Introduction. Cerebrovascular events are not randomly distributed over time. In addition to the better known circadian variation, a seasonal variation in stroke occurrence is described in different reports. The aim of our study was to investigate whether stroke with its types follows a seasonal occurrence pattern in the Cluj-Napoca area. Materials and method. The stroke event data were collected from the patient records of a consecutive series of 1083 patients admitted through the Emergency Room to the Neurology Departments I and II of the County Hospital Cluj-Napoca, between 1 January 2012 and 31 December 2012. The diagnosis of ischemic stroke, intracerebral hemorrhage and subarachnoid hemorrhage was confirmed by neurologic examination and neuroimaging, according to updated World Health Organization criteria. The onset time was assigned to one of the four seasons: spring (March to May), summer (June to August), autumn (September to November) and winter (December to February). Statistical analysis was performed using Excel Microsoft. Results. All three types of stroke (ischemic stroke, intracerebral hemorrhage and subarachnoid hemorrhage) showed a seasonal variation in their occurrence, with two peaks in the winter and in the summer. Conclusion. The knowledge of the seasonal variation pattern of stroke occurrence could provide a basis for preventive and therapeutic strategies in cerebrovascular pathology.

Conçu comme une continuation de l’essaye „L’affaire de l’Art. Le Marché d’Art aux Pays Bas, au XVIIe siècle” (AMET 2018), cette étude suit la création artistique et le destinataire de l’œuvre d’art en France, aux XVIIe et XVIIIe siècles. À la Cour du Roy Soleil, la possession d’un capital culturel (objets de luxe, tableaux, bijoux, calèches) était un moyen de montrer le rang, la vertu et la grandeur à travers la valeur associée à ces objets. Louis XIV a exercé un contrôle absolu de la production des œuvres d’art crées à Versailles, dans tous les domaines d’art : architecture, sculpture, peinture, théâtre, ballet, musique… Il y a réalisé un mouvement culturel et artistique et s’est entouré d’une pléiade d’artistes : Charles Le Brun, Nicolas Poussin et Pierre Mignard (premiers peintres du Roy), Molière (ses pièces étaient jouées à Versailles et dans les salons de Paris), Jean-Baptiste Lully (qui encourageait la passion du Roy pour la danse), Jean Racine (l’„historique officiel” du Roy), André le Nôtre (architecte du parc et des jardins de Versailles), Jean de la Fontaine, Charles Perrault etc. Parallèlement à la vie artistique de Versailles, pendant le XVIIIe siècle on assiste au développement du marché libre d’art à Paris ; dans le magasin appartenant à Edme-François Gersaint, Au Grand Monarque, les clients achetaient des tableaux, des gravures, des sculptures, des naturalia et d’autres objets de luxe. Gersaint a été le premier à Paris qui a réalisé des ventes aux enchères, suivant le modèle des Pays Bas. Ces enchères et les chroniques d’art de Denis Diderot ont beaucoup contribué à la „démocratisation” du public des arts plastique en France et dans tout le monde, à partir du XVIIIe siècle.

In this study the authors would like to extend throne notion with examples from religious life of Neolithic and Copper Age communities. Throne with its symbols is present starting with the earliest Neolithic horizons of Anatolia until center of Europe, in 7-5 millennia. We have analyzed some important discoveries related with monumental pieces from sanctuaries, as well as those discovered in community altar or domestic sanctuaries. These monumental pieces from sanctuaries reflect the place of the divinity or her representation in the sanctuary and their role in religious ceremonies. For many of the presented pieces we offer new hypothesis and opinions regarding their functionality. We also refer to some idols types that are sitting on thrones representing divinities or priestess that represent the image of the divinity.

Archaeological investigations at Rupea in the summer of 2018 showed that in the vicinity of each spring of salt water, from about 50 m to 1,7 km there is an early Neolithic site, belonging to Starčevo – Criş. Analyzing the ceramic materials from a complex and those discovered on the area of the site we found that they belong to the Starčevo-Criş III phase. Chronological and cultural links suggest that these communities are related to the discoveries of Cristian III in the same cultural phase. Based on ethno-archeological research on salt sources, but also in the sheepfolds, their placement against salt springs and salted lands, archaeologists have established direct links between salt sources and neolithisation processes in the Rupea area. Rupea is at the center of communication paths between Moldova, south-eastern Transylvania and western Transylvania in the middle basin of Mureş and the center of Transylvania (the upper part of Mureş's middle basin).

The author presents several archive documents regarding the relations between the Transylvanian Museum of Ethnography and the Kings of Romania, providing useful information for knowing the Museum’s history. The first document presented is Decision 7487 of December 21, 1922, signed by Prince Carol; this Decision, by appointing Professor Romulus Vuia as the institution’s director, recognizes all the achievements of the Commission that Professor Vuia had established in the spring of 1922 for the purchase of A. Orosz Collection, in order to set up an ethnographic museum in Cluj. The article presents the List of objects to be collected for the Ethnographic Museum; in this list the first attempt was made to specify the notion of ethnographic object and to establish the field of ethnography as an independent science. In the next part of the paper, there are some documents showing the contribution of the Royal Foundation and of the Ministry of Arts and Religious Affairs to supporting Professor Vuia in the creation and development of ethnographic museography by establishing modern systems of evidence, conservation and valorization of the museum heritage. At the end of the article, the author presents several documents regarding the two visits of King Carol II to the Museum, the first visit in 1930, with the Queen Mother, and the second in 1937, when the Museum was inaugurated in the City Park building; the author also presents two photos taken during the visit of King Michael and Queen Anne at the Museum in 2008.