 And today I will speak about the title is Cardin stone, unique medieval depictions of rural dress in Estonia. And I'll introduce two medieval stone carvings depicting fully clothed figures. I'll compare the information about the dress with archaeological sources. And the aim of this contribution is to illustrate on the basis of a case study how different sources can communicate with each other and also complement each other. The comparison with archaeological sources also helps to consider how the images correspond to the cultural reality in which it was made. I mean, again, what is the artistic part of the image and what is the real life? The questions we are considering earlier. By the way, one of the basis of the presentation is, of course, the assumption that the very important function of clothing is communication. And the sharing information about their social position and origin, for example. And the context is always important. So first I will introduce the context and I'll start with setting up the scene. Now we have heard presentations from Italy and from Asia and from Britain. And now we have moved far to the north. So Estonia is located here, near Scandinavia. And the period under study is really the 13th century. In the early 13th century, German and Danish crusades and violent Christianization took place in the area of present-day Estonia. This event marks also the beginning of the medieval period in Estonian chronology. Christianization caused the integration of the area into the political, social and religious structures of Western Europe. It meant also adopting a new faith and building, for example, churches. And the area under study is an island, Sarama, located in Baltic Sea. It is called also Ossilia or Ursula. The island of Sarama was the last of Estonian counties which adopted Christianity in 1227. It seems that the old local elite of Sarama kept their privileges and power, which is exceptional in the context of Estonia. Probably they participated also in the establishment of the first churches on the island. So I also want to say that speaking about clothing, it is important that after the conquest, ruling German minority clustered mainly in towns and mayors, they brought along European fashion. So they dressed themselves in other parts of Europe, or in other European towns at least. But rural areas remained inhabited with local people. And daily routine continued on the basis of local prehistoric traditions. And it meant also that dressing habits and making cloth remained different from other parts of Europe. For centuries. Medieval depictions of local inhabitants are almost absent in Estonia. This is because these cardstone figures are really unique. And these sculptures are in due Sarama churches, Karya and Böyden. The churches were built in various stages in the course of the 13th century. But both figurines were carved in the end of the 13th century. Art historians believe that the sculptures were made by the same group of itinerant stone masons. On the basis of technique and stylistic analysis, it has been argued that these artisans came from North Germany via Gotland. As the sculptures have been carved of local stone, of Sarama, they probably lived on spot for a while and they saw local islanders. And so they really saw these people, they were depicting. Thus the images provide opportunity not only to glimpse how people represented themselves to themselves, but also how they were represented by others to the audience. What did the foreign artisans see and what was worth highlighting from their part. And finally I'll introduce the principal actors themselves. First, Karya sculptures, these are there, illustrate the scene serving a moral purpose. According to art historians, a young man first with a married woman, her head is covered. The devil on the backside of the man indicates improper ideas, thoughts and actions. The parts of clothing are following. The woman's head is covered with the headscarf. Her shawl is fastened with a bananular brooch on the chest below. You can see a decorated apron. The man wears a hat and the shawl fastened also with bananular brooch on the right shoulder in this time. The hat has a blurry surface, so it can indicate that it has been made of sheepskin. And now secondly, Burida, this is actually the same sculpture, but this is the woman and this is the male figure. I didn't have a photo where they were both on at the same time. This is a very representative couple standing. The lady is very similar to the Karya sculpture. She's also wearing a shawl fastened with a brooch on the chest and decorated apron. Unfortunately, the headdress area is damaged and not entirely visible. But it's definite that her head is covered with something more complex than Karya lady. Karya lady had only the scarf. She's holding a drinking horn, which may be interpreted as a symbol of power. The man is wearing also a hat, but otherwise he differs from previous male figure. And especially noteworthy is his coat. I don't know how well it's visible here, but the front opening is V-shaped. It has pleated front parts and the sleeves fitted nicely around the arms, gradually narrowing towards the wrist. Similar cut has been used, for example, in Paoraneo's Scandinavia. So it's not actually a peculiar local fashion that art historians have always stressed by these figures. This is not surprising because Sarama Island and Scandinavia has a really tight context, or a long time. And of course it cannot be excluded actually that the man is from abroad. Anyway, the couple has been interpreted as being the building patrons of the church. This is another sculpture group in Karya church. And now I hope you can see the difference between the female clothing. This is completely another style, so it's more European fashion. This is sand catering. And now I will speak about the comparison with archaeological material. For the comparison, 53 other adult burials in Sarama were studied to collect information about clothing. The graves have been dated truly to the 13th century. Remarkably, more relevant finds have been collected from female graves. So the following study will focus more on them. I won't describe every grave, but only summarize very general trends. And of course, Chineses of iconographical and archaeological sources is very different. Thus the comparison is always a little bit problematic. It's not time to discuss it here long, but the archaeological sources about the dress are extremely fragmented. Usually textiles do not preserve, so we have only metal parts. And if the depiction is a full set from one moment, the archaeology gives us only scattered bits of information from numerous graves. At the same time, it reveals the variation in the costume. For example, decorated dress pins and penannular brooches often do together with chain arrangements. And belts with various hangings were used for fastening clothing items at the period. It seems that these elements have been combined freely in various ways. For example, sometimes the chains were fastened with pins on the shoulders, sometimes with brooches. And sometimes you can find one brooch and one pin in the grave. Occasionally also just one brooch was discovered on the chest. This is the most right figure. It means that it was in the similar position as depicted on the carvings. An important source for clothing in this case is decorations made of tiny spire tubes. Bound of copper alloy wire. These ornaments were widely used to adorn clothing items in the East Baltic. Already in the prehistory, but also at the beginning of the Middle Ages according to Estonian chronology. And of course the graves reveal us traces of funeral dress, which is a special occasion. And it's not about clothing that people wore during their daily life when they were alive. And it has been assumed in Estonia at least on the basis of grave finds that it's probably a festive attire. Maybe it's not Christian tradition yet, so it's a festive attire. And maybe it is at least part related with wedding costumes. Anyway it has a special meaning and a special context. In the context of present study, due to details of the costumes are worth pointing out. First it seems that benign brooches caught the eyes of the foreigners who carved the sculptures. By the 13th century the benign brooches disappeared in North Europe. But in Estonia this type lasted until the 17th century. Noteworthy it's the clear reach in the middle part of the brooches. Born by a Korean man actually and also a great woman. So the pictures are quite... I didn't have so good pictures to zoom really nicely in. And similar brooches have been sometimes also found in archaeological excavations in graves. But they are not very numerous, only rarely the reach is there. It's noteworthy because the carvings are relatively schematic. But this tiny detail has stressed again. And another distinctive feature is the apron. The decorated lower hems are in both cases clearly visible. You can see them here. And on the basis of grave finds an apron adorned with spiral tube decorations belonged to the costume of a married woman here and there in East Portick. And in Finland for example. In Saarheim such spiral tube decorations on the shin bones have been discovered as well. You can see two pictures here. It is quite clear that the details of the spiral tube decorations were not familiar to the stone carver because the artisan has actually depicted on that apron. I don't know how well you can see. But the artisan probably depicted the closest metal thing or decoration thing he knew. This apron decoration resembles more metal mounts used for example on belts. But it's quite clear that it is parallel to these spiral tube decorations actually these metal decorations that we have found from graves. Haters and shores are also emphasized but no exact parallels can be pointed out among archaeological finds. Mainly because of the preservation issues. Nevertheless some finds indicating presence of these accessories have been discovered. For example one headdress decorated with spiral tubes. And in one case probably spiral tubes are indicating something similar to the shore. It may interpret as a remains of a shore. And now some comments about the costume. There is almost no information about the main dress on the basis of grave finds. And because of that is not much, I can't compare these things. Usually only remains of belts along with items worn hanging from the waist have been discovered. It is possible to make only two remarks. First, Gariaman is using the brooch to fasten his cloak on the right shoulder. This figure up there. And in the 13th century no such brooches were found in the male graves anymore. But the earlier cremations from the 1st century contained often these kind of brooches. So maybe this figure is depicted in the old fashioned way. Or of course maybe it wasn't common to use a brooch and a shawl in the funeral clothing. Secondly, Böyderman wears something hanging from the waist. It's not possible to understand what is the exact shape of the item. But it might be a leather purse together with necessary utensils. Moreover, he's not using brooch. So he fits well together with the grave finds. And to conclude. Iconographic and archaeological sources fit relatively well together. They help to create a more elaborated context for both sources. And they also complement our knowledge about past clothing in general. The comparison with archaeological finds further proves that the aim of the stone carvers was to depict locals. It is interesting to note how they have chosen details to achieve this purpose. In the way that it was recognizable probably also to the audience. Moreover, it is a good example for illustrating clothing as a medium to express identity, social status and origin. And what is interesting for me especially is for example local female dress. With its peculiar traits, shawl, brooch, apron and probably also a headdress. Has definitely caught the foreigners eyes. And the roots of this kind of costume are in the previous century, in the 12th century already. It shows that the female dress was somehow traditional and static. And it's probably meaningful attire maybe indicated the marital status of the woman. Because similar costumes were probably worn also, were used as a funeral dress. And it also stresses that it was meaningful costume. And it was probably important in woman's life and expressed her identity in the community. At the same time it seems that the male dress was more open to the foreign influences. And they were more wearing, maybe moving around and having influences from abroad. So thank you very much.