Adalékok Binder János Fülöp rézmetsző munkásságához
Addenda to the work of engraver János Fülöp Binder
Johann Philipp Binder (1736/7-1811), who worked in Buda in the second half of the 18th century and the first decade of the 19th, followed the Augsburg Rococo engraving tradition of the middle third of the 18th century. Since the publication of György Rózsa’s catalogue of three hundred and eighty-eight engravings by Binder and his workshop in 1998, his work has been the subject of much attention. In my study, I supplement the known oeuvre with nearly twenty signed engravings on religious and secular subjects found in nine books or other printed sources not yet examined in relation to Binder’s oeuvre, and discovered on three separate sheets. One of these may also modify the artist’s biography as known and accepted to date. On the basis of his will published five days after his death on 23 December 1811, I list the possessions he left to his second wife, who was still running the workshop a decade later. Museum catalogues and databases open up new perspectives for research. An important methodological lesson for the compilation of a new, more complete Binder catalogue, and for the processing of the 18th-century Hungarian reproduced graphic corpus in general, is that it is important to take all surviving copies of a book in hand, as not all illustrations are bound in all copies. Such a Binder catalogue would allow an analysis of the change in the artist’s style and the gradual inclusion of assistants.
Abstract
The objective of our study is to assess the integration of the concept of special educational needs (SEN) retrospectively and analytically within the Romanian legal framework and its consolidation as a fundamental component of national education policy. Concurrently, we aim to evaluate the effectiveness of inclusive education for children with SEN within the public education system. Methodologically, our investigation begins with a documentary analysis, examining relevant strategic documents that elucidate the contemporary understanding of SEN. Subsequently, we provide an overview of the Romanian context, drawing upon accessible secondary data, supplemented by the outcomes of a quantitative research endeavor conducted in Bihor County. This quantitative phase offers insights into the practical realities of SEN within the Romanian education system. Additionally, we reflect upon the latest national strategy aimed at facilitating a societal paradigm shift towards SEN in the ensuing years. In conclusion, while SEN has been incorporated into the Romanian public education system, its implementation does not fully align with legislative requirements, necessitating smoother execution. We conclude our analysis by posing forward-looking research questions pertinent to future investigations in this field.
Az esztergomi főszékesegyház és egyházkormányzati központ építészeti koncepciójának kialakulása és változásai
II. rész. Formálódó elképzelések az 1820-as évek elején, a Főszékesegyház alapkőletételéig – Remy és Kühnel tervei
Architectural conception of the complex of esztergom cathedral and church government centre: genesis and changes
Part II: solidifying ideas in the early 1820s up to the laying of the foundation stone – plans by remy and kühnel
The plans of the ecclesiastical complex drafted in the 1820s were based on certain 18th century antecedents. The death of Archbishop Ferenc Barkóczy (1761–1765) in 1765 interrupted the constructions started on plans by Franz Anton Hillebrandt (1719–1797). The retransfer of the archiepiscopal see from Nagyszombat to Esztergom was not possible for more than another half a century, until the archiepiscopacy of Sándor Rudnay (1819–1831) (Fig. 1).
So as to reconstruct the evolution of the 19th century conceptions, all the extant and accessible plan material must be put to meticulous analysis – to continue the work of the scholarly predecessors interested in the building history of the basilica (Antal Leopold, Gyula Edvi Illés, Gyula Prokopp) and to complement their observations and findings. The collation and examination of the – not always signed and dated – plans kept in diverse collections (Vienna, Esztergom and Budapest) are also necessary to try and establish their chronological order. Luckily, the dated sheets and the earlier and still ongoing processing of the sources provide several clues that allow us to infer the time line and the changes in the architectural ideas. The paper makes an attempt to reconstruct the formation of architectural ideas on the basis of the most detailed study of plans drafted between 1820 and 1822.
The 18th century spatial layout of the required buildings of the ecclesiastical government was kept unchanged: the cathedral is located on Castle Hill framed on the west overlooking the Danube, and on two sides by wings of the archiepiscopal palace. A monumental wide ramp leads to Castle Hill on the east lined on either side by the residences of the members of the cathedral chapter, enclosing the open place formed at the eastern, lower part of the ramp. The clergy’s seminaries are also situated east of Castle Hill. The 18th century idea of the disposition of the buildings – expressing their hierarchy as well – was accepted by the 19th century posterity, but the appearance of the individual buildings was modified according to the new style.
Archbishop Rudnay gave the commission of planning to Ludwig von Remy (1776–1856), the office director of the imperial and royal architectural office (Hofbauamt) of Vienna in May 1920, endorsed by Emperor and King of Hungary Francis I on 27 July 1820. The series of Remy’s Esztergom plans preserved in the Albertina has been enlarged in the past fifty years or so (Figs 2–14), hence we have a far larger basis to examine his architectural ideas than Gyula Prokopp had in the early 1970s. /The (incomplete) series of Remy’s plan drawings for Esztergom is found in the Albertina, which has been extended since Prokopp’s time./ The architect inspired by the spirit of triumphal neoclassicism must have been attracted by the urban scale of the commission. He drafted several versions of the buildings under Castle Hill. There is no knowing whether a site plan of all the buildings had been drafted, as it is missing from the Albertina series, so we can only hypothetically attempt to reconstruct his idea on the basis of available details (Fig. 15).
Pál Kühnel (1765–1824) had a draughtsman’s role, especially in the early phase of the completion of Remy’s plans. However, soon he also began negotiating with Archbishop Rudnay and started making separate plans. Of course, by that time he had a good overview of Remy’s architectural ideas and could perform his drawing on their basis. Rudnay did not want rivalry between the two architects and hoped for their cooperation on a common plan. The Viennese official refrained from competing with his employee, so he withdrew from the commission, without handing over his plans completed by the beginning of 1821. Although Rudnay could not get to know Remy’s plans, they could still influence further planning through the collaboration of Kühnel and constitute an important station toward the plan to be implemented.
Thus, the commission of planning passed on to Kühnel, who completed the first set of plan drawings (Figs 16–24) by March 1821. Not all the – once probably existing – plans of the series are known today. He already sketched up several versions for the canons’ houses financed by the members of the chapter (Figs 23–24) in 1820. Among that-time plans of the cathedral, the perspectival view of the interior of the basilica is particularly attractive (Fig. 18).
Apart from the site plan drawing of Kühnel’s first plan series (Fig. 16), he also made two site plan variants (Figs 25–26), which were more adjusted to the terrain features of Castle Hill than the conception detailed on the sheets of the cathedral and the primatial palace. On these plan versions the building complex on Castle Hill is arranged in a trapezoid form: the lateral wings of the archiepiscopal palace converge westward – with different solutions on the two sketches. The four wings of both seminary buildings arranged around a square court are nearly identical in the two plan versions, while the canons’ residences are different: in one they have L-shaped ground-plan, in the other the auxiliary buildings are laid out parallel with the residences, thus separating the garden from the court.
The plans and written sources suggest that the client did not have mature ideas about the canons’ nursing section at that time. Kühnel designed several optional residence buildings for the canons in 1820 and 1821 with various ground-plans and one or two storeys (Fig. 27–30). His contract included the planning of 22 dwelling houses, which was later extended on the eastern end of the curving row of houses with two buildings, the library and the archives. It was also an important consideration to incorporate some of the foundation walls surviving from the constructions during Archbishop Ferenc Barkóczy.
In spring 1821 Kühnel drafted another series of plans. In the second series the ensemble on Castle Hill became more spacious and airy: the lateral wings of the archie-piscopal palace are shortened and do not turn eastward; they are linked to the cathedral with curving colonnades. The ground-plan of the cathedral also became more rational. The renaissance Bakócz Chapel attached to the cathedral with a kind of corridor in earlier plans got better integrated in the mass of the cathedral. In this plan series the crypt was to have been in the western side of the ba-silica, under the sanctuary zone (Figs 34–35). The number of the canons’ houses in the straight rows increased from five to six, therefore the curving row of house closing the ensemble on the east received the buildings of the library and the archives at its ends. North of the northern straight line of canons’ houses a new building of large floor space appeared in the site plan (Fig. 31): most probably for storage, offices and stables needed by the monumental building project.
The construction of the cathedral was launched on the basis of plans created in this phase of planning (Fig. 36) with the laying of the foundation stone on 23 April 1822 – but shortly afterwards the plans had to be modified. That, however, will be the subject of a further paper.
„Bori mesék”. Képzőművész munkaszolgálatosok Borban
“Tales of bor” artists doing labour service in Bor
During World War II six thousand Hungarians enlisted for labour service were taken from Hungary to Bor in Serbia occupied by germany (1943–1944). The great majority called up for unarmed labour service were of Jewish origin; they were supervised by Hungarian soldiers and worked under the control of german military officials (Organisation Todt). They were put to slave labour in the mines and the construction of the mountain railroad around Bor. Several of the Jewish labourers were beginning or already acknowledged artists at the time of their conscription. no matter how adverse the circumstances were, some of them did not give up their creative activity during work in Bor. The three works mentioned in the paper were created in labour camps during the Holocaust, at high artistic level. Their singularity, however, is not primarily their attainment but the choice of their unusual genre. Their common feature is the genre of the (fairy) tale. “Ein Märchen von Bor” narrates the story of the Bor mine in 50 scenes and poems in german written under them. The characters of the tales are figures from the literature of tales, german occupiers and inmates of labour camps. The tale that takes place around the mining region of Bor alloys reality, fancy and the faith of the conscripts on labour duty in their liberation. The other tale based on Mother Holle also known from the grimm brothers’ collection is titled “Tale of a good and a bad little girl”. It consists of twelve colour pictures. It was made upon the commission of one inmate for the wedding anniversary of another one. The cock often appearing in tales has particularly great significance here: it is the herald of the Messiah, and in Hebrew tradition it is a symbol of betrothal and fertility. The other ancient symbols emerging in the tale get further meanings in this context. The third art work mentioned in the paper depicts a single day in Bor in six scenes and a few lines. The tale written in postcard format is at the same time a confession of love to the bride left at home. love thus plays an important role in all tales or in their genesis.
The creators and in two cases the addressees of the works of art are known: graphic artists Ferenc Szabó and poet Tibor Sándori (Tales of Bor) and graphic artist Albert Csillag (“Tale of a bad and a good little girl” and “One day”). All the creators, as well Károly niederländer, who commissioned a tale for his wife, fell victim to the Holocaust in Bor, or after the evacuation of Bor in Hungary or germany. Their works created in Bor survived them miraculously thanks to their comrades liberated in and around Bor.
Abstract
Line scan cameras have found wide applications across various industrial sectors, serving as a valuable tool for inspecting products on conveyor belts and ensuring the quality of bulk materials. At the University of Miskolc, a system using a line scan camera was deployed to measure the rotational speed of high-speed rotating parts. This measurement process has already proven its effectiveness. The success of the measurement heavily depends on the system's ability to identify suitable measurement points within the image. This paper demonstrates the process of selecting these measurement points, the line of interest, in a dynamic setting through the application of a statistical image analysis approach.