Biography and prosopography are ideal methods to obtain historical knowledge on relatively scarcely documented periods, and such is the case of the Middle Ages. Thus, by selecting a heterogeneous group comprised of Judas Guedelha, Guedelha ben Judah, D. Maria of Vilalobos, D. Guiomar of Vilalobos, Teresa Gonçalves of Banha, João Fernandes Andeiro and Berengária Anes were all individuals that lived during 14th century Portugal. Conscious of that, by studying their lives it’s possible to get to know the reality that surrounded them, specifically their patrimony their social relationships, and the century costumes. Because of that, on a first part it’s addressed the historiographical evolution that justifies the realization of a biographical and prosopographical approach. Additionally, it’s made a critical questioning of the constructed images that might distort the historical reality. This analysis is followed by the methods that allow to surpass these constraints. Lastly, it’s explained how were selected the individuals for this study.On a second part, based on the collected documentation, it will be reconstructed the biographical trajectory of the studied individuals on its various aspects: the familiar, social and patrimonial. That way, it will be analysed how they administrated their properties, with whom they were associated and the way in which their kinship ties influenced these aspects.At last, the conclusions are presented: the focused on each of the individuals and the ones that seem more broad and common to more than one individual. On the other hand, it’s mentioned some open issues that future studies might answer.

Abstract Clemence, the daughter of Charles Martell of Anjou and Clemence of Habsburg, was born in Naples and became the wife of King Louis X of France in 1315. She was widowed the following year, and before her death in 1328, she witnessed the extinction of the male line of the Capetian dynasty. The period is rich in narrative sources, and this study seeks to answer the question of how they portrayed Clemence, how 'Hungarian' she really was, and what attracted the interest of chroniclers in the 'age of the cursed kings'.

The aim of the paper is to systematize documental and chronological data about Pestis secunda, first plague outbreak that hit Europe after the famous Black Death, looking for an approximate chronology of the event in Portugal. A little more than a decade after its predecessor, this epidemic proved that the disease would become recurrent, and some exceptional sources allow us to dispute that the silence of the majority of the surviving documents means a minor impact in the lives of those who survived it.

Although the last decades witnessed major advances on the study of historical epidemiology, particularly the plague, the impact and consequences of the Black Death in Portugal remain largely unknown. This paper aims to propose a chronology of introduction and spread of the epidemic in Portuguese territory, offering a first attempt of reconstitution of infection routes and chronology. Although direct documentary references are scarce, they provide enough information to present a first draft destined to be improved, corrected, or contradicted by future research.

Commonly known for their prolix and heterodox nature, the margins of medieval art present us a vast array of figures, themes and representational strategies that deserve to be questioned and learnt about. Created to fill voids, to dynamise surfaces and spatial relations, to comment on and amplify the effects anticipated for the centre, they were also invested with playful, prophylactic and apotropaic functions, so important in medieval culture but still so little studied (and so difficult to study) in Portugal. Among the various protagonists of these margins of medieval art, and particularly from the 13th century on, apes stand out as a satirical and moralising simile of mankind, and, therefore, as the main actors of a topsy turvy world that finds its natural place on the margins. Attesting to this close relationship, the first known medieval designation for what we now call marginalia, comes from the term babewyn, or baboon, summoning the generality of the simian species and behaviours then known. Based on this affinity, we will seek to identify and, whenever possible, interpret some of the most significant representations of monkeys in medieval marginalia in Portugal during the 14th century, of which two unpublished case studies stand out.   Referências bibliográficas Fontes  Fontes manuscritas Porto, Biblioteca Pública Municipal do Porto, MS Santa Cruz 24. Porto, Biblioteca Pública Municipal do Porto, Ms. 623. The Aberdeen Bestiary - MS 24 [Em linha] Aberdeen: University of Aberdeen [Consultado a10 Junho 2023]. Disponível em https:// www.abdn.ac.uk/bestiary/translat/12v.hti Fontes impressas BLUTEAU, Raphael – Vocabulario Portuguez & Latino. Vol. 2. Coimbra: Colégio da Companhia de Jesus, 1728. CHAUCER, Geoffrey – The House of Fame. Ed. Walter Skeat. 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Clemence, the daughter of Charles Martell of Anjou and Clemence of Habsburg, was born in Naples and became the wife of King Louis X of France in 1315. She was widowed the following year, and before her death in 1328, she witnessed the extinction of the male line of the Capetian dynasty. The period is rich in narrative sources, and this study seeks to answer the question of how they portrayed Clemence, how 'Hungarian' she really was, and what attracted the interest of chroniclers in the 'age of the cursed kings'. Bibliographical references  Sources Manuscript sources  Paris, BNF, MS Français 10132 [Online]. Accessed 7 January 2020. Available at https://gallica.bnf.fr/ark:/12148/btv1b90632136/f1.image.  Printed sources     Catalogus fontium historiae Hungaricae aevo ducum et regum ex stirpe Arpad descendentium ab anno Christi DCCC usque ad annum MCCCI. Vol. I‒IV. Ed. GOMBOS, Albinus Franciscus; CSAPODI, Csaba. 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The diocese administrative tools used since the Middle Ages include the so-called censuais, which were diocesan records used to keep track of all churches, monasteries and chapels owing money to the cathedral and the diocesan bishop. This paper proposes to present one such book of the diocese of Coimbra, from the 14th century, possibly one of the oldest of the many censuais that this diocese keeps, based on a manuscript in Torre do Tombo National Archive.

In the Middle Ages, particularly in the 14th century, the representation of the Virgin and Child in small marble, ivory or wooden sculptures reached its apogee in France, with a special focus on the Ilê-de-France region. An example of this, is the work of the Virgin and Child preserved in the Calouste Gulbenkian Museum, which is currently one of the most relevant mediaeval works in the collection of this Portuguese museum. This thesis will analyze the sculpture of the Virgin and Child, currently on display at the Museum Calouste Gulbenkian, made of white marble, 60cm high, 23,8cm wide and 13,8cm deep, based on the research conducted by Françoise Baron in the 1980s, at the time of the exhibition "Les Fastes du Gothique" which took place in Paris. The main question of my thesis will be whether the sculpture of the Virgin and Child is the Virgin of the Baker from the Abbey of Saint-Antoine-des-Champs as indicated by the former curator of the Louvre. Throughout this thesis the other attributions given by Françoise Baron to this sculpture, such as authorship and dating, will also be discussed. The thesis will also include unpublished data obtained from a laboratory study that was conducted on the sculpture of the Virgin and Child for the first time in its history. The research required a multidisciplinary approach that benefited from Art History, History of Collecting and Technical Art History. My goal with this thesis is to contribute to the advance of knowledge of one of the least known pieces of Gulbenkian Museum mediaeval sculpture collection.

The present study addresses the practice of astrology and its cultural repercussions in the 14th and 15th centuries’ Portuguese court. The research is based in the comparative study of three sets of sources: 1) the astrology books from the royal libraries, which reveal the dominant concepts of astrology; 2) the writings of kings João I and Duarte, and prince Pedro, as examples of the practical application of these concepts; 3) the royal chronicles of Fernão Lopes, Gomes Eanes de Zurara and Rui de Pina, as examples of its presence in political discourse. The astrological references occur in three main contexts: the validation of power, the explanation of manners and the debate about determinism-versus-free will. The latter stands as the main fracturing topic in medieval astrology. In any case, the validity of astrology by itself was never in question; the debate revolved only around its limits and its legitimacy in face of Christian faith. Astrology was seen as a sophisticated art, practiced by learned men. Its foundation was the scientific understanding of the natural laws and its practitioners tried to demarcate themselves from common divination and superstition. Due to its pervasiveness in this period, it can be concluded that astrology is an essential factor for the understanding of Portuguese medieval life. The study of the astrological practice, from the perspective of the History of Culture and Mentalities, offers new insights to the understanding of the medieval period.