Four late medieval burials were excavated at the site of Lepenski Vir in the Iron Gates Gorge, Serbia. One of the individuals, Lepenski Vir 62, exhibits evidence of a sharp-force trauma on the left parietal, consistent with a combat wound. None of the other contemporaneous individuals show any evidence of trauma or other pathology on the few preserved bones. We argue that the skeletons belong to soldiers involved in the border warfare on the Danube which was quite common at the end of the 14 th and the first half of the 15 th century between Serbian, Hungarian and Turkish forces.

This paper looks at some aspects of the expansion of the role of the orchestra in the early decades of French operatic history, especially after the death of Lully, and in particular at the orchestra's increasing involvement in, and enhancement of, the spectacular and the dramatic. It focuses on three types of scene, in each of which the orchestra plays a key role in the construction of the scene and in supplying its distinctive musical features. The paper is based on part of a thesis which, for reasons' of manageability, set a terminal date of 1715, but I have where appropriate stepped outside diis self-imposed limit

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