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Paper Money Of The Hungarian Pengő
Hungarian pengő paper money ( hu, pengő papírpénz) was part of the physical form of Hungary's historical currency, the Hungarian pengő. Paper money usually meant banknotes, which were issued (either in fact or in name) by the Hungarian National Bank. Later – during and after World War II – other types of paper money appeared, including emergency money, bonds and savings certificates. Initially, paper money was designed abroad, and printed using simple methods. Later, more advanced techniques were used, creating banknotes which reflected stability. After the war, in parallel with their loss in value, the quality of banknotes decreased. Finally, not even serial numbers were printed on the notes. Banknotes First series (1926) The first series of pengő banknotes were printed in 1926 in the following denominations: 5 P, 10 P, 20 P, 50 P, and 100 P. All these banknotes were designed by Ferenc Helbing. Due to the poor printing technology (offset printing) counterfeits appeared ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hungarian Pengő
The pengő (; sometimes written as ''pengo'' or ''pengoe'' in English) was the currency of Kingdom of Hungary (1920–46), Hungary between 1 January 1927, when it replaced the Hungarian korona, korona, and 31 July 1946, when it was replaced by the Hungarian forint, forint. The pengő was subdivided into 100 fillér. Although the introduction of the pengő was part of a post-World War I stabilisation program, the currency survived for only 20 years and experienced the most serious case of hyperinflation ever recorded. Name The Hungarian participle ''pengő'' means 'ringing' (which in turn derives from the verb ''peng'', an Onomatopoeia, onomatopoeic word equivalent to English 'ring') and was used from the 15th to the 17th century to refer to silver coins making a ringing sound when struck on a hard surface, thus indicating their precious metal content. (The onomatopoeic word used for gold coins is ''csengő'', an equivalent of English 'clinking' meaning a sharper sound; the particip ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Antonio Boltraffio
Giovanni Antonio Boltraffio (or Beltraffio) (1466 or 1467 – 1516) was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci. Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan. Paintings His major painting of the 1490s is the ''Resurrection'' (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A ''Madonna and Child'' in the Museo Poldi Pezzoli of Milan, is one of the high points of the Lombard Quattrocento. His portraits, often in profile, and his half-length renderings of the Madonna and Child are Leonardesque in conception, though the clean hard edges of his outlines lack Leonardo's '' sfumato''. In Bologna, where he remained in 1500-1502, he found sympathetic patrons in the Casio family, of whom he painted several portraits and for whom he prod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Álmos Jaschik
Álmos (), also Almos or Almus (c. 820 – c. 895), was—according to the uniform account of Hungarian chronicles—the first head of the "loose federation" of the Hungarian tribes from around 850. Whether he was the sacred ruler (''kende'') of the Hungarians, or their military leader ''( gyula)'' is subject to scholarly debate. According to Constantine Porphyrogenitus, he accepted the Khazar khagan's suzerainty in the first decade of his reign, but the Hungarians acted independently of the Khazars from around 860. The 14th-century ''Illuminated Chronicle'' narrates that he was murdered in Transylvania at the beginning of the Hungarian conquest of the Carpathian Basin around 895. Ancestry Anonymus, the unknown author of the ''Gesta Hungarorum''—who wrote his "historical romance" around 1200 or 1210—states that Álmos descended "from the line"''Anonymus, Notary of King Béla: The Deeds of the Hungarians'' (ch. 5), p. 17. of Attila the Hun. A late-13th-century chronicler, S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Intaglio (printmaking)
Intaglio ( ; ) is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print where the parts of the matrix that make the image stand ''above'' the main surface. Normally, copper or in recent times zinc sheets, called plates, are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint, often in combination. Collagraphs may also be printed as intaglio plates. After the decline of the main relief technique of woodcut around 1550, the intaglio techniques dominated both artistic printmaking as well as most types of illustration and popular prints until the mid 19th century. Process In intaglio printing, the lines to be printed are cut into a metal (e.g. copper) plate by means either of a cutting tool called a burin, held in the hand – in which case the process is called ''engraving''; or t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
