Sygillography

Gli studiosi generalmente ritengono che le bolle dogali comincino a essere prodotte a Venezia nel XII secolo. Il rinvenimento di un sigillo plumbeo a nome di un Ursus dux Veneciarum anticipa questa datazione. Lo stile, le legature, nonché il tipo e la legenda del rovescio possono essere confrontati con monete e sigilli di IX secolo, sia veneziani sia bizantini, e permettono di attribuire la bolla a Orso I Particiaco (864-881).

Scholars generally believe that the dogal bullae begin to be produced in Venice in the XII century. The discovery of a lead seal, bearing the name of Ursus dux Veneciarum, anticipates this dating. The style, the ligature, and the reverse legend and type can be compared with IX century coins and lead seals, both Venetian and Byzantine, and allow attributing the bulla to Orso I Particiaco (864-881).

En général, les spécialistes croient que la production des bulles dogales commence au XII siècle à Venise. Néanmoins, la découverte d’un sceau en plomb, au nom d’un certain Ursus dux Veneciarum, anticipe cette datation. Le style, les ligatures, ainsi que le type et la légende du revers peuvent être comparés avec des monnaies et des sceaux, Ve´nitiens et byzantins, du IX siècle, et ils permettent donc d’attribuer cette bulle a`Orso Ier Particiaco (864-881).

При археолошките истражувања во средновековната тврдина Просек на локалитетот Маркова Кула, с. Корешница, во 2016 година откриена е половина од оловен печат. По опсежната анализа се утврди дека печатот припаѓал на Георги Инеот, севаст и паракимомен од придружбата на византискиот цар Алексиј III Ангел. Георги Инеот се споменува и во делото ‘Историја’ на Никита Хонијат со настаните кои се поврзани со опсадата на Просек и неуспешниот обид на византиската војска да ја заземе тврдината.

THE SEALS OF ZACHARIA ORPHELIN: SYMBOLS AND EMBLEMS

As one of the leading intellectuals from the age of the Enlightenment Zacharia Orphelin created personal seals himself based on emblematic and heraldry knowledge and used them in his artistic representation. The visual language he used throughout his lifetime reflected his self-consciousness and to a certain extent the relationship between his own and other people’s expectations. He chose symbols and emblems from the available collections, mostly from the popular Russian book Symbola et emblemata (1705). He combined the figures that highlighted some ideal or virtue that he appreciated into whole in order to build a micro-narrative about himself. That’s why he chose pictograms that could fit in the form of a seal, which required simple signs. The meaning Orphelin ascribed to them through this new composition was closely determined by the context, or the private and public function of the seal and its relationship toward the adjacent symbols. His seals were speaking the allegorical language which every educated individual of the time understood, while for the illiterate majority it still remained the world of mysterious and incomprehensible signs. However, he was not discouraged to change his credo in the seals in accordance with the personal changes and transformations he experienced. Primarily because his visual representation was intended for the middle and upper class: for those who occupied a better position than he had and who were quite familiar with the art of creating emblems and devices. Such attitude was a characteristic of most scholars and bourgeois intellectuals of the 18th century. In the early 19th century the language of emblems got an equal rival in more comprehensible language of allegorical personifications.

Resumen: En el año 2008, a instancias de la Diputación Provincial de Jaén, me fue encomendada la investigación para la realización de la preceptiva memoria histórica, heráldica y sigilográfica para la iniciación de oficio del procedimiento conforme a lo dispuesto por la Junta de Andalucía en la Ley 6/2003, de 9 de octubre (B.O.J.A. núm.210, de 31 de octubre de 2003), reguladora de los símbolos, tratamientos y registro de las entidades locales de Andalucía.
Finalizada la memoria justificativa del escudo y sellos de la Provincia y Diputación, fue aprobada por su pleno, siendo tramitada junto al expediente administrativo a la Junta de Andalucía, institución
que a través de la Consejería de Gobernación emitió informe de legalidad sobre el expediente de referencia, tras lo cual, la Dirección General de Administración Local dictó Resolución favorable el 18 de
septiembre de 2008, publicada en el B.O.J.A. núm.198, de 3 de octubre de 2008, por el que admitía la inscripción en el Registro Andaluz de Entidades Locales (R.A.E.L.), del escudo y sellos de la Provincia de Jaén, con lo que tras este procedimiento, se vieron oficializadas estas señas identificativas.
Abstract: In 2008, to instances of Diputación Provincial de Jaén, I was entrusted the investigation to make the historical, heraldic and seal file to begin the procedure established by Junta de Andalucía in the Ley 6/2003, of 9 th October (B.O.J.A. núm.210, de 31 de octubre de 2003) which regulates the symbols, process and registration of cities, tows and villages in Andalucía.
Finalized the justificatory file of the coat of arms and seals of the Province and Diputación, it was
aproved by the plenary, the file was transacted beside the administrative file to la Junta de Andalucía,
institution which through the Consejería de Gobernación expressed report of lawfulness, after this, the Dirección General de Administración Local gave favourable Ressolution on 18th September 2008,
published in the B.O.J.A. núm.198, of 3 rd October 2008, and admitted the inscription in the Registro Andaluz de Entidades Locales (R.A.E.L.) of the coat of arms and seals of Jaén Province, and with this
administrative procedure, this officials marks were made official.