Budapest, 1946. (2. évfolyam)
1. szám - JÁNOSSY DÉNES: A Magyar Nemzeti Múzeum gyűjteményei 1945-ben
BUDAPEST ILLUSTRATED MONTHLY REVIEW OF ART, HISTORY AND SOCIAL LIFE IN THE HUNGARIAN CAPITAL THE HOME I N- А С QUI N С U M OF A ROMAN PAINTER The home of a Roman painter was discovered in 1941 in Acquincum, the site of an ancient Roman settlement on the outskirts of Budapest. Implements used by the artist were found, in one of the rooms; amongst them were several burnt -clay pots used for mixing paints, a thin sheet of slate and a small brass rod chrushing the rough pigments into powder. The rooms themselves were decorated in the Italo-Pompeian style and spirit. As for the technique used, it is clear that several methods were adopted as in the case of frescoes and encaustic paintings. The paintings themselves show the touch of a master's hand. Apart from working at Acquincum, the artist must probably have decorated several other villas in the district, as the Balácza-villa for example. The artist's activity in Acquincum coincided with the reign of the Emperor Trajan (beginning of the II. century A. D.). In his person, or rather in his works we become acquainted with an artistic individuality somewhat more circumscrebed and a little more clearly established than others in the group of Acquincum artists. j Nagy BAPTISMAL MEDALLIONS IN ANCIENT PEST-BUDA The fashion of baptismal medallions spread in northern and Central Europe at the opening of the XVI. century. These medallions were in circulation from that time ownwards ; some were minted, others cast by fine-smiths. The obverse of the latter variety was a reproduction of some popular coin then in circulation : the inscription itself being engraved on the reverse. Frequently, these medallions were set in a smoth or embossed frames. At the beginning of the XIX. century, a new form of baptismal medallion became popular in Austria and in Hungary. These medallions, which were also the work of fine-smiths, consisted on the obverse, of a pressed or engraved medal to which was welded the smooth reverse provided with an engraved text ; the whole was then set in a frame of silver filigree. This article introduces the reader to a set ot twelve of these medallions which wereplacedat ourdisposalby to the courtesy of Museum of Hungarian History. Lajos Huszár SMOKING FACTORY CHIMNEYS In Budapest, in 1938, there were 1553 industrial plants that could be characterized as factories. At the same time, in Hungary there were 3990 in all. Considering the difference in the territory between the capital and the country , the industrial concentration in our capital is striking. Budapest covered, in 1938, merely 0*2% of the ocuntry's territory still nearly two fifths (38'9%) 10 of our factories were placed here. The contrast is still more astonishing when we do not take the number of plants but consider other items of statistics. Let us take for instance the number of hands employed or the number of working hours. The factories in the capital employed, in 1938. 119.760 workers who put in 2916 million working hours during that year. This means no less than 415% of the whole country's workers and an achievement of 41 4% of the total national output. Heavy industry takes the leading part. In 1938, 35 0% the workers were engaged in iron and metal works. Textile mills occupy second place with 19 8% — a result of laborious development during two decades. Sugar-, meat-, tinned foods-, tobacco, and pastry-factories, flourmills. breweries etc. represent 12 2%. Chemical industry is still important with 5 5% and paper-production with Emil Szántó В UD А Р Е S Т О F THE FUTURE A Competition of Ideas for date town planning Budapest, after having suffered severe war-damage, had just begun to clear away the ruins and, with the first signs of starting life, published a competition for ideas of how to reconstruct and plan an up-to-date Budapest. The competition, was intended expressively for ideas only and not for the beauty or accurateness of execution. Still among the 87 works sent in — in spite of the well known difficulties caused by the siege — the execution of many good ideas was excellent. To these belong — with the daringly new ideas and clever solution of traffic problems — the work winning the 1st prize by architects dr. L. Acsay and G. Masirevich. The plan, consisting of several drawings, is based on a careful study of centrally built Budapest. They compare the faults of a centrally built city to the ideal ribbon-town that solves the problems of settlement, hygiene and traffic questions with modern means; this Ideal Town could be realized when rebuilding Budapest. In future Budapest, built in a stripe-system, the City, commerce and industry, factory quarters and settlements are placed parallel to the Danube, in stripes. The imposing plan suggests a spacious square around the monumental, new town-hall. The plan, fitting into given possibilities, is full of life and belief, and yet it is based on the solid ground of realities. The prize-winning plan — with many other good ideas made known in the competition — intends to rebuil the capital so that it should be not only more modern, but also a more beautiful metropolis than was old Budapest. Endre Morvav up-to GYÖRGY FARAGÓ. IN MEMÓRIÁM He left us a year ago. The city he loved so dearly was then stoically awaiting the hour of her deliverance when the dull thud of earth falling onto his coffin alternated with the roar of artillery. The skill of this brilliant pianist, this gifted musician. was always bathed in an atmosphere of sympathy, of enchanting beauty. Indeed, it was beautv herself which sang to the delicate touch of the master musician. When the days were the darkest, enraptured audiences woidd clocc flock to hear him play, to forget the horrors of the days they were living and seek refreshment and solace in his music. He was still young, when he won. by calling Faúré to life on the piano, the highest prize the Paris Guild of Musicians could offer, that of their guild. Now he is dead after a brilliant and swift career leaving his friends and his audiences inconsolable for no one in the world of music will be able to replace his style, his genius and his in comparable personality. Béla Böszörményi Nagy БУДАПЕШТ ИЛЮСТРИРОВАННЫЙ ИСТОРИЧЕСКИЙ И ОБЩЕСТВЕННЫЙ ЖУРНАЛ ВЕНГЕРСКОЙ СТОЛИЦЫ КВАРТИРА ХУДОЖНИКА В АКВИНКУМЕ В 1941-ом году, при раскопках в гражданской территории Аквинкума была открыта квартира римского художника. В одной из комнат были найдены его принадлежности — несколько глиняных горшков, в которых он мешал краски, тонкая грифельная доска и медный пестик, служивший для толчения красок. Художник декорировал стены некоторых комнат в духе итало-помпеянских стилей. Его техника свидетельствует об одновременном применении ,,al íresco", ,,а tempera" и „encausis". Судя по его живописи, художник этот был мастером хорошого качества, учившийся в Италии. Кроме Аквинкума он работал и в других окрестных римских дачах, напр. принимал участие в художественных работах украшающих большую дачу в Балаце. Аквинкумская деятельность нашего художника совпадает с царствованием Траяна (начало 2-го века после P. X.). В его лице, судя по его работе в Аквинкуме, мы знакомимся с впервые ясно вырисовывающейся, более выдающейся художественной личностью. Тцбор Надь СТАРИННЫЕ КРЕСТИЛЬНЫЕ МЕДАЛИ ПЕШТА-БУДЫ Крестильные медали вошли в моду в Северной и Средней Европе в начале 16-го столетия. С этой поры были пущены в обращение частью крестильные медади отчеканенные на монетных дворах, частью экземпляры вылитые золотых дел мастерами. На лицевой стороне последних были перечеканены изображения с находящиихся в обращении медалей, а на оборотной стороне гравировалась надпись. Сама медаль была вставлена часто в плетеную, или в простую гладкую рамку. В начале 19-го столетия своеобразный род медалей распространился в Австрии и Венгрии, также работы золотых дел мастеров. На их лицевой стороне обыкновенно находилось изображение, изготовленное прессовым способом, к ней была припаяна гладкая оборотная сто-