Budapest is the capital and the most populous city of Hungary, the tenth-largest city in the European Union by population within city limits. The city had an estimated population of 1,752,704 in 2016 distributed over a land area of about 525 square kilometres. Budapest is both a city and county, forms the centre of the Budapest metropolitan area, which has an area of 7,626 square kilometres and a population of 3,303,786, comprising 33 percent of the population of Hungary; the history of Budapest began when an early Celtic settlement transformed into the Roman town of Aquincum, the capital of Lower Pannonia. The Hungarians arrived in the territory in the late 9th century; the area was pillaged by the Mongols in 1241. Buda, the settlements on the west bank of the river, became one of the centres of Renaissance humanist culture by the 15th century; the Battle of Mohács in 1526 was followed by nearly 150 years of Ottoman rule. After the reconquest of Buda in 1686, the region entered a new age of prosperity.
Pest-Buda became a global city with the unification of Buda, Óbuda, Pest on 17 November 1873, with the name'Budapest' given to the new capital. Budapest became the co-capital of the Austro-Hungarian Empire, a great power that dissolved in 1918, following World War I; the city was the focal point of the Hungarian Revolution of 1848, the Battle of Budapest in 1945, the Hungarian Revolution of 1956. Budapest is an Alpha − global city with strengths in commerce, media, fashion, technology and entertainment, it is Hungary's financial centre and the highest ranked Central and Eastern European city on Innovation Cities Top 100 index, as well ranked as the second fastest-developing urban economy in Europe. Budapest is the headquarters of the European Institute of Innovation and Technology, the European Police College and the first foreign office of the China Investment Promotion Agency. Over 40 colleges and universities are located in Budapest, including the Eötvös Loránd University, the Semmelweis University and the Budapest University of Technology and Economics.
Opened in 1896, the city's subway system, the Budapest Metro, serves 1.27 million, while the Budapest Tram Network serves 1.08 million passengers daily. Budapest is cited as one of the most beautiful cities in Europe, ranked as "the world's second best city" by Condé Nast Traveler, "Europe's 7th most idyllic place to live" by Forbes. Among Budapest's important museums and cultural institutions is the Museum of Fine Arts. Further famous cultural institutions are the Hungarian National Museum, House of Terror, Franz Liszt Academy of Music, Hungarian State Opera House and National Széchényi Library; the central area of the city along the Danube River is classified as a UNESCO World Heritage Site and has many notable monuments, including the Hungarian Parliament, Buda Castle, Fisherman's Bastion, Gresham Palace, Széchenyi Chain Bridge, Matthias Church and the Liberty Statue. Other famous landmarks include Andrássy Avenue, St. Stephen's Basilica, Heroes' Square, the Great Market Hall, the Nyugati Railway Station built by the Eiffel Company of Paris in 1877 and the second-oldest metro line in the world, the Millennium Underground Railway.
The city has around 80 geothermal springs, the largest thermal water cave system, second largest synagogue, third largest Parliament building in the world. Budapest attracts 4.4 million international tourists per year, making it a popular destination in Europe. The separate towns of Buda, Óbuda, Pest were in 1873 unified and given the new name Budapest. Before this, the towns together had sometimes been referred to colloquially as "Pest-Buda". Pest has been sometimes used colloquially as a shortened name for Budapest. All varieties of English pronounce the -s- as in the English word pest; the -u in Buda- is pronounced either /u/ like food or /ju/ like cue. In Hungarian, the -s- is pronounced /ʃ/ as in wash; the origins of the names "Buda" and "Pest" are obscure. The first name comes from: Buda was the name of the first constable of the fortress built on the Castle Hill in the 11th century or a derivative of Bod or Bud, a personal name of Turkic origin, meaning'twig'. or a Slavic personal name, the short form of Budimír, Budivoj.
Linguistically, however, a German origin through the Slavic derivative вода is not possible, there is no certainty that a Turkic word comes from the word buta ~ buda'branch, twig'. According to a legend recorded in chronicles from the Middle Ages, "Buda" comes from the name of its founder, brother of Hunnic ruler Attila. There are several theories about Pest. One states that the name derives from Roman times, since there was a local fortress called by Ptolemaios "Pession". Another has it that Pest originates in the Slavic word for пещера, or peštera. A third cites pešt, referencing a cave where fires burned or a limekiln; the first settlement on the territory of Budapest was built by Celts before 1 AD. It was occupied by the Romans; the Roman settlement – Aquincum – became the main city of Pannonia Inferior in 106 AD. At first it was a military settlement, the city rose around it, making it the focal point of the city's commercial life. Today this area corresponds to the Óbuda district within Budapest.
The Romans constructed roads, amphitheaters and houses with heated floors in this fortified military camp. The Roman city of Aquincum is the best-conserved of the Roman sites in Hungary; the archaeological site was turned into a museum with open-air sections. The Magyar tribes led by Árpád, forc
Netherlands Institute for Art History
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation and books on Western art from the late Middle Ages until modern times. All of this is open to the public, much of it has been digitized and is available on their website; the main goal of the bureau is to collect and make art research available, most notably in the field of Dutch Masters. Via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries; the library owns 450,000 titles, of which ca. 150,000 are auction catalogs. There are ca. 3,000 magazines, of which 600 are running subscriptions. Though most of the text is in Dutch, the standard record format includes a link to library entries and images of known works, which include English as well as Dutch titles; the RKD manages the Dutch version of the Art and Architecture Thesaurus, a thesaurus of terms for management of information on art and architecture.
The original version is an initiative of the Getty Research Institute in California. The collection was started through bequests by Frits Lugt, art historian and owner of a massive collection of drawings and prints, Cornelis Hofstede de Groot, a collector, art historian and museum curator, their bequest formed the basis for both the art collection and the library, now housed in the Koninklijke Bibliotheek. Though not all of the library's holdings have been digitised, much of its metadata is accessible online; the website itself is available in both an English user interface. In the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/artists/ followed by the artist's record number. For example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number.
To reference an artwork page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/images/ followed by the artwork's record number. For example, the artwork record number for The Night Watch is 3063, so its RKD artwork page can be referenced; the Art and Architecture Thesaurus assigns a record for each term, but these can not be referenced online by record number. Rather, they are used in the databases and the databases can be searched for terms. For example, the painting called "The Night Watch" is a militia painting, all records fitting this keyword can be seen by selecting this from the image screen; the thesaurus is a set of general terms, but the RKD contains a database for an alternate form of describing artworks, that today is filled with biblical references. This is the iconclass database. To see all images that depict Miriam's dance, the associated iconclass code 71E1232 can be used as a special search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Franz Xaver Winterhalter
Franz Xaver Winterhalter was a German painter and lithographer, known for his portraits of royalty in the mid-19th century. His name has become associated with fashionable court portraiture. Among his best known works are Empress Eugénie Surrounded by her Ladies in Waiting and the portraits he made of Empress Elisabeth of Austria. Franz Xaver Winterhalter was born in the small village of Menzenschwand, in Germany's Black Forest in the Electorate of Baden, on 20 April 1805, he was the sixth child of Fidel Winterhalter, a farmer and resin producer in the village, his wife Eva Meyer, a member of a long established Menzenschwand family. His father was a powerful influence in his life. Of the eight brothers and sisters, only four survived infancy. Throughout his life Franz Xaver remained close to his family, in particular to his brother Hermann, a painter. After attending school at a Benedictine monastery in St. Blasien, Winterhalter left Menzenschwand in 1818 at the age of 13 to study drawing and engraving.
He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Schüler in Freiburg im Breisgau. In 1823, at the age of 18, he went to Munich, sponsored by the industrialist Baron von Eichtal. In 1825, he was granted a stipend by Ludwig I, Grand Duke of Baden and began a course of study at the Academy of Arts in Munich with Peter von Cornelius, whose academic methods made him uncomfortable. Winterhalter found a more congenial mentor in the fashionable portraitist Joseph Karl Stieler. During this time, he supported himself working as lithographer. Winterhalter entered court circles when in 1828 he became drawing master to Sophie Margravine of Baden, at Karlsruhe, his opportunity to establish himself beyond southern Germany came in 1832 when he was able to travel to Italy, 1833–1834, with the support of Grand Duke Leopold of Baden. In Rome he composed romantic genre scenes in the manner of Louis Léopold Robert and attached himself to the circle of the director of the French Academy, Horace Vernet.
On his return to Karlsruhe he painted portraits of the Grand Duke Leopold of Baden and his wife, was appointed painter to the grand-ducal court. He left Baden to move to France, where his Italian genre scene Il dolce Farniente attracted notice at the Salon of 1836. Il Decameron a year was praised. In the Salon of 1838 he exhibited a portrait of the Prince of Wagram with his young daughter, his career as a portrait painter was soon secured when in the same year he painted Louise Marie of Orleans, Queen of the Belgians, her son. It was through this painting that Winterhalter came to the notice of Maria Amalia of the Two Sicilies, Queen of the French, mother of the Queen of the Belgians. In Paris, Winterhalter became fashionable, he was appointed court painter of Louis-Philippe, the king of the French, who commissioned him to paint individual portraits of his large family. Winterhalter would execute more than thirty commissions for him; this success earned the painter the reputation of a specialist in dynastic and aristocratic portraiture, skilled in combining likeness with flattery and enlivening official pomp with modern fashion.
However, Winterhalter's reputation in artistic circles suffered. The critics, who had praised his debut in the salon of 1836, dismissed him as a painter who could not be taken seriously; this attitude persisted throughout Winterhalter's career, condemning his work to a category of his own in the hierarchy of painting. Winterhalter himself regarded his first royal commissions as a temporary intermission before returning to subject painting and the field of academic respectability, but he was a victim of his own success, for the rest of his life he worked exclusively as a portrait painter, his success in this field made him rich. Winterhalter became an international celebrity enjoying Royal patronage. Among his many regal sitters was Queen Victoria. Winterhalter first visited England in 1842, returned several times to paint Victoria, Prince Albert and their growing family, painting at least 120 works for them, a large number of which remain in the Royal Collection, on display to the public at Buckingham Palace and other royal residences.
Winterhalter painted a few portraits of the aristocracy in England members of court circles. The fall of Louis-Philippe in 1848 did not affect the painter's reputation. Winterhalter worked in Belgium and England. Persistence saw. Paris remained his home until a couple of years before his death. A halt in portrait commissions in France allowed him to return to subject painting with Florinda, a joyous celebration of female beauty inspired by a Spanish legend. In the same year his marriage proposal was rejected, Winterhalter remained a bachelor committed to his work. After the accession of Napoleon III, his popularity grew. From on, under the Second Empire, Winterhalter became the chief portraitist of the imperial family and court of France; the beautiful French Empress Eugénie became a favorite sitter, she treated him generously. In 1855 Winterhalter painted his masterpiece: The Empress Eugénie Surrounded by her Ladies in Waiting, he set the French Empress in a pastoral setting gathering flowers in a harmonious circle with her ladies in waiting.
The painting was acclaimed, exhibited in the universal exposition in 1855. It remains Winterhalter's most famous work. In 1852, he went to Spain to paint Queen Isabella II with
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Franz Liszt was a Hungarian composer, virtuoso pianist, music teacher and organist of the Romantic era. He was a writer, a philanthropist, a Hungarian nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist, he was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, Alexander Borodin. A prolific composer, Liszt was one of the most prominent representatives of the New German School, he left behind an extensive and diverse body of work which influenced his forward-looking contemporaries and anticipated 20th-century ideas and trends. Among Liszt's musical contributions were the symphonic poem, developing thematic transformation as part of his experiments in musical form, radical innovations in harmony. Franz Liszt was born to Anna Liszt and Adam Liszt on 22 October 1811, in the village of Doborján in Sopron County, in the Kingdom of Hungary, Austrian Empire.
Liszt's father played the piano, violin and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn and Beethoven personally. At age six, Franz began listening attentively to his father's piano playing. Adam began teaching him the piano at age seven, Franz began composing in an elementary manner when he was eight, he appeared in concerts at Sopron and Pressburg in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franz's musical education in Vienna. There Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel, he received lessons in composition from Ferdinando Paer and Antonio Salieri, the music director of the Viennese court. Liszt's public debut in Vienna on December 1, 1822, at a concert at the "Landständischer Saal", was a great success, he was greeted in Austrian and Hungarian aristocratic circles and met Beethoven and Schubert. In spring 1823, when his one-year leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more years.
Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family returned to Hungary for the last time. At the end of May 1823, the family went to Vienna again. Towards the end of 1823 or early 1824, Liszt's first composition to be published, his Variation on a Waltz by Diabelli, appeared as Variation 24 in Part II of Vaterländischer Künstlerverein; this anthology, commissioned by Anton Diabelli, includes 50 variations on his waltz by 50 different composers, Part I being taken up by Beethoven's 33 variations on the same theme, which are now separately better known as his Diabelli Variations, Op. 120. Liszt's inclusion in the Diabelli project—he was described in it as "an 11 year old boy, born in Hungary"—was certainly at the instigation of Czerny, his teacher and a participant. Liszt was the only child composer in the anthology. After his father's death in 1827, Liszt moved to Paris, he gave up touring. To earn money, Liszt gave lessons in piano playing and composition from early morning until late at night.
His students were scattered across the city and he had to cover long distances. Because of this, he kept uncertain hours and took up smoking and drinking—all habits he would continue throughout his life; the following year, he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce, Pierre de Saint-Cricq. Her father, insisted that the affair be broken off. Liszt fell ill, to the extent that an obituary notice was printed in a Paris newspaper, he underwent a long period of religious doubts and pessimism, he again was dissuaded this time by his mother. He had many discussions with the Abbé de Lamennais, who acted as his spiritual father, with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists. Urhan wrote music, anti-classical and subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, may have whetted the young Liszt's taste for musical romanticism. Important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music.
During this period, Liszt read to overcome his lack of a general education, he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed nothing in these years; the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt later when he was writing for orchestra, he inherited from Berlioz the diabolic quality of many of his works. After attending a charity concert on 20 April 1832, for the victims of a Parisian cholera epidemic, organised by Niccolò Paganini, Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus