Culture of Memory

in East Central Europe in the Late Middle Ages and the Early Modern Period

Prace Biblioteki Uniwersyteckiej nr 30

Rafa Wjcik (ed.)

Culture of Memory
in East Central Europe in the Late Middle Ages and the Early Modern Period
Conference proceedings Cie, March 12-14, 2008

Biblioteka Uniwersytecka Pozna 2008

Editor Rafa Wjcik Organizers Rafa Wjcik, University Library, Pozna Lucie Dolealov, Center for Theoretical Study, Prague Gbor Farkas Kiss, Etvs Lornd University, Budapest Organizational Committee Artur Jazdon, Aldona Chachlikowska, Krystyna Jazdon, Aleksandra Szulc, Hanna Wieland, Rafa Wjcik Gratefully acknowledging support of the University Library in Pozna and International Visegrad Fund http://lib.amu.edu.pl www.visegradfund.org English Language Editor Tomasz Olszewski, University Library, Pozna German Language Editor Christian Myschor, Adam Mickiewicz University, Pozna Technical Proofreading Marlena Pigla Krystyna Sobkowicz

Copyright by University Library in Pozna Pozna 2008

ISBN 978-83-60961-00-1 ISSN 0860-1933

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Printing preparation RHYTMOS, ul. Grochmalickiego 35/1, 61-606 Pozna, www.rhytmos.pl Printed and bound PPHU TOTEM SC, ul. witokrzyska 53, 88-100 Inowrocaw, www.totem.com.pl All parts of this publication are protected by copyright. Any utilization outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microlming, and storage and processing in electronic retrieval systems.

Contents

Preface (Rafa Wjcik) ............................................................................................................. 7 SABINE SEELBACH Wissensorganisation contra Gebrauchsfunktion? Zum Erkenntniswert von berlieferungsgeschichte am Beispiel der Memoria-Handschriften der Staatsbibliothek Olmtz ............................................................................................. 11 CLAIRE NORTON Erasing Oral Residue and Correcting Scribal Error: Re-Interpreting the Presence of Mnemo-Technical Practices in Ottoman Manuscripts in the Early Modern Period .............................................................................................. 27 ALEXANDRU N. CIZEK Antike Memoria-Lehre und mittellateinische versus dierentiales ................................. 43 GRETI DINKOVA-BRUUN Biblical Versication and Memory in the Later Middle Ages ......................................... 53 K RZYSZTOF BRACHA Das Gedchtnis in der Praxis des mittelalterlichen Predigers .......................................... 65 MIECZYSAW MEJOR Ars versicandi and ars memorativa. Georey of Vinsauf on the Art of Memory (ars memoriae) ................................................................................................................. 79 BENEDEK LNG The Art of Memory and Magic (the ars memorativa and the ars notoria) ...................... 87 LUCIE DOLEALOV Matou Beran and his Wordplays: A Case Study on the Art of Memory in Late Medieval Bohemia ............................................................................................... 95 FARKAS GBOR K ISS Valentinus de Monteviridi (Grnberg) and the Art of Memory of Conrad Celtis .......... 105 RAFA WJCIK, WIESAW WYDRA Jakub Parkoszowics Polish Mnemonic Verse about Polish Orthography from the 15th Century ...................................................................................................... 119 WITOLD WOJTOWICZ Memoria und Mnemotechnik in der Chronica Polonorum vom Bischof Vincentius (ca. 1150-1223) ....................................................................... 129

Contents

RYSZARD GRZESIK Did Two Models of the Memory about the Domestic Origins Exist in the Hungarian Medieval Chronicles? ......................................................................... 139 ADRIEN QURET-PODESTA The Historical Conscience in the Annales Posonienses and in the Historical Notes of the Pray Codex and Their Place in the Hungarian Medieval Historiography ............ 149 BALZS NAGY Memories of the Self: The Autobiography of Charles IV in Search of Medieval Memories ................................................................................... 161 K RZYSZTOF RATAJCZAK The Dynastic Memory and the Role of Historical Books in the Education of the Piasts from the 10th to the 14th Centuries .............................................................. 167 LSZL TAPOLCAI The Changes of the Figure of Piast, the Protoplast of the First Polish Royal Dynasty in the Historical Tradition from Gallus Anonymus to Marcin Bielski ........................... 179 MICHAEL SCHULTE Recollecting the Runes: Memory Culture in the Viking Age ......................................... 187 JOLANTA RZEGOCKA Mnemotechnical Strategies at Play: Early Modern Polish Theatre and Its Manuscripts ......................................................... 205 ALICJA BORYS Ich [...] habe diese Figur, als ich zu Konstantinopel gesehen, meinem lieben Bruder [] zum freundlichen Gedchtnis malen lassen. Erinnerungen an die Reise in die Trkei in einigen der ltesten Stammbchern aus dem deutschen Kulturraum ...................................................................................... 213 RAFA T. PRINKE Memory in the Lodge. A Late 18th Century Freemasonry Mnemonic Aid .................... 227 JEANNIE J. ABNO Remembering the Polish Renaissance Child in memoria ............................................ 239 K ATEINA HORNKOV Bishop Phillibert of Coutances Catholic Restoration in Hussite Prague ...................... 255 S. ADAM HINDIN Civic Ritual and memoria in the Gelnhausen Codex ..................................................... 265 SNEZANA FILIPOVA Medieval Paintings in Macedonian Churches and Applied Arts as the Echo of the Heraldic Society ................................................................................................... 277 Notes on Contributors .......................................................................................................... 289 List of Illustrations ............................................................................................................... 295

Snezana Filipova
(Skopje)

Medieval Paintings in Macedonian Churches and Applied Arts As the Echo of the Heraldic Society

In time, the Heraldry became immanent to all classes and professions. The traces and the memory of the important and less important feudal lords of the Middle Ages in Macedonia are to be found in art, applied art, coins, seals, documents and legends, interwoven into folklore poetry and stories (the most famous one being about tsar Samuel and Marko Krale-the small king). Since Heraldry has not been a popular branch of study over the last few decades, very little eort, or none at all, has been made to nd resources to explore the past apart from looking at some armorials, already published and commented. However, the last two decades have revealed a considerable number of rings and a few seals that improve our knowledge of some emblems and gures popular on the territory of medieval Macedonia. Over the last few years, a practice has been reestablished to bring back to life the custom of awarding important persons for their outstanding achievements with state or church medals, which, consequently, brings along the revival of traditional skills and knowledge of heraldry. Also, all the present Macedonian cities and communes are changing the images of socialism in their emblems into heraldic ones. Some coats of arms related to the territory called Macedonia are well known and have been published frequently within various armorials. They show variants of the representation of golden lion rampant and the crown on red shield though the colors and the depicted animals are not changeable (Armorial of Korenich Neorich, 1595, Althans armorial 1614, Armorial of Marko Skoroevich, 1636-1638, Fojnica armorial, 1675, Codex Keveshich, 1740, Armorial of Ivo Saraka, from Dubrovnik, 1746). Within the Armorials of Palinich (end of 16/17th century), Pavle Vitezovich, 1701, and that one of count Ladislav Festetich, 1837 the color of the animal and the shield dier, being either red or golden. Unfortunately, fresco ensembles have been overlooked so far. There are numerous medieval fresco paintings preserved in Macedonian churches that keep the memory of

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SNEZANA FILIPOVA Figure 1. Holy Doors, holy Virgin, v. Rankovce, Kumanovo, 17C, detail

the heraldic symbols used by the noblemen, not at all noticed or described and explored yet. Some of the represented noblemen are real historical gures that also minted coins in their name and who are mentioned in various sources. Some saints and holy warriors are represented as members of high society, whose military arms bear heraldic tones. The present state of archaeological research reveals increasingly proves that heraldry had made a rm base and continued to be used both by male and female aristocrats even after the fall of the territory under the Turkish rule. The most elaborated items come from a necropolis neas Strumica, at the village of Vodocha, situated next to the famous monastery and church of Holy Virgin, a once metoch of Hilandar.1 Yet, most of the visual documents are oered by the medieval frescos in Macedonia, mostly presented in the churches of Ohrid, like St. Demetrius, or St. Sophia, the scene with the soldiers sleeping at Christ grave, St. Nicholas, Prilep, or Holy Archangels in Lesnovo. Some of the most remarkable ones, along with the Passion compositions, like painted curtains on the walls of the Holy Archangels in Lesnovo, or the facial wall of its altar table, show the impact of the contemporary insignia of the feudal society heraldic coat of arms, shield with heraldic emblems, and also monograms of rulers (king Milutin at St. George, Nagorichino, or despot Jovan Oliver and his wife, Ana Maria Liverina at Lesnovo church). Most of these paintings and object are dated in the 13th or 14th century. Despot Jovan Oliver, and also the feudal lords Grgur and Vuk Brankovic, have their portraits represented in the catedral church St. Sophia in Ohrid, in the paraclis of Jovan Oliver, 1347-1350.2 They wear the double-headed eagle, embroidered on
1 2

Elica Maneva, Ancient Jewellery from Macedonia, Middle Ages (Catalogue) (Skopje: Kalamus, 2007). Cvetan Grozdanov, Ohridsko zidno slikarstvo od XIV vek (Ohrid, 1980), 63-65.

Medieval Paintings in Macedonian Churches Figure 2. St. Nicholas, Varosh, Prilep, 15-16th C, Holy Doors, detail

279

the garment, multiplied in a row of medallions, or as a single medallion placed upfront. There are also other motifs, like wolf, dog, related to the Serbian feudal lords (Grgur Brankovich, painted central medallion with wolf inside, on the chest, founders composition from the western wall of Gregorius paraclis of St. Sophia, Ohrid). Double headed eagle decorates the garment of Kesar Duka in St. Panteleimon, old St. Clement, Ohrid (before 1331),3 Despots Oliver and Anas garment from St. Sophia bears two large medallions and under these two rows of small medallions with double-headed eagles, while the design of the clothes has been changed as compared to the narthex of Holy Archangels, Lesnovo, since the latter features smaller circles and the rows star from the upper end.4 Saints can also be represented dressed as nobleman with heraldic embroidery. St. Alexander is dressed like kesar in the Holy Virgin cave church at Tuminec near Ohrid, now on the Albanian territory,5 once part of the territory of the then Ohrids Archbishopric. Jovan Oliver has the same clothes in the group composition The Earthly Kings, the illustration of psalm 148:11. The gure of Kesar Grgur from Holy Virgin at Zaum, Ohrid, 1361, shows double headed eagles inscribed into two large medallions placed above and below the thigh, with two small rows of small medallions bellow. Ostoja Rajakovich is the only lord bearing large medallions with eagles only bellow the thigh (Old St. Clement, Ohrid, 1379).6 An interesting detail is the left upper medallion with wolf or a dog inscribed in.
Ibid., 32. Smiljka Gabelic, Lesnovo (Beograd: Stubovi Kulture, 1999), 78. 5 Goce Angelichin Zura, Pesternite crkvi vo ohridsko-prespanskiot region [The Cave Churches in the Region of Ohrid and Prespa] (Struga, 2004), 124. 16 Grozdanov, Ohridsko zidno, 165.
4 3

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Two rows of small medallions with double-headed eagles, show the garment of Kesar Novak from Holy Virgin at Mal Grad, Prespa.7 In the 14th century Byzantium even nobleman without high titles could be depicted wearing state heraldic coat of arms put on their clothes or shoes, as Kovacevich has noticed.8 King Georgi Kastriot (1405-1468) was the last Ortodox ruler before the Turkish Empire occupied the whole region of the Balkans. His state was part of present Albania and Macedonia, and some historians regard him as belonging to the western Macedonian tribe of the Miaks where the Kastrioti family name occurs.9 His rst biographer was Marin Barleti, from the 16th century.10 Macedonian historian Petar Popovski11 has recently tried to prove the Slavic origin of Skenderbeg-the Turkish name for G. Kastriot. His coat of arms of 1451, according to Gjim,12 was divided in half vertically, which shows dimidiation was performed. The left side (that is the real right side of the coat of arms) has black crowned double-headed eagle, golden star above it, on golden background, and on the right side lion rampant with a sword, white lily above it on blue background, while later on he had to change it into black double-headed eagle on red background, golden star above it, while his grandson Constantine in 1500 had a coat of arms bearing on the whole surface of the shield the left side image of the black crowned double-headed eagle, golden star above it, on golden background. The ag of Georg(i) Kastriot had golden lion on red background. It was the new one, since the Venetians and the Anjous insisted the old one, containing 16 armed sun put on three coloured bands-two red ones up and down and white in the middle, to be changed. At St. Demetrius, Ohrid, 14th century,13 the three Roman soldiers are dressed as western solders in the composition Holy women at the tomb of Christ. They have identical longish oval shields containing heraldic composition. The light surface is divided in two by a band coming from left to right. In the upper part there is a graphic
Zura, Pesternite crkvi, 164. Jovan Kovacevich, Srednievekovna noshnia balkanskih Slovena (Beograd, 1976). 19 Among the recent works to show this point of view is the book of Petar Popovski, (: -, 2005). Debates on his possible Serbian, Bulgarian, or Albanian origin still go on. 10 , , (: , 2008). He writes: Vita et res praeclare gestae Christi Athletae Georgii Castrioti Epirotarum principis, qui propter heroicam virtutem suam a Turcis Scander beg, id est Alexander Magnus cognominatus est (libris XIII) Georgi Kastriots helmet, in the Viena Kunst Historische Museum, has the following shortened inscription: Jezus Nazarenus * Principi Emathie * Regi Albaniae * Terrori Osmanorum * Regi Epirotarum * Benedictat Te (Jesus Nazarene Blesses Thee [Skanderbeg], Prince of Emathia (old name for the western part of Macedonia), King of Albania, Terror of the Ottomans, King of Epirus. 11 Popovski claims he has found new documents where George Castriot is writing (personally): My people in Albania are Macedonians, descendents of Alexander the Great Popovski, . 12 Gjin Var, Heraldika Shqiptare (Tirana, 2000). 13 Vladimir R. Petkovich, Pregled crkvenih spomenika kroz povesnicu srpskog naroda [Overiev of Church Monuments within the History of Serbia] (Beograd, 1950), 236, 990, g. 712. It is accepted by Grozdanov in Ohridsko zidno, 157.
18 17

Figure 3. Tumince, Albanija, once part of Ohrids Archbischopry, St. Alexandar

Figure 4. Kesar Novak and his wife kala, detail of the dress

Figure 5. Ana Maria Liverina, Lesnovo, Holy Archangels

Figure 6. St. Demetrius, Ohrid

Figure 7. Holy Doors, Holy Virgin, v. Rankovce, Kumanovo, 17C

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sign in the shape of the Latin letter Y. The lower part has three dots (owers?) and two small slanting red lines. They are inscribed in a frame that is not continuous, but shows regular half circular breaks, like many contemporary shields. The same shape of the shields and very similar position of the soldiers is represented in the nearby church Holy Virgin Chelnica, but the shields are covered by the bodies of the soldiers. A shield with slanting band with no decoration in the elds is represented on a medallion (jubilee coin) from Kosovo, dated in the 15th century.14 On the same composition Holly women at Christs tomb, at another church, H. Archangels, Lesnovo (1341), the main ocer is represented as a child (this might be related to the last crusade wars when children did head the armies) holding a small ag and dressed dierently, with western type of chain mail and a western type of heraldic shield . The shield is divided by three slanting white bands from left to right downwards, while the rest of the surface is dark (black?). The framing band is lled with multiplied V ornament. It resembles the shield on the coat of arms of the city of Bar, from the same 14th century, and has additional rose in the middle.15 The shields of the other six soldiers have central dark ve-leaf rose. The white rose, the only four-leaf one, is popular with the feudal lords of Poland, Bohemia, Denmark, etc. At St. Nicholas, Prilep, 1298, soldiers presented within the same composition from the Holly women at Christ tomb, wear shields, one oval and two triangular shaped, decorated with motifs frequent in the western medieval heraldry, such as lozenges. On the frontal side of the altar table of Holly Archangels in Lesnovo features a painted double-headed eagle.16 If it is to be dated contemporary by the fresco decoration of the church, it can be dated in the mid of the 14th century and, to the best of my knowledge, is a unique one made in fresco and placed in such a place. Feudal lords of lesser importance are represented in most of the churches in the late 14th or 15th century, being partial or full investors of the whole fresco ensamble (like Vojvodka Vladislava from Holy Virgin at Kuceviste, near Skopje, the couple Paskac from St. Nicholas, Psacha, St. Nicholas Bolnichki, Ohrid: Helen of the Angue dynasty, etc. There are also saints dressed as noblemen at St. Demetrius, Sushica, Skopje, 14th century, rst zone, or as high-ranking warriors wearing heraldic shields-St. Panteleimon, Nerezi, Skopje, on the left side of the wall next to the entrance in the naos, dated in 1164. The saint warrior doctor has a dog on a white shield. This painting with this heraldic emblem seems to be the oldest one within the Byzantine territory and needs much more attention and elaboration. The monument, one of the most remarkable and worldly known by the quality of its paintings, was commissioned the Byzantine prince Alexius Komnen, a nephew of the Byzantine emperor Alexius Komnen.17 Only a few

Bojana Radojkovich, Nakit kod Srba [The Coat of Arms of Beograd] (Beograd, 1969), 162. Milosh Chirich, Grb grada Beograda (Heraldika 2) (Beograd, 1991), 22. 16 Gabelic, Lesnovo, 64. This composition has been repainted some time later. 17 Kosta Balabanov, Freske i Ikone u Makedoniji (Yugoslavija, Beograd, 1983), 55-59, and the cited literature.
15

14

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years before, another nephew of the ruling Byzantine emperor, was the head of Ohrid Archbishopric John Komnen.18 Holly Doors Each of the few preserved painted wooden carved Holy Doors from the late medieval period bear the heraldic double-headed eagle symbol (St. Nicholas, Varo, Prilep, 15th-16th century, Holy Virgin, v. Cvek, and Holy Virgin, v. Rankovce, Kumanovo, 17th century). There are numerous objects of jewelry, mainly rings, buttons and belts, or objects of the material culture (dishes, vessels, belts) that bear the coat of arms of the ruling Serbian dinasty, the double-headed eagle, and also emblems with a represenation of the wolf associated with Brankovich, or the lion, wolf, or grin as well as dragon. Seal-Rings Dated in the 13th, 14th and 15th century, part of the collections of the Museum in Prilep, and the Belgrade Museum of Applied Arts.19 The ring dated in the 2/2 of the 14th century from Prilep has a double-headed eagle on the main upper surface, while the neck is decorated with a shield divided into 4 horizontal elds, where the upper ones are thin and straped, with an empy thin band in between.20 The ring from Demir Kapia has a double-headed eagle, the one from tip contains opened crown;21 while the ring of a knight from Skopje or Prilep shows two letters, cyrilic U and [ combined like in the monograms of Tzar Milutin.22 The seal-ring from Vodocha, end of the late 14th century, has heraldic image of striped shield with wolf above it and a knife.23 The Dragon is associated with some orders, such as the Order of the Knights of the Dragon, founded in 1408 by Sigismund, the Hungarian King. A nobleman buried in the Vodoca nekropolis wears such a ring, thus informing us that there were Macedonian medieval feudal lords associated with this Order where few were admitted.24 Vuk Brankovich, famous Serbian nobleman, was also a member of this Order. His coat of arms has both the lion on the shield and the dragon as crest. Grgur Brankovich, on the other hand, even though from the same family as can be detected from the fresco of the paraclis of St. John, from St. Sophia, Ohrid) had the dog as his emblem, as had Sevastokrator Branko.25 Sevastokrator Brankos belt and seal are preserved and kept in the Museum of Applied arts in Belgrade.26 A ring ascribed to Radoslav Hlapen, the
Ibid., 59. Ivanishevich, Prstenie, 9-17, 36, sl. 7. 20 Ibid.. 21 Blaga Aleksova, Prosek-Demir Kapija (Skopje, 1966), Table XIX, 211, Table XXII, 302. 22 B. Moshin, Povelje kralja Milutina-diplomatichka analiza [The Novels of King Milutin. Diplomatic Analyses], Istoriski Chasopis 18 (1971): Table 53. 23 Elica Maneva, Vodochka varijanta na kruzni naushnici od docniot 15 vek, MN 26, 3-28. The insription around this ring has not been published. 24 Maneva, Medieval Jewellery, ring no. 46. 25 Grozdanov, Ohridsko zidno, 123, g. 30. 26 Ivanishevich, Razvoj heraldike u srednievekovnoj Srbiji [The Development of Heraldy in Medieval Serbia], Zbornik Radova Vizantoloskoy Instituta XLI (2004): 213-234.
19 18

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lord of Edessa and Veria, also contains the wolf as crest over the shield. His daughter, Elena, married king Marko, the feudal lord whose seat was Skopje. The coat of arms of King Volkashin, his father, is to be found in the Fojnica armorial (1675), and we see again a female gure of a queen with red mantle used as crest, while the shield contains red cross as central gure, where the white eagle is put over the middle of the cross, and the four empty spaces are lled with four green shaped ognila (a tool to produce sparkles to light re).27 This crest can be seen applied on coins, rings, and tombs.28 This visual element has some analogies with some coat of arms published in the Zurich armorial from 1340. These heraldic coat of arms or elements and material objects bearing them are also painted within medieval fresco ansambles. Such archaeological ndings mostly come from Skopje or Prilep since these cites have been seats of the medieval state. One of the most representative ndings dug up over 50 years ago is the grave of a lady wearing earnings that have two medallions with the Paleologian coat of arms, doubloeheaded eagle, and the inscribed initials MP of Maria Paleologova, found in Demir Kapia by the archaeologist Dr. Blaga Aleksova.29 The monograms of ecclesiastical noblemen are also to be found, and the most representatiove one is the monogram of archbishop Gregorous, engraved on the ambo of St. Sophia in Ohrid, probably to be dated around 1313, like the exonartex built by the same archbishop. Also the chivalry-rings that served as seals use this way of shortened name-coat of arms. Holy Archangels Lesnovo liturgical objects and polilei, contain the double headed eagle and the monograms of the founders, Jovan (John) Oliver and Ana Maria Liverina.30 The lower part of the wall of the naos has also painted monograms of Jovan Oliver and Liverina. Monograms of King Milutin, at St George, Staro Nagorichino he reconstructed in 1313, are to be found painted over the capitals in the nave.31 Emperors pillows as a symbolic item of kingly regalia are the adequate place to put the coat of arm of the state (Byzantium, manuscript of John Kantakuzin,1351). Similar representation is shown in the fresco of Serbian King Milutin at St. Georges, Staro Nagorichino, Kumanovo.32 Seals as sign of power and authority of an oce and institution also bear heraldic elements and are to be associated both with secular and ecclesiastical bearers of power and institutions. The most important medieval seal found in Macedonia is the seal of the Byzantine Emperor Alexius Komnen (1088-1118), discovered in October 2007 at the medieval fortress Kale, at Skopje.33 The seal of King Volkasin, from the Dubrovnik Archives, 1370, contains a female gure crest, a specic feature of Macedonian heraldry in the 14th century as a new type of crest in the shape of a queen.
Ibid. Ibid., 217. 29 Aleksova, Prosek-Demir Kapija. 30 Gabelic, Lesnovo, drawing 12 and 3. 31 Marica Shuput, O kapitelima i njihovom ukrasu u srpskim crkvama 14 veka, Saoptenja XXXIV (2002): 145-154. 32 Branislav Todich, Staro Nagorichino (Beograd, 1993). 33 The material has not been published yet, except for the catalogue from the exhibition of the excavations on the site Kale, Dragi Mitrevski, Kale, Catalogue, Skopje 2008.
28 27

Figure 8. Kesar Duka, Old St. Clement, Ohrid

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SNEZANA FILIPOVA

Analoguous feature is included in some coats of arms in the Zurich Collection of coat of arms dated in 1340.34 Finally, I will mention late 17th century church seals that have been made for and used by the Monastery of St. Naum in Ohrid, where also a medieval western type of soldier is represented with a shield, sword and crest, kneeling on one knee in front of St. Naum. It is presented on the left side of the seal. The inside inscription that tells us it is the man, in Turkish, might be related to some miracle performed by the saint and completely covers the image, once put inside the shield in the older versions of the seal presentation.35 The church iconostasis (1711) also has an interesting real or imaginary coat of arms, discovered for the rst time by the author of this article. It is painted under the Great cross, between the two dragons/snakes that ank it. It is painted on a shield that is made of wood, as the whole iconostasis, only its position is upside down, if we consider the animals as shield supporters. What can be seen without further exploration, on the golden background there is some red vegetative motif. This coat of arms might be the same once presented on the seals of the same monastery, later covered by Turkish words meaning here is the man. It is dated in the end of the 17th or the beginning of the 18th centuries as terminus ante quem non because of the inscription that mentions the patriarchate of Ohrid.36 Only one is kept in the Archive of Ohrid, while the others are exhibited in the Sinodal Museum of Sophia.37 There are maps and engravings, as well as some historical documents that reveal to us some details on mediaval ags used in Macedonia. On one of the 14th century Italian map of Angelin Dulcerts map, 1339, the ag with a double-headed eagle is presented hoisted on Skopje fortress, when Skopje was the capital of the Serbian State. The ag of Georgi Kastriot-Skenderbeg contained the golden lion on red background that was a new one since the Venetians and the Anjous insisted the old one to be changed, containing 16-armed sun put on three coloured bands two red ones up and down and white in the middle. Some of the coat of arms of noblemen that emigrated or originated from Macedonia can be traced or has been at least mentioned in some sources. One of them had the wolf as the main element, another one an eagle.38 For many of them we have to
Ivanishevich, Razvoj, 219. Petar Miljkovich Pepek, Eden vo naukata nepoznat pechat od manastirot Sv. Naum [An Unknown Seal Unpublished Yet, from the Monastery of St. Naum], ZFFSK (1987): 161-170. He interprets the soldier as a Roman or Turkish ocer. 36 Pepek, Eden vo naukata, 162. He cites the previous misinterpretations of the soldier as Turkish beg or even paralytic. 37 Cvetan Grozdanov, Portreti na svetitelite od Makedonija od 9-18 vek, Kulturno istorisko nasledstvo XX (1985): 205-206. He interprets wrongly the soldier as a farmer villager from the region of western Macedonia, member of the Miak tribe. The crest over the helmet he has in his arms gives no possibility for this. 38 Aleksandar Matkovski, Grbovite na Makedonija (Skopje, 1990), 181-183. Indigenati: Danch Maczedoniai mentioned in 1439 g., Ladislaus Maczedoniai 1525, bishop of Veliki Varazdin, Nikola Makedonecot (Nicholas the Macedonian) from Hungary mentioned in 1526., Daniel von Zefarovich (1734-1806) (nephew of the famous painter Xristofer), who became Ritter von Edler in 1782. Here belongs also Karposh, a Macedonian king crowned in Kumanovo, his crown being sent to him by Emperor Leopold, are
35 34

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start the marathon to look after. Recently, a silver wolf rampant can be added to this short list, belonging to the Macedonian nobleman Makedon of Ematia, from the book of John Fern The Glory of Generositie, printed in London 1586, today in the private collection of Derek Hauard from Brussels.39 There are funeral caskets that bear the coat of arms of the nobleman, as the one of Nikola Stanjevic from Konce, near Prilep. He was the founder of St. Steven in the village of Koncha (1346-1355), where this casket was found. The coat of arms presented has Byzantine-type helmet and crest.40 This is very rare example of the Byzantine armour to be used in the western way as coat of arms. These artefacts and works of art are precious documents and the echo of the heraldic society and as such inspire us to make further researches to reveal now still anonimous medieval noblemen and the way they associated themselves with the territory they lived on. The specic features in Macedonian medieval heraldry noticed so far prove the uniqueness of the region and its place in history as being a complex blend of both Western and the newly-born Byzantine heraldic traditions. Also the crusades and the travels and political contacts brought along members of certain monastic or military orders, and together with intermariages, were a factor for bringing together the East and the West. We can only have a foggy picture of the development of heraldry in Macedonia, but its inhabitants continued to use their heraldic symbols even after leaving the country with the establishment of the Turkish goverment and claimed their rights to their inheritance, as shown from the above mentioned historical evidence. Those who stayed used their coat of arms, or monograms, as heraldic tool on the jewellery further on. The archaeology continues to open new pages to give us an inside view into the heraldic society of medieval Macedonia.
primi acquierentis. Wolf Maczedoniai, was of Macedonian origin , zupan of Kraso and ban of Sherenji, and his heraldic eagle looked rather harmless. 39 Jovan Jonovski, Srebreniot volk na Ematija, Makedonski Herald 1 (2005): 1. 40 Ivanishevich, Razvoj, 219.