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A progress report on a research dealing with the attribution and localisation of a curious painting. The iconography, the motifs and the composition show many links with the pictorial tradition of the subject-matter in the Netherlandish art of the 15th-16th centuries. But the support is not the usual oak panel used there and the style is not to be linked with any known hand. The painting might have been painted by an emigrant or wandering Flemish painter either in France or in Spain, but it can not be localised exactly. It is an remarkable example of the radiation of Flemish painting and style in the mid-16th century.

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This study deals with Celtis’ practice of rewriting and recontextualizing his own poetry. His poem To the literary odality of Hungarians (Ad sodalitatem litterariam Ungarorum, Odes II.2), addressed to a Hungarian ‘coetus’ (not a ‘sodalitas’) was first published in 1492. Through a detailed analysis of the poem, I claim that this ode was not directed to an academic circle of friends in Buda, but rather to the ‘bursa Hungarorum’ at the University of Cracow. As Celtis took up teaching in Ingolstadt in the spring of 1492, he published the Epitoma, which contained his course material on rhetoric from Cracow, and contained five poems, including this poem, which he composed while still in Poland. Consequently, it cannot be regarded as a proof of the continuity of academic thought between the Neo-platonic circles of King Matthias (1485-1490) and the Vienna-centered Sodalitas Danubiana of 1497. Around 1500, to please his Hungarian aristocratic friends in the Sodalitas Danubiana, he revised the same poem in Vienna and added it to the cycle of his Odes.

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“This Single Slab of Marble Does Not Show you One Single Face”. •

Funerary Monuments From the Saint Michael Cathedral in Alba Iulia from the Sixteenth and Seventeenth Centuries

Acta Historiae Artium Academiae Scientiarum Hungaricae
Author: Dóra Mérai


The paper presents stone funerary monuments known from the Saint Michael Cathedral in Alba Iulia (in Hungarian, Gyulafehérvár, in German Karlsburg or Weissenburg, today in Romania) from the second half of the sixteenth and the seventeenth centuries, the period of the Transylvanian Principality. These memorials represented a broad variety in terms of their quality and complexity, including simple heraldic ledgers produced locally as well as large wall monuments made of colorful marbles imported from the most fashionable Dutch and Italian workshops in the Polish-Lithuanian Commonwealth to commemorate the princes of Transylvania and their family members. All stone funerary monuments, regardless their size and form, are linked by their function: they were created to preserve and evoke the memory of the dead among the present and future generations of the living by communicating specific messages about them. The forms, materials, images, and texts, as well as the location of the memorial in the space of the medieval cathedral and in the context of the other funerary monuments there were all carefully chosen to serve this purpose of communication. The paper analyzes all principality-period funerary monuments from the Saint Michael Cathedral in Alba Iulia as media of memory, including both the simple and the more complex ones ordered from abroad to commemorate the Transylvanian rulers. I will examine the monuments in the context of their production and reception, within the scene of sculpture in Central and Eastern Europe, in order to understand what kind of memory they were intended to preserve and how they were designed to retain and shape the memory of the deceased.

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