The figure to the right of the Madonna on Albrecht Altdorfer's small painting in the Vienna Art History Museum could never be convincingly named. Whereas the older bald man on the left expands the group into a “Holy Family”, the youthful figure with blonde curls had been called an angel or John the Evangelist only with considerable reservation. Designation of this figure as the early Christian martyr Agapitus of Praeneste, however, makes it possible to explain all his characteristics (his youthful appearance, the bowl of glowing coals with which he was martyred, the deacon's clothing). This identification as St. Agapitus, who is venerated in only a few places, makes it possible to establish a connection between the painting and the Upper Austrian Benedictine monastery at Kremsmünster, where the major share of the saint's relics are located. A tradition of representing the saint as a deacon had developed there, as shown by examples from book illumination and sculpture. Abbot Johannes I Schreiner, a confidant of Emperor Maximilian, could either have ordered or been the recipient of the painting, which is dated 1515. The exquisite design of the Altdorfer painting, with the almost capricious treatment of the northern Italian picture type of the close-up half-length figure beneath lush hanging fruit, could have been made especially to suit the abbot's humanist taste. The painting differs in this respect from other Madonna paintings by Altdorfer which were conceived as devotional images
Ibn Ḥazm’s (d. 456/1064) Ṭawq al-Ḥamāmah is a sui generis work in the history of mediaeval Arabic culture. Modern scholarship on Ibn Ḥazm’s Ṭawq proceeds along three lines: (1) editing and translating the Ṭawq; (2) explicating the Ṭawq and enquiring into its originality; and (3) looking into the Ṭawq from a comparative perspective. I intend, however, to pursue further the question of the Ṭawq al-Ḥamāmah’s uniqueness, and I would also suggest a new reading of the text based on the exposition of its epistemology. My main proposition is that the Ṭawq al-Ḥamāmah’s idiosyncracies rest on Ibn Ḥazm’s endeavour to advance an epistemic justification of the concept of love. Ibn Ḥazm stresses that writing on love is beyond any fictional narrative. He underlines the idea that entering into the phenomena of love should adhere to al-ḥaqīqah (the truth) and should avoid any kind of flawed explorations. To arrive at an understanding of the work through the angle of al-ḥaqīqah, Ibn Ḥazm further contends that writing on love should be based on three key principles: (i) testimony; (ii) observation; (iii) and knowledge stored in memory. These principles are behind the Ṭawq al-Ḥamāmah’s epistemology that renders any writing on love not merely a fictional narrative but a textual attempt to depict the actual human experience. By deploying the principles of epistemology to investigate love, Ibn Ḥazm’s Ṭawq al-Ḥamāmah not only modifies the existing genre of writing on love and lovers but also considers some aspects of this emotion that had hitherto evaded literary and scholarly treatment. This paper will explore Ibn Ḥazm’s perspective on the ways of writing on love and manifest his epistemological approach in exploring the essence of this emotion as well as its causes and symptoms.
approach to kinship is sadly lacking. There is a vast gulf between the pseudo-mathematical treatment of the too-learned anthropologist and the real facts of savage life. Nor is this merely the feeling of the non-specialist. I must frankly confess that there
of St Stephen , the Death of St Rosalie and the Mary Magdalene inspired by the work of Titian. His paintings are characterised by their light colouring, the decorative treatment of the clothing and the characteristic naive facial traits of the
Authors:Katalin T. Biró, Judit Regenye, Sándor Puszta, and Edit Thamóné Bozsó
Nagytevel határában, a Tevel-hegyen található Magyarország egyetlen, szoros értelemben véve tűzkőnek nevezhető kova nyersanyaga. A felső kréta korú mészkőben, amelyet a község határában egy modern kőbánya tár fel, gyakran 20–30 cm nagyságú tűzkő gumók figyelhetők meg. A környéken több alkalommal gyűjtöttek megmunkált kovaszilánkokat. A területen 2005 és 2008 között feltárásokat végeztünk a Magyar Nemzeti Múzeum és a Veszprém Megyei Múzeumok Igazgatóságának együttműködésében. Az ásatás célja a feltételezhető őskori kovabánya azonosítása és feltárása volt. Összesen 22 bányaobjektumot figyeltünk meg, többségében sekély kitermelő gödröket. A bánya lehetséges lokalizálása, illetve behatárolása céljából két alkalommal geofizikai méréseket is végeztünk. A jelenségek keltezését szórványos kerámialeletek mellett optikai lumineszcens kormeghatározással és a régészeti elterjedési adatok értelmezésével kíséreltük meg.
). 1 His discussion of barbarisms is most interesting for students of Vulgar Latin; although the subject was traditional in Roman grammar, Consentius’ treatment is original and so rich that it can be considered the most extensive account of Vulgar