1.0heritohttps://herito.pl/en/Agnieszka Sacharhttps://herito.pl/en/author/agnieszka-sachar/rich600338<blockquote class="wp-embedded-content" data-secret="8B8e0zQshE"><a href="https://herito.pl/en/artykul/a-triestine-triptych-2/">A Triestine Triptych (2)</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://herito.pl/en/artykul/a-triestine-triptych-2/embed/#?secret=8B8e0zQshE" width="600" height="338" title="“A Triestine Triptych (2)” — herito" data-secret="8B8e0zQshE" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://herito.pl/wp-includes/js/wp-embed.min.js /* ]]> */ </script> https://herito.pl/wp-content/uploads/2021/08/fortepan-aszodi-zoltan-scaled.jpg25601707To live for almost one hundred years is a privilege. The years 1865-1962 encompassing the life of Max Fabiani define an extraordinary period. The vagaries of his life are governed by two times separated by the turning point of the new century. History does not conform to regular dates, so I am thinking here about the turning point marked by World War I. It closed the long nineteenth century and opened the short, extremely violent twentieth century. Fabiani lived long enough to belong to both centuries and long enough for his biography to fall into a clear “before” and “after.”