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Introduction In the first half of 2017, the Budapest History Museum carried out an excavation in the inner part of Budapest, at 7–9. Molnár Street, District 5, prior to the construction of a hotel. 1 The area, located in the medieval city of Pest
–440. Révész L. 2008 Heves megye 10–11. századi temetői (Die Gräberfelder des Komitates Heves im 10.–11. Jahrhundert). Magyarország honfoglalás kori és kora Árpád-kori sírleletei 5. Budapest. Somogyi S. 2007 Pest megye
1 ANTECEDENTS AND CIRCUMSTANCES: ORCHESTRAL MUSIC IN PEST-BUDA Founded in 1853 and still active today, the Orchestra of the Philharmonic Society (Filharmóniai Társaság Zenekara) was Hungary’s first professional symphony orchestra. 2 The
The dynamics, geographical and social characteristics of the settlement of Jews in Pest in the mid-19th century . The author examines the life and internal social problems of the Jews settled in Pest towards the end of the 18th century. Even before that time Jewish society was not homogeneous, and this was also the case in Pest. The social differences can be seen in the dynamics and geography of the settlement. The first to arrive in Pest were entrepreneurs from Óbuda who had considerable influence in the region, followed by wholesale merchants from Pozsony. The more prosperous entrepreneurs and wholesalers attracted the poorer Jewish strata who did not have the permanent Pest residence permits required for independent business activity (the so-called Toleranz). Although the great majority of the Jews lived in Terézváros (Theresa Town), where individual families lived depended on their financial situation. The more prosperous the new settlers were, the further they lived from the old centre of Terézváros, the core of which was formed by the area around Dob and Király streets. However, it was here that the first synagogues were opened. The denominational records of births and deaths that formed part of the research material show that in the new Pest Jewish society there were also family forms differing from the religious norm. The question arises of how the Jewish community accepted the unmarried mothers and children born out of wedlock. There is proof that the single mothers also had their sons circumcised and all deceased Jewish children were probably buried in the Israelite cemetery. These facts point to acceptance, but the way the entries were made in the records of births and deaths indicates that the community acknowledged only reluctantly the structure of births outside wedlock.
Barabás Miklós első Széchenyi István-képmása 1836-ból
Miklós Barabás’s first portrait of István Széchenyi from 1836
In the study I explore the relationship between the popular reformist politician of the first half of the 19th century István Széchenyi (1791–1860) and the painter Miklós Barabás (1810–1898). Miklós Barabás of Márkusfalva returned to Pest from a study tour of Italy in late 1835. He had an immense amount of sketches from his travels, and hardly any clients to sell to, so he tried to make acquaintances through the prominent figures of literature. His first commission was to paint the portrait of the poet Mihály Vörösmarty. During this commission he got acquainted with Antal Tasner, Count István Széchenyi’s secretary, who directed the count’s attention to the young painter. In this period several important institutions were associated with Széchenyi: he made a donation for the establishment of the Scholarly Society (the later Academy of Sciences), he took part in founding the National Casino in Pest, and had an active role in the work of the First Danubian Steam Shipping Company. From the end of the 1820s he wrote and published four books: Lovakrul [On Horses], Hitel [Credit], Világ [World/ Light], Stádium [State/stage of development]. His portrait was popular and in high demand. In 1835 eight different drawings and paintings were made of the politician. The aldermen of four counties – Hont, Bihar, Nógrád and Sopron – wished to acquire a portrait of him each. In response to the request by Bihar county, Széchenyi recommended Miklós Barabás to paint the portrait and guaranteed that the painting would be a success.
Széchenyi and Barabás met in person in February 1836 when the portrait in the focus of research was made with the count sitting for it. This half-length portrait of the count in Hungarian gala costume was extended to full length portraits several times and sold to different clients.At the present stage of research the painting ordered by Hont county (in the Mining Museum, Selmecbánya) is the only original portrait in addition to the half-figure prototype, and the work for Sopron county is known in reproduction. The two depictions are iconographically connected by the black Hungarian gala costume and the motifs alluding to Széchenyi’s political activity (books on the table, steamboat in the background). After Széchenyi’s death in 1860 Pest county also commissioned Barabás to paint a full-length portrait of him. In the background of the painting of 1867 the construction of Chain-bridge is shown. The posture of the figure is, however, not so excellently set as in the earlier pictures. Barabás kept the first-painted half-length portrait with him to the end of his life. His heirs later sold it to Dénes Széchenyi, the grandson of István Széchenyi’s brother Lajos and it survived the vicissitudes of the 20th century in family ownership.
The topic of this study is social mobility, namely the analysis of marital mobility in a multinational village, mostly inhabited by Swabians and Hungarians: Dunabogdány. The article is based on empirical fieldwork and the analysis of historical sources. Social structure, social stratification and mobility represent a voluminous field of research in social sciences embracing multiple dimensions. The relating theories and researches also treat the issue of marital mobility; some superficially, some in more detail. Nonetheless, marital mobility as such is researched only by a few. This study aims to show that marital mobility can only be properly interpreted through the overall consideration of social mobility; however, certain case studies on marital mobility might allow us to get a better and deeper understanding of social mobility. In my research I examine the factors that affect marriage-related social mobility, trying to identify new, hidden components to this phenomenon. I discovered such “new”, prominent factors influencing social mobility in a Swabian village in Pest County called Dunabogdány. In my analysis I will discuss ethnicity, religion and financial status, as well as the forced relocations (1947) significantly marking the lives of the villagers, and their collective and complex effect on partner selection, marriage and social mobility. I will relate these aspects to three generations by comparing their memories and experiences.
Festett oklevelek és kódexek a késő középkori Magyarországon a művészettörténész dilemmái
Illumined diplomas and manuscripts in late medieval hungary. dilemmas of the art historian
In 1523 the papal legate Tommaso de Vio corroborated the statutes of the Pest Confraternity of the Virgin. The large booklet-shape diploma is representatively executed: the first page carries floral ornamentation in addition to the text. The decoration and the titulus starting the textual part, however, are archaizing, in line with the practice of the papal chancellary, instead of adopting the then widely popular modern all’antica decoration. The style of the embellishment of a diploma depended on the type of the diploma.
Hungarian art historiography has long been resorting to letters patent of nobility in its efforts to date and define the place of origin of the manuscripts from the time of King Matthias and the Jagiello age. That was how the manuscripts of provost of Székesfehérvár Domokos Kálmáncsehi – including the activity of the master of the Breviary Francesco Castello (OSZK, Cod. Lat. 446) – could be located to Buda, and three ornamental manuscripts with music (OSZK, A24; Bratislava, Archív mesta, EC Lad. 6; Zagreb, MR 2) could be proven to have ties to Buda in the early 16th century. The Bakócz Gradual (Esztergom, MS I. 1a.), the Erdődy Missal (Zagreb, RK 354) and the Gradual of Máté Tolnai (Pannonhalma, Caps LIV. F f.) as well as the overwhelming majority of letters patent issued in Buda between 1514 and 1525 were illumined by the so-called Bakócz monogrammist. The letters granting nobility and armorial bearings in the Jagiello age are not merely props for art history but also constitute a separate diplomatic genre.
Veszprém, Esztergom, Pest
Tóth Sándor és a magyarországi kora reneszánsz kőfaragványok kutatása
Veszprém, Esztergom, Pest
Sándor Tóth and the research of early renaissance stone carvings in Hungary
Clara Schumann gave her first Pest concerts in February 1856. A survey of the enthusiastic reviews reveals that she was received as the foremost representative of “classic art,” whose performances gave the Hungarian public—until then mostly admiring exhibitionist virtuosos—an entirely new idea about what music was capable of. The moral superiority of Clara seemed also confirmed by her generous donation to the future National Conservatory, which was initially commented on in the most flattering terms in the press. In early March, however, the Pester Lloyd aired that the generous donation may not have been absolutely voluntary, an anonymous go-between having forcefully talked the pianist into financially supporting the institution. Induced by the recent discovery of Clara Schumann’s original deed of foundation (acquired in July 2011 by the Music Collection of the National Széchényi Library) this article seeks to reconstruct the story in some detail by rehearsing the press debate surrounding the donation, exploring the financial situation of the Music Society of Pest-Buda in the 1850s, scrutinizing the minutes of its board meetings, as well as comparing Clara Schumann’s contribution with those given by other traveling musicians.
Kísérlet Néhány Magyarországi Ötvösjegy Feloldására XIV.
An Attempt to Solving Some Hungarian Goldsmith'S Marks XIV.
Abstract
Similarly to its predecessors, the 14th installment of the time-honoured series adds new goldsmith's marks to the ones known from earlier publications (Elemér Kőszeghy 1936, Ilona P. Brestyánszky 1977). On the basis of registry research it provides new data on 18–19th century goldsmiths with additional information from urban censuses. This time Pest-based goldsmiths are highlighted from the first half of the 19th century, on the basis of works by József Blettl, József Redl, János Hoser and Kristóf Holl that cropped up in the art market, followed by Eperjes-based David Schuller's and the Nagyvárad goldsmith István Nádudvary's works, the latter owned by the Calvinist diocese. After identifying marks from Besztercebánya and Rimaszombat, the paper enlarges upon the Rozsnyó master Samuel Bablirik's works in public and private collections. From former Southern Hungary (today Serbia) the masters of Nagybecskerek (Zrenjanin) and Szabadka (Subotica) are introduced, together with their clientele: Martinus Zimmerer, Johann Christian Parbs, the goldsmiths called Nikolits and the noted Vojnich family.
