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.
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.
The time of Reformation was important for the spread of humanistic portraits in Hungary. The poetical interpretation of these portraits in classical terms also belonged to humanistic culture. The artist of the portrait of Zacharias Mossóczy (1577), which was recently identified in a unique print of the Albertina in Vienna, was Martino Rota, a very influential painter in the Prague circle of Emperor Rudolph II. He was also active in the service of Hungarian patron's. His portrait engraving corresponds to the topoi of author's representation.