A Jékely Zsombor és Kovács Gergely által írt, Kollár Tibor által szerkesztett, és Mudrák Attila g... more A Jékely Zsombor és Kovács Gergely által írt, Kollár Tibor által szerkesztett, és Mudrák Attila gyönyörű fotóival illusztrált kötet hosszú tanulmányban mutatja be a középkori Zólyom vármegyét. Jékely Zsombor írásából kiderül többek között, miért volt fontos helyszín a vármegye a hozzá tartozó várakkal, miért alapítottak kolostort a területen IV. Béla kedves ferencesei, és hogy mi adta jelentőségét a vármegye Zólyom melletti másik nagy városának, Besztercebányának.
A bevezető tanulmány után az egyes helyszínek, templomok bemutatása következik. Kovács Gergely a zolnai Szent István-templomról, a felsőmicsinyei Szent Mihály-templomról és a nagyócsai Mindenszentek-templomról ír, míg Jékely Zsombor a cserényi Szent Márton-templom és a póniki Evangélista Szent János-templom hol töredékesen, hol teljesebben fennmaradt falképeit vizsgálja.
Az írott anyag mellett a kötetet illusztráló több száz fotó segít felmérni, milyen páratlan kincseket rejtenek ezek a templomok.
PhD Dissertation
Yale University, 2003
Advisor: Walter Cahn
This dissertation provides an in... more PhD Dissertation
Yale University, 2003
Advisor: Walter Cahn
This dissertation provides an in-depth analysis of the former Augustinian church at Siklós in southern Hungary, and its fresco decoration. Commissioned by an aristocratic family, the frescoes reveal a wealth of information about art and patronage in the reign of King Sigismund (1387-1437). The Introduction provides an overview of art historical literature dealing with Siklós and its church, and outlines the problems discussed in the dissertation. Part I. focuses on the history and architecture of the church. The Augustinian canons settled at Siklós in the early fourteenth century, invited by the Siklósi family. Their first church, dedicated to St. Anne, stood near Siklós castle, and was completed before 1343. It was built in a simple manner resembling contemporary mendicant churches. At the end of the fourteenth century, under its new patrons, members of the Garai family, the church was remodeled.
Part II. surveys the painted decoration of the church. There were two layers of frescoes in the sanctuary, and the remainder of this chapter is dedicated to the earlier layer, of which only fragments remain. Painted in the 1360s, these frescoes are most likely the work of a group of masters familiar with Riminese painting, or its offshoots in Hungary-Croatia (cf. Esztergom, Zagreb). Part III. focuses on the later, more fully preserved decorative scheme executed around 1410 under the Garai family’s patronage. After a description, the iconography of key scenes is analyzed. Most attention is given to the large scenes on the walls: the Crucifixion, the Coronation of the Virgin, and the Traditio Legis. Based on comparisons with the painting of Altichiero and his circle, and with works of his followers in South-Tyrol, the chapter demonstrates that direct connections with Italian painting did not cease with the demise of the Neapolitan Angevin dynasty in Hungary (1382). The frescoes are then placed in their historical context. First they are examined as a product of Garai patronage, by comparing them to other monuments commissioned by this family and other barons. Other elements of an ensemble of monuments at Siklós, including the castle and its frescoed chapel, as well as the tombstone of Miklós (I) Garai, are also discussed. The church functioned as a family burial church, similar to a group of monuments, all richly decorated with frescoes. In conclusion, the contribution of these findings to a fuller understanding aristocratic patronage in the Sigismund period is summarized.
Gothic Route – Crossroad of Cultures and Heritage. Gothic Route Conference Proceedings V (Proceedings of the 5th annual conference organized by Gotická cesta in Rožňava, 25th – 27th August 2022.), 2024
The paper explores the activity of painting workshops responsible for the decoration of the sanct... more The paper explores the activity of painting workshops responsible for the decoration of the sanctuary of Rimavská Baňa (Rimabánya) and Rákoš (Gömörrákos), calling attention to their stylistic connection to the paintings of Čerín (Cserény) in Zvolen County. Additional connections are made with the nave frescoes at Šivetice (Süvéte) as well as at Necpaly (Necpál). This interconnected group of wall paintings can be dated to the second decade of the 15th century, based on historical and heraldic evidence. Our goal is to propose more secure dates for some key monuments in Gemer County, enabling to clarify the chronology of key monuments. The paintings reflect Central European International Gothic style, which exerted a strong influence in these regions, and which modified the predominantly Italian Trecento style of paintings of the previous generation.
Kornélia Kolářová Takácsová (ed.): Ženy ve středověku - Zakladatelky mecenasky matky, 2022
In the summer of 2010, a previously unknown medieval wall-painting was discovered in the ambulato... more In the summer of 2010, a previously unknown medieval wall-painting was discovered in the ambulatory of the Inner City Parish of Pest (now the 5th district of Budapest) (fig. 1). The discovery was quite a sensation: an almost intact fresco of the Virgin and child, discovered in the very center of the former Kingdom of Hungary. It was even more surprising, because extensive restoration works, and research was carried out in the sanctuary of the church in 1889-90 as well as in the 1930s and several times following World War II. In fact, a series of wall paintings have been discovered in 1942 in the niches built into the ambulatory walls. Following the uncovery and restoration of the fresco of the Madonna by Éva Derdák, a series of brief preliminary studies were dedicated to the new images. Major excavations and reconstruction then followed inside the church in 2014-2015 – however, many questions raised by the discovery of the wall painting have not yet been answered adequately. My paper gives an overview of these questions and will also include some answers to the problems surrounding one of the oldest churches of Budapest.
Szent László emlékkönyv. Szerk: Bódvai András, 2021
Szent László kunok elleni csatájának képciklusai a középkori falfestészetben. In: Szent László em... more Szent László kunok elleni csatájának képciklusai a középkori falfestészetben. In: Szent László emlékkönyv. Szerk: Bódvai András. Budapest: Bethlen Gábor Alapkezelő Zrt., 2021, 144-171.
The so-called Fonthill Vase (sometimes also called the Gaignières-Fonthill Vase), preserved today... more The so-called Fonthill Vase (sometimes also called the Gaignières-Fonthill Vase), preserved today at the National Museum of Ireland, is generally regarded as the oldest well-documented Chinese porcelain object surviving in Europe. Unrecognized for a long time, the vase has been in Dublin since 1882. Its history, however, can be traced back to the 14th century thanks to a 17th-century drawing documenting its splendid Gothic mounting. Although the importance of the Fonthill Vase has been recognized for a long time, a lot of confusion still surrounds its true history. In the present paper, I summarize the results of decades of research dedicated to the vase and I would also like to call attention to a hitherto largely neglected document of its history, preserved at the Museum of Applied Arts in Budapest.
The “Nativity” Tapestry of Győr
The central theme of the most beautiful Pre-renaissance tapestry ... more The “Nativity” Tapestry of Győr The central theme of the most beautiful Pre-renaissance tapestry of the Museum of Applied Arts in Budapest is the Nativity that offers such a late medieval type of representation where the new-born savior laying on the ground is adored by Holy Mary and angels. The exact parallel of this tapestry can be found in the Museo Diocesano of Trento as the first piece of a seven-piece series demonstrating mainly the Passion of Christ. The relevant tapestry, which is kept in Budapest today, was put in the highlight from the Cathedral of Győr in 1889 and it can surely be identified as one of the five or six tapestries that – according to our sources – had been taken to the Cathedral as part of the heritage of Demeter naprághy in 1619. The tapestry was bought by emperor and king Francis Joseph I in 1904, who presented it to the Association of Museum Friends and they gave it to the Museum of Hungarian Applied Arts as a permanent deposit in 1914. The present study aims to identify the designer of the tapestry as Jan van Roome of Brussels, while on the other hand, it also tries to reconstruct the history of the object at the beginning of the 17th century in the light of the available sources.
A Jékely Zsombor és Kovács Gergely által írt, Kollár Tibor által szerkesztett, és Mudrák Attila g... more A Jékely Zsombor és Kovács Gergely által írt, Kollár Tibor által szerkesztett, és Mudrák Attila gyönyörű fotóival illusztrált kötet hosszú tanulmányban mutatja be a középkori Zólyom vármegyét. Jékely Zsombor írásából kiderül többek között, miért volt fontos helyszín a vármegye a hozzá tartozó várakkal, miért alapítottak kolostort a területen IV. Béla kedves ferencesei, és hogy mi adta jelentőségét a vármegye Zólyom melletti másik nagy városának, Besztercebányának.
A bevezető tanulmány után az egyes helyszínek, templomok bemutatása következik. Kovács Gergely a zolnai Szent István-templomról, a felsőmicsinyei Szent Mihály-templomról és a nagyócsai Mindenszentek-templomról ír, míg Jékely Zsombor a cserényi Szent Márton-templom és a póniki Evangélista Szent János-templom hol töredékesen, hol teljesebben fennmaradt falképeit vizsgálja.
Az írott anyag mellett a kötetet illusztráló több száz fotó segít felmérni, milyen páratlan kincseket rejtenek ezek a templomok.
PhD Dissertation
Yale University, 2003
Advisor: Walter Cahn
This dissertation provides an in... more PhD Dissertation
Yale University, 2003
Advisor: Walter Cahn
This dissertation provides an in-depth analysis of the former Augustinian church at Siklós in southern Hungary, and its fresco decoration. Commissioned by an aristocratic family, the frescoes reveal a wealth of information about art and patronage in the reign of King Sigismund (1387-1437). The Introduction provides an overview of art historical literature dealing with Siklós and its church, and outlines the problems discussed in the dissertation. Part I. focuses on the history and architecture of the church. The Augustinian canons settled at Siklós in the early fourteenth century, invited by the Siklósi family. Their first church, dedicated to St. Anne, stood near Siklós castle, and was completed before 1343. It was built in a simple manner resembling contemporary mendicant churches. At the end of the fourteenth century, under its new patrons, members of the Garai family, the church was remodeled.
Part II. surveys the painted decoration of the church. There were two layers of frescoes in the sanctuary, and the remainder of this chapter is dedicated to the earlier layer, of which only fragments remain. Painted in the 1360s, these frescoes are most likely the work of a group of masters familiar with Riminese painting, or its offshoots in Hungary-Croatia (cf. Esztergom, Zagreb). Part III. focuses on the later, more fully preserved decorative scheme executed around 1410 under the Garai family’s patronage. After a description, the iconography of key scenes is analyzed. Most attention is given to the large scenes on the walls: the Crucifixion, the Coronation of the Virgin, and the Traditio Legis. Based on comparisons with the painting of Altichiero and his circle, and with works of his followers in South-Tyrol, the chapter demonstrates that direct connections with Italian painting did not cease with the demise of the Neapolitan Angevin dynasty in Hungary (1382). The frescoes are then placed in their historical context. First they are examined as a product of Garai patronage, by comparing them to other monuments commissioned by this family and other barons. Other elements of an ensemble of monuments at Siklós, including the castle and its frescoed chapel, as well as the tombstone of Miklós (I) Garai, are also discussed. The church functioned as a family burial church, similar to a group of monuments, all richly decorated with frescoes. In conclusion, the contribution of these findings to a fuller understanding aristocratic patronage in the Sigismund period is summarized.
Gothic Route – Crossroad of Cultures and Heritage. Gothic Route Conference Proceedings V (Proceedings of the 5th annual conference organized by Gotická cesta in Rožňava, 25th – 27th August 2022.), 2024
The paper explores the activity of painting workshops responsible for the decoration of the sanct... more The paper explores the activity of painting workshops responsible for the decoration of the sanctuary of Rimavská Baňa (Rimabánya) and Rákoš (Gömörrákos), calling attention to their stylistic connection to the paintings of Čerín (Cserény) in Zvolen County. Additional connections are made with the nave frescoes at Šivetice (Süvéte) as well as at Necpaly (Necpál). This interconnected group of wall paintings can be dated to the second decade of the 15th century, based on historical and heraldic evidence. Our goal is to propose more secure dates for some key monuments in Gemer County, enabling to clarify the chronology of key monuments. The paintings reflect Central European International Gothic style, which exerted a strong influence in these regions, and which modified the predominantly Italian Trecento style of paintings of the previous generation.
Kornélia Kolářová Takácsová (ed.): Ženy ve středověku - Zakladatelky mecenasky matky, 2022
In the summer of 2010, a previously unknown medieval wall-painting was discovered in the ambulato... more In the summer of 2010, a previously unknown medieval wall-painting was discovered in the ambulatory of the Inner City Parish of Pest (now the 5th district of Budapest) (fig. 1). The discovery was quite a sensation: an almost intact fresco of the Virgin and child, discovered in the very center of the former Kingdom of Hungary. It was even more surprising, because extensive restoration works, and research was carried out in the sanctuary of the church in 1889-90 as well as in the 1930s and several times following World War II. In fact, a series of wall paintings have been discovered in 1942 in the niches built into the ambulatory walls. Following the uncovery and restoration of the fresco of the Madonna by Éva Derdák, a series of brief preliminary studies were dedicated to the new images. Major excavations and reconstruction then followed inside the church in 2014-2015 – however, many questions raised by the discovery of the wall painting have not yet been answered adequately. My paper gives an overview of these questions and will also include some answers to the problems surrounding one of the oldest churches of Budapest.
Szent László emlékkönyv. Szerk: Bódvai András, 2021
Szent László kunok elleni csatájának képciklusai a középkori falfestészetben. In: Szent László em... more Szent László kunok elleni csatájának képciklusai a középkori falfestészetben. In: Szent László emlékkönyv. Szerk: Bódvai András. Budapest: Bethlen Gábor Alapkezelő Zrt., 2021, 144-171.
The so-called Fonthill Vase (sometimes also called the Gaignières-Fonthill Vase), preserved today... more The so-called Fonthill Vase (sometimes also called the Gaignières-Fonthill Vase), preserved today at the National Museum of Ireland, is generally regarded as the oldest well-documented Chinese porcelain object surviving in Europe. Unrecognized for a long time, the vase has been in Dublin since 1882. Its history, however, can be traced back to the 14th century thanks to a 17th-century drawing documenting its splendid Gothic mounting. Although the importance of the Fonthill Vase has been recognized for a long time, a lot of confusion still surrounds its true history. In the present paper, I summarize the results of decades of research dedicated to the vase and I would also like to call attention to a hitherto largely neglected document of its history, preserved at the Museum of Applied Arts in Budapest.
The “Nativity” Tapestry of Győr
The central theme of the most beautiful Pre-renaissance tapestry ... more The “Nativity” Tapestry of Győr The central theme of the most beautiful Pre-renaissance tapestry of the Museum of Applied Arts in Budapest is the Nativity that offers such a late medieval type of representation where the new-born savior laying on the ground is adored by Holy Mary and angels. The exact parallel of this tapestry can be found in the Museo Diocesano of Trento as the first piece of a seven-piece series demonstrating mainly the Passion of Christ. The relevant tapestry, which is kept in Budapest today, was put in the highlight from the Cathedral of Győr in 1889 and it can surely be identified as one of the five or six tapestries that – according to our sources – had been taken to the Cathedral as part of the heritage of Demeter naprághy in 1619. The tapestry was bought by emperor and king Francis Joseph I in 1904, who presented it to the Association of Museum Friends and they gave it to the Museum of Hungarian Applied Arts as a permanent deposit in 1914. The present study aims to identify the designer of the tapestry as Jan van Roome of Brussels, while on the other hand, it also tries to reconstruct the history of the object at the beginning of the 17th century in the light of the available sources.
Village churches played a central role during feast days and other events
marking the passing of ... more Village churches played a central role during feast days and other events marking the passing of time, including notable days in the life of individual believers. In addition to Penance and Holy Communion, churches were the location of the sacraments of baptism, confirmation, matrimony – events marking the turning points of life. The cemeteries surrounding village churches – often enclosed by a wall – provided a place for eternal rest. Naturally, churches were the location of ceremonies during feast days of the Christian church: Christmas, Easter, Pentecost, and the feasts of the Virgin as well as the feast days of saints – either of local or national significance. The exterior and interior decoration of parish churches were created with this in mind: in addition to furnishings needed for the liturgy and religious feasts (for example, baptismal fonts), churches were decorated with figural scenes related to these feast days, in the form of carvings, wall paintings or altarpieces. The article provides an overview of the architecture and decoration of village churches in medieval Hungary.
The first great figure of panel painting in medieval Hungary was the painter Thomas de Coloswar, ... more The first great figure of panel painting in medieval Hungary was the painter Thomas de Coloswar, whose only surviving work is the Calvary-altarpiece from Garamszentbenedek (Hronský Benadik, Slovakia), preserved today at the Christian Museum of Esztergom. The altarpiece was completed in 1427, and was commissioned by Nicholaus, son of Peter of Garamszentbenedek, cantor of the royal chapel at Buda castle. Generations of Hungarian and foreign researches have dealt with the significance and origins of this great work, and discussed the likely origins of its painter. In recent scholarship, there seems to be an agreement that the style of the painter stems from the International Gothic style of the Prague court – a style also incorporating French, Burgundian and Italian elements. It has also been suggested that the painter may have left Prague for Hungary at the time and because of the Hussite revolution. In my paper, I would like to demonstrate instead that the origins of the painting style of Master Thomas are to be found in Nuremberg, at the beginning of the fifteenth century. Thomas de Coloswar is closely connected to Nuremberg workshops around 1420, which developed after the completion of the main altar of the Frauenkirche in Nuremberg. Iconographic, stylistic, and historical observations will be discussed to support this proposition, which gives us a chance to re-evaluate painting at the court of King Sigismund as well. Observations concerning the portrait of Emperor Sigismund in Nuremberg and on the Calvary-altar from Garamszentbenedek are also included, as they strongly support the connection outlined in the study.
During the reign of Charles Robert, the first Angevin king of Hungary, the painted cycle of St. L... more During the reign of Charles Robert, the first Angevin king of Hungary, the painted cycle of St. Ladislas (1077-1095) appeared in many parts of the Kingdom of Hungary. Recent research has brought to light a considerable number of previously unknown examples of wall paintings depicting the story of St. Ladislas, especially from the first half of the 14th century. As a result, some of our previous assumptions about the distribution of the cycle in Hungary as well as the date of key monuments have to be revised. The quick spread of the cycle throughout Hungary is likely due to the influence of the royal court, where the original painted story was most likely formed. The cycle is a continuous narrative, which is either reduced to the three central scenes of the story, or is presented in a fuller version of six or more scenes. Some other examples from the end of the 14th century present yet another type: a cycle more clearly divided into scenes with the introduction of frames. The paper analyzes the narrative structure of the painted cycles, focusing on the murals we can identify as the earliest surviving examples, from the first third of the 14th century. The western origins of the scenes and the entire narrative – especially mid-13th century models created in a Crusader spirit – are also demonstrated, and the role of the Neapolitan Angevin dynasty in the creation and spread of the cycle are proposed.
Review of Jiří Fajt, Der lange Schatten Kaiser Karls IV. Zur Rezeption der luxemburgischen Herrsc... more Review of Jiří Fajt, Der lange Schatten Kaiser Karls IV. Zur Rezeption der luxemburgischen Herrschaftrepäsentation in den nordöstlichen Territorien des Heiligen Römischen Reichs, Umění/Art LXV (2017), 5-6, p. 575–578.
Conference report: Wappenbriefe und Standeserhöhungsurkunden als Ausdruck europäischen Kulturtran... more Conference report: Wappenbriefe und Standeserhöhungsurkunden als Ausdruck europäischen Kulturtransfers? Beiträge zur diplomatischen Norm und sozialen Praxis im späten Mittelalter Grants of Arms and Patents of Nobility as Expressions of a European Cultural Transfer? Studies on Diplomatic Norms and Social Practice in the Late Middle Ages
This a simple checklist of digitized manuscripts of the Bibliotheca Corviniana, the library put t... more This a simple checklist of digitized manuscripts of the Bibliotheca Corviniana, the library put together by King Matthias Corvinus (1458-1490), which was one of the largest libraries of medieval Europe. See: http://jekely.blogspot.hu/p/bibliotheca-corviniana.html
Budapest, Museum of Applied Arts, March 26-June 30 2008
The exhibition 'Beatrix Hozománya – Az Itáliai Majolikaművészet Kezdetei és Mátyás Udvara (The Do... more The exhibition 'Beatrix Hozománya – Az Itáliai Majolikaművészet Kezdetei és Mátyás Udvara (The Dowry of Beatrice – Italian Art and the Court of King Matthias)', curated by Gabriella Balla and Zsombor Jékely (Iparművészeti Múzeum - Musueum of Applied Arts, Budapest, from now on: MAA), took place in Budapest, at MAA, from 25 March to 30 June 2008. In 2009, the Hungarian Academy of Sciences (Magyar Tudományos Akadémia), further to a vote of the members of the History of Art Commitee, awarded the exhibition with the Opus mirabile: in fact, it was judged, together with its catalogue, one of the best cultural projects ever held Hungary in 2008. Gian Carlo Bojani (1938-2013), who was the scientific director of the Civic Museums of Pesaro in 2008, contributed to the exhibition with a selection of (lesser known) artifacts from the museum collections, at the same time involving a group of italian scholars and researchers throughout the entire span of the project (among whom G. Cesaretti, C. Paolinelli and C. Ravanelli Guidotti).GC More information in the attached article: G. Cesaretti, Un premio per l’eredità di Beatrice (An Award for the Inheritance of Beatrice), in «D’A. Rivista d’Arti Applicate», 79/80 (2010), pp. 17-19. GC
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Books by Zsombor Jekely
A bevezető tanulmány után az egyes helyszínek, templomok bemutatása következik. Kovács Gergely a zolnai Szent István-templomról, a felsőmicsinyei Szent Mihály-templomról és a nagyócsai Mindenszentek-templomról ír, míg Jékely Zsombor a cserényi Szent Márton-templom és a póniki Evangélista Szent János-templom hol töredékesen, hol teljesebben fennmaradt falképeit vizsgálja.
Az írott anyag mellett a kötetet illusztráló több száz fotó segít felmérni, milyen páratlan kincseket rejtenek ezek a templomok.
Yale University, 2003
Advisor: Walter Cahn
This dissertation provides an in-depth analysis of the former Augustinian church at Siklós in southern Hungary, and its fresco decoration. Commissioned by an aristocratic family, the frescoes reveal a wealth of information about art and patronage in the reign of King Sigismund (1387-1437). The Introduction provides an overview of art historical literature dealing with Siklós and its church, and outlines the problems discussed in the dissertation. Part I. focuses on the history and architecture of the church. The Augustinian canons settled at Siklós in the early fourteenth century, invited by the Siklósi family. Their first church, dedicated to St. Anne, stood near Siklós castle, and was completed before 1343. It was built in a simple manner resembling contemporary mendicant churches. At the end of the fourteenth century, under its new patrons, members of the Garai family, the church was remodeled.
Part II. surveys the painted decoration of the church. There were two layers of frescoes in the sanctuary, and the remainder of this chapter is dedicated to the earlier layer, of which only fragments remain. Painted in the 1360s, these frescoes are most likely the work of a group of masters familiar with Riminese painting, or its offshoots in Hungary-Croatia (cf. Esztergom, Zagreb). Part III. focuses on the later, more fully preserved decorative scheme executed around 1410 under the Garai family’s patronage. After a description, the iconography of key scenes is analyzed. Most attention is given to the large scenes on the walls: the Crucifixion, the Coronation of the Virgin, and the Traditio Legis. Based on comparisons with the painting of Altichiero and his circle, and with works of his followers in South-Tyrol, the chapter demonstrates that direct connections with Italian painting did not cease with the demise of the Neapolitan Angevin dynasty in Hungary (1382). The frescoes are then placed in their historical context. First they are examined as a product of Garai patronage, by comparing them to other monuments commissioned by this family and other barons. Other elements of an ensemble of monuments at Siklós, including the castle and its frescoed chapel, as well as the tombstone of Miklós (I) Garai, are also discussed. The church functioned as a family burial church, similar to a group of monuments, all richly decorated with frescoes. In conclusion, the contribution of these findings to a fuller understanding aristocratic patronage in the Sigismund period is summarized.
Papers by Zsombor Jekely
object surviving in Europe. Unrecognized for a long time, the vase has
been in Dublin since 1882. Its history, however, can be traced back to the 14th century thanks to a 17th-century drawing documenting its splendid Gothic mounting. Although the importance of the Fonthill Vase has been recognized for a long time, a lot of confusion still surrounds its true history. In the present paper, I summarize the results of decades of research dedicated to the vase and I would also like to call attention to a hitherto largely neglected document of its history, preserved at the Museum of Applied Arts in Budapest.
The central theme of the most beautiful Pre-renaissance tapestry of the Museum of Applied Arts in Budapest is the Nativity that offers such a late medieval type of representation where the new-born savior laying on the ground is adored by Holy Mary and angels. The exact parallel of this tapestry can be found in the Museo Diocesano of Trento as the first
piece of a seven-piece series demonstrating mainly the Passion of Christ.
The relevant tapestry, which is kept in Budapest today, was put in the highlight from the Cathedral of Győr in 1889 and it can surely be identified as one of the five or six tapestries that – according to our sources – had been taken to the Cathedral as part of the heritage of
Demeter naprághy in 1619. The tapestry was bought by emperor and king Francis Joseph I in 1904, who presented it to the Association of Museum Friends and they gave it to the Museum of Hungarian
Applied Arts as a permanent deposit in 1914.
The present study aims to identify the designer of the tapestry as Jan van Roome of Brussels, while on the other hand, it also tries to reconstruct the history of the object at the beginning of the 17th century in the light of the available sources.
A bevezető tanulmány után az egyes helyszínek, templomok bemutatása következik. Kovács Gergely a zolnai Szent István-templomról, a felsőmicsinyei Szent Mihály-templomról és a nagyócsai Mindenszentek-templomról ír, míg Jékely Zsombor a cserényi Szent Márton-templom és a póniki Evangélista Szent János-templom hol töredékesen, hol teljesebben fennmaradt falképeit vizsgálja.
Az írott anyag mellett a kötetet illusztráló több száz fotó segít felmérni, milyen páratlan kincseket rejtenek ezek a templomok.
Yale University, 2003
Advisor: Walter Cahn
This dissertation provides an in-depth analysis of the former Augustinian church at Siklós in southern Hungary, and its fresco decoration. Commissioned by an aristocratic family, the frescoes reveal a wealth of information about art and patronage in the reign of King Sigismund (1387-1437). The Introduction provides an overview of art historical literature dealing with Siklós and its church, and outlines the problems discussed in the dissertation. Part I. focuses on the history and architecture of the church. The Augustinian canons settled at Siklós in the early fourteenth century, invited by the Siklósi family. Their first church, dedicated to St. Anne, stood near Siklós castle, and was completed before 1343. It was built in a simple manner resembling contemporary mendicant churches. At the end of the fourteenth century, under its new patrons, members of the Garai family, the church was remodeled.
Part II. surveys the painted decoration of the church. There were two layers of frescoes in the sanctuary, and the remainder of this chapter is dedicated to the earlier layer, of which only fragments remain. Painted in the 1360s, these frescoes are most likely the work of a group of masters familiar with Riminese painting, or its offshoots in Hungary-Croatia (cf. Esztergom, Zagreb). Part III. focuses on the later, more fully preserved decorative scheme executed around 1410 under the Garai family’s patronage. After a description, the iconography of key scenes is analyzed. Most attention is given to the large scenes on the walls: the Crucifixion, the Coronation of the Virgin, and the Traditio Legis. Based on comparisons with the painting of Altichiero and his circle, and with works of his followers in South-Tyrol, the chapter demonstrates that direct connections with Italian painting did not cease with the demise of the Neapolitan Angevin dynasty in Hungary (1382). The frescoes are then placed in their historical context. First they are examined as a product of Garai patronage, by comparing them to other monuments commissioned by this family and other barons. Other elements of an ensemble of monuments at Siklós, including the castle and its frescoed chapel, as well as the tombstone of Miklós (I) Garai, are also discussed. The church functioned as a family burial church, similar to a group of monuments, all richly decorated with frescoes. In conclusion, the contribution of these findings to a fuller understanding aristocratic patronage in the Sigismund period is summarized.
object surviving in Europe. Unrecognized for a long time, the vase has
been in Dublin since 1882. Its history, however, can be traced back to the 14th century thanks to a 17th-century drawing documenting its splendid Gothic mounting. Although the importance of the Fonthill Vase has been recognized for a long time, a lot of confusion still surrounds its true history. In the present paper, I summarize the results of decades of research dedicated to the vase and I would also like to call attention to a hitherto largely neglected document of its history, preserved at the Museum of Applied Arts in Budapest.
The central theme of the most beautiful Pre-renaissance tapestry of the Museum of Applied Arts in Budapest is the Nativity that offers such a late medieval type of representation where the new-born savior laying on the ground is adored by Holy Mary and angels. The exact parallel of this tapestry can be found in the Museo Diocesano of Trento as the first
piece of a seven-piece series demonstrating mainly the Passion of Christ.
The relevant tapestry, which is kept in Budapest today, was put in the highlight from the Cathedral of Győr in 1889 and it can surely be identified as one of the five or six tapestries that – according to our sources – had been taken to the Cathedral as part of the heritage of
Demeter naprághy in 1619. The tapestry was bought by emperor and king Francis Joseph I in 1904, who presented it to the Association of Museum Friends and they gave it to the Museum of Hungarian
Applied Arts as a permanent deposit in 1914.
The present study aims to identify the designer of the tapestry as Jan van Roome of Brussels, while on the other hand, it also tries to reconstruct the history of the object at the beginning of the 17th century in the light of the available sources.
marking the passing of time, including notable days in the life of individual believers. In addition to Penance and Holy Communion, churches were the location of the sacraments of baptism, confirmation, matrimony – events marking the turning points of life. The cemeteries surrounding village churches – often enclosed by a wall – provided a place for eternal rest. Naturally, churches were the location of ceremonies during feast days of the Christian church: Christmas,
Easter, Pentecost, and the feasts of the Virgin as well as the feast days of saints – either of local or national significance. The exterior and interior decoration of parish churches were created with this in mind: in addition to furnishings needed for the liturgy and religious feasts (for example, baptismal fonts), churches were decorated with figural scenes related to these feast days, in the form of carvings, wall paintings or altarpieces. The article provides an overview of the architecture and decoration of village churches in medieval Hungary.
the origins of the painting style of Master Thomas are to be found in Nuremberg, at the beginning of the fifteenth century.
Thomas de Coloswar is closely connected to Nuremberg workshops around 1420, which developed after the completion of the main altar of the Frauenkirche in Nuremberg. Iconographic, stylistic, and historical observations will be discussed to support this proposition, which gives us a chance to re-evaluate painting at the court of King Sigismund as well. Observations concerning the portrait of Emperor Sigismund in Nuremberg and on the Calvary-altar from Garamszentbenedek are
also included, as they strongly support the connection outlined in the study.
Grants of Arms and Patents of Nobility as Expressions of a
European Cultural Transfer? Studies on Diplomatic Norms and Social Practice in the Late Middle Ages