Gál, József. Fabatka→Worthless Money



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Földi, Imre (Kecskemét, 8 May, 1938 - ) – Weight-lifter, coach. He learned mining, and became a locksmith at the Coal Mines Co. of Tatabánya (1955-1956). He obtained a diploma in coaching from the School of Physical Training, Budapest (1976). Between 1955 and 1978, he was a competitor in the Tatabánya-Miners’ Sports Club (Tatabányai Bányász S. E.). From 1959 to 1977, he was a member of the National Team. He achieved 20 world records and 50 national records; he participated in five Olympic Games, and was among the medalists; in 1972 was Olympic Champion. In 1965, he was World Champion. In 1977 he withdrew from competition and worked as a coach for the Tatabánya-Miners’ Sports Club. For 18 years, he was foremost in the world as a weight-lifter. He was one of the most successful Hungarian represenatives of weight-lifting. He received the Hungarian Heritage Prize (1999) and was elected the Sportsman of the Nation in January 2007. – B: 0874, 1031,T: 7103.

Földi, Zoltán (Budapest, 3 May 1885 - Budapest, 5 March 1987) – Chemical engineer. His higher studies were at the Budapest Polytechnic, where he acquired a Degree in 1917. Soon he became an assistant professor there. From 1918 to 1945, he worked in leading positions at the Chinoin Pharmaceutical Chemical Industry, and was its General Manager between 1941 and 1945. From 1946 to 1978, he was Manager of the research laboratory at Chinoin. Later, he worked there as a technical-economic counselor. From 1948, he taught at the Polytechnic and wrote the textbook, Basic Operations in Organic Chemistry (Szerves kémiai alapműveletek) (1949). His name is connected to pharmaceutical products, such as Papaverin synthesis (1930), Perparin (1928-1930), Novourit, with Béla Issekutz (1930), Insulin manufacturing in Hungary (1924-1928), Ultraseptyl, Deseptyl and B1-vitamin synthesis (1937-1938). After World War II, he had an important role in starting Penicillin manufacturing in Hungary. With his co-workers, he registered some 80 patents. He was a member of a number of scientific societies abroad and at home, as well as a member of the Hungarian Academy of Sciences (1956, 1970). He was a recipient of the Vince Wartha Memorial Medal (1960) and the Kossuth Prize (1952). – B: 0883, 0878, 1406, T: 7103.→Issekutz, Béla.

Földvár (now Feldioara, Transylvania, Erdély, now in Romania) – A settlement built on the banks of the River Olt. It is one of the most ancient settlements of the Barcaság region. According to some historians, the Avars had built earthworks there, and the name of the settlement was derived from this “earth fortification – “föld-vár”. King András II (Endre, Andrew) (1205-1235), at first gave permission to the Teutonic Knights to build a wooden fortress; then, in 1222, to construct a stone fortress that was named Castrum Sanctae Mariae. King Béla IV (1235-1270), in a Charter dated 1240, gave the fortress with a number of villages in the Barcaság to the Cistercian Order. The Tartars ravaged the town and fortress in 1345. In 1427 King Zsigmond (Sigismund of Luxembourg) held a National Assembly within the walls of the fortress. In 1604, during the Basta reign of terror, the people of the town found refuge in the fortress. They were released for a ransom of 7000 florins. It was here, in 1690, that Count Imre (Emeric) Thököly called upon the country to join him against the Habsburgs, in a freedom fight for Hungary. The church of Földvár was probably built in the early Gothic period, and it still shows a strong Romanesque influence. Notably, there is a round, carved block of stone taken from the earlier church and walled up over the door of the northern aisle. In the middle of the stone block there are 7 six-pointed stars and a crescent moon. The new moon is the ancient heraldic emblem of the Szeklers and, in its semi-circle the seven stars symbolize the original seven fortresses of Transylvania. Later, seven bastions in the coat of arms of Transylvania replaced them. The circular writing on the stone reads: “Anno Mini Millesimo Quadringen-Tesimo Septuagesimo Primo” according to Antal (Anthony) Kurz In the steeple of the church, there is an interesting church bell 110 cm in diameter with the bottom rim of 120 cm. On the bell’s upper rim there are two lines written in small letters in the following verse form: “Hac cristi tuba pellatur grandinis turma - Turbinis conflictus, strengatur fulminis ictus”. Although the year is not marked on the bell, one may ascertain from the inscription that it was cast at the end of the l5th century, thus rendering it as old as the church. Földvár’s church was for a long period the Cathedral of Barcaság, but was transferred to Brassó (now Brasov, Romania) in 1379. – B: 1336, 1020, T: 7680.→András II (Endre, Andrew), King; Béla IV, King; Zsigmond King; Thököly, Count Imre; Basta, Giorgio; Szeklers.

Földváry, Gábor Zoltán (Gabriel Zoltan) (Budapest, 7 February 1931 - ) – Geologist, paleontologist, writer. He completed his secondary education in Hungary and Germany; studied Geology and Biology major at the University of New South Wales (1957-1966 part-time), obtained a B.Sc. and a M.Sc. in 1969 (thesis title: Stratigraphy and Palaeontology of the Bogan Gate – Trundle district of NSW). He married Beryl Searle in 1956 and had four children family. He was Curator of the fossil collections of the Department of Geology and Geophysics, University of Sydney (1966-1991); since 1991, he has been a research associate at the School of Geosciences there. From 1989 he has also been curating in the fossil collection of the Australian Museum. His published works include (1) papers on invertebrate fossils, e.g. a new species of trilobite Cheirurus (Crotalocephalus) regius (1970); Siluro-Devonian Invertebrates from Central New South Wales, 2000); Pseudoplasmopora in the Siluro-Devonian of Eastern Australia (2006); (2) a book Geology of the Carpathian Region (A Kárpáti Terület Földtana) (World Scientific, Singapore, 1988), a comprehensive summary and synthesis; (3) a chapter on geology for the book Quest for a New Central Europe, ed. J. Varsányi, Australian Carpathian Federation Inc. Adelaide-Sydney (1976); (4) papers published in the Geology Yearbook of the University of Sydney, e.g. Generic and specific naming of fossils (1971); The Fossil Collection and Curating (1973); Man’s ancestors in the Pliocene (1974); The Banat Mountains (1976); Loess in the Light of Recent Advances (1977); Geology of the Bihar Mountain Complex in Transylvania (1978); The Hungarian Opal (1980); (5) “Catalogue of palaeontological type specimens in the Department of Geology and Geophysics” in: Bureau of Mineral Resources, Report 224 (1981); (6) “On nature conservation in Australia” (in Hungarian) in: Búvár (Naturalist) (1977); (7) Papers on historical topics, e.g.: “Era of ‘adventures’ or deterrent campaigns?” in Magyar Múlt (Hungarian Past) (1974); “History – A brief survey of its characteristics”, ibidem (1980); “The Serbian theater of war in World War I” (in Hung.) ibidem (1992); (8) papers on cultural themes, e.g.: “Thoughts on Islam” (Gondolatok az iszlámról) in: Hunnia (1996); “Reflections on the historic development of the race concept in anthropology” in Magyar Múlt (1994), and “Settlement of Magyar and related ethnic groups in Transylvania”, ibidem (1989). He is winner of the second prize in a world wide competition held by the Rákóczi Foundation, Toronto, Canada (1982), entitled “Magyar Consciousness Abroad”, published in Lármafa (1984). He has been President of the Hungarian Historical Society, Sydney since 1982, also Editor of its journal, Hungarian Past (Magyar Múlt), for vols. xi-xxvi, and Géza Németh’s interview held in the National Museum, Budapest, appeared in: Természet Világa (World of Nature) (1997). He was awarded the Gold Medal of the Árpád Academy, USA in 1988, the Cross of the Order of Merit of the Republic of Hungary, and presented with the Knightly Order of Vitéz, N.S.W. From 1982 to 1997 he was concert secretary for the Sydney Mozart Society for 10 years. Gábor Földváry is Editor and Chief Contributor of the Hungarian World Encyclopedia (I, II, III) – B: 0978, T: 7456.→Földváry, Miksa.

Földváry, Károly (Charles) (Gyergyószentmiklós, now Gheorgheni, Erdély, Romania, 26 November 1809 - Cegléd, 14 December 1883) – Colonel of the Hungarian National Defense Forces. He chose a military career but resigned from his rank in 1835. When the National Defense Force was established during the Hungarian War of Independence (1848-1849), he enlisted as a Captain in the famous 3rd battalion. He excelled in the fight against the Rác (Serb irregular) forces at Versec, where he was promoted to Major. He took part in the battles of Tapióbicske, Isaszeg, Nagysalló, Vác and Debrecen. At Tapióbicske, the battle started badly but his action succeeded in turning around the misfortune and, after the victory, he was promoted on the battlefield to Lieutenant- Colonel. During the Battle at Vác, within five minutes, two of his horses were shot from under him, and 75 bullets pierced his uniform, as well as the tricolor he carried, without wounding him. So grew his reputation that “no bullet can harm him”. Again he was promoted to Colonel on the battlefield. He capitulated only after the Világos armistice and, at first, was sentenced to death by the Austrians; but the sentence was commuted to 18 years of incarceration. In 1850 he was pardoned; but in 1852 he was suspected of conspiracy in Transylvania (Erdély, now in Romania) and was imprisoned for another two years in Szeben (now Sibiu, Romania). He was released under the condition that he settle in Salzburg, Austria. Instead he went to Italy in 1862, and was commander of the Hungarian Legion until its disbanding. After the Compromise of 1867, (Kiegyezés) between Hungary and Austria, he returned to Hungary. – B: 0883, 0942, T: 3233.→Freedom Fight of 1848-1849.

Földváry, Miksa (Maximilian) (Siklós, 24 July 1877 - Balatonfenyves, 6 January 1945) – Forestry engineer, naturalist. He was Gábor Földváry’s grandfather. He completed his studies at the Mining and Forestry Academy of Selmecbánya (now Banska Stiavnica, Slovakia) and received his qualifications there. He started his profession in the Civil Service in 1901, and became a teacher in a special school for forest rangers, forest overseers and forest wardens. In 1925 he was appointed Head of the Forest Directorate of Debrecen. As Secretary of State he headed the Forest Directorate of Kaposvár. In 1938 he became Executive Vice-President of the Nature Conservation Council. He is regarded as one of the pioneers of nature conservation in Hungary. He was the author of numerous articles on the subject, especially in the journal, Bulletin of Natural Science (Természettudományi Közlöny). His publications include The Natural Memorials of the Bakony Mountains and it’s Foothills (A Bakonyhegység és a Bakonyalja természeti emlékei) (1934); The National Nature Conservation in our Days (A hazai termeszetvedelem napjainkban) (1934); Northern Transdanubian Nature Memorials (Felsődunántúli természeti emlékek) (1935), and The White Lake of Szeged as a Protected Bird Sanctuary (A szegedi Fehértó, mint védett madármenedékhely) (1940) - B: 0883, 1587, T: 7456.→National Parks; Natural Protecion Area; Földváry, Gábor Zoltán.

Folk Architecture – Folk architecture flourished in rural areas and included permanent and semi-permanent buildings for the use of people or animals. The character of the buildings shows a continuous development from mud houses to the brick buildings fitted with firewalls. Houses built for habitation also reflect the changes in family structures. Researchers primarily classified dwellings according to their cooking and heating facilities; but they also studied the subdivisions within the house, like kitchen, living room, bedroom, cellar etc. The types of doors, windows, gates and fences were also subjects of the studies. There were stables, coach-houses and wells on the properties. As the architecture of the buildings developed, the exterior and interior decorations on the houses became more artistic. Studies of these decorations developed into the fields of folk art and folk-decorating art. New technology and new demands after World War II changed the rural architectural style and almost completely destroyed the traditional buildings in the Hungarian villages. Therefore, the restoration and protection of the remaining examples of traditional folk architecture became an urgent and important task. Some of the rural churches, bell towers and belfries are masterpieces of folk architecture. Old mills, also serving as dwellings, were classified according to their product or the type of energy used for their operation, i.e. wind or water mills. – B: 1134, 1020, T: 7663.

Folk Art – In wider sense the collective name for folk poetry, folk dance, folk costume, folk music and folk decorative art. In a narrower sense it is a collective name for the potter’s art, woodcarving, weaving, embroidery, etc. Folk art incorporates a remarkable system of symbols. Much of it is an ancient inheritance and its origins can be traced back to the first awakening of humanity. Often identical and similar symbols expand over the world. Pictorial records are decorative elements of unspoiled folk art; they are suitable for expressing thought, similar to writing. All the peoples of the world made revelations by artistic expressions. The art of the Hungarians reaches back to the time before the settlement era; their folk art was already developed when they arrived in the Carpathian Basin. However, because of the fragility of utility objects decorated by carving or embroidery, are not time-resistant, these relics in archeological findings are not considered significant. Cosmetic powder horns of the 9th century, discovered around Sopronkőhida and Tatabánya, are among the more significant finds. According to traditional demands and local taste, master potters, carpenters, furriers, blacksmiths, goldsmiths and tailors immortalized motives taken from ancient times and later centuries. Such are the tree of life, birds, flowers, the rosette motives and pottery shapes. Carvers also used ancient symbols, such as the sun, as well as flower motives to decorate doors and wooden grave-posts on tombs. Decorative elements of different origin appear in a harmonious unity in folk art of one or another area. Folk costumes, similarly to folk dances, folk music, and other branches of folk art, were richest in the second half of the 19th century. As differences between villages and cities were fading, folk art became increasingly impoverished. – B: 1078, 1153, T: 7684.→Hungarian Folk Art; Folk Ensemble, Hungarian State.

Folk Ballads – Originally, folk ballads were stories based on pagan ritualistic beliefs and heroic sagas. After the Hungarians converted to Christianity, the original pagan content was disguised and later termed as “balladic obscurity”. The folk ballad is a short, compact, lyric narrative poem, the action often unfolding in dialogue form. It tells of socio-psychological problems; but romantic motives also play a significant role. It was preserved by folk tradition and fashioned into a masterpiece by oral tradition. The dramatically tense, gay or sad stories are usually sung. Among European folk ballads the Transylvanian (Erdély, now in Romania) Hungarian folk ballads occupy a prominent place. Among the Hungarian Folk Ballads are László Fehér, Sári, Mrs Biró, Madár Cinöge, Bandi Angyal, while the Szekler ballads include Mrs. Kelemen Kőmíves, Kata Kádár and Ilona Budai. – B: 1150, T: 7617.

Folk Belief – The ancestral belief of Hungarian peasantry. Based on the knowledge of nature, it is closely connected with folk religion. It contains thematically traditional fantasies concerning the universe (the changing of moon, sun, legends of stars, world tree), human life (birth, love, magic, marriage, death), magical practices concerning the soul, the world of the hereafter and activities of every day life, housework, farming. Traditional occasions, important dates, beliefs, special days are still practiced in the form of festivities. These forms of beliefs often preserve some ethnic characteristics as remnants of vertain ancient religion. Such are the characters of the Hungarian Blessed Lady, the Shaman and the Garabonciás. The earliest written documents concerning the religious faith of Hungarians are in the decrees of King István I (St Stephen, 997-1038) and King László I (St Ladislas, 1077-1095), the references of chroniclers starting in the 15-16th centuries, sermons, references in religious disputes, actions by the church, laws and anti superstition declarations. – B: 1134, 1020, T: 7682.→István I, King; László I, King; Garabonciás.

Folk Carving, Art – Product of the creative work of a peasant: a carver, a carpenter, a joiner, a cooper, all pursuing this form of art either for others or for his own pleasure. The oldest of these relics are found in an area spared from the destruction of the Turkish wars (1526-1686). A few master beams, a pillar holding up the master beam, doors or doorposts preserved the oldest carved relics. The oldest decorative element of these is the rosette, a carved geometrical decoration. The most beautiful examples of doorposts decorated with rosettes are known from Kalotaszeg and Szeklerland (Székelyföld, Transylvania, Erdély, now in Romania). It was also the Szeklerland that preserved the most impressive relic, the Szekler Gate (Székely kapu), the entrance gate to a homestead. The oldest known so far, with its clearly geometrical decorations, was prepared in 1673, to embellish the front of the Franciscan cloister at Mikeház (now Mica, Transylvania, Romania). From the second half of the 18th century, there were more decorated objects, originating in 1797 that preserved the old style woodcarving. Besides the geometrical decorations of the two ancient Sun-wheels, flower ornaments began to appear. The increase in the number of decorated objects and flower ornaments characterizes the continuing existence of folk carvings in the 19th century. Among the peasants, the demand for attractive objects grew, and also for special carvings created by a number of carvers. Often flowers took over those surfaces decorated earlier by the rosette, star, saw-tooth and the wavy line. – B: 1362, 1020, T: 7648.

Folk Costume – Specific style of costumes developed according to different regional neeeds. Areas of typical Hungarian dress are Galgamente, Lóc, (now in Slovakia), Csángó, Gyimes, Kalotaszeg, Torockó, Moldavia, Székelyföld (in Transylvania, Erdély, now in Romania), Hollókő, Hosszúhetény, Kalocsa and surrounding areas; Kozár, Matyóföld, Ormánság, Püspökbogád, Sárköz. National folk costumes were still used after the middle of the 20th century by the Palóc (inhabitants of north-eastern Hungary), in Translyvania , and around Kalocsa. The baggy pants and Szekler stockings were all made from material produced at home until the end of the 19th century. Old Hungarian pieces of clothing are the suba (wide sheepskin coat) made of leather; pelisse and the ködmön (sheepskin waistcoat), the szűr (long, embroidered felt mantle of the Hungarian shepherd) and the guba (Hungarian peasants’ long, sleeveless frieze cape). The shepherd’s cifraszűr of the Nagyalföld (Great Plain) was the most elaborately decorated. Mainly factory-produced materials are used to make more recent national costumes; the local taste prevails only in the cut and decoration. Now they are worn only on festive occasions. –B: 1138, 1020, T: 7684. →Szűr Mantle.

Folk Decorative Art – A branch of folk art appeared on decorations of cultic and utility objects and on small sculptures. In the initial stages of development, the decorative art appeared on wooden sculptures and on peasant dishes, later, on clothing and carvings. It was extended to religious sculptures, on figurines of magical powers regarding crops, crockery, bark, bone, wood, horn and clay objects, textile, body painting and tattooing. The elements of decoration are quite varied; geometrical patterns and natural phenomena in a simplified rendition were widespread everywhere. Some motives were indigenous to certain areas, peoples, or seasons of' the year. – B: 1138, 1020, T: 7684.

Folk Ensemble, Hungarian State (Magyar Állami Népi Együttes) – A professional performing folk ensemble, founded in 1951 to promote and interpret Hungarian folk music and dance-folklore. The first (founding) artistic leaders were László (Ladislas) Gulyás (orchestra), Imre (Emeric) Csenki (choir) and Miklós (Nicholas) Rábai (dance group). In the first programs, the string orchestra, accompanied by thedance group, featured the transcriptions of peasant music and recruiting literature, while the mixed chorus performed choral works by Béla Bartók, Zoltán Kodály, Lajos (Louis) Bárdos, and works of the more recent generation of composers. The dance group performed some suites and genre pictures based on folk customs. Most of them were composed by Miklós Rábai; in addition, László (Ladislas) Náfrádi, later Tibor Vadasi and Dezső (Desider) Létai, prepared some dance pieces. In the 1970s, the aspects of the Ensemble were characterized by concert-like programs, the three performing component groups playing in parity, though these groups often undertook independent, separate appearances as well. From the mid-1980s, the structure of the Ensemble underwent a change. The chorus withdrew from the Ensemble and the accompaniment of the dances was handled by a separate small orchestra, modeled on peasant orchestras. With the direction of the new artistic leader, Sándor Timár, since the 1980s, the Ensemble has powerfully conveyed the results of the latest dance-folklore studies, in the form of chamber-dances or large-scale suites. During its existence, the Ensemble has been making guest appearances in North and South America and in numerous Asian countries, as well as in the European Union. – B: 1445, T: 7456.→Folk Art; Folk Dance; Rábai, Miklós; Bartók, Béla; Kodály, Zoltán; Bárdos, Lajos; Csenki, Imre; Timár, Sándor.

Folk Fiddling – Aside from Gypsy musicians, there is a strong tradition of purely Hungarian folk fiddling. It is particularly important in the mountainous region of Transylvania (Erdély, now in Romania), famed for its music as well as for its legends. This area has a large Hungarian ethnic minority and they have successfully maintained their culture and way of life due to the region’s isolation. Transylvania has a special place in the hearts of Hungarians, since it is a vital link to their past. It was largely a feeling of solidarity with their ethnic cousins across the border that led bands such as Muzsikás to start the “Dance House” (táncház) movement in the 1970's, recreating in packed venues the old peasant songs, dances and tunes. Until then, folk music in towns had been little more than a tool of control by the state, a hollow token of cultural diversity. – B&T: 1323.→Gypsy Band; Muzsikás; Dance House Movement.


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