The ceiling sketch painted in bright colours in a punctiliously detailed manner against a rich architectural background has been associated with Josef Adam Mölk by researches of recent years. After studies at the Vienna Academy, and some 15 years' work in Bavaria and Tyrol, the painter took on executing frescoes and altarpieces in Styria from 1764, and worked in Lower Austria for the last twelve years of his life. During his long and prolific life he executed his designs with the help of his workshop associates.
During his years in Styria there was a single occasion when he worked outside the province: in the monastic church of pilgrimage at Maria Langegg in Lower Austria in 1773. He signed a contract to paint the ceiling frescoes and altarpieces for the Servite church of the Birth of Mary in December 1772. From among the scenes of the life of Mary, her birth is seen in the presbytery; the mentioned oil sketch for this cupola fresco is kept at the Hungarian National Gallery. Mölk's fresco painting was fundamentally influenced by the Italian architect and painter Andrea Pozzo's pseudo cupola painting and artistic theory, which is also confirmed by this sketch. Its “protagonist” is the spectacular architecture. Minutely decorated, diverse architectonic elements, daringly foreshortened domes characterize the major works of this period in the churches of Rein (1766), Weizberg (1771), Pernegg (1775), the latter also containing a somewhat simplified version of the Birth of Mary composition of Maria Langegg.
Mölk's only known work in Hungary is the Assumption ceiling fresco in the chancel of the Benedictine church of Zalaapáti from 1781. It is presumed that Martin Johann Schmidt who painted the altarpiece for the church contacted Mölk for the commission.
An early piece by the painter is kept at the Hungarian National Museum. It is probably in connection with his appointment as court painter. The historical allegory dated 1755 is a fine example of Mölk's minutely elaborated and detailed painting style.
This paper presents a critical edition of Mordecai Qazaz's poem Adam oglu 'Man's son' written in Crimean Karaim probably at the end of the 18th century. It was published in 1841 under another title by Jacob Firkovich who did not provide the name of its author. This publication has not yet been examined. It is only now that we can identify it with Adam oglu. In the present edition, the text is edited on the basis of four manuscripts and the printed edition. Attempt was made to established the basic form of the poem and discuss language features.
The paper deals with the letters written by Aurora Formentini to his husband, Ádám Batthyány in the 1630s. The documents, which are of rather low historical interest, may be analysed in respect to their language. Nobody knows what the mother tongue of the Countess in fact was. What is known is that she was born in Gorizia (Friuli), was educated in Vienna and married in Hungary. Although she was educated at the emperor's court, her language use is far from any standard grammatical canon.