I thought I First

Costumes as symbols:” 155. symbols:” as Costumes s Gürtel des hohen un späten Mittelalters un späten deshohen Gürtel vin period whether it is a plain waist belt or a long a orbelt waist plain a iswhetherit vinperiod imilarthirteenth ptible. It is often said in literature on belts, especially regarding late thirteenth late regarding especially belts, on literature in said often is It ptible.

( Fig. Did the artist intended to paint Roman soldiers or follow some kind some follow or soldiers Roman paint to intended artist the Did

- At the same time this type is far not far is type this time same the At centur 63

- - eae pbiain s rlvn visual relevant a as publication related 64 d one cannot find other characters other find cannot one d

. y mountsy were in found HannoverHeilbronnand ) . This depiction This . in accessoriesBelttoo. femalea figure ison relatively rare

Žehra, It could be interesting to explore more in details how how detailsin more exploretointeresting be could It

, 353. cat. 105 353. , 51

which

- like unornamented belt, in Füzér which its which Füzér in belt, unornamented like s

–

cm b aohr eito, the depiction, another by came I

is even richer in its details ( details its in richer even is the ones in Vizsoly neither Vizsoly in ones the - 106.

- ed strap decorated girdle.decoratedT strap

only of a strap going straparound a of only absent in Western in absent

in Vizsoly in

This representation isrepresentation This source yet, which I I which yet, source wrsrps were stripes ower

dressed up dressed . Fig. – 180

- has not has Europe Europe

here is here 62 wall 181 . in in ), ),

CEU eTD Collection 184 183 182 buckle the around knot a has armor with worn is belt sword the depictions fourteenth from dress military of representations the as West in in Ladislaus Saint standing the of belt the like two, the between girdle. waist long described the of instead 3. in seen also was to addition in often hips the around wear to were which market, the in appeared belts sword decorated richly and broad increasingly and fashion, belt A straparoundthe waist. spectacularwornwithoutbeltswherewastheexampleloops, into tucked pendant oncethefor depiction. belt simple this about say to much no is there still but situation better The representation. belt this on analysis there that poor so is Mari Porumbenii in fresco the of condition The recognizable. easily is girdle of type the but either, here detailed not is representation (See belts decorated wearing walls on depicted women of period Angevin a graves contain plain belts, wherethe only is detectable buckle only is belt as understood I wrinkles. line dress of faint misinterpretation the that impossible not is it and fragmented fourteenth the of third first the to dated researcher , and ,

relatively rare Lightbown, középkorigravesírmező:”“A csúti 112 (Gerevich, of Csút, 33. Seee.g. cemetery the Jékely, Lángi, In Western areas around the first third of the fourteenth century there was a change in change a was there century fourteenth the of third first the around areas Western In from murals The ern 10. - .Drn the During ). European effigies knotting a strap so that it hangs vertically at the front is shown is front the at vertically hangs it that so strap a knotting effigies European Medieval Medieval Falfestészeti emlékek, emlékek, Falfestészeti

Filia and the water the and Filia t ype

European Jewe European –

the hip belt

Chyžné and Chyžné fourteenth century men often wore broader belts around their hips their around belts broader wore often men century fourteenth

88. llery

color copies made after the frescos of Švábovce (see Švábovce of frescos the after made copiescolor

u ohrie i otherwise But , 317. , Porumbenii Mari are the are Mari Porumbenii

rso rm h timhl arc triumphal the from fresco 184 52

There are types which represent something something represent which types are There i nt rr peoeo ta female that phenomenon rare a not is t etr (See century

a narrow girdle around the waist as it it as waist the around girdle narrow a - o mid to . 183 only survived examples in the in examples survived only

- Velemér ( Velemér

itet cnuy I certain In century. fifteenth i. 14. Fig.

s o a t d further do to way no is - h in Chyžné is in a a in is Chyžné in h 113.)

Fig. 65. Fig. ). passing in front of front in passing Fig. 23 Fig. 182

The fresco is is fresco The It is another is It ). -

26. Actually ). The ). Fig. Fig.

CEU eTD Collection 14. Publishing2009), House, 187 186 185 ar in rather up turned belt hip the but togetherperiod, Angevin existed have might belt hip and waist The clothing. everyday the in present not was it probably but century fourteenth mid the than later much not spread 1360s thi the from Chronicle Illuminated Hungarian the In that. before dated was Tereske and state, original its in anymore seen not is which Filia, Only Great. the Louis of reign the of years which survivedina relatively fair mid the after this. like argument an in guessing much painted he and experience or knowledge international without artist local a was he that suggest could which contemporary in According well. presentas clothing probably was it then work, art provincial a such in represented paintings. mural Angevin earliest the of one mid the than periods later reconsideration however i West the doe painting the of condition the however appears, ( front in already part the and frame the between down and strap other the of front the over up looped be to bar, the behind then and frame the

Marosi, Egan, Pritchard, László Veszprémy, Tünde Wehli, József Hapák, Hapák, József Wehli, Tünde Veszprémy, László The relatively rare relativelyThe

s belt types beltis represented( isit in questionwhether they were the part of everyday not. fashionor A magyarországi magyarországi műv A n Hungary also it also Hungary n - fourt

what he saw in his in saw he what in dating dating in Dress Accessories eenth century. The four frescos frescos four The century. eenth

of - and late and fourteenth century ( century fourteenth észet,

to this logic i logic this to certain paintings. The mural The paintings. certain is likely that likely is

, 72. ,

350. conditionand show this hip classic belt, are all from thelast

occurrence of of occurrence Fig. 67.

Personally I would suggest to date this fresco a bit a fresco this date to suggest would I Personally environment ts quality ap quality ts ). hip belts hip The book of the Illuminated Chronicle Illuminated the of book The 187 53 186

See See I do notI do considerit impossible that itto started

the hip beltshipthe Fig. One can think that if a hip belt could be be could belt hip a if that think can One s not allow to claim anything firmly. anything claim to allow not s Fig. 33. Fig.

military showed up in the middle of the century, the of middle the in up showed –

, parently refer parently 66

aa Vlmr Kstey Plešivec Keszthely, Velemér, Daia, but probably there would be way too way be would there probably but .

). of Tereske of 185 ), moreover ),

contexts on armor, and only men only and armor, on contexts

in visualsourcesin Maybe in Velemér this variant this Velemér in Maybe s

has has to a less skillful painter skillful less a to

it is often considered often is it never

(Budapest: Kossuth Kossuth (Budapest: ud hs late this ound

sugges

been dated to dated ts some some ts As in As – - ,

CEU eTD Collection similar belts of Types century. fourteenth the of decade last the from are Hungary Upper from examples few a only probably and century, fifteenththe of (Rimabánya), Baňa ( (Zsip) Rimavská (Rákos), (Szepesmindszent), Rákoš (Poprád), Poprad (Karaszk Kyjatice Kraskovo (Háromszlécs), Sliače Liptovské (Gecelfalva), present in while Szentsimon; and Siklós Ragály, Ófehértó, Nyíracsád, Lónya, of: paintings mural the in appear belts Hungary (Székelyd Dârjiu Tileagd and (Szászfenes) Florești (Sepsikilyén), Chilieni (Küküllőalmás), (Mezőtelegd), Alma (Kéménd), Chimindia (Homoródszentmárton), Martiniș at represented are belts (Kristyor, Romania) culturally belongto Romania, withwhich I do not in deal thisthesis. significantly with works d art Christian with orthodox deal because not churches, do which orthodox I Romanian not. depictions context some regarding but are framework my there to Transylvania belong geographically In quality. and quantity greatest the present from are frescos, eighteen thirty found II. 3. be could which accessory common more the consideredwidely in spread everyday fashion. was girdle waist the while yet, it wore feet cngahc n fra taiin. blee ht uh xmls as examples such that believe I traditions. formal and iconographic ifferent 3 . Belts d The mural paintings worth discussing are the following: From present From following: the are discussing worth paintings mural The I material. archaeological plentiful most the has period Sigismund the of era The Fig.

Kée, eez (Leles), Lelesz (Kiéte),

- 68. he wl pitns hr bl dpcin apa; mn tee h majority, the these among appear; depictions belt where paintings wall three epicted ). All of the frescos from Transylvania and Hungary are dated to the first third first the to dated are Hungary and Transylvania from frescos the of All ). Smrečany

belts in Sigismund Mălâncrav

Smesn) Žha (Zsegra), Žehra (Szmrecsány),

- (Almakerék), Bădești (Bádok), Sânpetru (Barcaszentpéter), Sânpetru (Bádok), Bădești (Almakerék), - day Slovakia they appear at appear they Slovakia day Levoča day Slovakia day - periodmural paintings

Lce, ctn (Martonháza), Ochtiná (Lőcse), 54

–

the Upper Hungarian images again s again images Hungarian Upper the

to earlier representations can be be can representations earlier to Štítnik

Želiezovce

(Csetnek), Koceľovce (Csetnek), ó), ó),

Zeí) a (Zselíz) Košice Poniky - day Roman day erzs). From erzs).

Bijacovce

(Kassa), (Kassa), (Pónik), Crișcior nd Žíp Žíp nd

how how ia

CEU eTD Collection 193 192 191 190 189 188 waist Bijacovce at legend Ladislaus the of scene battle the In it. from gathered be can information further ( skirt loose the from part upper tight the century. fourteenth the of turn the from represented is legend Ladislaus Saint the church,the of wall northern the Rákoš, churches: three only in depicted are belts waist ( rarity a considered be can Nyíracsád in arch triumphal ( simplicity 71. theon LadislausandSaint depiction thefromat1419 Unitarian chur fortress ( 1410 around painted Ladislaus Saint of figure standing the on Siklós, of chapel 69. ( George Saint of figure the on belt visible still but perceptible barely a is there Alma consideration. into taken be also can programs iconographic different with images other Undecorated waist these objectswith andthe relationsh of issues chronological the with deal to finds, archaeological relevant the with particularly period. Sigismund the in found Marosi, Dvoráková, et Dvoráková, al., Prokopp, Jékely, Lángi, Lángi,FerencJózsef Mihály, Kiss,Jékely, ). ). 190 188 - belt on ( on belt

For this type of belt of type this For h wit et s etr en bv te weapon the above seen better is belt waist The rm rnyvna h Ladislaus the Transylvania From A magyarországi művészet,magyarországi A , Középkori freskókKözépkori Gömörben from the first quarter of the fifteenth century, fifteenth the of quarter first the from i. 72. Fig. Középkori falképek Erdélyben falképek Középkori Fig. 75. Fig. Falfestészeti emlékek Falfestészeti Střed - 192 belts

. h grl o te an Drty iue rm h inr ie f the of side inner the from figure Dorothy Saint the on girdle The ).

ověká nástěnná ověká The riding sai riding The ). 193

Erdélyi falképek ésfestett faberendezésekfalképek Erdélyi In the parish church of Levoča there are several figures on whom on figures several are there Levoča of church parish the In

the Saint Ladislaus frescoes offer a good starting point, although point, starting good a offer frescoes Ladislaus Saint the

614. , 276, hs mut f iul aeil rae a nqe situation, unique a creates material visual of amount This , 22.;László,, ,

115. ip of archaeologicalip of and pictorial in sources this context. nt wears a thin insignificant strap on his waist separating separating waist his on strap insignificant thin a wears nt - 277. , 162

- - Fig. 74. Fig. figure’s belt in Chilieni also marks out with its its with out marks also Chilieni in belt figure’s 169. 55 A Szent László legenda középkori falképei László legenda Szent A

). The painting is rather damaged so little so damaged rather is painting The ). Bijacovce, Fig - supporting belt at both the castle castle the both at belt supporting Saint Ladislaus has a has Ladislaus Saint . 73. .

1, 106. 1, ). 191

and Levoča. In Rákoš, on Rákoš, In Levoča. and

In Upper Hungary, plain plain Hungary, Upper In ch in Dârjiu ( inchDârjiu , 157. , thick brown thick Fig. 70. Fig.

Fig. Fig. Fig. ), 189 In In

CEU eTD Collection 194 buckle is itself thecolor same theas strap, dark brown. The represented. are pin buckle the for holes the even where end, hanging short a leaving attach also are knife and purse ( waistline the under slightly strap interesting really a wears donkey a riding man a series, Sins Cardinal the from scene Gluttony the in Levoča, pro that mount circular small a with along perceptible, still are it of traces Some condition. poor relatively in survived has it since blamed, be can show not does buckle leather narrow rather a also ( in Cuman riding the of figure the on shown is Lomnica Veľká Ladis the In frescos. two in shown are ornaments other any lack but brown straps. ( ( thirsty” the to drink “Give of scene the in wanderer the Mercy of Works Corporal of frescos the Among it. on hooked is this of function The hips. the over bit a hangingloosely ( ( Dorothy Saint kneeling the above torturinthe on as waist, the at tied coats looserather and stockingswith worn and the Corporal Mercyof Works inthe nave,dated all tothe 1390s. theSaintDorothy, of Life the of thescenesin up: strapshows typethisof i. 79. Fig. 77. Fig.

Marosi, „„A falképfestészet,” 284. Marosi,falképfestészet,” „„A as eed n iaoc o te iue f h rdn Cmn smlr et ta a at as strap belt similar a Cuman riding the of figure the on Bijacovce in legend laus Such belts, which have some kind of abelts, fitting,Suchkindwhich representing haveof practicallysome thefor function, dresses tight find can One wide. quite is cuts garments’ represented the of range The , n te ecfl men merciful the and ), . h eeuinr er a hc srp nt ihl fsee aon te as but waist the around fastened tightly not strap, thick a wears executioner The ).

up as elaborately as in Veľká Lomnica. Maybe the state of the fresco fresco the of state the Maybe Lomnica. Veľká in as elaborately as - like strip which serves the role of holding the q the holding of role the serves which strip like i. 78. Fig.

ed to the belt, which is a long strap looped once in the front the in once looped strap long a is which belt, the to ed

n Vst h ipioe” cns ( scenes imprisoned” the “Visit in i. 76. Fig. te feet the ) ) and the executioner in the decapitation scene scene decapitation the in executioner the and ) 56 - ahn fgr fo te Coh te naked” the “Clothe the from figure washing

i. 82. Fig.

bably served as a strap a as served bably

belt is clear, a large side large a clear,is belt . s n h eeuinr here executioner, the on As ). See Fig. Fig. See rvosy etoe Saint mentioned previously 194

i. 80. Fig.

SevenSins, Deadly 17. g soldier figures figures soldier g ; Fig. 81. Fig. ; uiver. Here uiver. - wa simple wear ) distributor. In In distributor. - bag or purse or bag ). It is It ).

the CEU eTD Collection 285. al., et Dvoráková, 56., 1996), d’Histoire, et d’Art 199 198 197 196 surviveall, at 195 1410 from the Žehra around and Poniky in scene Cross Living the in Synagoga blindfolded the of figure 1380 the from murals Ladislaus Saint the p A Smrečany. and Poniky Kraskovo, long classic The examples. relevant most the has Hungary of church Catholic ( element buckle figure. fragmentary a on represented is belt of type similar a Ragály in church the of arch triumphal built be can they so obviously) style (not are details concerning copies useable introduction, the in indicated I as time same the At limited. is source as value their therefore Huszka, Lajos by made drawings in only survived frescos these Unfortunately them to attached are weapons no and waist the at garment loose a together hold here Belts on. strap unornamented absolutely an has soldier third a while plain, remained part dangling l full its in mounted ( knee the reaching strap long seen previously the with belts plain and decorated both which on, girdles had soldiers torturing the Antioch, Huszka. Lajos by made drawings Long strap decoratedundecorated or waist b

Prokopp, Lángi,Mihály Jékely, Lángi, Poniky: László,

196 nukl, h ery fifteenth early the Unluckily,

L’art Gothique L’art Set ázó eed kzpoi falképei középkori legenda László Szent A It is on the hips, plain and thick; the strap is hanging down from a circular a from down hanging is strap the thick; and plain hips, the on is It Középkori freskókKözépkori Gömörben, the reliablility the Erdélyi falképek ésfestett faberendezések falképek Erdélyi Falfestészeti emlékek Falfestészeti Fig. 84. Fig. - 40 ( 1420s

ength, even the strap end is present; another one wears a strap where the the where strap a wears one another present; is end strap the even ength, Florești

en Slovaquie [Exhibition catalogue], Galerie N Galerie catalogue], [Exhibition Slovaquie en

of ). The same type is v is type same The ).

Fi Huszka’s copiesbe can questioned. . 87 g.

n h fgr o Sit ahrn ( Catherine Saint of figure the on , 382. , - 88. 195

59.;et al., Dvoráková,

). lain long strap is fastened at the waist of the maiden in maiden the of waist the at fastened is strap long lain In the scenes of the martyrdom of Saint Margaret of of Margaret Saint of martyrdom the of scenes the In - 199 etr fecs f ătnş ae uvvd ny in only survived have Mărtiniş of frescos century

Středověká nástěnná Středověká one bls f hs id r dpce ol in only depicted are kind this of belts Mounted - 30 i Kakv ( Kraskovo in 1390s elt 57 77 , isible on the southern nave wall in the Roman Roman the in wall nave southern the on isible

1, 98. 1, - i. 83. Fig. 80.

ic te ua pitns f ătnş did Mărtiniş of paintings mural the Since Středověká nástěnná Středověká

. n n caatr h grl is girdle the character one On ). , 140.;Žehra: Marosi, „A falképfestészet,” falképfestészet,” „A Marosi, 140.;Žehra: - strap decorated belt is shown in shown is belt decorated strap ationale Slovaque (Bratislava: Musée Musée (Bratislava: Slovaque ationale i. 86. Fig. i. 85. Fig. in the analysis. On the the On analysis. the in , 106, ), ). - 198 111. 197

ut s n the on as just

Again Upper Upper Again - shape shape

not .

CEU eTD Collection 207 korában 424. Múzeum,2006, Zsigmond Luxemburgi kultúra és Művészet in imperator. Mălăncrav], in church Mary Virgin the of paintings [Mural falképei” plébániatemplom 206 205 204 203 202 201 200 Mălâncrav of murals the on George Saint of figure The material butthey since appear in several itworthwhile depictions tointothem look separately. diffi are examples these garment Apparently the brown). from (mostly different slightly only colors with shown often are belts depictions unarticulated Among clear. is role functional their pouches or weapons with together belts, Undecorated hip knight Saint of Ladislaus ( ( waist the below little a just fiftee early the from (both Christ crowning ones ( century fourteenth the of end the to dated Face Holy the of scene the depicts painting mural scholars) high considered long same the fifteenth century. Smrečany and Sliačethe Sheltering on Fig. 91.

Marosi, etHankovszky, al., Prokopp, Prokopp, Togner, László, et Dvoráková, al., Radocsay, In the Sigismund era mostly girdles on the hips can be co be can hips the on girdles mostly era Sigismund the In ( soldiers flagellating the of figures the Koceľovce In depi they belts; these about say to more much not is there shape the Regarding ). 201 A Szent László legenda középkori falképei középkori LászlóSzent A legenda A magyarországi magyarországi művészetA Stredoveká Nástenná Malba v Gemeri Malba Nástenná Stredoveká 202 - Középkori freskókKözépkori Gömörben, freskókKözépkori Gömörben strap type with a dangling pendant without a loop. These depictions cannot be be cannot depictions These loop. a without pendant dangling a with type strap

–

kzpoi ayrrzg falképei Magyarország középkori A one cannot expectcannotsomethingonecloselyreali following thesupposed - -

belts ult pitns Kakv ws idtd o ta rao b certain by reason that for misdated was (Kraskovo paintings quality Středověká nástěnná Středověká Ave Rex Ladislaus Rex Ave

200

Fig. 94. Fig. 93. Fig.

, 613. , ). , 72. , , 46., ,

205 46. 161.

204 Cloak Madonna (

, 44. ,

In Rimavská Baňa a girdle like this is shown on a a on shown is this like girdle a Baňa Rimavská In , 1

119 , 58 46.

nth century) have a narrow, mounted belt on, on, belt mounted narrow, a have century) nth

- 2; ai Lionnet, Marie 121; , ed. Imre Takács. Budapest: Szépművészeti Szépművészeti Budapest: Takács. Imre ed. , ut o opr wt te artifactual the with compare to cult Fig. 89 206 Fig. 92. Fig.

- n Szentsimon, and 90. nsidered weapon nsidered ) also) the from twenties of ) „Almakerék, Szűz Mária Mária Szűz „Almakerék, 203

and in Ochtiná the Ochtiná in and Sigismundus Rex et Rex Sigismundus ty. In Štítnik a a Štítnikty.In 207 - supporting supporting

the Saint Saint the ct the the ct Formázott:

Sorkizárt CEU eTD Collection I discussin so am ofthe century, to fifteenth the dawn al., et Dvoráková, 285.; falképfestészet,” i appears Hungary medieval Szepességben, a falképek Középkori 216 106. Tatran,1989), 215 214 213 212 211 210 209 208 b find represented examples to These likely deposits. more or is graves from it coming cases elements their decorative in belts, hip decorated the is group This material. belt, Mountedor decorated hip 108. hip thick and dark depictmartyrdom ( Ecclesia victorious the ( hips her on girdle wears Žíp in church the of arch triumphal the on saint female unknown ( fields the in outside working peasants on appears ( Rákoš ( 1 Leles in church the of wall northern the on kings Hungarian the on and 1403, water the in shown Krask 95 the Passiontoo,scenes,soldiers depict in of somethingthechancel on and similar. Siklós, in depiction Ladislaus Fig. 106. Fig. 03.

- Prokopp, Prokopp, Jékely, Lángi, Prokopp, Radocsay, Lángi,Mihály, Marosi, ia Togner, Milan codn t Mra rkp te mg ws ae n h svnis f h futet cnuy (Prokopp, century fourteenth the of seventies the in made was image the Prokopp Mária to According 100.

). ), o wih n cn ae etr hne o id h rlvn cmaaie archaeological comparative relevant the find to chance better have can one which for 212 v te iue f an Ldsas er smtig iia ( similar something wears Ladislaus Saint of figure the ovo

Opposed to the previously described group, in depictions there is a particular type of of type particular a is there depictions in group, described previously the to Opposed ) In Upper Hungary many depictions of this type are present. On the wall paintings of of paintingswall the On present. are type this of depictionsmany Hungary Upper In ) i. 104. Fig.

and on the late fourteenth late the on and A magyarországi magyarországi művészet,A ), Középkori freskókKözépkori Gömörben freskókKözépkori Gömörben, Középkori 215 A középkori MagyarországA falképei

and in the Living Cross scene in Žehra the type is also present on the figure of of figure the on present also is type the Žehra in scene Cross Living the in and Falfestészetiemlékek Erdélyi falképek ésfestett faberendezések 2 falképek Erdélyi

teoeá átná ab v Gemeri v Malba Nástenná Stredoveká ). 213 freskók Gömörben, freskók Gömörben,

- oos ane atr h fre fec, ae oeie ewe 1390 between sometime made fresco, former the after painted colors

n h ery fifteenth early the In n the early fifteenth century, most scholars date the fresco to the 1410s. (Marosi, „A „A (Marosi, 1410s. the to fresco the date scholars most century, fifteenth early the n i. 107. Fig. - belts 208

, 154.,, 157.

55 614. the royal saint figures in Tileagd, in figures saint royal the - Středověká nástěnná Středověká

57.) but since the first depiction of Ecclesia and Synagoga in the the in Synagoga and Ecclesia of depiction first the since but 57.) 33. ). - 22. 54

century figures of Saint Ladislaus and Saint Stephan in in Stephan Saint and Ladislaus Saint of figures century - 216 belts on the two torturing soldiers above Thaddeus ( Thaddeus above soldierstorturing two the on belts

55.

In Poprad frescos frescos Poprad In

, 119 ,

- g the muralg here. painting the etr mrl o Štítnik of murals century - 59 121.; Lionnet,121.; 424. „Almakerék:”

Mdea mrl anig i Gmr (Bratisla Gemer] in paintings mural [Medieval , 82 , , 80.) In my opinion the style analysis also points points also analysis style the opinion my In 80.) i. 105. Fig. - 83.

in the chancel of the apostle’s apostle’s the of chancel the in . h lt fou late The ).

209

i. 101. Fig. and again in Mălâncrav, Mălâncrav, in again and 214

this simple hip belt belt hip simple this

rteenth ) 211

o ht is what to i. 102 Fig. - 210 century

ellow ( Fig. Fig. Fig. Fig. va: va: - - CEU eTD Collection 224 223 222 221 220 219 218 this for parallel one 217 only is There rows. multiple in put elements with belt patterned far) ( ( Sins Deadly Seven 1420s, ( 1430s the from Želiezovce in life Martin’s Saint of scene the from servant a on there; scene Adoration the in bu barred rounded, large A plaques. square the elaborate to wall the of plaster the used painter the because spatial literally is which girdle, a such has wall northern on legend Ladislaus massive,‘three full the presbytery the to arch triumphal the On present. is belt similar a Baňa Rimavská of church the from figures two on example, probably king, second plaque a be The to seems what kind. has Melchior, different a them of each belt, a wear each kings three 1380 thefrom anotherscene legendLadislausbut the mu with dealt already have I Baňa. Rimavská and Kraskovo kind decorated of Upper belt. In Hungaryone square sees Chimindia Mălâncrav, in figures saint royal in Bădești, Sigismund Saint of figure fragmented The material. the of analysis complex more the warrior of garment the to belong mainly Fig. 12 Fig.

ckle isrepresented inthe front ( Togner, etDvoráková, al., Prokopp, Jékely, Lángi, Kiss,Jékely, Lángi,Mihály, Jékely, Lángi, Jékely, Lángi, 224 Circular 217 5

- StredovekáNástennáMalba v Gemeri StredovekáNástennáMalba and in Levoča several times, in episodes from the Life of Saint Dorothy, and the the and Dorothy, Saint of Life the from episodes in times, several Levoča in and 126.

Középkori freskókKözépkori Gömörben, the Saint Ladislaus depiction in Ragály, in depiction Ladislaus Saint the Középkori falképek Erdélyben falképek Középkori ). Another soldier grabbing Christ’s coat, has an interesting, unexampled interesting, an has coat, Christ’s grabbing soldier Another ). Falfestészeti emlékek Falfestészeti emlékek Falfestészeti emlékek Falfestészeti - Erdélyi falképek ésfestett faberendezések 2 falképek Erdélyi - dimensional shape mounts are depicted in Kraskovo on the figure of Balthazar the( mountsKraskovodepictedof areinfigure on shape Středověká nástěnná Středověká Fig. 12 Fig.

Fig. 121 Fig. 0. ), ’ weapon’ 223 -

124.

in Liptovské Sliače on a soldier stripping Jesus, dated to the the to dated Jesus, stripping soldier a on Sliače Liptovské in ,, ,, 188. 382. , 8., Fig. 117 ,

). Uniquely elaborated belts show up at Liptovské Sliače. Liptovské at up show belts elaborated Uniquely ).

181. 55.

supportingplaque , 140

, 156. , s or soldiers, which detail would detail which soldiers, or s - - bel - - 118. 147. egh tnig iue f an Gog was a wears George Saint of figure standing length 220

t with cuboid elements ( elements cuboid with t 60

). and Lónya ( Lónya and

, 106. , 218 - 90s,

and Dârjiu ( Dârjiu and -

belt ( belt - mountedgirdles in two units, fresco 222 Fig. 112 Fig. rals of Kraskovo, although not in not although Kraskovo, of rals

in the Adoration of the Magi the the Magithe of Adoration thein Fig. 116.Fig. Fig. - 114. Fig. 115. Fig. ), whilethein the saint ),

109 be important also in alsoimportant be ) 221 -

111. wear the same same the wear ). Beside this Beside ). ) 219 Fig.119.

and the the and -

(so (so ), ), CEU eTD Collection 226 225 hips /see long straps, the in belts parallel examples 3. II. inLevoča well,which as slightly recallthis pattern ( ( mounts cauldron, a soldier torturing SaintDor strapwornthe the Dorus byof figure the patrician hisexpulsion scene in of ( belt the on pattern unique a also is there Levoča in church parish the At far. so unique also is exactdefinepatterneasymutheistoduenotto the conditionof ( scene, Marriage the In girdle special a century, fifteenththe of beginning the at Sacraments Seven the with painted or simple with hips, ( their ornaments grid on rhomboid straps ornamented uniquely wear also Judas and soldier S from warriors the ( Baňa of Rimavská at one army Ladislaus’s on belt the painting, mural Hungarian from depiction

Marosi, Prokopp, – 4 number of certain type certain of number

practically the same types are present here as in the Angevin period, the difference is difference the period, Angevin the in as here present are types same the practically depicted of groups distinct three detect can one characteristics formal the on Based scene Judgement Last the in Sânpetru, In Itrrtto o te ersne bls n h Sigismund the in belts represented the of Interpretation . Fig. 132. Fig. Fig. A magyarországi magyarországi művészet,A and Középkori freskókKözépkori Gömörben - strap mounted or unornamented girdles at the waist (in one case in Ragály on the on Ragály in case one (in waist the at girdles unornamented or mounted strap 84. ern rd amn hs wd, i bl wt square with belt hip wide, a has garment red wearing /)and

and ). It is not entirely the same depiction, but there is there but depiction, same the entirely not is It ).

dichotomies

militaryworn belts low the on hips. othy( i. 128. Fig. s, and the context where they appear. One can distinguish plain distinguish can One appear. they where context the and s,

615. Fig. 131.

, 33., betweenvisual representations and artifacts

. n tti, hr te bricked the where Štítnik, In ).

i. 127. Fig. i. 129. Fig. ).

. n lae n h Btaa see Roman a scene Betrayal the in Sliače In ). , ih ab cross maybe with ), Fig. 133. 226

a figure standing next to the fiery fiery the to next standing figure a

ral painting,ral butthis depiction - eid ua paintings mural period

another exceptional belt exceptional another - - p southern up hp, scalloped shape, - hpd ons The mounts. shaped 225 Fig. 130.

the groom has has groom the al was wall ) and on on and ) - edge aint –

CEU eTD Collection 230 229 228 János see: waist, the kisnána a at “GótikusGy. pártaövek Szabó, wrapped found also were which Kinána, of belts decorated the like just 150, sírmező:” 227 a examining After results. his changed have might they though even observations, his prove medie from trends. fashion general the for examples considered be should thatadmits himself he which Csút, from mountedbelts late such with argumentthe when but properly,proven is mentionsexampleimages he isthe from the mid to mainly to refers he but century, mid the in appeared clothes tight the that argued He material. Hungarian whole the regarding conclusions general drew and Csút in found he material the dating for effigies, mainly parallels, visual European even axiom an it consider nowadays. scholars and research the in accepted generally become has well sculpturesas in muralandpaintings many in shown is hipsthe all at idea this support not do Hungarymedieval from sources visual loose compress to tunics. garment the on higher worn were century, fourteenth the of half first th in like again, Girdles well. asbelts of fashion the changedwhich again, fashion into came loose and use of out fell dress tight that claims He century. fourteenth the of cemeter the about article weapon the or and hips, waistthe at sometimes the at belts plain or mounted narrow and long waist, the for belts woven simple

As in the work of Gábor Hatházi, see his: “A kunok régészeti emlékei a KeletGáborsee emlékei thea “A kunok in of work régészeti As his: Hatházi, középkorisírmező:”“A csúti 148.) (Gerevich, etc. Gate of Magdeburg, Paradiseof the in dome Seee.g. the in Gerevich,középkor“A csúti h fifteenth The 227 Among cemetery finds from the Sigis the from finds cemetery Among

However, most of the fifteenth the of most However, 229 a Hnay o ti fsin hnmnn nr rm te aes f uoe to Europe, of areas other from nor phenomenon, fashion this for Hungary val

At that time that At - century belts from Csút were at the waist of the corpse, see: Gerevich, “A csúti középkori középkori csúti “A Gerevich, see: corpse, the of waist the at were Csút from belts century

- orenh century fourteenth y of Csút, László Gerevich describes a change in fashion at the turn the at fashion in change a describes Gerevich László Csút, of y

i sírmező:” 148. i the he suggests a latefourteenth a suggests he

group i vár63. temetőjéből:”

of of -

supporting belts, always on the hips. In his important his In hips. the on always belts, supporting artifacts was not too not was artifacts - century belts have this unstable and broad date, and and date, broad and unstable this have belts century n bcm wdsra i te eod af f the of half second the in widespread became and - fourteenth century analogies and the only local local only the and analogies century fourteenth Hungarian 62 mund period there are also three types of belts: of types three also are there period mund

230

Illuminated Chronicle He does not provide visual sources sources visual provide not does He - century fashion change he supports change he fashion century

numerous and he used Western used he and numerous - Dunántúlon” 228 –

–

Gerevich’s statement statement Gerevich’s nce the belt worn on worn belt the nce . This statement

- u clothing cut e

CEU eTD Collection 106.;Ochtiná: Prokopp, 232 231 with associated that from different bit a also is garment the and different bit a is appearance The hips. the on long to refers shape Its belts. waist or hip either of type common beginning the of fifteenth century (see four K of cemetery the from instance, for examples, archaeological are there length full its on mounts without strap belt a of phenomenon the For ornamented. is waist the around strap the but plain, remained pendant the where strap a wears man torturing e.g ( front the in buckle rounded always but elaborated barely a by together held usually are th reaches usually which represented, is strap long A decades. previous the of those from different bit a even ornamentedvariants present are in theera. The representations these of decorated belts not are fro popular less been have to seems comparisonwithmostthetendenciesAngevinthe commonwherecanitconsideredit betype, in see can one as completely, disappear is frescos in depicted belts waist decorated of number the worn low on the body, just abovethe short, looseskirt (see skirt a to widened and waist the of line narrow the followed close painted consistently painters churches (see Koceľovce and Ochtiná of paintings mural the in and Mărtiniş from number great

Szabó, “Gótikus 59. Szabó, pártaövek:” . Koceľovce: Prokopp, Prokopp, Koceľovce: - Fig. yeargirl old remained unstudded on the back. Probably a kind of of kind a Probably period, Sigismund the in paintings mural the of number increased the with Compared 85. ). In ).

‘classic’ hip girdles. This strap is actually too narrow for a typical hip typical a for narrow too actually is strap This girdles. hip ‘classic’ mural paintings I must say that except for the for except that say must I muralpaintings

ătnş h eoae aduonmne tps r rsn togeth present are types unornamented and decorated the Mărtiniş e

Középkori freskók Gömörben, knee. It is rarely looped (See, e.g. (See, looped rarely is It knee. Középkori freskók Gömörben, Gömörben, freskók Középkori rnioy ye s ersne i Ohiá n Kcľve t the at Koceľovce and Ochtiná in represented is type transitory

Fig. m the fifteenth century onwards. Both plain and and plain Both onwards. century fifteenth the m Smrečany 92

46.; Dvoráková, et 46.; Dvoráková, al., 63 - 93. -

itn gret o syih iue, which figures, stylish on garments fitting 46., ). 231

232

and Žehra (See Žehra and Togner,

I callit transitory because thisis not the Fig. 90. Fig. , e.g. relatively small. Such belts did not did belts Such small. relatively teoeá átná ab v Gemeri v Malba Nástenná Stredoveká below th below ) and the two ends of the strap the of ends two the and ) figures in the copies of f of copies the in figures

Fig. 112. Středověká nástěnná Středověká isnána, where the girdle of a of girdle the where isnána, - strap girdles, but it is worn is it but girdles, strap , e.g. , e hips and the belt was belt the and hips e

). Fig.

Fig. 83 Fig.

88., 90. 88., , 100. , , 92 ), but ), -

er. One One er. 93. rescos - belt, See ),

in in , ,

CEU eTD Collection 235 234 233 – well a follows Church,the of symbol the Ecclesia, belt. hip a wearing figure identify could that attribute surviving no is there depicted; character the about known is much not unfortunately, Žehra and Žíp at women on appears also it but shown, are playing are they when scene particular with do to nothing have who people least at or peasants Štítnik, at murals the on century fifteenth early the In garments and hip evidence clearest the is tight For century. fifteenth the of beginning this very the at change fashion a of idea the disputing that possibility the consideration into take to has also one “old except nothing sees one why explanation possible a be may context the and Iconographyuncomfortable. and impractical been have would they otherwise weapon are them on girdles the and military the with do to something have often clothes of kind this wearing clothing. military in especially fashion, of out went never belts e.g. (See 109 close a on variant strap thick this is and tight the than looser and relativelygarments short wornwith hip longer slightly are accompanies it which clothes the and

she is riding victoriously, holding a flag, wearing a crown, and surrounded by evang by surrounded and crown, a wearing flag, a holding victoriously, riding is she Prokopp, középkorisírmező”) “A csúti Gerevich, Gerevich’s(See ideas. toLászló refering back INow am Ger - 112. evich, “A csúti középkorisírmező:”“A csúti 146. evich, The ). Its simple, mostly dark brown version is quite common in visual representations visual in common quite is version brown dark mostly simple, Its ). Fig. Középkori freskókKözépkori Gömörben hip 112 - belt was by far the most popularmost the far by was belt - belts themilitary context was longer no - .

), holding belts, which were still worn on the hips for practical reasons, reasons, practical for hips the on worn still were which belts, holding her. In Žehra the depiction of Ecclesia is the other example of a female a of example other the is Ecclesia of depiction the Žehra In her.

which might support the argument of László Gerevich that plain leather plain that Gerevich László of argument the support might which

33. - fitting garment, tightly drawn at the hip (See e.g. (See hip the at drawn tightly garment, fitting

belts. a role (see role a

belt depicted in the era, the majority of belts of majority the era, the in depicted belt Fig. 105.

235 themediumthematic only anymore. any kind of army or fighting in the in fighting or army of kind any

). this simple hip belt appears on on appears belt hip simple this

This is rare, only in two cases two in only rare, is This

(See - fashioned” clot fashioned” 233 i. 106 Fig.

It is true that figures figures that true is It - defined tradition defined - 107. hing,

) I Žíp, In . 234 elist Fig. Fig.

but but CEU eTD Collection et.Kirschbaum, (Rom:567 al. 1994), Herder, 236 of Life the and chancel, the to close aisle, northern the of wall northern the on Sins Deadly Seven the and Mercy of Works Corporal Seven the interesting: particularlymurals of groups survive. to managed paintings the which in condition the like just outstanding is quality the heyday, city’s the during made were murals These examples. The decorated belts depicted on the Thiskind o rows. multiple in mounts has which item no is there also, Hungary of outside know I as far solut the Whatever strap. the on rows (See Baňa Rimavská in army Ladislaus’s Saint from warriorsthe of one belton the muralpainting, Hungarianthisrepresentationfrom analogyfor by followed rows two in fittings square with mounted strap thick one has belt this that is likely less perhaps is which interpretation other The strips. thin with together attached fittings, circular tiny with mounted straps threenarrow of consist could belt This ways. several interpreted be can depiction This pattern uniquely interesting, an grabbing soldier a Sliače Liptovské In patterns. representativeoutstandingly butit isin assailable severalaspects, so properly defeated be cannot idea this phenomena; certain overanalyzing of mistake the make to want not do I victory. her of symbol didactic a as her on belt military a or armor of piece triumphans the is iconographythis of name The Synagoga. defeated the by symbolized is which symbols.

ofag rieegr “ Greisenegger, Wolfgang The mural paintings of Saint Jacob parish church in Levoča are completely standalonecompletely are Levočain church parishSaint Jacob of muralpaintings The and unusual bearing depictions belt of couple a are there belts hip decorated Among 236

f surfacef decoration, however,

(Ecclesia triumphant in Battle). In this aspect it would n would it aspect this In Battle). in triumphant (Ecclesia hs s etil Crs’ timh vr h od prtal tasedd world, transcended spiritually old the over triumph Christ’s certainly is This

Ecclesia,” in in Ecclesia,”

d belt d frescoes in Levoča - ion is, in the Hungarian archaeological material, and as and material, archaeological Hungarian the in is, ion 568. – eio dr hitihn Ikonographi christlichen der Lexikon I wouldI rather leave this presumption open.

iheeet u n utperw (See rows multiple in put elements with could beartisticinvention.

one mount rounded 65

Fig. i tre os Tee s ny one only is There rows. three in s 127.

Regarding belts, I found three found I belts, Regarding ). Here ).

ot be surprising to see a a see to surprising be ot

the mounts lie in two two in lie mounts the e o , d Engelbert ed. 1, No Christ’s coat has has coat Christ’s

Fig.

separate, separate, Ecclesia Ecclesia 126. ). ). CEU eTD Collection 240 239 238 237 representleather stamped belts ( well. as strap the on mounts be ( girdlesmounted as archaeological example these not only for unique representations, but also forbeltsinterpreted the than earlier them fourteent of (none preserved are pieces such many instance, for London, of Museum the in but belts, leatherstamped of examples no are there Hungary In interpretation. strap a on mounts ( half in cut pattern same the by below and above framed middle, the in it decorating elements quatrefoil with belt a wears Dorothy in emperor Roman the of figure the On motifs. SevenDeadly Sins among Wrath in Suicide of figure allegorical the on as loosely, more sometimes Dorothy, scene Proposal the in like other, each to next tightly sometimes, and belt the of edges the on depicted (See scheme same the follow belts muraltendenciestheinpaintings in hip are There strap’s. the of that from different in depicted never are Levoča in ornaments belt The murals. the in belts decorated many are There paintings. wall 1400. fres these of west the to Dorothy Saint

Egan, Pritchard, Egan, Pritchard, Egan, Pritchard, Radocsay, 237

The depictions are richly elaborated, full of details that one cannot expect from most from expect cannot one that details of full elaborated, richly are depictions The cnuy, n eaiey od condition. good relatively in century), h A középkori MagyarországA falképei, Dress Accessories Dress Accessories Dress Accessories . In theProposalInis eventherescene. some the furtherdecoration on circular –

Fig. 135 Fig. it lacks it different colors so that one could at least presume that their material is material their that presume least at could one that so colors different

- artifactual analogies. At the same time, it could suggest another suggest could it time, same the At analogies. artifactual 137.

239 , 45. , 44. , 40 , Fig. 138

), especially as superimposed on this decoration the decorationthis on superimposed as especially ), It is not impossible that girdles from Liptovské Sliače also also Sliače Liptovské from girdles that impossible not is It -

41. general, surprisingly this makes up the majority.makesthegeneral,surprisingly thisA up Fig. 121 Fig.

ewe tee ie cm te ag, one mounts rounded large, the come lines these between cos. Most likely they were made between 1380 and 1380 between made were they likely Most cos. - Fig. 134. Fig. 139.

148. - ). 66 124.

240

- belts with rounded ornaments rounded with belts

the Expulsion scene from the Life of Saint of Life the from scene Expulsion the ). This is an unlikely solution for studding for solution unlikely an is This ). ). The strap is wide, two parallel lines are lines parallel two wide, is strap The ). 238

Stamped belts could provide an an provide could belts Stamped rm h Lf o Saint of Life the from –

considering re could re ll these these ll the CEU eTD Collection 242 241 purse is hanging on hisleft side ( a belt servants’ the of one on talentums the of story the telling parable the of scene the from images century fourteenth mid some to related above described I which type, purse that of representation one only is 1400. before long not consideratio completed was publications. it several Prokopp in uncertain Mária rather to is According painting mural this of dating The Levoča. relativel Thaddeusin Poprad, the a on hips soldier of ( era. this in common relatively considered late from were types purse these ( girdles the onto fitted directly were they and closing flap a had purses these that proved England b might strap the to attached be to seems it which with elements two The anymore. girdle the from strings with hang not does here depicted purse chapter Angevin the in presented I what than up shows it ( pursetwo appear circular small elements, mightthey which studs be the holdthe purse on belt elaborated Depicted purses Fig. 140. Fig.

Prokopp, Egan, Pritchard, n h Gutn see f ee Dal Sn i Lvč te a was highly a wears man the Levoča in Sins Deadly Seven of scene Gluttony the In wd fas f h puh ih rfr o h peue sm tp a apas in appears as type same presumed the to refer might pouch the of flaps wide y Fig. 141 Fig. ). Above I already dedicated some lines to purses. Here probably Here purses. to lines some dedicated already I Above ).

Középkori falképek Szepességben, falképek a Középkori belt strap with a purse to the right of the buckle. On the upper part of the attached the of part upper the On buckle. the of right the to purse a with strap belt n the shape of the purse, I must agree with her. From the Sigismund period there there period Sigismund the From her. with agree must I purse, the of shape the n

Dress Accessories - 142.)

. This way they were more secure and less tempting to thieves. All of of All thieves. to tempting less and secure more were they way This . –

the one that dangles on a stripe attached to the belt. I belt. the to attached stripe a on dangles that one the

, 350. , - Fig. 144. fo urteenth, early urteenth,

64. ).

241 Fig. 143.Fig. 67

Its pictorial analogy is in the Martyrdom of of Martyrdom the in is analogy pictorial Its

- fifteenth century deposits, and they can be can they and deposits, century fifteenth ). Albeit the painting isthe not detailed, e flaps instead. A few examples from examples few A instead. flaps e –

a leather purse with flaps. The The flaps. with purse leather a

a different type of of type different a 242

Taking into into Taking n Štítnik n - CEU eTD Collection 250 249 248 Archaeo 247 246 Magyarországon” 245 244 243 n the of elaboration the seeing that note must also I Hungary. base. textile a on sewn or mounts to added also were gemstones onwards century fourteenth the from thirteen the of end the by common very become had pearls with decorated richly ones or girdles embroidered wholly areas, Western In them. beside strap the on sewn La other( each tostuddedadjacent were which edges beadwork with mounts large represent might they ways; two in interpreted examples spectacular ( Tiszaörvény from belt beadwork fift the From fittings. bone with decorated girdle a of representation only and one the be would it thus Sânpetru, in belts ( moreo bone, of made fittings belt features rather ( pattern this recall slightly which well, as Levoča in belt exceptional an is there depiction, same the entirely haswide a hipwith belt square scene, Judgment Last Particular forms of belt decorations Fig. 147. Fig.

Egan, Pritchard, Lightbown, Szabó, Marosi, Gádor, Hellebrandt, „A Herman Ottó Múzeum:” Ottó 605. Gádor,Herman „A Hellebrandt, otherImount notmeet did with tor ( tor Béla Horváth, „A tiszaörvényi párta és pártaöv” [Decorated headdress and belt from Tiszaörvény], Tiszaörvény], from belt and headdress [Decorated pártaöv” és párta tiszaörvényi „A Horváth, Béla ag, Kzpoi snvrts vk Kárpát a övek csontveretes “Középkori Varga, Fig. 152. Fig. logica There are two more exceptional cases of nearly unique decoration. unique nearly of cases exceptional more two are There Az alföldi nép Az alföldi magyar A magyarországi magyarországi művészet,A - ). edge mounts came into fashion, as one can see on the elements of the decorated the of elements the on see can one as fashion, into came mounts edge 245 250

Medieval Medieval 21 (1970):21 166.

bone of example large disproportionately a see might one Therefore From the fourteenth and fifteenth century there are no examples of this from this of examples no are there century fifteenth and fourteenth the From ), Dress Accessories 248 i. 146. Fig.

or they could represent small fittings with tiny gems, and pearls regularly pearls and gems,tinywith fittings smallcouldrepresent they or European Jewe European

243 for their visual representation. The mounts in these frescos could be be could frescos these in mounts The representation. visual their for

Fig. 148. Fig. a figure standing next to the fiery cauldron, wearing a red garment red a wearing cauldron, fiery the to next standing figure a

, 70. , - et cnuy ers ee lo sd o eoae belts decorate to used also were pearls century eenth ). This scalloped edge is not characteristic of metal mounts, it it mounts, metal of characteristic not is edge scalloped This ). depictions which was similar to this representation. similar representation. was to this depictions which

- , 49. , shape, scalloped Fig. 149 Fig.

615. llery ). 247

, 318. ,

Belts depicted at Dârjiu and Chimindia could provide provide could Chimindia and Dârjiu at depicted Belts - 151.

), such as mounts found in the cemetery of Sály cemeterytheof in mounts found as such ), 68

- - medencében”; Németh, “Csontosövek a középkori középkori a “Csontosövek Németh, medencében”;

edge mountsedge ( ver, it is especially common on bone mounts bone on common especially is it ver, Fig. 145. imbuses, crowns, harness, and and harness, crowns, imbuses, ).

244 In Sânpetru, in the in Sânpetru, In

th century, th Althoughisit not - mounted 246 249

Folia Folia

and and and - CEU eTD Collection ofClehongerPritchard,(Egan, Church 252 251 plaque a wear might saint unknown The here. belt textile gilded ornamented, li more is it dress, the of fringe the decorates pattern same the since but mounts, represent to intended painter the that suspect can One decoration. the 73. Ny In times.three onlyappear belts hip two the except before, as types same the naturalwaistline. the above belts these wear to fashionable became it and centuries many for been had they thanwider became straps men.The than girdles differentwore centurytheyfifteenththe from are women many brasses, of and effigies number great the to due sources, visual European Western In her. on shown never are depiction only and Sheltering a inVirgin the on appears also it once and Ecclesia, on once and Synagoga on twice appear theyCatherine; Saint and Dorothy Saint s identified two Kraskovo; at fresco a in one wears legend Ladislaus Saint the from maiden The random. be to appear belts wear actually who figures The paintings. mural Beltsfemale on figures this representationwith artifacts. textiles. rich and jewellery by inspired (see art the in background the

Lángi,Mihály, e eg te tn effi stone the e.g. See ) . Yellowish paint may refer to the material and the reddish square reddish the and material the to refer may paint Yellowish . Liptovské Sliače Liptovské n h Sgsud eid t s tl priual rr t se et o fml iue in figures female on belts see to rare particularly still is it period Sigismund the In Fig. s Erdélyi falképek és festett faberendezések 2, 106. ésfestett faberendezések 2, falképek Erdélyi

of Maria where she wears an accessory other than a cloak fastening. Girdles fastening. cloak a than other accessory an wears she where Maria of Here nothing like this is perceptible and female characters seem to wear just characterstois perceptiblefemaleandseemthis like nothing Here 111. Dârjiu it is apparent that this rich bead decoration is a stylistic element of element stylistic a is decoration bead rich this that apparent is it Dârjiu

. This is all I found concerning fema concerning found I all is This . y f ld fo a atr ob ae t te mid the to dated tomb altar an from lady a of gy ),

251

which of course does not exclude the option that the style was was style the that option the exclude not does course of which

Dress Accessories íracsád Dorothy wears her beltwearsher Dorothyíracsád

represented with belts on. belts with represented It still remains rather slippery, however, to compare to however, slippery, rather remains still It - 69 belts I mentioned a few lines above. Decorated above. lines few a mentioned I belts , 37.) ,

- Cloak Madonna representation inrepresentation Madonna Cloak

le figures le ey ht hs s ny richly a only is this that kely - fourteenth century, in All Saints’ Saints’ All in century, fourteenth 252 under her breastsher under . This latter fresco latter This .

There it is apparent that that apparent is it There - shape pattern picture pattern shape aints wear one, wear aints - belt

Smrečany

(See ( s are s See Fig. Fig.

the

CEU eTD Collection (Budapest: 256 city] Kecskemét in Excavations region. 255 Alföld the in TörténetiMagyar nation Hungarian the of history [Cultural 254 253 cuboidthick consistof three look it made painter their above; from viewed belt a listedmuralsamongabove, fifteenththose century red the are and mounts separated yellowish sharply the Lónya in although variant, common most the is this paintings other. each touching even are they sometimes were they passed time As identical. usually strap the ( abundance increasing an show artifacts while mounts, squa elaborated barely but anything see cannot still one mate thewith compare richer. and richer became ro Square variab greater show certainly they but West, the from that as varied as be frescos particular Characteristicfeatures the of Hungarian material accessories. costume fewer significantly wear they that undeniable is it but garments, fashionable less Virgin the of waist the around 106. Jékely, Jékely, Lángi, 138. középkori feltárása:” “Nagytályae.g.,See,Kovács, templomának sette Kálmán Szabó, Szabó, Kálmán ) h ae ida se nslir,adteoeadol long only and one the and soldiers, on seen as kind same the , - - hp o star or shape h dsac bten riat ad h vsa repr visual the and artifacts between distance The shape

Kiss, defines the shape of the mounts. the of shape the defines

Középkori falképek Erdélyben falképek Középkori

and rounded mounts were mounts rounded and Falfestészeti emlékek Falfestészeti

Múzeum, 1938) Múzeum, Az alföldi Magyar nép mű nép Magyar alföldi Az –

is larger and larger. The Hungarian material, however, does not seem to seem not does however, material, Hungarian The larger. and larger is - shape - rial objects. With a couple of exceptions, mainly from Upper Hungary, Upper mainlyfrom exceptions, of couple a With objects. rial shaped elements, maybe lined up in a string, tightly beside each other. each tightlybeside string, a in up linedmaybe elements, shaped 253

, 65. , ics ec Te raet o te ufc o te ons also mounts the of surface the on ornaments The etc. pieces, In this regard, mural paintings in medieval Hungary are hard to to hard are Hungary medieval in paintings mural regard, this In

(See , 188. , -

ooe srp s iil bten them. between visible is strap colored

Fig. , 140. , velődéstörténeti emlékei. Kecskemét város múzeumának ásatásai múzeumának város Kecskemét emlékei. velődéstörténeti still frequent, but other forms appeared, too, such as as such too, appeared, forms other but frequent, still

89 The mounts from the same belt found in graves are graves in found belt same the from mounts The

- 90. 70 254

) . One cannot argue that female figures wear figures female that argue cannot One .

studded

Mural pai Mural

such as Chimindia, as such Fig. 153 Fig.

lsr n coe t ec other, each to closer and closer - esentations ntings show similar examples; in in examples; similar show ntings dimensional. These belts seem to seem belts These dimensional. re -

r oeie circular sometimes or - 155. 256 - ). Mostly the width of of width the Mostly ). strap decorated belt is belt decorated strap –

the royal saints wearroyalsaints the 255 vn ept a few a despite even

ility than before. than ility In certain early early certain In - shape

CEU eTD Collection 263 (1989): 126 262 261 260 259 258 257 era. increases, the of paintings in than archaeologically fourteenth in thirteenth in them finds one exceptions some with mostly but buckles rounded have bone frequently Most different. is tendency the material archaeological the In Belt buckle as I far know belt fittings without bucklesabsent are fromthe archaeological material. plaque the depictions of number material organic the as common as not were they features mid the from pl square, mainly large, with belts plaque preserved few a are there Europe, Western In down. melting and reuse the of because maybe either, deposits archaeological gold or silver value high their of because Probably plaques. metal of made wholly girdles and leather or textile the on studded mounts with straps inventories: and testaments Bene gir a like other, each beside densely set were and thick are mounts analog proper no is There

Sándor Varga, “Középkori csontveretes övek a Kárpát “Középkori a Sándor csontveretes övek Varga, Lightbown, Lightbown, Szende, Szabó, András H. Pálóczi, “A balotapusztai középkori sírlelet” [Medieval burial find in Balotapuszta], Balotapuszta], in find burial [Medieval sírlelet” középkori balotapusztai “A Pálóczi, H. András Béla Kovács, “Nagytálya középkori templomának feltárása “NagytályaBélaKovács, középkoritemplomának

( Fig. 156 Fig. In murals the belt buckle is rarely represented, and if it is the shape is usually rounded.ittheis usually muralsisshapeif represented,is rarelyand Inthe beltbuckle Az alföldi nép Az alföldi magyar Otthon a városban a Otthon - 263 127.

Medieval Medieval Medieval but the head of the buckle is usually small; the diameter is barely larger than the the than larger barely is diameter the small; usually is buckle the of head the but - -

etr gae. n h ery iimn pro te ae uh es common less much are they period Sigismund early the In graves. century orenh century. fourteenth . ). – 257

hy i nt e it gae ad hr ae o uvvn eape in examples surviving no are there and graves into get not did they

As I mentioned in the introduction two kinds of decorated beltskinds mentionedintroductiontheof in two I As European Jewe European Jewe European (Fig. 157 (Fig. , 138. , o hssr fbl nacaooy u hr r itns where fittings are there but archaeology, in belt of sort this for y , 65. ,

- - 158 belt does not have a buckle (S buckle a have not does belt 258 llery llery 259

.) hs bls r asn fo te ugra material. Hungarian the from absent are belts These , 317. , 324. , mlcty u t ter ev wih and weight heavy their to due Implicitly . 261 –

lqe wr peual md o precious of made presumably were plaques It does not mean that a metal ve metal a that mean not does It

71 -

medencében:” 287. 262 :” 153.

n h fi the In

- based belt variants. belt based - century hoards or occasionally or hoards century ee, e.g. ee, fteenth century the number number the century fteenth

dle from the graveyard of graveyard the from dle Fig. rsion did not exist, exist, not did rsion 110., 113. 110., - qe, already aques, mounted belts belts mounted 260 less flexible flexible less

Cumania In a great a In turn up turn

metal, but as but

11. in in CEU eTD Collection 264 emphasize enoughthat should one notcolor use basis as analyzing for things. depictions of stronger a of made was it of base thin the only and leather, maybematerial, organic some by covered was buckle thewhether of question the raise might (See strap the as color same the of buckle a with equipped belt a has figure Gluttony the Levoča, in and above, described I which belts, his on fittings some has Cuman riding the Bijacovce In kind. this of frescos two only found I instance. for rare are depictions buckles. cloak as interpreted are Western buckles larger inresearch Even cloak. a or belt a on used were they whether is question the but hoards, depi in seen that as proportions same the shows buckle artifactual an which in examples few a only are There strap. belt the of width

Egan, Pritchard, Dress Accessories

where the strap is not decorated but there is a fitting, like a single buckle, buckle, single a like fitting, a is there but decorated not is strap the where

, 64 , - 65.

ctions. Larger ctions. 72

- sized buckles are more often found in found often more are buckles sized 264

In the fifteenth century also, such such also, century fifteenth the In fabric, at the same time I cannot I time same the at fabric, Fig. scene’s 81 - 82. riding ). It It ).

CEU eTD Collection et Dvoráková, al., Szepességben a falképek Középkori 266 ésfestett faberendezésekfalképek Erdélyi 265 are examples Hungarian Upper girdles, represent which those Among accessory. the depict late the until frequent there arelow only a dating number of which differ significantly fromother. each research previous on relying apparently date thedefining and simultaneously murals with dealing scholars several are there but wall, the on written Dârjiu, or Kapitula Spišská as position lucky that in not are most since uncertainty, some always is there course Of themselves. objects conclusion draw and matters slippery carefully. the to attention pay to tried have I comparison the In match. broadly least at should that tendencies certain are there that believe I yet but phenomena, different show contexts different that accident by not is It definite. implicitly not fe the although contexts, both in role eloquent an plays elements or motivations personal and conventions the by affected representation of intention The churches. in images the as just context, religious fromcoming Cuman of couple a of exceptions the With disti essentially be could from came material my where representation), pictorial the and twothe contextsburial (the subjectsand of thepurposes that istoimportant note It in fashion. m to seem not do often

Like e. g. in the case of Žehra which was was which Žehra of case the in g. e. Like Spišska Kapitula: Prokopp, Prokopp, Kapitula: Spišska Above the of that than exact more be to seems paintings mural of dating the opinion my In sources visual and material archaeological the from draw can one what that clear is It

I was able to demonstrate that the schematic way of representing belts is rather rather is representingbelts of wayschematic the thatdemonstrate to able was I Středověká nástěnná Středověká

- fourteenth century, fourteenth atch; moreover, sometimes they show completely different tendencies tendencies different completely show they sometimes moreover, atch; Középkori falképek a Szepességben, a falképek Középkori , 52.), but to the 1420s by other scholars: Marosi, „A falképfestészet,” 285.; 285.; falképfestészet,” „A Marosi, scholars: other by 1420s the to but 52.), ,

atures of these conventions and motivations differ and they are they and differ motivations and conventions these of atures , 80.

1, 106. 1,

III. dated to the mid the to dated C

ONCLUSION and a great number of mural paintings do not even not do paintings mural of number great a and 73 single

- graves, most of the cemetery finds are are finds cemetery the of most graves, fourteenth century by Mária Prokopp (Prokopp, (Prokopp, Prokopp Mária by century fourteenth

es but keeping a critical attitude, and attitude, critical a keeping but es

18.; Dârjiu: Lángi, József, Mihály, Ferenc. Mihály, József, Lángi, Dârjiu: 18.; 265

etc. to have the exact date date exact the have to etc. of the paintings the of 266

nct. s

CEU eTD Collection r in represented be can Heaven, of Queen the as who, Mary, Virgin on present are They scene. given the in important necessarily not is rank social whose characters on and stories showe I as figures soldier saintly other Saintsometimeslegend,on Ladislausand episodesrepresented of frequent a are They defined. be cannot status usua belts because argument, an such support cannot one frescos surviving of number few the to due maybe period, Angevin deposits in youngerwhat than traditional argument in say publications. bit a be should which Tereske, as such paintings, few a of date the revisit to possible also again once and 1300s, the majori the Since cut. of tight the superseded decades last the around returned garment loose that that Sigismund entire the during popular cent the of middle the after bit a them from dominance hip and clothes tight and century, fourteenth whole the during widespread considered be can They century. fifteenth the in even not all, at disappear not did long and garment loose paintings In century. fourteenth mid the in starting but ending not change slow a suggest rather would I century, fourteenth fashion century fourteenth cha early an the of idea the of Instead anymore. right be to seem late the in then and prevai are whichideas and theories certain described details.I of profusion in and number in both abundantmost the ichest garment, but there it isgarment,thereichest it but g, hc sgetd ht os gret fl ot f aho cmltl b te mid the by completely fashion of out fell garments loose that suggested which nge, According to the testimony of artifactstestimonyAccordingthe toexcavat of d above. Otherwise they only turn up in such scenes, which depict New depictwhich scenes, such in up turn only they Otherwise above. d ,

supposedly - orenh etr, u wih fe eaiig ua pitns o not do paintings mural examining after which but century, fourteenth ling in the research, such as the idea of fashion change in the beginningthe inchange fashion ideaof the as such research,thein ling aristocrats, the b the aristocrats,

n ot lly appear in similar context or on such persons whose social whose persons such on or context similar in appear lly

even - period, opposed to what scholars usually argue, namely argue, usually scholars what to opposed period,

sure that the faint line on her is a belt depiction or not. not. ordepictionbelt a is her lineon faintthe that sure urg ty of mural paintings stands against this idea, it was it idea, this against stands paintingsmural of ty hers of towns and peasants and towns of hers 74

elenen ed incemeteries, ed ury. Tight garments seemed to remain to seemed garments Tight ury. o mltr gret mil i the in mainly garment, military of t - strap belts which held th held which belts strap

- belts just slowly took over the the over took slowly just belts single

all wore belts. In the In belts. wore all

graves or found graves or em together em - Testament

the the - CEU eTD Collection them appearanc the concerning role main the plays piece art particular the influence or could produced who artist the and of intend The result. lot final the essentially a matter reasons and circumstances these of figurative all a representation, In reasons. other various for depicted be to happened just or portrayed be to o whoactor contemporary a andcharacter religious a character,historical atypes: three of be could person this speaking Broadly person. certain a depicted artist an how on impact o by immediately disputed be to just trends general to refer might which cases isolated few, very are There impossibleconclusionstodrawwhichwhere such truebeltbein acase every could up. shows i reality pure the but general, in belts of role social the regarding or depictions in belts wearing are who those of status social the far draw could one if useful really be would It gro these inside distinctions further making but difficult already is nobility and bourgeoisie peasantry, as such layers social broad Defining person himself. understood depicted that how or character that understood creator its how feature the to refer strapgirdles. long mostly belts, wear others the all virgin, foolish one Except belts. to related not is it but identical.Appar is theirdresses appear ones foolish five the impression; harmonic less and chaotic while more bit a give and differently picture, homogenous a show virgins wise five the the in specified not and unimportant is society the virgins foolish five and wise five the on are belts decorated Highly

r sc aspect such are hn vsa rpeetto o ay id hw a otmoay iue ta cou that figure, contemporary a shows kind any of representation visual a When

ther examples. There are plenty of things and circumstances, which take an an take which circumstances, and things of plenty are There examples. ther s

which are hard to define, especially after centuries. A great deal of of deal great A centuries. after especially define, to hard are which ently there must be a moral layer of the meaning of dress here, dresshere, meaningthe moral of of layer musta be thereently ta etrpeettosaehtrgnos n i is it and heterogeneous are representations belt that s 75 -

reaching and universal conclusions regarding conclusions universal and reaching parable. It is true that concerning clothing concerning that true is It parable. ups is an even harder task. harder even an is ups

in e of a figure, and both of both and figure, a of e

the person who ordered who person the

and Chyžné

not even the cut of cut the even not . Their place in place Their . rdered rdered ld - CEU eTD Collection 268 267 money.thesethishowthey on servantsactivityused of the represents fresco the then and gospel, the to according them of each to amount different his a servants, to his to memory(talents) money gives a potentate the scene set first the In to king. the benefactor, was aim main His them. of system thematic the defined from (Ladislaus Csetneki and Lászlópaintingsthe emperor,theordered Esztergomconfidantof and of prebendarytheŠtítnik), him. for stands probably most scenes the in potentate 1420 the in Jesus Štítnik nobility the among strata further distinguish to help not does fresco this However, things. important als long wore definitely strata social higher the that proves certainly That gold. picture to maybe yellow, his Charles figure. donor only the represents Kapitula Spišská donor surviving few very help usually tool) a is clothing which clearly symb represented experience, the or skillsof artist,the context the of artetc. piece, realization and intention affect can things

Prokopp, Prokopp, o in such ceremonies like coronation, where representing their rank was one of the most the of one was rank their representing where coronation, like ceremonies such in o provost olic, The Sigis The Dono mark out from their environment their from out mark –

thekingand his followerwear theexactly same belt. - where authenticity was not so important, but there are representations, where they where representations, are there but important, so not was authenticity where Középkori freskókKözépkori Gömörben, freskókKözépkori Gömörben ta mutdbls n o nya weapon as only not and belts, mounted strap

and bot and social status social - ’s dpcin ae n psil field possible one are depictions r 30s.

parable of the talents described in the gospel of Matthew got to be represented be to got Matthew of gospel the in described talents the of parable 267 mund period is not richer concerning the belt representation on donors. In donors. on representation belt the concerning richer not is period mund with painted are mounts whose girdles, decorated wearing are them of h

The main character of the paintings here is Emperor Sigismund; the the Sigismund; Emperor is here paintings the of character main The . Donors could Donors . - depictions in mural paintings. In the Angevin period the fresco of fresco the period Angevin the In paintings. mural in depictions

33. 38

39.; Togner, 39.; to show up show

identify them as donors. donors. as them identify in the image the in 76

s well as

Stredoveká Nástenná Malba v Nástenná Gemeri Stredoveká in several way several in

o xmn hw epe understood people how examine to . The context and their appearance their and context The . 268 -

– Sin supporting accessory on armor but but armor on accessory supporting

Robert appears in the fresco with fresco the in appears Robert oil akrud knowledge, background, social ce all of thewear servantship aallof ce

s. T s.

In Hungary, there are only only are there Hungary, In heir

appearance could be be could appearance , 162. ,

great

and (in - CEU eTD Collection Studia Archaeologica Évkönyve. Múzeum Ferenc 269 mostbelts likelyinherited fromt with buried usually were children results, excavation to According approach. right the not is this but versions,illustrated their with graves children’s from finds the compare toimpossible be a include not did that tradition defined strictly a follows clothing whose Christ, of childhood the from episodes for except children of depictions no graves. child and female in especially graves, people’s young fi archaeologists frequently most but graves, child and female, male, in appear worth some study. further consid into taken be to have various is sources visual in differences social of problem The tell. interesting frescosegment of soc Represented anymore. problem a be to seem not does poverty despite belt a having and here, crucial is poverty his of representation the Jesus, for stands wanderer the that knows one if even and belt a wears wanderer poor the Mercy In belts. have layers, highest the from not probably Sins, Deadly Seven the in acting figures several Levoča, In monocracy. absolute its lose to seems context military the but frequently, most appear belts whom on figures the are saints royal and kings soldier Still era. previous the in than contexts more in and people more much on appear low social strata. ser the while emperor, the is potentatethe and way, own his in story the interpreted probably protector the servants;but on people, status lower on appear eventually belts the here that say to tempting rather is it belt,

arel Gbr “öékr prá Bks eybn [eivl edrse i Bks country], Békés in headdresses [Medieval megyében” Békés párták “Középkori Gábor, Gabriella Girdles belts period Sigismund the in that say can still one example, presented this Despite a r

present e

n iue of figures on - eration to get to proper results; but I but results; proper to get to eration vants are his close followers, people who are not even close to close even not are who people followers, close his are vants research, especially incomparisonwithresearch,especiallythat things other sources

heir ancestors;heir thus, belts adultmen of women or were put on

2 (1996)2 oh edr ad rcial al g gop. They groups. age all practically and genders both 77

:111.

ial connotations could be a really really a be could connotations ial 269 t Ti cud en ht t is it that mean could This lt.

In mural paintings there are are there paintings mural In

- believe that this that believe sided, and a lot of details of lot a and sided, the Corporal Works of of Works Corporal the d hm in them nd

could be be could A Móra Móra A s, s, CEU eTD Collection 272 271 Kisnána of Castle]. 270 a always not is belt the time; same the depicted At insignificant. from and examples plain belt are the Cumans of Most girdle. spectacular a wears Cuman a that rare a themselves understood Cumans visual in neither graves, Cuman South the in In up representations. show not do belts ornamented richly century, late the from gifts) prestigious as recognized are (which belts weapon mounted few a Except fashion. Cuman traditional the to belong not did abov mentioned I As belt. through than headdress and weaponry armor, garments, through explored rather be could aspect This group. distinguishable clearly a as appear Cumans legend Ladislaus thearchaeological finds. among see can one that straps decorated gorgeously such of examples few a only are There in mural the in maiden the on instance, (for belt leather or textile in ifand murals figure female a on appears belt a that rare particularly is It though. opposite, the show depicte purity, inner of symbol a as seen be could it since and element, costume used commonly a was belt the Presumably headdresses. hardly is phenomenonmur the with comparable this but headdress, a along appears it cases many in and women, corpse. the ccessories and garments and ccessories

András H. Pálóczi, ”Le costume Coman au Moyen au Pálóczi, Age,” Coman András”Le H. costume Gerevich,középkorisírmező:”“A csúti 146. János Gy. Szabó, “Gótikus pártaövek a kisnánai vár temetőjéből” [Gothic decorated belts from the cemetery the from belts decorated [Gothic temetőjéből” vár kisnánai a pártaövek “Gótikus Szabó, Gy. János d on female figures, who stand for moral values in churches. Mural paintings often often paintings Mural churches. in values moral for stand who figures, female on d tnct i another is Ethnicity 270

it does at all, then it is a representation of an undecorated mostundecoratedan of representation a isit then all, at it does h dcrtd et s rvln i bt gae o yug il ad mature and girls young of graves both in prevalent is belt decorated The e, in Hungarian research it is considered an accepted fact that decorated belts decorated that fact accepted an considered is it research Hungarian in e, Az Egri Múzeum Évkönyve Az EgriMúzeum

al paintings al –

belts do not show up at all, at up show not do belts infcn qeto hr, seily ic i te eitd Saint depicted the in since especially here, question significant

- Russian steppes on Cuman tomb statues, which show how how show which statues, tomb Cuman on steppes Russian –

n wih r ueu vsa sucs o ohr dress other for sources visual useful are which and 271 -

VIII in depictions there is no connection between belts and and belts between connection no is there depictions in

it would be more than reasonable to expect it to be be to it expect to reasonable than more be would it - IX.(1972): 61. 78

Acta Archaeologica Acta 272

and in Hungarian frescos it is also also is it frescos Hungarian in and - hrenh ery fourte early thirteenth,

32 (1980): 404 Kraskovo ( Kraskovo

likely See - 405. - supporting supporting

Fig. 86. Fig. light, long light,

show off off show enth )).

CEU eTD Collection decoration medieval in Hungary], cent fifteenth and 277 (2005): basin], Carpathian the in decoration bone with belts fourteenth Nyársapát], [Medieval 274 “Costumes assymbols”) 273 do paintings mural like sources contribut other when point, the is This belts. decorated no were one large a cert ato placescholar needs a if solution necessary a is this Often grave. adjacent an in or it to near but grave, same the in even not often coins, on based date archaeologists materials, datable other of lack the for fifteenth century fourteenth the to bone of made elements belt the dates which tradition the follow and accept but methodology, this with argue scholars Some silver). and bronze (mainly t The of. made is it material according belt a date to is practice accepted less or more The them. date to help could th finds other any with accompanied not were which belts the and finds sporadic regarding maybe notthe from belts. perspective of 8. (See him of feature negative the emphasizing reasons, symbolic for maybe Ladislaus, eye more is scene wrestling the in Cuman the of belt the (S Lomnica Žehra Veľká or fres the in like them, on strap simple same, the wear they where depictions, several are there since warrior, pagan the and king Christian the between differences of indicator ).

According to Elek Benkő, this is a fifte a is this Benkő, Elek to According naái Kvc woe bu des ybls i te ersne Sit ailu lgn. (Kovács, legend. Ladislaus Saint represented the in symbolism dress about wrote Kovács Annamária 273

tnct ad retls ae motn questi important are orientalism and Ethnicity 274 mentioned As above, ratherdatingbeltsain archaeologychallenging is task especially - - t te icsin Suyn te i a eald a, oh h atfcs n their and artifacts the both way, detailed a in them Studying discussion. the to e etr bl type: belt century sixteenth century. The basis for dating these belt e belt thesedating for basis The century. sixteenth -

304. In the opinion of András K. Németh, the bone the Németh, K. András of opinion the In 304. and those made of metal to the fifteenth century, moreover, often to the late late the to often moreover, century, fifteenth the to metal of made those and - century gap where, according to the previous archeological observations, there there observations, archeological previous the to according where, gap century ury: András K. Németh, “Csontosövek a középkori Magyarországon” [Belts with bone bone with [Belts Magyarországon” középkori a “Csontosövek Németh, K. András ury: tda Comitatensia Studia

ádr ag, Kzpoi snvrts vk Kárpát a övek csontveretes “Középkori Varga, Sándor ee ain object in time, but it isa it time,butin objectain Opuscula Hungarica Opuscula

Fig. wo kinds of of kinds wo 6. enth

and (90: 3, hl Sno Vra eivs ht t s etil a certainly is it that believes Varga Sándor while 339, (1980): 9 -

century accessory type: Elek Benkő, “A középkori Nyársapát” Nyársapát” középkori “A Benkő, Elek type: accessory century 11. A Móra Ferenc Múzeum Évkönyve. Studia Archaeologica Studia Évkönyve. Múzeum Ferenc Móra A omny used commonly ). Moreover, in an un an inMoreover,). 79

6 (2005):6 277.

- mounted belt was popular in both the fourteenth the both in popular was belt mounted ons in Hungarian mural paintings, but but paintings, mural Hungarian in ons disputable

lements is frequently indirect and, and, indirect frequently is lements - acig hn h oe f Saint of one the than catching aeil ee oe n metal and bone were material exampledincaseVítkovce,

methodology.creates This - m edencében” [Medieval [Medieval edencében”

ot f them of most

o of cos to the to Fig. 11 at at CEU eTD Collection representing the illustrations, as only serve conclusions. further draw to possible be will it this after only and consideration; into taken be all must connotations moral multi and messages the traditions, iconographical and visual the painters, the of background and origin the there, arising possibilities the and technique The onl the not is This timeframe. same theoreticallythe of sources with them compares she/he when problems these of aware be to has she/hechronology, entire the revisit to opportunitythe have not does t dating previous the followinganyhow, But anymore. small not is material artifactual the and found; were belts where needed, is late r the is step first a as thing important most the Maybe easier. research comparative of job scholar’s the make not does state current its in archaeology that k two the source. between relations the on idea each dispute or up build to aimed I since representations visual - medieval belts, which is a huge task. Extensive reanalysis of each grave and its deposits its and grave each of reanalysis Extensive task. huge a is which belts, medieval show to attempted I period Sigismund and Angevin the with dealing chapters the In

a considerableamount them of wasI able to y problematic point: one also has to examine the contexts of the muralpaintings.the of contexts theexamine to has also oneproblematic ypoint: –

seeing them beside each other each beside them seeing

Images

ae hi w things own their have

and in my case mural paintings mural case my in and raditions is clearly no longer appropriate. Even if one if Even appropriate. longer no clearly is raditions 80

to tell, to – show someshow of

has been essential in my research, my in essential been has econsideration of the dating of of dating the of econsideration

and - aee social, faceted

oeta i ti thesis this in that hope I

are certainly should not should certainly are

th eirvalues.

ethnic, and and ethnic,

inds of of inds CEU eTD Collection 5. 10. 9. 8. 7. 6. 4. 3. 2. 1.

beginning the of fourteenth century. a Figure Cuman of warrior on the northern the to dated muralpainting, the of Detail church. Mary Virgin (Hungary), Figure:Tereske (1992) made after the mur the after made (1992) Hornyák László of Drawing church. Jacob and Philip Saint (Slovakia), Švábovce Figure: ( scene. Malba v Gemeri Judgment Last the in figures Preying 1360s. the rotunda. Margaret Saint (Slovakia), Šivetice Figure: navewall. ( northern the on legend Ladislaus Saint the from scene Duel 1330s. the to dated painting, Saint (Slovakia), Vítkovce Figure: ( wall. nave northern Saint the the from warrior Szepességben, on Cuman defeated the legend of Figure Ladislaus 1330s. the to dated painting, Philip Saint (Slovakia), Vítkovce Figure: SaintLadislaus legend in the sacristy. c fourteenth the of third first the to dated the painting mural of Detail church. Alexandria of Catherine Saint (Slovakia), Lomnica Veľká Figure: Maximof Mordovin) the four of half the first to muraldatedthepainting, of Detailchurch. Emmeran (Romania),Figure:Ghelinta Saint és legendák, Jánó, Gulyás.( Károly by painting mural the after drawn Copy century. fourteenth the of Detail church. Calvinist (Romania), Filia Figure: Maxim Mordovin) the to mid dated painting, mural the of Detail church. Calvinist (Romania), Mugeni Figure: Figure:mural Map of paintings representingin belts Hungary duringthe Source: Source: - orenh etr. at ugmn see n h nrhr nv wl. Poo of (Photo wall. nave northern the on scene Judgement Last century. fourteenth Prokopp, http://hu.wikipedia.org/wiki/Tereske http://aranyliliom.lapunk.hu/?modul=oldal&tartalom=145007

103.)

43.) ,

89.)

Középkorifalképek aSzepességben,

teenth century. Scene of the duel on the northern nave wall. (Photo thenorthernnave the teenthon duel century.of Scene al painting, dated to the 1360 the to dated painting, al IV. LISTIV. OF FIGURES

hlpadJcpaote hrh ealo h mural the of Detail church. apostle Jacop and Philip

81 n ao psl cuc.Dti fte mural the of Detail church. apostle Jacop and

Detail of the mural painting, dated to to dated painting,mural the of Detail Prokopp,

mural painting, dated to the mid the to dated painting, mural entury. Wrestling scene from the from scene Wrestling entury.

- 43.) 70s. Duel scene from the Saint Saint the from scene Duel 70s. Togner,

Középkori falképek a a falképek Középkori teoeá Nástenná Stredoveká Angevin

navewall. - period Színek

CEU eTD Collection 20. 19. 18. 17. 16. 15. 14. 13. 12. 11.

iue f h cseln f zps n h nrhr ase ( Szepességben, aisle. northern the in Szepes of castellan the of Figure the of Detail cathedral. Martin Saint (Slovakia), Kapitula Spišska 23.) ( aisle. northern the in I. Charles of Figure 1317. painting, mural the of Detail cathedral. Martin Saint (Slovakia), Kapitula Spišska navewall. (Hankovszky,et al., northern the on legend Ladislaus Saint the from scene Duel 1330s. the muralto dated painting,the of Detail church. apostle Jacop and Philip Saint (Slovakia), Vítkovce Figure: Ladislauslegendin the sacristy. ( mural painting dated tothe first third the of fourteenthcentury. Battle from scene the Saint Figure:Lomnica Veľká (Slovakia), Saint Catherine Alexandria of church.Detail the of of wall. (Photo thenorthernnave the on duelthe fourteenthof century.of Scene half the first to muraldatedthepainting, of Detailchurch. Emmeran (Romania),Figure:Ghelinta Saint Maximof Mordovin) the fourteenthof century. half the first to muraldatedthepainting, of Detailchurch. Emmeran (Romania),Figure:Ghelinta Saint navewall. Lángi, (Jékely, fif the of half first the to dated painting, mural the of Detail church. Stephan Saint (Hungary), Füzér Figure: falképek aSzepességben, 1360 church. Mary of Assumption (Slovakia), Podolínec Figure: falképek aSzepességben, 1360 F Ladislaus Saint the from scene legend ont northern he navewall. (Hankovszky, Battleal., et century. seventeenth the in repainted but 1360s the to dated painting, mural the of Detail church. Trinity Holy (Slovakia), Žehra Figure: falképei ( wall. nave northern the from legend Ladislaus igure: Podolínec (Slovakia), Assumption of Mary church. Detail of the mural painting, mural the of Detail church. Mary of Assumption (Slovakia), Podolínec igure:

Maxim Mordovin)

- - 30 Faelto fo te aso cce n h cacl (( chancel. the in cycle Passion the from Flagellation 1380. (( chancel. the in cycle Passion the from Flagellation 1380. ,

128.)

22.)

teenth century. Fragment of the figure of Virgin Mary on the southern the on Mary Virgin of figure the of Fragment century. teenth

74.) 71.) Falfestészeti emlékek

Ave Rex Ladislaus Dvoráková,et al., Scene of the duel on the northern nave wall. (Photo thenorthernnave the on duel of Scene 82 Prokopp, Prokopp,

, 92.) László, ,

86. Stře

Középkori falképek a Szepességben, a falképek Középkori ) Ave Rex Ladislaus

dověká nástěnná A Szent László legenda középkori legenda László Szent A Prokopp,

Detail of the mural painting, mural the of Detail mural painting, 1317. 1317. painting, mural öékr flée a falképek Középkori Prokopp, Prokopp, , ,

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Középkori Középkori )

CEU eTD Collection 30. 29. 28. 27. 26. 25. 24. 23. 22. 21.

( mid the to dated painting, mural the of Detail church. Mary Virgin (Hungary), Keszthely Figure: J of Kiss the in Középkorifalképek aSzepességben soldier a of Figure 1360s. the to dated painting, mural the of Detail church. Trinity Holy (Slovakia), Žehra Figure: left side). (own photo) the (on arch triumphal the of pillar southern the on saint Soldier century. fourteenth dated mid painting, mural the of Detail church. Calvinist (Hungary), Vizsoly Figure: right side).(own photo) the (on arch triumphal the of pillar southern the on saint Soldier century. fourteenth mid C (Hungary), Vizsoly Figure: arch. (Togner, triumphal the of wall eastern the from virgins foolish the of Figures century. fourteenth Chyžné (Togner, triumphalthe thewalleasternarch. wise virginsfourteenththeof from of century. Figures Chyžné wall triumphaleastern arch. the from virgins foolish and wise the of Figures century. fourteenth Chyžné northe the on figure (Lángi, Mihály, Female century. fourteenth the of half second the to dated painting, mural the of Detail church. Calvinist(Romania), Mari PorumbeniiFigure: Kiss, the midto dated painting, mural the of Detail church. Unitarian (Romania), Chichiș Figure: fromthe on Várad northern navewall. (Horváth, centufourteenththe of half first the to muraldatedthepainting, of Detailchurch. Emmeran (Romania),Figure:Ghelinta Saint Prokopp, keszthelyi Mária. “A plébániatemplom:” 371.) Source: - fourteenth century. Figure of a of Figure century. fourteenth Középkorifalképek Erdélyben

- (Slovakia), Annunciation church. Detail of the mural painting, dated to the mid the to dated painting, mural the of Detail church. Annunciation (Slovakia), da painting, mural the of Detail church. Annunciation (Slovakia), mid the to dated painting, mural the of Detail church. Annunciation (Slovakia), fourteenth century. Fragment of the figure of Pilate on the northern nave wall. wall. nave northern the on Pilate of figure the of Fragment century. fourteenth Stredoveká Nástenná Malbav Gemeri http://www.flickr.com/photos/28530134@N04/3209893401/in/photostream Stredoveká Nástenná Malba v Gemeri

Erdélyifalképek és festett faberendezések

liit hrh Dti o te ua pitn, ae t the to dated painting, mural the of Detail church. alvinist , , 157.) ry. Figure of Saint Ladislaus in the scene of Departure of scene the in LadislausSaint of Figure ry.

52.) preparing knight on the western nave wall. (Jékely, wall. nave western the on knight preparing

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- - - CEU eTD Collection 41. 40. 39. 38. 37. 36. 35. 34. 33. 32. 31.

Középkorifalképek aSzepességben, 1360 Podolínec Figure: Középkorifalképek aSzepességben, 1360 painting, mural the of Detail church. Mary of Assumption (Slovakia), Podolínec Figure: Szepességben, 1360 Podolínec Figure Figure, 54. 1360 Figure: Podolínec (Slovakia), Mary Assumption of church. Detailmural the of painting, of cemetery settlement Cuman the from purse Perkáta. ( a hanging for chain and Purse Figure: és legendák, Jánó, Gulyás.( Károly by painting mural the after drawn Copy century. fourteenth mid the to dated painting, mural the of Detail church. Calvinist (Romania), Filia Figure: Figure a knight of thenorthern on wall. nave (own photo) m the of Detail church. Trinity Holy (Hungary), Velemér Figure: The figure Saint of Ladislaus the on northern wall. nave (own photo) 1377 painting, mural the of Detail church. Trinity Holy (Hungary), Velemér Figure: nave wall. northern the on Ladislaus Saint of figure The century. fourteenth the of beginning the to muralpainting,dated the of Detail church. Mary Virgin (Hungary), Figure:Tereske the fourteenthcentury. The figure Saint of George on the southern navewall. to dated painting, mural the of Detail church. Calvinist (Romania), Székelydálya Figure: Stredoveká Nástenná Malb 1350. ca. painting, mural (Togner, presbytery. the the of wall southern the on scene Crucifixionthe from figure Soldier of Detail church. Calvinist (Slovakia), Plešivec Figure: Source: Sources: - - - -

1380. Scene of undressing Jesus from the Passion cycle in the chancel. (( chancel. the in cycle Passion the from Jesus undressing of Scene 1380. (( chancel. the in cycle Passion the from Pilate before Christ 1380. (( chancel. the in Magi the of Adoration 1380. 13 80. ChristPresentationof in the chancel. ( Hatházi, )

http://hu.wikipedia.org/wiki/Tereske

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75.)

(Slovakia), Assumption of Mary church. Detail of the mural painting, mural the of Detail church. Mary of Assumption (Slovakia), „A perkátai„A kun szállástemető:” 672.)

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Prokopp, ural painting, 1377 painting, ural Középkori

Středověká nástěnná

falképek a a falképek Prokopp, Prokopp, Prokopp, Szí - - nek 78. 78. 78. 78. , -

CEU eTD Collection 53. 52. 51. 50. 49. 48. 47. 46. 45. 44. 43. 42.

“Középkoricsontveretesövek Kárpáta Square Figure: 1317. Kapit Spišska Figure: (Hungary). Kecskemét around (Szabó, Szabó Kálmán of excavations from buckle Belt Figure: pártaövekkisnánaia vártemetőjéből:” 28.) Figure: temetőés temetőrészlet:” 172.) Homokmégy from buckle Belt Figure: Ladislauslegendin the sacristy. ( mural painting dated tothe first third the of fo Figure:Lomnica Veľká (Slovakia), Saint Catherine Alexandria of church.Detail the of wall. nave Hungarian churches] (Budapest:Kiadó, Masszi 161.)2001), northern the on duel the of Horváth, György Scene (Zoltán century. fourteenth the of half first the to muraldatedthepainting, of Detailchurch. Emmeran (Romania),Figure:Ghelinta Saint 1350 t dated London, from decoration stitched with purse leather a of Reconstruction Figure: Középkorifalképek aSzepességben, 1360 M of Assumption (Slovakia), Podolínec Figure: to 1270 dated London, from pouch drawstring leather a of reconstruction and layout Flat Figure: Figure 53. 1360 Figure: Podolínec (Slovakia), Mary Assumption of church. Detailmural the of painting, Szepességben, 1360 De church. Mary of Assumption (Slovakia), Podolínec Figure: - - - - 1400. ( 1400. (( chancel. the in cycle Passion the from Jesus undressing of Scene 1380. 1380. PresentationChristof in the (( chancel. the in Magi the of Adoration 1380. Source: - Az alföldi magyar nép 1350. ( et uke rm h csl o Ksáa Hnay vró. Saó “Gótikus (Szabó, várból. (Hungary) Kisnána of castle the from buckle Belt )

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http://muvtor.btk.ppke.hu/etalon2/2518.jpg 74.) - Egan, Pritchard, hp bn mut fo Kaszaper from mounts bone shape

ula (Slovakia), Saint Martin cathedral. Detail of the mural painting, mural the of Detail cathedral. Martin Saint (Slovakia), ula Székelyföldi freskók a teljesség igényével teljesség a freskók Székelyföldi Dress AccDress ,

72.) Dress AccDress Dvoráková,et al.,

71.) - - essories medencében:” 302.) Szentegyházpart (Hungary). (Lantos, “Középkori (Lantos, (Hungary). Szentegyházpart

chancel. ( 85 essories

urteenthcentury. Battle from scene the Saint , 235.) ary church. Detail of the mural painting, mural the of Detail church. ary Dvoráková,et al., , 344 Středověká nástěnná - epohlm (Hungary). Templomhalom

- 345.)

Prokopp,

tail of the mural painting, mural the of tail Középkori falképek a a falképek Középkori Středověká nástěnná [Frescos in Székely in [Frescos ,

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CEU eTD Collection 66. 65. 64. 63. 62. 61. 60. 59. 58. 57. 56. 55. 54.

Figure: Reconstructions beltof knots. ( The figure Saint of Ladislaus the on northern wall. nave (own photo) Detail church. Trinity Holy (Hungary), Velemér Figure: magyar nép ( (Hungary). Felsőszentkirály from belt the of Reconstruction Figure: ztu_sisak/002_szazadok_sodraban.htm Source: (Hungary). Felsőszentkirály from find http://www.sulinet.hu belt the of mounts and Buckle ( Figure: wall. apse the on scene Judas of Kiss the in Középkorifalképek aSz soldier a of Figure 1360s. the to dated painting, mural the of Detail church. Trinity Holy (Slovakia), Žehra Figure: 194.) fro find a of decoration Belt Figure: Zagyvapálfalva from mount felsőszentkirályikun sírlelet:” Belt Figure: (Hungary). (Pálóczi, „A felsőszentkirályikun sírlelet:” 192.) fitt the from reconstruction Belt Figure: Figure:mounts, Belt buckleand strap e triumphal the of pillar archthe (on right side). (own photo) southern the on saint soldier the of Belt the century. to fourteenth dated mid painting, mural the of Detail church. Calvinist (Hungary), Vizsoly Figure: Figure: Belt fromLondon, dated to 1270 Az alföldi magyar nép Figure: “Középkoricsontveretesövek Kárpáta Square Figure: veretei Source:

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Egan, Pritchard, - nd from Szentgyörgy (Hungary). medencében:” 302.)

- 1350. ( ns on i te eeey f Zenta of cemetery the in found ings 86

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, 71.) essories áóz, „A Pálóczi,

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CEU eTD Collection 77. 76. 75. 74. 73. 72. 71. 70. 69. 68. 67.

1400. Soldier from the beheading scene from the Life of Saint Dorothy on the northern wall the of northern ( aisle. the on Dorothy Saint of Life the from scene beheading the from Soldier 1400. Jacob Saint (Slovakia), Levoča Figure: northern the of aisle.( wall northern the on Dorothy Saint of Life from figure Torturing 1400. (Slov Levoča Figure: nave wall. northern the on Ladislaus Saint of figure The century. fifteenth the of quarter first the muraltothepainting,dated Detailof Saints’church. Figure:Bijacovce(Slovakia), All (Togner, century. fourteenth the of turn the to dated painting, mural the of Detail church. Catholic Roman (Slovakia), Rákoš Figure: Falfestészeti emlékek early the to dated painting, mural the of Detail church. Calvinist (Hungary), Nyíracsád Figure: Kiss, late the to dated painting, mural the of Detail church. Unitarian (Romania), Chilieni Figure: SaintLadislaus the on wall northern the of chancel. of Figure 1419. painting, mural the of Detail church. Unitarian (Romania), Dârjiu Figure: S of figure The 1410. ca. painting,mural the of Detail chapel. Castle (Hungary), Siklós Figure (Jékely,Kiss, fourteenth the of painting, mural the of Detail church. Calvinist (Romania), Alma Figure: period Figure Figure: Miniature from the HungarianIlluminated Chronicle. - (Source: Source: aintLadislaus. (Radocsay, fourteenth century. The figure of Saint Ladislaus on on Ladislaus Saint of figure The century. fourteenth

- (Hankovszky,et al., Középkorifalképek Erdélyben fifteenth century. The figure of Saint Dorothy on the triumphal arch. ( arch. triumphalthe on Dorothy Saint of figure The century. fifteenth

Mp f ua pitns ersnig et i Hnay uig h Sigismund the during Hungary in belts representing paintings mural of Map : Prokopp, Stredoveká Nástenná Malbav Gemeri http://www.mult http://hu.wikipedia.org/wiki/Sz%C3%A9kelyderzs Középkorifalképek Erdélyben Középkori falképek aSzepességben - fifteenth century. The figure of Saint George on the southern nave wall. nave southern the on George Saint of figure The century. fifteenth , akia), Saint Jacob parish church. Detail of the mural painting, 1380 painting, mural the of Detail church. parish Jacob Saint akia), 291.) Ave Rex Ladislaus Prokopp,

- kor.hu/cikk.php?id=20614 A középkori Magyarország falképei

, 317.) F Középkorifalképek a Szepességben gr fSitLdsaso h otennv wall. nave northern the on Ladislaus Saint of igure parish church. Detail of the mural painting, 1380 painting, mural the of Detail church. parish

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the northern nave wall. (Jékely, (Jékely, wall. nave northern the

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97.)

dated to the turn turn the to dated Jékely, Lángi, Jékely,

- - -

CEU eTD Collection 87. 86. 85. 84. 83. 82. 81. 80. 79. 78.

arch. ( painti mural1410 the of Detail church. Assisi of Francis Saint (Slovakia), Poniky Figure: theof nave.(Togner, wallnorthern the pai on legendLadislausSaintthe of episodesdepictedthe from scene Battle mural the of Detail church. Lutheran (Slovakia), Kraskovo Figure: Mihály, late Figure: emlékek ( arch. triumphal the on figure Fragmented century. fourteenth Figure: Ragály(Hungary), Calvinist mural the church. Detail of painting,tothe dated late copy János Huszka. of László, ( early the to dated painting, mural the of Detail church. Unitarian (Romania), Mărtiniş Figure: the on Sins Cardinal depicted the from scene northernwall the of northern aisle. ( Gluttony the in figure Drinking 1400. Fi wall. (Hankovszky,et al., nave northern the on warrior, Cuman a of figure The century. fifteenth the of quarter first the muraltothepainting,dated Detailof Saints’church. Figure:Bijacovce(Slovakia), All a Sz ( aisle. northern the of wall northern the on Mercy of Works Corporal Seven the of scene imprisoned’ the ‘Visit in men merciful the of Figure 1400. Levo Figure: ( aisle. northern the of Szepességben wall northern the on Mercy Feet 1400. Sai (Slovakia), Levoča Figure: 107.) ( aisle. northern the of wall northern the on Mercy of Works Corporal Seven the of thirsty’ the to drink ‘Give from Wanderer 1400. pari Jacob Saint (Slovakia), Levoča Figure: gure: Levoča (Slovakia), Saint Jacob parish church. Detail of the mural painting, 1380 painting, mural the of Detail church. parish Jacob Saint (Slovakia), Levoča gure: - epességben, fourteenth century. The figure of Saint Catherine on the southern nave wall. (Lángi, wall. nave southern the on Catherine Saint of figure The century. fourteenth - -

fifteenth century. Soldiers torturing Saint Margaret from Antioch in the water the in Antioch from Margaret Saint torturing Soldiers century. fifteenth 20. The figure of the blindfold Synagoga in the Living Cross scene on the triumphalthe on scene CrossLiving the in Synagogablindfoldthe of figure The 20. L’art GothiqueSlovaquieen , Florești Erdélyifalképek és festett faberendezések 390.) - washing figure from the ‘Clothe the naked’ of the Seven Corporal Works of Works Corporal Seven the of naked’ the ‘Clothe the from figure washing ča (Slovakia), Saint Jacob parish church. Detail of the mural painting, 1380 painting, mural the of Detail church. parish Jacob Saint (Slovakia), ča , 108.)

(Romania) All Saints’ church. Detai church. Saints’ All (Romania) 109.)

Stredoveká NástennáMalba v Gemeri

Ave Rex Ladislaus nt Jacob parish church. Detail of the mural painting, 1380 painting, mural the of Detail church. parish Jacob nt A Szent Lászlólegenda középkorifalképei , 24.) Prokopp,

88 sh church. Detail of the mural painting, 1380 painting, mural the of Detail church. sh Prokopp, Prokopp,

, 79.) Középkorifalképek aSzepességben,

1, 99.) l of the mural painting, dated to the to dated painting, mural the of l Középkori falképek a Szepességben, a falképek Középkori

Prokopp, , 32.) Prokopp, Jékely, Lángi, Jékely,

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78.) Falfestészeti

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CEU eTD Collection 98. 97. 96. 95. 94. 93. 92. 91. 90. 89. 88.

falképekés festett faberendezések early F Saintof Ladislaus. (Radocsay, Thefigure 1410. muralpainting,ca. the of chapel. DetailCastle (Hungary), Figure:Siklós Magyarország falképei T 1423. painting, mural the of Detail church. Catholic Roman apostle) Judas and Simon (Saint (Hungary), Szentsimon Figure: 1400. Figure Saint of Georgeinthe chancel. Mordovin (Photo of Maxim) Figure: Mălâncrav (Romani wall. (Hankovszky,et al., late the to datedmuralpainting the of Detailchurch. Lutheran(Slovakia), Baňa RimavskáFigure: chancel.( the to datedearly painting, mural the of Detail church. Lutheran (Slovakia), Ochtiná Figure: northernwall the of chancel. ( early the to dated painting,mural the of Detail church. Lutheran (Slovakia), Koceľovce Figure: (Togner, wall. nave northern the Nástenná Malba v on Face Holy century. fourteenth the of end the to dated painting, mural the of Detail church. Lutheran (Slovakia), Štítnik Figure: Středověká nástěnná Sheltering the of 1420s. Figure painting, mural the of Detail church. Mary Virgin (Slovakia), Smrečany Figure: thetriumphal arch. (perished) ( Sh the of Figure century. fifteenth the of beginning painting,mural the of Detail church. Judas and Simon Saint (Slovakia), Sliače Liptovské Figure: ( Synagoga blindfold the of figure 1410 painting, mural the of Detail church. Trinity Holy (Slovakia), Žehra Figure: Dvoráková, et al., igure: Tileagd (Romania), Calvinist church. Detail of the mural painting, dated to the the to dated painting, mural the of Detail church. Calvinist (Romania), Tileagd igure: - - - itet etr. oa ans n h otennv wl.(ág, Mihály, (Lángi, wall. nave southern the on saints Royal century. fifteenth the in cycle Passion the in Christ crowning soldiers the of Figures century. fifteenth the on cycle Passion the in soldiers flagellating the of Figure century. fifteenth - fourteenth century. Figure of a knight from the Battle scene on the northern nave northern the on scene Battle the from knight a of Figure century. fourteenth Prokopp, Gemeri Středověká nástěnná Középkorifreskók Gömörben ,

Figure 161.)Figure , Figure 29.) - Ave Rex Ladislaus , 44.) la Mdna n h timhl ar triumphal the on Madonna Cloak a), Virgin Mary Detailmural thechurch. of painting, ca. 1380 Prokopp, A középkori Magyarország falképei Dvoráková,et al.,

2, 1

n h Lvn Cos cn o te oten ae wall. nave northern the on scene Cross Living the in

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Stredoveká - 20. The 20. Erdélyi

- CEU eTD Collection 109. 108. 107. 106. 105. 104. 103. 102. 101. 100. 99.

Kiss, late chancel. the of wall eastern the ( on apostle Thaddeus of martyrdom The 1400. before (Dvoráková, et al., of figure The (Togner, late theof southern aisle. ( the about Jesus of parable Depicted century. fifteenth the of beginning the in Stephan chancel.( Saint and Ladislaus Saint of figure century, fourteenth the of turn the to ( 1390 painting, mural the ( 1390 painting, mural the Gemeri w northern the on legendLadislaus Saint the of episodes depicted the from scene battle the in Ladislaus Saint of figure The 1380 1400. Soldierin theBetrayal of scene inthe chancel. (Photo Maxim of Mordovin) Figure: Mălâncrav (Romania), Virgin

Prokopp, Jékely,Lángi, Jékely,Lángi, - - Figure: Bădești (Romania), Calvinist church. Detail of the mural painting, dated to the to datedmural painting, the of Detailchurch. Calvinist (Romania), Figure:Bădești p mural the of Detail church. Giles Saint (Slovakia), Poprad Figure: Trinity Holy (Slovakia), Žehra Figure: the to dated painting, mural the of Detail church. Calvinist (Slovakia), Žíp Figure: Det church. Lutheran (Slovakia), Štítnik Figure: (Slov Rákoš Figure: Water church. Calvinist (Slovakia), Leles Figure: Water church. Calvinist (Slovakia), Leles Figure: 1380muralpainting,the of Detail church.Lutheran Kraskovo(Slovakia),Figure: ca. painting, mural the of Detail church. Mary Virgin (Romania), Mălâncrav Figure: orenh centu fourteenth arch. triumphal the on saint female unknown an of Figure century. fourteenth - Középkorifalképek Erdélyben 1400. Soldierinthe scene Betra of , 32.) Stredoveká Nástenná Malbav Gemeri Prokopp, Középkorifalképek aSzepességben,

Ecclesia triumphans Ecclesia Falfestészeti emlékek Falfe Středověká nástěnná Középkorifreskók Gömörben stészeti emlékek ry. Figure of Saint Sigismund on the northern nave wall. (Jékely, (Jékely, wall. nave northern the on Sigismund Saint of Figure ry. Prokopp,Középkori freskók Gömörben, 38 akia), Roman Catholic church. Detail of the mural painting, dated painting, mural the of Detail church. Catholic Roman akia), - - 43 Hnain oa sit fo te oten ae wall. nave northern the from saints royal Hungarian 1403. wall. nave northern the from saints royal Hungarian 1403.

all of the nave. (Togner, nave. the of all , 15.) in the Living Cross scene on the northern nave wall. nave northern the on scene Cross Living the in , , 178.) 177.) Mary Detailmural thechurch. of painting, ca. 1380 , yalinthe chancel. (Photo Maxim of Mordovin)

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Dvoráková, et al., Středověká nástěnná, Figure 165.) iue Lvč (lvka, an Jcb pa Jacob Saint (Slovakia), Levoča Figure: c Lutheran (Slovakia), Štítnik Figure: Figur Fig the of Detail church. Judas and Simon Saint (Slovakia), Sliače Liptovské Figure: the of Detail church. Judas and Simon Saint (Slovakia), Sliače Liptovské Figure: painting, mural the of Detail church. parish Jacob Saint (Slovakia), Levoča Figure: painting, mural the of Detail church. parish Jacob Saint (Slovakia), Levoča Figure: painting, mural the of Detail church. parish Jacob Saint (Slovakia), Levoča Figure: painting, mural the of Detail church. parish Jacob Saint (Slovakia), Levoča Figure: - - - - - 1400. Scene of the emperor expelling Dorus on the northern wall of the northern the of wall northern the on Dorus expelling emperor the of Scene 1400. northern the on Sins. Deadly Seven the from Wrath in Suicide of Allegory 1400. northern the on governor the of front in sisters two the Dorothy’s of Scene 1400. the of wall northern the on Dorothy proposing governor Fabritius of Scene 1400. northern the on family his with Cappadocia for leaves Dorus 1400. Prokopp, r: iasá aa Soai) Ltea cuc. eal f h mrl painting mural the of Detail church. Lutheran (Slovakia), Baňa Rimavská ure: aisle. ( : itvk Sič (lvka, an Smn n Jds hrh Dti o the of Detail church. Judas and Simon Saint (Slovakia), Sliače Liptovské e: ( ( Dvoráková, et al., Středověká nástěnná, Figure164.) Dvoráková, et al., Středověká nást Prokopp, Prokopp, Középkori falképek aSzepességben, - fourteenth century. Warrior figures from Saint Ladislaus’s army in the in army Ladislaus’s Saint from figures Warrior century. fourteenth Középkorifalképek aSzepességben, Középkorifalképek aSzepességben, ( Prokopp, Prokopp, Stredoveká Nástenná Malbav Gemeri Középkorifalképek aSzepességben, Középkorifalképek aSzepességben hurch. Detail of the mural painting, dated to the the to dated painting, mural the of Detail hurch. 92

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- - - - -

- 1400. Drinking figure in the Gluttony scene from the depicted Cardinal Sins on the the on Sins Cardinal depicted the from scene Gluttony the in figure Drinking 1400. northern the on Sins. Deadly Seven the from Wrath in Suicide of Allegory 1400. northern the of wall northern the on Dorus expelling emperor the of Scene 1400. northern the of wall northern the on Dorus expelling emperor the of Scene 1400. the of wall northern the on Dorothy Saint torturing soldier a of Figure 1400. eastern chapel. Prokopp, Prokopp, - f ourteenth century. Figure holding a cauldron in the scene of Lastthein Judgment ourteenthof thescene in century.cauldronholding a Figure Leather girdle with stamped decoration. ( decoration. stamped with girdle Leather decoratio stamped with girdle Leather Sânpetru http://www.kutyahon.de/erdelyi.templomok/barcaszentpeter/in Prokopp, Középkori falképek aSzepességben, Középkori falképek aSzepességben, Soai) Sit ao prs cuc. eal f h mrl painting, mural the of Detail church. parish Jacob Saint (Slovakia),

(Romania), Lutheran church. Detail of the mural painting, dated to to dated painting, mural the of Detail church. Lutheran (Romania), Középkorifalképek aSzepességben, Prokopp, Prokopp, Közé pkorifalképek aSzepességben, 93

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- c. 1400. S 1400. eastern chapel. Prokopp, - Erdélyifalképek és festett faberendezések fourteenth century. Figure holding a cauldron in the scene of Lastthein Judgment of thescene in century.cauldronholding fourteentha Figure - fifteenth century. Royal saint Chimindia Sânpetru http://hu.wikipedia.org/wiki/Sz%C3%A9kelyderzs ( Tiszaörvény. from mount Belt http://www.kutyahon.de/erdelyi.templomok/barcaszentpeter/index.htm lyben northern the of wall northern the on Dorus expelling emperor the of cene hern aisle. (

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(Romania), Lutheran church. Detail of the mural painting, dated to to dated painting, mural the of Detail church. Lutheran (Romania),

(Romania), Calvinist church. Detail of the mural painting, dated to dated painting, mural the of Detail church. Calvinist (Romania),

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- , Figure: Lónya, (Hungary), Calvinist church. Detail of the mural painting, dated to the to dated painting, mural the of Detail church. Calvinist (Hungary), Lónya, Figure: “ (Kovács, Nagytálya. from buckle Bone Figure: Figure: Moun the to dated muralpainting, the of Detail church. Calvinist(Hungary), Ragály,Figure: (Hung Csút from belt decorated a of Mounts Figure: Szabó, (Hungary): Bene from belt decorated a of Mounts Figure: orenh etr. h fgr o Sit ailu o te rupa ac. ( arch. triumphal the on Ladislaus Saint of figure The century. fourteenth 67. - fifteenth century. Royal saintsthe on wall southern the of chancel. (own photo) Falfestészetiemlékek

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Jékely,

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Tileagd (Nagygalambfalva), Lutheran Sânpetru (Barcaszentpéter), church Mari Calvinistchurch Porumbenii (BöMugeni Unitarian church (Homoródszentmárton), Martiniș Mălâncrav church (Gelence),Emeram Saint Ghelinta (Szászfenes Florești Calvinistchurch Filia (Erdőfüle), church (Székelyderzs),Unitarian Dârjiu (Székelydálya),Calvinistchurch Daia Calvinistchurch (Kéménd), Chimindia church Unitarian Chilieni (Sepsikilyén), church. (Kökös),Chichiș Unitarian (Bádok),Calvinistchurch Bădești (Küküllőalmás) Alma Vizsoly,Calvinistchurch TrinityVelemér,Holy chur Tereske,Virgin church Mary churchSzentsimon, Judas SimonSaint and Siklós,Castle chapel. Ragály, Calvinistchurch ElisabethSaint Ófehértó, church Nyíracsád,Calvinistchurch Lónya,Calvinistchurch Marychurch Keszthely,Virgin church Füzér,Stephan Saint - - day Hungary: day Romania:

Mezőtelegd), Calvinist church Mezőtelegd),Calvinist

(Almakerék), Virgin MaryVirgin (Almakerék), church göz),Calvinistchurch

) , All, churxh Saints’

V. LISTV. OF THE MURAL USED PAINTINGS

36. 35. 34. 33. 32. 31. 30. 29. 28. Present 52. 51. 50. 49. 48. 47. 46. 45. 44. 43. 42. 41. 40. 39. 38. 37.

Ochtiná (Martonháza), church Lutheran Ochtiná Lev Lelesz(Leles), church Calvinist Kyjatice Lutheran church (Karaszkó), Kraskovo Judaschurch and (Háromszlécs), Sliače Liptovské Lutheran(Gecelfalva), church Koceľovce Chyžné church Bijacovce Žíp (Zsip Želiezovce Žehra(Zsegra), apostle church Vitkovce (Kakaslomnic), of AlexandriaCatherine church Lomnica Veľká cathedral Spišská church Švábovce Štítnik Smrečany Šivetice Lutheran(Rimabánya), church Baňa Rimavská Rákoš Poprad(Poprád), Poniky church (Podolin), Podolínec Plešivec - day Slovakia (Upper Hungary) Slovakia (Upper day oča

(Rákos), Roman Catholic church Catholic (Rákos),Roman

(Csetnek), Lutheran(Csetnek), church

(Pónik), (Lőcse), Saint Jacob parish church JacobSaint (Lőcse), parish

(Hizsnyó), Annuntiation church (Hizsnyó),

(Süvete), (Süvete), (Pelsőc), Calvinist (Pelsőc), church (Kiéte), Lutheran(Kiéte), church Kapitula ), church Calvinist

(Szmrecsány), (Vitfalva),

(Svábóc), (Zselíz), (Szepesmindszent), All Saints’ Saints’ All (Szepesmindszent),

Holy Trinity church Holy

Saint Francis ofFrancis Assisi church Saint

Saint GilesSaint church

Saint Margaret rotunda Margaret Saint (Szepeshely), (Szepeshely), Saint Jacob church Saint

Saint Philip and Jacob Jacob and Philip Saint Saint Philip and Jacop Jacop and Philip Saint Assumption of Mary Mary of Assumption Virgin Mary church Virgin

Košice

Saint Martin Martin Saint

Saint Simon Simon Saint

(Kassa), (Kassa),

Saint Saint

CEU eTD Collection d [Medieval megyében” Békéscountry]. Békés pártaövek “Középkori Gabriella. Gábor, Békés in headdress [Medieval megyében” Békés country]. párták “Középkori Gabriella. Gábor, Fingerlin, Ilse. 2002. Frances. Richard, Geoff, Egan, [Medievalmural painting in Slovakia]. Bratislava:Tatran, 1978. Dvoráková, Zsolt Beöthy, In képzőművészete.”középkori „Magyarország Kornél. Divald, Linz: Oberoesterreichisches Fuchsenhof von Schatzfund Der Dávid,László. “ Archaeológiai Értesítő of reign the during clothing Hungarian Ödön. Boncz, Békefi. Essaysinmemory Remig of Békefi] Békefi, Siebenbürgen Benkő Armand Colin, 1979) Braudel, 315 Nyársapát]. [Medieval Nyársapát” középkori “A Elek. Benkő, Banner, János Ghelinta] Balázs, - 397.

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Fernand . A Móra Ferenc Múzeum Évkönyve. Studia Archaeologica

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7 (1887):7 193 Budapest: Landesmuseum, 2004.

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dingsin eastern Transdanubia]. Budap (1973): , - 75: 342 Mihály

y, Andrea Haris, Budapest: osz. Műemlékvédelmi Országos Hivatal, 1996. , ed. Dan Hicks,Mary C.Beaudry a. Te aeil utrl turn.” cultural material „The Dan. Gábor. Gábor. Ferenc. Ferenc. . Béla 13 (1973): 103

599 Budapest: Archaeolingua AlapítványKiadó, és , - .

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3 és és - CEU eTD Collection castle] Zolnay, inventory from 1264]. László Zolnay, material culturein Poland] Pazdur Jan Hensel, Witold Publishing House,2009. László Veszprémy, 25 (1984): Sachkulturforschung,” Vavra, der Österreichischen Akademie der Wissensc 433 Wissenschaften der Akademie Österreichischen der Klasse historischen mittelalterliche= 6 Realienkunde Österreichs Institutsfür Methode Mittelalters. des Sachkultur Vavra. basin] Carpathian Archaeologica the in decoration bone Sándor Varga, Hungarica Tóth, Bratislava: Tatran, 1989 Milan Togner, medievales Roslanowski. Tadeusz Pozsonyban és Eperjesen Katalin. Szende,

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CEU eTD Collection

Fig. 4.

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CEU eTD Collection

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Beheaded Cumanat Vítkovce

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Fig. 12.

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Battle scene at Žehra 106

CEU eTD Collection

Fig. 13. Fig. 14.

Adoration the Magi of at Podolínec

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CEU eTD Collection

Fig. 15 .

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CEU eTD Collection

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CEU eTD Collection

Fig. 21.

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CEU eTD Collection

Fig. 25.

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CEU eTD Collection

Fig. 27.

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Soldier fromthe Betrayal scene at Žehra

112

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CEU eTD Collection

Fig. 30. Fig. 32.

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CEU eTD Collection

Fig. 35.

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Fig. 36.

SaintLadislaus at Filia

CEU eTD Collection

Fig. 37. Fig. 39.

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CEU eTD Collection

Fig. 41. Fig. 43.

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CEU eTD Collection

Fig. 45.

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CEU eTD Collection

Fig. 47. Fig. 50. SaintLadislaus at Ghelinta

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Fig. 48.

Cumanwarrior at - Szentegyházpart

Fig. 51.

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CEU eTD Collection

Fig. 54.

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119

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CEU eTD Collection Fig. 59.

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Soldier saintVizsoly at Belt from Szentgyörgy

Fig. 60. Fig. 120

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from Zagyvapálfalva

Kotyháza

CEU eTD Collection

Fig. 61. Fig. 62. Belt mountsBelt from Cuban Soldier from Žehra 121

CEU eTD Collection

Fig. 64. Fig. 63. Reconstruction the of belt from Felsőszentkirály Belt mountsBelt from Felsőszentkirály 122

CEU eTD Collection

Fig. 65. SaintLadislaus at Velemér Fig. 67. Miniature from the HungarianIlluminated Chronicle

123

Fig. 66. Reconstructions beltof knots

CEU eTD Collection

Fig. 69. Saint George from Alma Fig. 68. Map of the of Mapfrescos of Sigismund period depicting belts

124

Fig. 70. SaintLadislaus from Siklós

CEU eTD Collection

Fig. 72. SaintLadislaus at Chilieni Fig. 71. SaintLad

125 islaus from

Fig. 73. Dârjiu Saint Catherineat Nyíracsád

CEU eTD Collection

Fig. 75. Fig. 74. Wrestling sceneat Bijacovce SaintLadislaus at Rákoš 126

CEU eTD Collection

Fig. 78. Fig. 76. Figure of aFigure wanderer of Levočaat Soldier Levočaat

127

Fig. 77.

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CEU eTD Collection

Fig. 80. Figure of aFigure ercifulman of atLevoča Fig. 82.

GluttonyLevoča sceneat

128

Fig. 81. Cumanwarrior at Bijacovce

CEU eTD Collection

Fig. 84. Fragmented figure at Ragály Fig. 83. The martyrdomThe Saint of Margaretat

129

Fig. 85. Saint Catherineat Florești Mărtiniş

CEU eTD Collection

Fig. 87 .

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130

Fig. 88. Figure of SynagogaFigure of at Žehra

CEU eTD Collection

Fig. 89. Fig. 90. Sheltering Sheltering - Cloak MadonnaCloak at - Cloak MadonnaCloak at Smrečany 131

Liptovské Sliače

CEU eTD Collection

Fig. 92. Fig. 91. Flagellating soldiersat Holy Face at Štítnik 132

Koceľovce

CEU eTD Collection

Fig. 94. Fig. 93. Battle scene at Crowning thorns of at Ochtiná 133

Rimavská Baňa

CEU eTD Collection

Fig. 96. SaintGeorge Szentsimon at Fig. 95. Saint George at

134

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SaintLadislaus at Siklós

CEU eTD Collection

Fig. 99. Betrayal scene at Fig. 98. Mălâncrav

Royal saints at Tileagd

135

Fig. 100. Betrayalat scene

Mălâncrav

CEU eTD Collection

Fig. 102. Royal saintsLeles at Fig. 101. Beheading sceneKraskovo at

136

Fig. 103. Royal saintsLeles at

CEU eTD Collection

Fig. 105. Talentat parable Štítnik Fig. 104.

Royal saintsRákoš at

137

Fig. 106.

Female saintatŽíp

CEU eTD Collection

Fig. 107. Fig. 108. Figure of EcclesiaFigure of at Žehra Soldiers at Poprad 138

CEU eTD Collection

Fig. 111. Fig. 109. SaintLadislaus at Dărjiu Saint Sigismund at Bădești

139

Fig. 112. Fig. 110. Royal saint at SaintLadislauat Ragály Mălâncrav

CEU eTD Collection

Fig. 114. Royal saintLónya at Fig. 113.

Royal saintsChimindia at

140 Fig. 115.

The figure

of Melchiorof Kraskovoat

CEU eTD Collection

Fig. 116. Saint George at Fig. 118. Rimavská Baňa SaintLadislaus at

141

Rimavská Baňa Fig. 117. Baňa

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Rimavská

CEU eTD Collection

Fig. 119. Figure of BalthazarFigure of Kraskovoat Fig. 121. Scene fromthe Life of Saint DorothyLevoča at

142

Fig. 120. Servantat figure

Želiezovce

CEU eTD Collection

Fig. 122. Figure of theFigure of Romanemperor Levočaat Fig. 124. Wrath sceneLevoča at

143

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CEU eTD Collection

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CEU eTD Collection

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Fig. 131.

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Fig. 129. scene from Štítnik Engagement

CEU eTD Collection

Fig. 132. Fig. 133. Last Judgmentscene at Sânpetru Figure of DorusFigure at of Levoča 146

CEU eTD Collection

Fig. 134. Fig. 136. Fig. 135. Detail of theDetail of emperor’s figureLevoča at Detail fromWrath the Leather belt fromLondon 14

sceneLevoča at

CEU eTD Collection

Fig. 138. Fig. 139. Fig. 137. Betrayalat scene Leather belt fromLondon Leather belt fromLondon 148

Liptovské Sliače

CEU eTD Collection

Fig. 140. Fig. 141. GluttonyatLevoča scene Purse from LondonPurse from 149

CEU eTD Collection

Fig. 142. Fig. 144. Fig. 143. Reconstruction aof purse fromLondon Detail of aDetail servant of figure at Štítnik aDetail soldier of at figure Poprad 150

CEU eTD Collection

Fig. 145. Last Judgmentscene at Fig. 147. Bone

Sânpetru - mountedbelt from Örménykút 151

Fig. 146. Levoča

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CEU eTD Collection

Fig. 148. Fig. 150. Belt SaintLadislaus at mount fromTiszaörvény Fig. 152.

Dârjiu Belt mountsBelt from Sály

152

Fig. 151.

Fig. 149. - Lator Royal saintChimindia at

SaintLadislaus at

Dârjiu

CEU eTD Collection

. Fig. 155. Fig. 153. Fig. 154. SaintLadislaus at Ragály Belt mountsBelt from Bene Belt fittings from Csút 153

CEU eTD Collection

Fig. 157. Fig. 156. Fig. 158. Belt buckle from Nagytálya Mounted belts from Bene Royal saintLónya at 154