Monday, December 31, 2012

Most popular posts on Medieval Hungary

The end of the year marks the end of my third year of blogging. Along the way, I have posted 120 posts on various topics related to Hungarian medieval art, which generated over 90.000 page views to this date. My blog was featured in several online journals - for example in Vidimus or in Peregrinus, and several posts have been picked up by other blogs and online news media. I will give a sampling below of the most popular posts on the Medieval Hungary blog, giving a brief update about their topics as well.

The Digital Journal and SCAtoday.net both picked up the report on the discovery a grave from the period of the Magyar Conquest. Found neat the village of Bugyi, the sabretache plate discovered in the grave has since been cleaned and restored, and showed at a traveling exhibition (titled "Not without a trace...") organized by the Pest County Museum system. It was also included in an exhibition first organized at the Houses of Parliament in Budapest, which was aimed at showing the most spectacular recent archaeological finds, in order to pressure lawmakers to not weaken cultural heritage laws. Although this attempt was unsuccesful, the exhibition itself was successful, and is now travelling around the country. The exhibition is accompanied by a very nicely produced website, which is only available in Hungarian. Below you can find a picture of the sabretache plate in its conserved state.

10th century sabretache plate from Bugyi-Felsővány
(source: mvmsz.info


Moving on to later centuries, most interest was generated by my report on the discovery of 14th century frescoes right in the middle of Budapest, in the Inner City Parish Church of Pest.  The news was picked up by Medieval News and other online sources. My brief report on the find, consisting of two blog posts (see part I and part II) was later summarized for the newsletter of the International Center of Medieval Art (April 2011 issue), while my report on Hungarian azurite, found in the background of the painting, was picked up by National Geographic Hungary (May 2011). I also reported on some publications about the murals in a third blog post.

Detail of the Virgin and Child at the Inner City Parish Church, Pest 

Wednesday, November 28, 2012

Romanika.net presents: Art History - The Future is Now

Romanika.net, a Croatian website dedicated to the project "The Romanesque between the Sava and the Drava Rivers and European Culture," published a new online book on medieval art. Titled Art History - The Future is Now, the book contains studies published in Honor of Professor Vladimir Peter Goss celebrating his 70th birthday, 45 years of publication, and 40 years of university teaching. The editors of the volume are Maja Cepetić, Danko Dujmović, Vjekoslav Jukić, Aleksandra Nikoloska.

The studies in the pdf volume are published in English or Italian language (also including some in Croatian and German), and their subject matter ranges from ancient portraiture to Romanesque architecture and sculpture to Italian Gothic art.  The first section represents contributions by the 'Masters and their Heirs Apparent', the second by the 'Young Lions'. The authors come from various countries (9 total) - and include one Hungarian, Béla Zsolt Szakács, who writes on Santo Stefano Rotondo in Rome.  Among the authors there are Archeologists, Art Historians, Cultural Anthropologists, Linguists, reflecting Professor Goss’ true interdisciplinary orientation – of looking for the best in related fields. The book also contains a biography and bibliography of Professor Goss, as well as a study by Goss himself - reflecting on the present state and future of art and its history.

While calling attention to this new online publication, I would also like to recommend the romanika.net website in its entirety, as it reflects the interests of Professor Goss very well. The research project, to which this website belongs, surveys Romanesque sites between the Sava and the Drava rivers - the area now generally known as "Continental Croatia", which was part of the Kingdom of Hungary throughout the Middle Ages (equalling the northern part of Slavonia). The project is dedicated to "discovering the sites lost and forgotten long time ago, and thus creating outlines of a totally lost and forgotten cultural landscape. The main goal is to make the art of the Pre-Romanesque (both pre-Christian Slavic and Christian) and Romanesque in Croatia receive recognition and appreciation it fully deserves."

From this space and in the form of this brief post, I would like to salute Vladimir Goss, and wish him a lot of success in carrying this important project further! Sretan rođendan!


Maja Cepetić, Danko Dujmović, Vjekoslav Jukić, Aleksandra Nikoloska, eds.: Art History - the Future is Now. Studies in Honor of Professor Vladimir Goss. Rijeka, Faculty of Humanities and Social Sciences, 2012. 433 pp. Available online at: http://www.romanika.net/art-history-the-future-is-now-studies-in-honor-of-professor-vladimir-p-goss/

Tuesday, November 27, 2012

New book on Royal Seals of the Árpád Dynasty

A new book, written by Imre Takács on Royal Seals of the Árpád Dynasty was presented today at the Hungarian National Archives. The book is the first part of a new series, titled Corpus Sigillorum Hungariae Mediaevalis. The series aims to provide catalogue of Hungarian medieval seals - including royal seals, aristocratic seals as well as seals of towns, religious institutions and other organizations. The first volume is dedicated to seals issued by Hungarian kings of the Árpád Dynasty (1000-1301), and includes a total of 48 entries. The use of royal seals was first referred to in the foundation charter of the Abbey of Pannonhalma, issued in 1001. However, no surviving examples of the earliest royal seals - including seals of King Stephen I - are known, thus the series of examples starts with a humble lead bulla of King Peter (1039-1042, 1044-1046), followed by the seal of summons of Andrew I (1046-1060). Most spectacular are the great gold seals of 12th and 13th century kings - such as the gold bulla of King Emeric (1196-1204), seen on the cover of the book (and here to the left). The book also includes four seals of queens from the period, as well as a few seals issued by princes of the Árpád Dynasty.

In addition of a full catalogue of these seals (48 entries total), the book also contains an extensive introductory study by Imre Takács, dedicated to art historical questions. Subjects include 'type history and iconography', as well as questions of 'image and style'. The rich material in the comparative illustrations make clear that these miniature masterworks of goldsmith work are related not only to western European royal seals, but also to contemporary monumental sculpture. 

The full text of the book is included in an English translation as well, making the material accessible for the wider public.


Takács, Imre: Az Árpád-házi királyok pecsétjei - Royal Seals of the Árpád Dynasty. Corpus Sigillorum Hungariae Mediaevalis I. Budapest, Magyar Országos Levéltár (Hungarian National Archives), 2012. 192 pp.


Saturday, October 20, 2012

Exhibition on medieval Croatia at Musée de Cluny

Following an exhibition on the territory of Slovakia in the Middle Ages (D'or et de feu, 2010), as well as an exhibition at the sister museum of Musée de Cluny, the Musée national de la Renaissance at the Château d'Ecouen on Renaissance in Croatia, the Musée national du Moyen Âge now presents an exhibition on Croatia in the Middle Ages.

Starting from 1102, the kingdom of Croatia lost its sovereignty and was ruled throughout the Middle Ages and later in the form of a personal union with the Kingdom of Hungary. The northern part of present-day Croatia, Slavonia, was part of Hungary proper, while the region of Dalmatia often changed hands between Venice and Hungary. At the time of king Louis the Great, Hungarian power was restored in Dalmatia in 1358 by the Treaty of Zadar. History and art in the territory of Croatia is thus inseparably connected to the medieval Kingdom of Hungary, evidenced by various works in the treasuries of Croatia originating from the centers of the Kingdom, including royal gifts - such as the series of treasures donated to Zara/Zadar by Louis the Great and his wife, Elisabeth. The object selected for the poster of the exhibition - the 14th century mitre from the Treasury of Zagreb cathedral is just such an object, likely donated to the cathedral by Louis the Great. However, it is still not entirely sure, whether this precious work - reworked in 1549 - was originally made in Hungary or Venice. Restored during 2005, the object was also shown in the 2006 exhibition dedicated to King and Emperor Sigismund, the successor of Louis the Great.

Mitre from the Treasury of Zagreb cathedral, 14th century 


The present exhibition features about 40 select works of art, including reliquaries, illuminated manuscripts, warrior equipment, and jewellery. It was organised as part of an ongoing Croatian festival in France, called "Croatie, la voici", which runs from September 2012 to January 2013. The festival is the result of a Croatian-French strategic partnership signed in 2010 by the presidents of the two countries, and the exhibition was also opened by the presidents. The exhibition, titled "Et ils s’émerveillèrent…" - Croatie médiévale opened on.October 10, and will remain on view until January 7, 2013. The exhibition is accompanied by a small catalogue. You can read a little more on the exhibition in the official press release of the museum (pdf), or on the website of Croatian Tourism Office, but overall, very little is available on the exhibition online so far. A slideshow of the exhibition is available on the Flickr-site of the cultural festival, also embedded below.

Thursday, October 11, 2012

Art around 1400 - Current exhibitions

In 2012, a number of exhibitions were dedicated to the period around 1400, the period of the International Gothic. Some of these are still open - in fact, one is about to open this week. These exhibitions each focus on one geographical area - but together they demonstrate the richness and variety of this extremely creative period of European art history. When we were preparing the Sigismundus-exhibition of 2006, originally we planned to show some true European highlights of this period - the period when Pisanello, Ghiberti, the young Donatello, Masolino and Massaccio, Claus Sluter, the Limbourg brothers or Robert Campin were all active - but works from this period are simply too fragile and precious to gather in one exhibition. However, if someone gets a chance to visit all the exhibitions listed below, he or she could get a very good impression of the main trends of the period.

Gentile da Fabriano: Adoration of the Magi, 1423 
Let us start with the exhibition still on view for a few weeks at The Uffizi in Florence (until November 4). The exhibition titled The Gleam of Gold - The International Gothic Style in Florence, 1375-1440, intends to reconstruct the panorama of Florentine art in the wonderful and crucial period that extended roughly from 1375 to 1440. The exhibition, set out in chronological order, starts with the work of the greatest artists working in the tradition of the late 14th century. Another section focuses on the achievements of Lorenzo Ghiberti, one of the leading players on the Late Gothic scene in Florence who, in the early part of his career, trained virtually all of the city's most important artists in his workshop for the first Baptistry door. The exhibition ends with Paolo Uccello's Battle of San Romano, on display for the first time since its recent restoration. The exhibition is part of the 'Un anno ad arte' series, which has a separate website, with photos of key works on view. You can also read an overview of the exhibition here and in the New York Times.


Bernard Martorell: Trial of St, George,
 1435

Earlier this year (from 29 March to 15 July 2012), the Museo Nacional d'Art de Catalunya in Barcelona held the exhibition Catalunya 1400 - The International Gothic Style. This was the first major exhibition on one of the most creative cycles in the history of Catalan art, around the turn of the 15th century. Beside great masterpieces by the most important Catalan artists of all time, the exhibition, showed the renewal of the miniature; presented the retable as the distinctive expression of Catalan painting; and it highlighted the importance of the arrival of European artists in Catalonia with the resulting French influence on Catalan culture. One of the stars of the exhibition were undoubtedly the the four panels with narrative scenes from the Retable of Saint George by Bernat Martorell, now in the Louvre. The exhibition includes at the same time a carefully chosen display of sculptures, items of precious metalwork and liturgical textiles.

You can get a PDF-format press overview of the exhibition here. The exhibition is accompanied by a catalogue.






Sunday, October 07, 2012

On the trail of St. Elisabeth in Marburg

A few weeks ago I had a chance to walk around Marburg, the burial place and the center of the cult of St. Elisabeth of Hungary. Elizabeth was the daughter of King Andrew II of Hungary, of the Árpád dynasty and his wife Gertrude, from the family of the Counts of Andechs-Meran. In 1211, the four year old Elisabeth was taken to the Thuringian court, to be raised with his intended husband, Hermann of Thuringia. Soon after she left (in 1213), her mother was killed by rebellious Hungarian lords. As Hermann passed away as well, Elisabeth in the end was married to his brother, Ludwig (in 1221). The couple had three children, but Ludwig passed away on a crusade in 1227. By this time Elisabeth started following Franciscan ideas of poverty, and was strongly influenced by the ascetic Master Conrad of Marburg. In 1228, in the Franciscan house at Eisenach Elisabeth formally renounced the world, and became one of the tertiaries in Germany. In the summer of 1228 she built the Franciscan hospital at Marburg and then devoted herself entirely to the care of the sick. She passed away in 1231, at the age of only twenty-four.


Her ascetism, her charitable acts as well as many miracles at her gave quickly led to her canonization (1235), and one of the most beautiful Gothic chruches in Germany was soon built over her grave in Marburg by the Teutonic Knigths. Elizabeth became one of the most popular female saints of the entire Middle Ages, venerated especially in Germany, Hungary and Italy. You can read more about her life in the Catholic Encyclopedia, and you can read her legend as it was incorporated into the Legenda Aurea. Medieval images of her and her legend also abound in these regions. 2007 marked the 800 birthday of Elisabeth, and was marked by a series of exhibitions and events, the largest of them being the Landesausstellung at Wartburg. As I think both her life and the images depicting her are quite well-known, I will not go on about this subject - the purpose of this post was to share some images I took in Marburg, especially in the Elisabethkirche. You can see these below.



Sunday, September 30, 2012

The Buried Medieval Synagogue of Buda

View of the remains in 1964
Hungarian daily Népszabadság reported this weekend on the Schulhof Foundation for the Restoration of the Medieval Synagogue of Buda. The aim of the foundation is to uncover and reconstruct the medieval great Synagogue of Buda, which was found in 1964. This late Gothic Synagogue was built in 1461, and was destoyed in 1686, when the castle of Buda was taken back by the Christian army from the Turks. Although the medieval Jewish community of Buda had to leave the town in 1526 (when the army of Suleiman the Great first took the Hungarian capital), they were allowed to return during the period of Ottoman Turkish rule (1541-1686). In September 1686, when the Christian army broke through the Vienna Gate in the process of taking back the town, they started slaughtering everyone they encountered - Turks and Jews alike. The chronicle of rabbi Isaac Schulhof describes how the people of the town ran into the synagogue and tried to barricade themselves inside - but the Christians stormed the synagogue and slaughtered everyone inside. The building burned down, and was later covered over, becoming the tomb of those trapped inside for several centuries.



Remains of the building were found by László Zolnay in 1964. The Synagogue was a square building, which was divided into two aisles by a row of piers. The remains are about 4 meters below the present-day street level, so tall walls, as well as much of the piers once dividing the space survive. The vault supported by these piers already collapsed in the 16th century, but one keystone survives. After the removal of the bodies, the great synagoge had to be covered over again, in hopes of a future reconstruction. Stones from the piers were taken across the street, where a smaller and earlier synagogue was also found in the 1960s. This smaller prayer house was rebuilt from its ruins at the beginning of the 18th century as a residential house, and now it operates as a small museum, as part of the Budapest History Museum.

Drawing of one of the walls of the Synagogue


Wednesday, September 19, 2012

Late 14th century frescoes discovered at Nitra cathedral


The cathedral of Nyitra (Nitra, Slovakia) is one of the oldest, most complex, and - until quite recently - least known cathedral building of medieval Hungary. Located north-east of Pozsony/Pressburg/Bratislava, the bishopric of Nyitra was founded before the Magyar Conquest, at 880. The bishopric was established at the seat of the Principality of Nyitra, on the eastern fringes of the Carolingian Empire. After the Conquest, the settlement became a ducal residence, and king Koloman I reestablished the bishopric some time before 1113. The cathedral was dedicated to St. Emmeram, as well as to the canonized local hermits, St. Zoerard and Benedict. The cathedral has a dual church: one dating from the Romanesque period, while the other Gothic, from the middle of the 14th century. However, the entire ensemble was rebuilt in Baroque style. The restoration and research of the buildings have been going on since 2007. Already, this research has yielded spectacular results: especially with the uncovering of a large Renaissance red marble tabernacle (with a frame of white marl from Buda), similar to the ones known from the parish church of Pest and from the cathedral of Pécs. Dated 1497, the Renaissance tabernacle at Nyitra is earlier than these, being a very significant example of Florentine-style early Renaissance carving in Hungary.

Tabernacle from 1497 at Nyitra (Photo: Roznava24)
As restoration of the church continued this summer, work progressed in the southern church building of the cathedral. This is the building with a Romanesque apse, which has been extended/rebuilt towards the west in the 14th century. This construction likely dates to 1378, when such work carried out by bishop  Dominic was recorded. Already at the beginninf of the year, parts of a Late Gothic fresco have been spotted behind a Baroque stone altar dating from 1662. Now, however, the entire altarpiece has been temporarily dismantled, and the entire fresco can be seen and studied. The find is of major importance: it comes from a cathedral church, and the centuries behind the altarpiece saved the fresco from any repainting or earlier restorations. The condition of the painted surface is thus fully intact - and this surface is of a considerable size. The quality of the paintings is also very high - along with the recently uncovered frescoes of Torna (Turňa nad Bodvou, near Košice) they are defitinely among the finest wall paintings from the decades around 1400 from Upper Hungary. The theme of the frescoes is a Marian cycle, with the Last Prayer and the Coronation of the Virgin.


Tuesday, September 18, 2012

The Danube Bend in the Middle Ages - Exhibition

12th century stone carving from Vác cathedral
A new temporary exhibition opened last Saturday at Vác, dedicated to the medieval history of the region known as the Danube Bend. Stretching from Esztergom through Visegrád down to Szentendre, the area includes some of the most important medieval settlements of Hungary (towns located in the Medium regni, as the central part of the kingdom was known). The exhibition was organized by the Pest County Museum, centred in Szentendre, with the cooperation of other major museums of the region: the Balassa Bálint Museum of Esztergom and the King Matthias Museum of Visegrád. The exhibition is on view at Ignác Tragor Museum of Vác (in the former Greek Orthodox church), the museum of another major city in the region, located on the other side of the Danube. As the well-established system of Hungarian county museums is currently being completely shaken up and reorganized, the exhibition can be seen as an attempt to demonstrate the power of the old system - capable of cooperation, joint organization and the like. (Hungarian-speaking readers can read about the changes for example here - I could not find any English-language reports on this major reorganization).

Of the towns mentioned above, Esztergom was and is the seat of Hungary's primate archbishop and a former royal seat, Visegrád boasts a royal castle and a royal palace at the bottom of the hill, and Vác was (is) an important bishopric, while Szentendre was a small market-town along the Danube. Thus there is plenty of material to show in an exhibition dedicated to the region - the exhbition instead is adapted to the small exhibition space, and focuses mainly of recent archaeological finds. This include - among others - a Romanesque baptismal font recovered at Vác, as well as a fragment of the 15th century terracotta relief showing the Battle of Amazons, and attributed to Gregorio di Lorenzo (formerly known as the Master of the Marble Madonnas).

Relief fragment by Gregorio di Lorenzo, Vác
The exhibition will later also be shown at Szentendre, Visegrád and Esztergom. As the Esztergom Museum and of course the royal palace at Visegrád both have their significant medieval exhibitions, the present exhibition will clearly appear in a different light at future venues. I have not yet seen the exhibition, and I could find no information on the websites of any of the museums involved. (The invitation to the opening ceremony can be seen here).

The curator of the exhibition was Tibor Ákos Rácz, and was opened by Imre Takács, director of the Museum of Applied Arts, and a noted medieval art historian himself.

While we are on the subject of the Danube bend, I would like to mention related news as well. At the King Matthias Museum in Visegrád, visitors can see a temporary museum in addition to the permanent displays. Titled "Not without a trace...," the exhibition displays finds from the period of the Magyar Conquest, from the collection of the Pest County Museum. Star attractions of the show are recent finds from the vicinity of Bugyi - about which I reported earlier. The traveling exhibition is on view at Visegrád until October 28th.

Archaeologists of the Pest County Museum also had luck late this summer - the very low water level of the Danube enabled them to recover a medieval shipwreck in the Danube Bend. Discovery News reports on the find. Maybe objects from this boat can be incorporated in the next incarnation of the "Danube Bend in the Middle Ages" exhibition.

Monday, August 27, 2012

Reconsecration of Pannonhalma Abbey Church


The medieval church of the Archabbey of Pannonhalma was restored over the last few months, and was solemnly reconsecrated today. The interior reconstruction of the 13th-century abbey church was carried out according to the plans of British architect, John Pawson. The reconstruction mainly focused on the main liturgical area of the church, the chancel and the monastic choir. The main goal of the alterations was to restore the simplicity of this space, and this meant the removal of the 19th century historicising decoration designed by Ferenc Storno (Storno similarly removed the earlier Baroque furnishing of the basilica, to make way for his own, 'historically correct' decorations - now his work suffered a similar fate). The Storno-reconstruction, which was completed in 1876, was the last major intervention inside the church. Storno's pulpit was moved to a chapel at Pannonhalma, while the 19th century stained glass windows - including the large rose window depicting the patron of the church, St. Martin - have been deposited at the Museum of Applied Arts in Budapest. On the other hand, the painted glass panes of the side aisle remained there, and the vault frescoes of Storno were cleaned.


The ideas of Pawson are summarized in the following statement he made:  ‘The goal of the architectural scheme made for the reconstruction of the Basilica of the Archabbey of Pannonhalma is to develop a space suitable for harmonic reception of the community of monks and their liturgy, meeting the needs of the local community and visitors. This goal was achieved by getting rid of several makeshift elements appearing in the use of space, and the character of “storage of historic furniture” was also eliminated. The purpose of the interventions was a uniform space in the church where each part and element of space has its own role and significance, and functionally and visually contributes to the development of the space designed for prayer and meditation, which are considered the basic function of the place. The plan attempts to redefine the space of the church structured axially, ascending within its section, orienting towards the sanctuary, and finally to the rose window in order to emphasize the meaning of the space: the way of Christians. On the one hand, the key is a complex and deliberate process of catharsis; on the other hand it is a careful equilibration of the existing historic layers.’

Pawson's scheme for the reconstruction (source: johnpawson.com)
The monks of Pannonhalma took notice of Pawson when he built the Cistercian abbey church of Novy Dvur in Bohemia, and he received the commission along with a Hungarian architectural studio. Along with the reconstruction of the church, this year also marks the completion of the rebuilding and expansion of visitor service areas at Pannonhalma. in 2010 a new visitors’ center was opened on the hilltop near the abbey. In 2011, a new entrance for visitors was opened on the bastion on top of the hill of the abbey.

The Benedictine Archabbey of Pannonhalma is one of the oldest historical monuments in Hungary, founded in 996. It is a World Heritage site. The present church of Pannonhalma was built in early Gothic style at the beginning of the 13th century during the reign of Abbot Uros, and was consecrated most likely in 1224.

You can read more about the reconstruction on the website of the Hungarian Presidency of the EU.

Photo showing the removal of the 19th century stained glass windows from the eastern wall of the church


Friday, July 20, 2012

New books on art in medieval Hungary

I've recently written brief reviews of several English or German language books about the art of medieval Hungary - including the conference volume published by Villa I Tatti on Italy and Hungary in the Early Renaissance or Evelin Wetter's book on late medieval goldsmith works from Hungary. I am happy to report that two new books in English have been published on the subject - both will be treated in more detailed reviews later on. For now, I would just like to inform my readers about these important contributions, both by young researchers, to the study of medieval art in Central Europe.


The first book is part of the »Studia Jagellonica Lipsiensia« series: Emese Sarkadi Nagy: Local Workshops - Foreign Connections. Late Medieval Altarpieces from Transylvania. Ostfildern, 2012. 


Here is the brief description: Altarpieces are complex works expressing the intellectual, economic and cultural life of a country. This comprehensive volume provides in-depth art-historical and historical analysis of various groups of winged altarpieces in Transylvania, especially the areas inhabited by Saxons. A complete catalog of the surviving Transylvanian altarpieces and lots of color pictures document this important chapter in European history and make this book an indispensable reference work.




The other book was published by Brepols Publishers: Tim Juckes: The Parish and Pilgrimage Church of St Elizabeth in Košice Town, Court, and Architecture in Late Medieval Hungary. Turnhout, 2012.


One of the most important building projects in late medieval Hungary was the reconstruction of the parish and pilgrimage church of St Elizabeth in Košice (present-day Slovakia). The burghers of this prosperous, free royal town decided to rebuild their main church shortly before 1400, and work continued, with several interruptions, into the late fifteenth century. Along with the ambitious and unusual design that emerged, far-reaching artistic connections with centres such as Prague and Vienna ensure the church’s exceptional value for architectural history – not only within Hungary, but in the Central European region as a whole.


It is this value as an art historical document that the present work seeks to exploit. It approaches the church’s fabric as a source of information about patrons, masons, and congregations, attempting to locate the dynamics behind design choices made. This necessitates a detailed reconstruction of the building enterprise itself, before the focus shifts to the impact of the St Elizabeth’s project both in northern Hungary and further afield (Transylvania, Lesser Poland), allowing the town lodge’s remarkable achievements be set in inter-regional context.


More information on both of these books is coming soon here on the Mediaval Hungary blog!

Sunday, July 08, 2012

Medieval and Renaissance exhibitions in NYC

Even though New York obviously has no original medieval buildings (except for those built into The Cloisters), the City is home to wonderful collections of medieval art. The Metropolitan Museum houses the largest and best collection of medieval art in the US, much of it on display in the main building, while many more are on view at The Cloisters, the branch of the museum devoted to the European Middle Ages. The Morgan Library and the New York Public Library house hundreds of valuable medieval illuminated manuscripts. (To see how many objects from medieval Hungary these collections hold, have a look at my preliminary checklist). I had a chance to spend two days in New York this past week - instead of these permament collections, I seeked out some Medieval and Renaissance exhibitions, which I will briefly describe below.

St. Mark preaching - Ivory panel from the
so-called Grado Chair, 7th-8th c.
First on my list was the Byzantium and Islam exhibition at The Metropolitan Museum, which actually closes today. This large exhibition is part of a series of shows curated by Helen C. Evans and dedicated to Byzantine Culture (a series which acutually started with Kurt Weitzmann's 1977 exhibition titled The Age of Spirituality). The two earlier exhibitions - “The Glory of Byzantium” in 1997 and “Byzantium: Faith and Power” in 2004 - focused on later periods of Byzantine art (the Middle Byzantine period and the last centuries of the Byzantine empire, respectively), while the current exhibition goes back to the early centuries of Byzantium, exploring the vast southern part of the Empire. The focus is on the diverse cultural traditions (Greek, Coptic, Syriac, Jewish, etc.) and on the emergence of a new force in the region: Islam. The exhibition is arranged thematically, surveying first religious art of the Byzantine empire, then focusing on themes of secular art (such as commerce or dress), finishing with Islamic religious art. The website of the museum gives a very good overview of the material on view, and more in-depth information is provided by tthe accompanying blog.

While the earlier exhibitions mainly focused on highlights of Byzantine art - icons, luxury manuscripts, goldsmith works - and on the connections of Byzantium with western Europe and Latin Christianity, this exhibition was quite different. The exhibition looked to the Eastern and Southern neighbours of Byzantium, and raised a number of very interesting and novel questions about cultural transfer and the co-existence of different traditions. Naturally, the show also includes a number of truly spectacular items: such as the famous Rabbula Gospels from 586 or the wonderful ivories of the so-called Grado Chair. The narrative was clear, and the display - as always at the Met - was wonderfully arranged. Overall, however, I was not quite as impressed with this exhibition as with the 1997 "Glory of Byzantium" - the wonderful display of icons from the Monastery of St. Catherine at Mt. Sinai remains a vivid memory to this day from the earlier exhibition. Due to political circumstances, no loans arrived from Egypt this time. These objects, however, are included in the catalogue - their presence would have definitely made the whole exhibition different.

Head of a man.
Bohemian, 1360-1380 

Currently, there is one more exhibition at the Metropolitan Museum focusing on Medieval and Renaissance art: titled Dürer and Beyond, it displays Central European Drawings, 1400–1700. It starts with a few beautiful Bohemian drawings, well-known from the Prague: The Crown of Bohemia exhibition (2005). In other parts of the museum, there are additional special displays, including the Rylands Haggadah (mid 14th c., Catalonia), Renaissance illuminations from the Robert Lehman Collection, and a handful of Northern Italian paintings from the Accademia Carrara at Bergamo.





Wednesday, July 04, 2012

The Medieval University of Pécs

General view of the site north of the cathedral
Photo: muemlekem.hu 
Hungary's first university was founded in 1367 at Pécs, with faculties of philosophy, law and medicine (no theology). The university was created by the bishop of Pécs, Vilmos (William), with royal support and by a decree of Pope Urban V. The university was short-lived: already in 1395, King Sigismund created a new insitution at Óbuda, and the school at Pécs stopped working some time in the early 15th century (the University of Óbuda was unsuccessful, too). It is believed that the buildings of the University were located on the north side of cathedral, where in the 12-13th centuries the bishop's palace was erected. Indeed, excavations carried out there in 1980s unearthed a large Gothic building, built on the remains of an earlier, Romanesque structure. The topography of this area, however is rather complicated: among other structures the remains of a 14th-century chapel: the so-called Gilded Chapel of Our Lady (mentioned as such in a charter of Pope Boniface IX in 1401: capella deaurata beate Marie Virginis), founded by Bishop Nicholas (1346-1360). Remains of the chapel and the university dissapeared during the Ottoman Turkish conquest and the wars ensuing (Pécs was occupied in 1543).

The chapel and other remains on the north side of the cathedral were unearthed by Mária Sándor between 1978-1987). Among the most important finds on the site were the extraordinarily fine statues stemming from the former chapel. After this for many decades, the remains of the buildings stood under temporary roofs, while the sculptural fragments from the chapel languished in storage at the local county museum. There were many attempts to make the site accessible, but there was never any money for it - not even during preparations for 2010, when Pécs was European Capital of Culture (when a new visitor center was built for the Early Christian ruins, also located near the cathedral).

Fragment of a stone retable from the Gilded Chapel of Our Lady
 Last year, however, something finally happened - there was a brief new archaeological campaing to clarify some questions, and it was announced that the site will be opened to the public by this year. Along this process a lot of additional medieval architectural fragments have been recovered in the area, especially inside the later walls encircling the complex.

The area is now managed by the Hungarian State Holding Company, and a significant amount was set aside for the erection of a new protective building for the remains of the university and the chapel. In June it was announced that that the university building is ready for visitors, apart from some minor internal restoration tasks. The walls of the medieval fortress structure surrounding the cathedral complex have also been strengthened and a new walkway is being created around them. The opening of this area is scheduled for September, 2012. With this step finally the whole cathedral complex will be accessible to visitors, together with the very rich holdings of medieval sculpture and other remains. I wrote briefly before about the cathedral and the adjacent Cathedral Museum, which holds the Romanesque sculptures from the cathedral. The new area will make accessible the equally significant Gothic remains of Pécs.

Glimpse inside the new museum building at the site
Photo: muemlekem.hu 



Additional reading:
Reports on a research project coordinated by Mária Sándor in 2001-2006, dedicated to the remains of the university and the chapel (with bilbiography).
The MA Thesis of Veronika Csikós, submitted at CEU Budapest in 2008, can be downloaded from the website of the University. The thesis deals with the statues of the Gilded Chapel of Our Lady.


More information is available in Hungarian at the following sites:

Report on the discovery of carved stones last year, in the online heritage magazine, Műemlékem.hu.
Report on the new excavations at the chapel, on the online journal for medieval archaeology (Archeologia - Altum Castrum Online Magazin), maintained by the Visegrád Palace Museum (with a more detailed report by Gergely Buzás, a PDF-file with lots of images).


Monday, May 21, 2012

Europa Jagellonica

The exhibition Europa Jagellonica - Art and Culture in Central Europe under the Jagiellonian Dynasty, 1386-1572 is now open at GASK - the Gallery of the Central Bohemian Region in Kutná Hora. Coordinated by Jiří Fajt and Susanne Jaeger of the GWZO in Leipzig, this project has been in the making for years. It finally came to fruition as a Czech-German-Polish exhibition project, with further venues in Warsaw and Potsdam. Each site will have a special focus: in Kutná Hora, this is Silver Mining and Art around 1500.

The focus of the exhibition is described as follows: "For the first time in history, the Jagiellonians will be presented as the European dynasty, which strongly influenced art and culture, within the wide international context of Central and East-Central Europe. Around 1500, Central Europe was shaped politically by the Jagiellonians (1386-1572), a Lithuanian-Polish dynasty whose members ruled over a vast region extending from the shores of the Baltic Sea to those of the Adriatic and the Black Seas. They were in fact among the territorially most powerful dynasties of Europe. Tragic events from 1526 onwards dismantled the Jagiellonian supremacy in Central Europe, and their place was effectively taken over by the Habsburgs who maintained their dominance on the European stage until World War I. Thus, Central Europe formed a political-administrative entity long before nation states came into existence. The exhibition accordingly opens up a twofold temporal perspective to its audiences: it is both historical and current. The cornerstones of European society today are formed precisely by the awareness of, the engagement with, and the continuation of these common traditions. They are crucial for present-day Europeans’ identification with their continent and culture."

There is much to be discussed here - I, however, do not enough information about the project to enter into further details. I would just like to mention that despite various plans, there is no Hungarian venue for this exhibition, and there is no real Hungarian partner involved in the preparation of the exhibition (although Jagiellonian rule was significant in Hungary as well, ending with the death of Louis II at the battlefield of Mohács in 1526). There are, however, several Hungarian lenders to the exhibition, including the Hungarian National Gallery, the Museum of Fine Arts and the Budapest History Museum, among others.

At present, there is very little information available on the project on either the central website of the project, or on the website of GASK. There is more info on the GWZO website, including a description of the exhibition project. The exhibition will be on view in Kutná Hora until 30 September, 2012.


One more remark: the fliers and other materials of the exhibition (see the pictures on the GWZO website, or this earlier version of the exhibition description) feature one of the emblematic and most characteristic works from the Kingdom of Hungary from the late Middle Ages: the Visitation panel by Master MS (Martin Schwarz) from 1506, preserved in the Hungarian National Gallery. Alas, this panel could not travel to the exhibition due to conservation reasons, but can be enjoyed in high resolution on the gigapixel website of the National Gallery or in Google Art Project.

Thursday, May 10, 2012

Facsimile of Budapest Concordantiae caritatis published

Death of the Virgin from the Budapest Concordantiae caritatis
As reported by the miniaturaitaliana.com blog, the facsimile edition of the Budapest Concordantiae caritatis (1413, Budapest, Central Library of the Ordo Scholarum Piarum, CX 2) has been published by Schöck Art Print. It is an exclusive, leather-bound limited edition facsimile edition.


As the publisher states: The Budapest Concordantiae caritatis is the most richly illustrated medieval manuscript in Hungary. The work contained in it is that of a fourteenth-century author, Ulrich von Lilienfeld, who between 1345-1351 was the abbot of the Cistercian monastery in Lilienfeld, Lower Austria. Concordantiae caritatis is a typological manuscript. Only eight copies of the Concordantiae caritatis known today contain illustrations and of these few the Budapest manuscript is worthy of a high position due to the high quality and completeness of its cycle of illustrations. As the colophon betrays, the text was written in 1413 by the Viennese burgher Stephanus Lang, in his own home. Seven artists, visibly in contact with each other but of varying education, participated in the illustration of the Budapest Concordantiae caritatis. Of them the most talented one can be linked with the circle of the Master of the Sankt Lambrecht Votive Picture, a group whose style became dominant in Viennese panel painting in the first third of the fifteenth century.


The text above was written by Anna Boreczky (National Széchényi Library), whose doctoral dissertation was dedicated to this hitherto little studied manuscript, and who edited the commentary volume to the facsimile. It is to be hoped that a more simple edition of the manuscript and the commentary volume will make this little-known treasury much more widely known. The facsimile edition - along with the edition of the Budapest Apollonius pictus, also edited by Boreczky - was presented today at the Hungarian Academy in Rome.

You can find some information (in Hungarian) about the manuscript on the website of the Piarist Order. You can also read the abstract of Boreczky's dissertation here.

Wednesday, April 25, 2012

Villa I Tatti at Budapest

Lino Pertile, the director of Villa I Tatti (The Harvard University Center for Italian Renaissance Studies, Florence), as well as Assistant Director Jonathan Nelson are in Budapest these days. Villa I Tatti has had very close connections with Hungary - generally every year they had at least one Fellow from Hungary. This connection is also reflected in the research interests at I Tatti - the Italian (especially Florentine) connections of Hungarian Humanism and early Renaissance art have always been in strong focus. This connection resulted last year in the publication of the book titled Italy and Hungary - Humanism and Art in the Early Renaissance (see my review here). The book will be presented tomorrow at the Budapest History Museum.

While the presentation of the book is clearly one of the main reasons of the visit of I Tatti's directors, they are both giving lectures while here. Lino Pertile gave a lecture in the framework of the Medieval Afternoon at the Central European University, while Jonathan Nelson will give a lecture about 15th century Florentine painters at the Art History Department of ELTE tomorrow. Hopefully these events will further strengthen the ties of Villa I Tatti to Hungary.

Oh, and what else happened at CEU's Medieval Afternoon? The event marked the inauguration of CEU Medieval Radio, which you can find and listen to here.

Tuesday, April 24, 2012

Martin and Georg of Klausenburg

Martin and Georg of Klausenburg: St. George
Prague, National Gallery 

I haven't had a lot of time to update my blog recently - but I thought I would post this for St. George's day. The image above depicts what may be the most beautiful statue made in the medieval Kingdom of Hungary. Made by the brothers Martin and Georg of Klausenburg (Kolozsvár / Cluj) in 1373, the statue is the only surviving work from the production of their bronze workshop. Their other works - bronze statues of the Hungarian kings St. Stephen, Prince St. Emeric and St. Ladislas, as well as a large equestrian statue of St. Ladislas (all of these at Várad / Oradea) all got destroyed during the Ottoman wars, after the capture of Várad in 1660. The statue of St. George has been in Prague at least since the 16th century - but it is not known when and how exactly it got there. It is regarded as the first free-standing monumental bronze equestrian statue since antiquity. Information about its makers and the date was preserved on the now-lost shield (and is known from 18th century transcriptions):

A.D. MCCCLXXIII HOC OPUS IMAGINIS S. GEORGII PER MARTINUM ET GEORGIUM DE CLUSSENBERCH CONFLATUM EST

Today, a copy of the statue is still standing in the third courtyard of Prague Castle, near the cathedral of St. Vitus. The original has been in the National Gallery in Prague since the 1960s.

A lot has been written on the statue in recent years, especially in a series of articles published in the Bohemian art history journal Umeni. See in particular the studies of Klara Benesovska and Ivo Hlobil from 2007, or the study of Ernő Marosi published in the 1999 volume of the journal. The connections of the bronze statue to the art of Trecento Italy (especially the Cathedral of Orvieto), the naturalism of some of  its details, the historical context of the statue as well as its connections to other works by the brothers are all topics worthy of even further investigation.

Finally, by clicking here, you will find a few more photographs of the statue on the Fine Arts in Hungary website.



Saturday, March 10, 2012

Medieval castle of Krasznahorka burned down

In a tragic event today, the medieval castle of Krasznahorka (Krásna Horka, Slovakia) completely burned out today. The roof of the castle caught fire, and the fire spread to all areas of the castle, burning all the roofs - and, presumably, everything under them. Firefighters battled the blazes for several hours, and finally managed to stop the fire, but the castle is still engulfed in smoke. There are no reports yet of damage to the artworks and other objects in the castle - but it is no doubt very serious. The cause of the fire has not yet been established.


Krasznahorka castle, before the fire

Krasznahorka, located near Rozsnyó (Rožňava) in south-eastern Slovakia, just north of the Hungarian border, was one of the most intact medieval castles of Upper Hungary, built by the Bebek family and later owned for centuries by the Andrássy family. You can read about the history of the castle on the official website. Krasznahorka managed to escape war damage both during the Turkish wars and later, in WWII. It burned down only once before, in 1817. The castle has been operated as a family museum and mausoleum since about the mid-19th century. Exhibitions inside the castle included valuable paintings, furniture and weapons. One of the large bastions has been turned into a Baroque chapel - famously holding the mummy of Zsófia Serédy, the wife of István Andrássy. Photos taken after the fire show that the roof of the chapel also burned down.

Here is a video of the fire, and a photo taken after the fire was put out - both showing the scale of devastation. Krasznahorka looms large in both Hungarian and Slovak historical consciousness - a joint effort will be needed to rebuilt what has been lost today.

 


Update on March 11th: Preliminary reports after the fire claim that most of the exhibitions and historic objects survived the disaster. Although all the roof structures of the castle burned in the fire, the vaults did not collapse - thus the historic interiors were not completely destroyed. Objects are now gathered in safe areas inside the castle. Obviously, only a detailed survey and inventory can reveal the extent of the damage in the end. So far, no photos of the interior after the blaze have been published.



Sunday, March 04, 2012

Niclaus Gerhaert at the Liebieghaus

Niclaus Gerhaert: Self portrait (?), c 1463
Musée de l'Oeuvre Notre-Dame, Strasbourg 

The Liebieghaus in Frankfurt dedicated a monographic exhibition to the late Gothic sculptor Niclaus Gerhaert of Leiden. Alongside Hans Multscher, Gerhaert is regarded as the most important artistic character developing the naturalistic formal language of Late Gothic sculpture. His career corresponds to the spread of artistic ideas from west to east: although it is not known whether he was actually born in Leiden (given as his origin in later sources), but he was likely trained in the artistic milieu of the Southern Netherlands, then in the 1460s worked on the eastern part of the Holy Roman Empire - more precisely in Strassburg - and was finally invited by Emperor Frederick III to Vienna and Wiener Neustadt, where he died in 1473. Although the corpus of works firmly attributed to him is rather small, his influence was enormous, and members of his workshop as well as his followers determined the development of Late Gothic sculpture in Central Europe. The art of both Veit Stoss and Tilman Riemenschneider would be  unthinkable without the influence of Gerhaert.





The exhibition currently on view in Frankfurt is accompanied by a comprehensive catalogue edited by Stefan Roller. There are essays in the catalogue by a number of authors, following an introductory study by Roland Recht. This part is followed by catalogue entries, the first part of which include all the surviving works attributed to Niclaus Gerhaert (including those not in the exhibition), while the second part analyses the sculptures featured at the Frankfurt exhibition - arranged in groups of works from the environment of the master, and works showing his influence.

In the following, I would like to focus on one aspect of the subject, the influence of Gerhaert in the Kingdom of Hungary. I stated above that the sculptor was invited to Vienna by Frederick III, the most formidable opponent of Hungary's king Matthias. Gerhaert was commissioned to work on the tomb of the Emperor (in the Stephansdom of Vienna) and also on that of Queen Eleonore of Portugal (in Wiener Neustadt). Work on the Vienna tomb was likely disrupted in 1473, at the death of the artist, and again in 1485, when the troops of Matthias moved in to occupy the town. By that time the tombstone was moved to Wiener Neustadt, only to be returned to Vienna in 1493, so three years after the death of King Matthias. The tomb was not completed until 1513. There are few other works firmly attributed to Gerhaert from his Viennese period: first among them is the tomb of Queen Eleonore at Wiener Neustadt, wife of Frederick III, who passed away in 1467 - at the time the master was invited by the Emperor. In Wiener Neustadt, there is also a painted limestone statue of the Man of Sorrows at the former Cathedral (the Diocese was established by Frederick in 1469). Apart from these stone monuments, there a few wooden statues from this period, as Niclaus Gerhaert was an equally versatile sculptor both in stone and wood. Two small statues of the Virgin in Child - one in the Metropolitan Museum, the other in private collection - round out this period of the artist. 

Head of St. John from Tájó 
In the territory of the Kingdom of Hungary, it was his works of wood which exerted a considerable influence. Stefan Roller dedicated a study to the influence of of Gerhaert in Central Europe, and two objects  from Upper Hungary (the territory of modern Slovakia) are actually included in the exhibition. Altogether, four works are discussed: the Head of St. John the Baptist from Tájó (Tajov, Slovakia), the main altar of Kassa (Košice) and the Nativity group as well as a figure of the Virgin at the reading stand - both originally from the main altar of the parish church of Pozsony (Bratislava). 



Sunday, February 19, 2012

Medieval manuscripts of Batthyáneum available online

The Batthyáneum Library of Gyulafehérvár (Alba Iulia, Romania) is one of the most important historic libraries in Transylvania. It was founded in 1798 by Ignác Batthyány, the bishop of Transylvania. The library was housed in the former church of the Trinitarian order - first an observatory was created here, and later the library was established in the building (all this was modeled on the Archdiocesan Library of Eger). The library of Batthyány grew from many sources, but the most important among these was the library of Christoph Anton von Migazzi, the bishop of Vác and also the bishop of Vienna. Batthyány bought the 8000 volume library of Migazzi, which included a lot of medieval manuscripts. When established at Gyulafehérvár, the Batthyáneum held about 20.000 volumes - a number which continued to increase throughout the 19th century. In addition to simply being a library, the institution worked as a museum, holding Batthyány's collection of minerals and naturalia, as well as a collection of ecclesiastical art. Finds from the excavations of Gyulafehérvár cathedral carried out by Béla Pósta in the early 20th century are also kept here.

The 20th century history of the library was not free from controversy: some books were sold in the 1930s, but the institution continued too function as a public library even after the Trianon peace treaty awarded Transylvania to Romania. However, in 1949 the collection was nationalized, and later became part of the Romanian National Library. Access to the collections became very limited - a situation which continues to this day. Even though a government decree returned the building and collection of the library to the Roman Catholic Archbishopric of Gyulafehérvár, the Library still functions as part of the state library system, and the court cases going on have so far not clarified the situation.

The library holds today altoghether 927 manuscripts and 565 incunabula, making it the richest collection of this kind of material in all of Romania. The medieval manuscripts are of various origins: Migazzi's library included all kinds of western manuscripts, but Batthyány also bought complete medieval libraries from Hungary, including the holdings of the ecclesiastical libraries of Lőcse (Levoča / Leutschau, Slovakia, see this Hungarian language study with German summary: Eva Selecká Mârza: A középkori Lőcsei Könyvtár, Szeged, 1997.). Several Transylvanian collections were also incorporated into the library, and there are rich holdings of orthodox Romanian manuscripts in the collection. In the framework of a European digitization project, a large number of manuscript are now available in the Manuscriptorium platform. In fact, there is a special section dedicated to manuscripts from the Batthyáneum.

The library holds a large number of first class illuminated manuscripts - many of which can now be consulted online. The following is a selection of a few of the most important of these (providing direct links to pages of this dynamic website is quite complicated. I managed to make direct links to the digital facsimile pages below - but you may start to browse or search from the start page, to get to object descriptions, etc.)

Ms II 1, first part of the Lorsch Gospels (Codex Aureus of Lorsch), from the Palace workshop of Charlemagne, dating  around 810 (on the history of the whole manuscript, see also this overview)










Ms III 87, a nicely illustrated early 15th century Franco-Flemish Book of Hours












Ms II 134, A Missal from Pozsony (Bratislava / Pressburg), dating from 1377, with explicit by Henrik of Csukárd












There is a lot more there - you can start browsing from the start page, Manoscriti qui in theca batthyanyana. Furthermore, you can find some more illuminated manuscripts from the Europeana database - not all of which have been made available in the current digitization effort.