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

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!

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.

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.

A brief introduction to the site on the Pécs portal.

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).

An image gallery on the website of the local online newspaper, showing the site in May 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.

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.

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.

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). 

New medieval art websites VI.

A number of very useful online image databases have been launched recently, dedicated to late medieval / northern Renaissance painting. Also, access to digitized medieval manuscripts is getting more and more easy. Here is a selection - the following descriptions are based on texts given on the websites themselves.

Museum Mayer van den Berg

 Antwerp 

Flemish primitives - This website was created by the association of Flemish art museums, The Flemish Art Collection, and so is a collaborative project of Belgian museums in Antwerp, Ghent and Bruges. The goal is to present a website that is a reference point for the painted arts in the Burgundian Netherlands in the 15th century and early-16th century. Visitors can search paintings from Flemish museums or follow thematic collection presentations. It seems that over 400 paintings are available in the database now - I hope that image management and viewing options will improve later on.

Kunsthistorisches Museum, Vienna 

A lot more information and much more images are provided by the newly launched Cranach Digital Archive (cda). This is "an interdisciplinary collaborative research resource, providing access to art historical, technical and conservation information on paintings by Lucas Cranach (c.1472 - 1553) and his workshop. The repository presently provides information on more than 400 paintings including c.5000 images and documents from 19 partner institutions." The Cranach Digital Archive is a joint initiative of the Stiftung Museum Kunstpalast, Düsseldorf and Cologne Institute of Conservation Sciences / Cologne University of Applied Sciences, with several partner institutions. It is highly recommended (via 1100sor).

University of Pennsylvania 

More and more medieval manuscripts are also being made available online. Last Fall, the University of Pennsylvania finished the digitization of their manuscripts collections, making the books (including over a thousand medieval and renaissance manuscripts) available at the Penn in Hand website. The University of Chicago is providing online access to the Goodspeed manuscript collection, comprising 68 early Greek, Syriac, Ethiopic, Armenian, Arabic, and Latin manuscripts ranging in date from the 5th to the 19th centuries. Yale (Beinecke Library) and Harvard (Houghton Library) have been providing access to their early codices for quite some time now. Meanwhile, it has been announced that the union catalogue of medieval manuscripts in America is returning to the University of California, Berkeley. It is now at the url: http://www.digital-scriptorium.org

Hungarian Academy of Sciences 

While we are on the subject of manuscripts, I would like to call attention to a special resource from Hungary (it is not new, but perhaps not too many people know about it). It is the Kaufmann-collection of medieval Hebrew manuscripts in the Oriental Collection of the Library of the Hungarian Academy of Sciences. The website provides an introductory study on the collector, Dávid Kaufmann and his collection, and the complete facsimile of five manuscripts. All of this is available in Hungarian, English and even Spanish. The manuscripts include the famous Kaufmann-Haggadah, originating from 14th century Catalonia, which has already been published in a print facsimile.

Saint Nicholas Day

St. Nicholas providing dowries at night to the three virgins.  

Panel form the St. Nicholas altar of Jánosrét (Lúčky), c. 1480-90.  

Hungarian National Gallery, Budapest 

This is the central part of the altarpiece, with St. Nicholas in the shrine of the altar. 

Happy Saint Nicholas Day! 

More info here or here

Library of Medieval and Renaissance art in Transylvania

Rather than being a proper post, this is more like a collection of links - links to full-length books on medieval and Renaissance art in Transylvania. New databases, especially the Transylvanian Hungarian database maintained by transindex.ro and the newly opened Transylvanian Digital Database of the Transylvanian Museum Society, have made a number of old and new publications available, which - together with other resources - provide a good overview of art historical research in Transylvania. As most of these publications are in Hungarian, the following links will be mainly of use to my Hungarian readers - but others may find something useful as well (as some publications are in English or German). The focus of these publications is architecture, but a few other things are also available online. I'd be glad to add more resources to these - let me know if you've spotted something relevant!

I. Historical overview

History of Transylvania, ed. by László Makkai and András Mócsy, General Editor: Béla Köpeczi

Volume I. - From the Beginnings to 1606. English edition from 2001.

István Lázár: Transylvania - A Short History. 1997


II. Period of Hungarian Conquest

Gyula László: A honfoglaló magyarok művészete Erdélyben. Kolozsvár, 1943.
Art of the Hungarians at the Conquest period in Transylvania


III. Romanesque architecture

Géza Entz: Erdély építészete a 11-13. században. Kolozsvár, 1994.
Monograph and database on architecture in Transylvania in the 11-13th centuries.

Géza Entz: A gyulafehérvári székesegyház. Budapest, 1958
Monograph on the cathedral of Gyulafehérvár (Alba Iulia).

Daniela Marcu Istrate: A gyulafehérvári római katolikus székesegyház és püspöki palota régészeti kutatása (2000-2002). Budapest, 2008. 

Monograph on archaeological research at Gyulafehérvár.

Erdély ezeréves püspöksége. A gyulafehérvári Szent Mihály székesegyház és érseki palota régészeti kutatása 2000-2008. Budapest, 2010
Overview of recent research at Gyulafehérvár.

IV. Gothic architecture

Géza Entz: Erdély építészete a 14–16. században. Kolozsvár, 1996.
Monograph and database on architecture in Transylvania in the 14-16th centuries.

Ferenc Lestyán: Megszentelt kövek - A középkori erdélyi püspökség templomai. Budapest, 2000.

Database of medieval churches in Transylvania.

Victor Roth: Beiträge zur Kunstgeschichte Siebenbürgens, 1914

Edit Grandpierre: A kolozsvári Szent Mihály templom története és építészete. Kolozsvár, 1936.
Study on St. Michael's church in Kolozsvár (Cluj).

Géza Entz: Dési református templom (link 2). Kolozsvár, 1942.
The church of Dés (Dej).

Géza Entz: Szolnok-Doboka középkori műemlékei (link 2). Kolozsvár, 1943.

Medieval monuments in Szolnok-Doboka county.

Géza Entz: A középkori székely művészet kérdései (link 2). Kolozsvár, 1943.

Study on medieval art in the Szekler territories. 

József K. Sebestyén: A középkori nyugati műveltség legkeletibb határai (link 2). Kolozsvár, 1929.

Study on medieval art in the Szekler territories. 

József Köpeczi Sebestyén: A brassai fekete templom Mátyás-kori címerei. Kolozsvár, 1927.

Coat of arms at the Black Church of Brassó (Brasov).

László Dávid: A középkori Udvarhelyszék művészeti emlékei. Bukarest, 1981.

Monograph on medieval monuments of Udvarhely county.

András Sófalvi: Székelyföld középkori várai. In: Castrum 3, 2006.

Study on medieval castles in the Szekler territories.

Reims, Naumburg - and Hungary?

This week an international art history conference is commencing in Naumburg, in conjunction with a major exhibition dedicated to the Naumburg Master. The exhibition - which is still on view until the beginning of November - is accompanied by a monumental catalogue, published in two volumes, and in over 1500 pages. Titled “The Naumburg Master - Sculptor and Architect in the Europe of Cathedrals“, the Saxony-Anhalt State Exhibition focuses on "the sculptors and stonemasons associated with the name “Naumburg Master“ [who] had an outstanding reputation throughout medieval Europe." The main topic of the catalogue is the French origin of the so-called Naumburg Master, with special emphasis on the impact of the Reims cathedral workshop on Central Europe (there is an entire chapter dedicated to the effects of Reims, with 9 studies - see the contents here). This is not a review, and the following is only based on a cursory study of the book. 

I think that a broader examination of direct connections of Central European artistic centers with the main sites of High Gothic art in France would have been necessary. In this context I definitely would have liked to see at least a few passages about medieval Hungary. Due to dynastic, personal and other, as yet untraced connections, a number of Hungarian monuments from the 1220s and 1230s are directly connected to the most fashionable monuments of French High Gothic. A few examples: in the early Gothic Cistercian Abbey church of Pilis, the tomb of Queen Gertrude (killed in 1213) was erected in the 1220s by a master hailing from Chartres or Reims. The tomb is one of the earliest examples anywhere of the combination of the Roman type sarcophagus and the medieval gisant. Another tombstone from Pilis, this time of a knight, gives the impression of being a two-dimensional, drawn version of the most fashionable High Gothic statues at Chartres. At about the same time, Villard de Honnecourt was also in Hungary (and likely at Pilis), coming directly from Reims - but it is not known what exactly he did here.

Pannonhalma, Porta Speciosa
Detail from the archivolt

Furthermore, the final section of the Benedictine Abbey church of Pannonhalma, consecrated in 1224, would have been unimaginable without the cooperation of builders and stone carvers trained in Champagne (Reims). The Porta Speciosa there (also completed by 1224) was also carved by this group of masters coming from Reims. The masters who worked on the vaulting of the nave as well as the building of the southern wall and portal must have been in residence in Hungary at the same time as their compatriots were working on the Capella Speciosa in Klosterneuburg.

Other churches of that exact period, such as the Church of St Stephen protomartyr in Esztergom or the Cathedral of Kalocsa also followed French Gothic prototypes. Now, much of this is largely destroyed (except for Pannonhalma) - but stone carvings, statue fragments survive in large number. Much of this material has been published extensively in German, English and French, in international catalogues and journals, as well as in many Hungarian publications. Authors such as Ernő Marosi, Imre Takács and Tibor Rostás wrote extensively on the “French connection”.

Leaf from Hungarian Angevin Legendary on view at the Louvre

Leaf from the Hungarian Angevin Legendary
Louvre, Paris

This summer, from July 7, 2011 until October 10, 2011, the Louvre is showing its Medieval and Renaissance Illuminations in an exhibition featuring seventy Italian, French, Flemish, and Germanic manuscript pages from historical, literary, or liturgical manuscripts. As the homepage of the exhibition states, "the Louvre’s collection of illuminations remains little known, despite the famous masterpieces it comprises. The publication of the collection’s catalogue raisonné is an opportunity to discover these exquisite works." 

You can read more about the exhibition at the narthex.fr website, as the Louvre itself does not provide a lot of information. I realized therefore from a recent article in the International Herald Tribune that a very important manuscript leaf with Hungarian connections, a leaf from the Hungarian Angevin Legendary is also on view (Département des Arts Graphiques, RF 29940). The page shows four scenes from the life of St. Francis, and can be seen here to the left (photo source: RMN).

The Hungarian Angevin Legendary is the most important 14th-century Bolognese manuscript made for Hungarian royal patrons.This lavishly illustrated picture-book of the lives of the saints contains four miniatures on each of its pages, accompanied by one-line text labels. The majority of the dismantled manuscript is preserved in the Vatican Library, but there are leaves from it in a number of other collections, most notably at the Morgan Library in New York. As of today, altogether 142 leaves from the Legendary (some of them fragmentary) are known in six different collections of the world. I am providing direct links to photos and descriptions of some of these page on my website about Medieval Hungary. It is possible that some other fragments will come to light, as the original number of folios is estimated at 176. The 549 surviving little pictures contain parts from the legends of altogether sixty-three saints, plus from the life of Christ and the Virgin Mary. The quality of its execution and its sheer size indicate that the manuscript must have been a royal commission, and its iconography – rich in Hungarian and Angevin saints – suggests it was created for the court of the Hungarian Angevin kings. According to earlier opinions, the codex could have been ordered by Charles I, king of Hungary (1307-1342), for his son, Andrew educated in Naples, or for his own library. This somewhat romantic notion, based on the naive theory that medieval picture-books were meant for children, has recently been called into question (see the study of Béla Zsolt Szakács: "The Holy Father and the Devils, or Could the Hungarian Angevin Legendary Have Been Ordered for a Pope?," In: ... The Man of Many Devices, Who Wandered Full Many Ways ... Festschrift in Honor of János M. Bak. Ed. by Balázs Nagy and Marcell Sebők. Budapest: CEU Press, 1999, 52-60.), but no new proposal has yet been generally accepted. With regards to its style, the research of Meta Harrsen, Robert Gibbs and others have clarified its connections with the Nekcsei-Bible (on which you can read my recent study, which I made available through Academia.edu), and thus with the circle of the Master of 1328. However, Tuscan, South-Italian and unidentified features are also present in the manuscript's style, and its iconography shows deep Hungarian influence; thus, the place of its creation might have been in Hungary. The dating of the codex, based on these hypotheses and stylistic examination, can be put between 1328 and 1345.

The leaf in the Louvre was first published in detail by Gyöngyi Török ("Problems of the Hungarian Angevin Legendary: a new folio in the Louvre," In: Arte cristiana vol. 89 (2001), 417-426), who also wrote on it in the new catalogue. A Hungarian version of her study is available here. Those with JSTOR access can read another study by Gyöngyi Török ("Neue Folii aus dem 'Ungarischen Anjou-Legendarium,'" In: Zeitschrift für Kunstgeschichte vol. 55. (1992), 565-577). Another study on a leaf at Berkeley is also available online (Julia Bader - George Starr: "A Saint in the Family: A Leaf of the "Hungarian Anjou Legendary" at Berkeley," In: Hungarian Studies vol. 2 (1986), 3-12). Pages from the manuscript were last on display at The Morgan Library and Museum, in 2009. Another leaf from the legend of St. Francis is at the Metropolitan Museum of New York.

Medieval seal matrix of Nagybánya stolen

After some good news reported yesterday, today I have something sad to write on. As reported by Hungarian and Romanian press alike, the seal matrix of the town of Nagybánya has gone missing some time in late July. (Nagybánya was known as Asszonypataka or  Neustadt in the Middle Ages, and was one of the most important mining towns in Szatmár county. The town is today called Baia Mare, and is the seat of Maramures county of Romania). The seal matrix was stolen from a glass showcase in the County Historical and Archaeological Museum of Maramures County. The theft was announced on August 2nd.

The octagonal silver seal matrix of Nagybánya is one of the celebrated miniature masterpieces of 14th century Hungarian goldsmith work. It can be dated to the 1360s, and was probably made in a royal workshop. King Louis the Great (1342-1382) has given several privileges to the emerging mining town, and supported construction of its great parish church, dedicated to St. Stephen. The seal shows a seated king atop a hill - likely St. Stephen, with two miners working below. The inscription on the perimeter reads: S[igilium] d[e] R[ivulo] D[ominarum], Mutuus amor civiu[m] optimu[m] e[st] civitatis firmamentu[m] (roughly: 'The mutual love of citizens is the best foundation of the city').

The original seal matrix and a modern cast on display at Baia Mare

After missing for centuries, the seal matrix was found in a vineyard in 1904. It was put on display in the history museum in 2004. Hopefully it will be recovered soon.

Read more: news report in Romanian and in Hungarian.

Most recent overview of the medieval architecture and sculpture of Nagybánya - in particular an overview of the church of St. Stephen - is available in a new volume about medieval Szatmár county, available in full text in Hungarian and Romanian. Look for the studies of Szilárd Papp and Veronika Csikós. 

First publications on the murals of the parish church of Pest

The 14th century fresco of the Virgin of Child, discovered last year in the sanctuary of the Inner City Parish Church of Pest (in downtown Budapest) created quite a stir. I suppose it always creates some stir when a a fresco appears older than the wall it is painted on. The sanctuary of the parish church of Pest has always been dated to around 1400, while the fresco clearly dates from  some time in the 14th century. This then of course calls for a re-evaluation of the construction history of the church, something which is quite hard to do without more extensive on-site research. Already, debate is raging on concerning the date of the newly discovered frescoes (also, some questions have been raised about the restoration as well). A detailed examination of the building and all its fresco decoration, however, is yet to be carried out.

The Hungarian journal Műemlékvédelem published several articles on the building, summarizing the results of previous art historical and architectural research, also publishing restorer Éva Derdák's overview of the uncovering and restoration of the mural (Műemlékvédelem, vol. LIV, 2010/6). The journal is not available online, but you can see the contents of the issue here. Tünde Wehli wrote an article for the journal on the newly discovered frescoes. After briefly describing the frescoes, she proceeds to bring analogies to the image of the Madonna. Most of these come from the north of the Alps, from France and Central Europe (esp. Bohemia), although Wehli acknowledges the Italian origins of several motifs of the fresco (such as the shape of the throne). In the conclusion of her article, Tünde Wehli dates the fresco to the last quarter of the 14th century - a date which requires a relatively modest modification in the building's chronology.

More recently, Mária Prokopp also wrote on the frescoes. She is a noted expert of the Italian connections of Hungarian medieval painting (I wrote on her theory of Botticelli in Esztergom). Her article was published in Múzeumcafé, which is a flashy magazine about museums, and is not really known for serious studies on medieval art. Prokopp's article can be read in the online version of Múzeumcafé vol. 5, 23 (2011 június/július), and also here. A somewhat more detailed version of Prokopp's article is available in the journal Magyar Sion (2010/2, full text available here). Prokopp's study also appeared in the journal of the Budapest History Museum (Tanulmányok Budapest Múltjából 36, 2010),  in what can be considered as its definitive version to this date. A pdf-version of the Hungarian-language article is available here; there is a brief German summary at the end. Prokopp cites mainly Italian analogies from the beginning of the Trecento, and thus dates the fresco of the Virgin and child to around 1320-1340 (the fresco of the bishop she considers even earlier, from the end of the 13th century). In explaining the significance of the frescoes, she analyses the historical importance of the church as well.

I've had no time to write anything more than some blog-length pieces on the fresco so far. My brief report on the find (essentially the same as my first two blog entries - see part I and part II) was summarized for the newsletter of the International Center of Medieval Art (April 2011 issue), while my report on Hungarian azurite was picked up by National Geographic Hungary (May 2011). Hopefully I'll get to write more about it soon!

Exhibitions on Medieval Fashion

Two different exhibitions, both dedicated to medieval fashion are open at the same time: one at the West Coast of America, the other one at the East Coast. First to open was the exhibition at the Morgan Library and Museum in New York City. Titled Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands, the exhibition is on view from May 20 through September 4, 2011. Its curator is Roger S. Wieck, Curator of Medieval and Renaissance Manuscripts at the Morgan Library. The exhibition coincides with the publication of Anne H. van Buren's long-awaited monograph on the subject. The book is "the first comprehensive history of fashion to be based exclusively on firmly dated or datable art. Drawing mainly upon illuminated manuscripts, this book also features panel painting, tapestry, sculpture, and early printed books produced in France and the duchy of Burgundy during the late medieval period – a time of rapid change in dress."


The website of the exhibition provides and online tour of the manuscripts on view. You can read about the exhibition in The Art Newspaper or on the Medievalists.net website.

From May 31–August 14, 2011, the exhibition Fashion in the Middles Ages is on view at the Getty Center in Los Angeles. The exhibition was co-curated by Kristen Collins, associate curator of manuscripts at the J. Paul Getty Museum, and Margaret Scott, scholar of medieval fashion and author of the accompanying exhibition publication. You can read more about the exhibition in the press release of the Getty Museum, and you can also download an exhibition checklist (pdf).

The Medievalist.net website also reported on the exhibition.

If you can't get to the US this summer, you can also see fashion in medieval manuscripts in Paris. The gallery Les Enluminures also opened an exhibition on fashion in its Paris space in the Louvre des Antiquaires. Approximately 35 works of art are featured in “Dressing Up and Dressing Down in the Middle Ages and Renaissance: Costume in Art,” from May 5 to August 25. Organized by gallery owner Sandra Hindman, the exhibition is accompanied by an online catalogue (pdf). You can get more information on this project from this video. This being a commercial gallery - you can even buy the artworks on display!

The Route of Medieval Churches in Szatmár county

Csengersima,  parish church 

A major research project, aimed at surveying and documenting the churches of medieval Szatmár country, was completed last week, and its results are now largely available on the web. As the territory of medieval Szatmár country is today divided between Romania and Hungary, the research project was a joint Hungarian-Romanian one, funded by the EU. The project documented a large number of medieval churches, including some only known from excavations. The area preserved some important medieval buildings, such as the Romanesque basilica of Ákos (Acâş), but most surviving buildings are small medieval parish churches.

The project consists of the following main elements: Mapping out a thematic route of medieval churches in the Hungarian-Romanian border area (in historic Szatmár county), which is the first common thematic route of Szabolcs-Szatmár-Bereg and Satu Mare counties. This route is supported by very useful and informative material: maps, brochures and on-site information. The route includes 30 medieval churches - 20 of them located in the Hungarian county of Szabolcs-Szatmár-Bereg, while another 10 in the Romanian country of Satu Mare. 

A brand new website was also developed, which contains all the necessary information about the route and the churches. This website is available in Hungarian, Romanian and English versions. English readers should maybe start on this page. The website - even though the English-language texts are only summaries of the Hungarian versions - provides ample information in English on the medieval buildings of the region, and is thus highly recommended.

Csenger, parish church 

The Tale of Two Lovers and an Unknown Image of Emperor Sigismund

Pisanello: Portrait of Emperor Sigismund, 1431-33 

Paris, Musée du Louvre

Emperor Sigismund was one of the most frequently depicted historical personalities of the 15th century. His real and disguised portraits can be found in countless panel paintings, frescoes and miniatures. Entire volumes - such as the Chronicle of the Council of Constance by Ulrich Richental or the Recollections of Eberhard Windecke - are filled with images of Sigismund. You can browse some of these portraits on the website of the 2006 exhibition on King and Emperor Sigismund. Despite this wealth of images from every part of the Holy Roman Empire from Siena to Görlitz, it seems that French and Netherlandish illuminators of the second half of the 15th century really had no clue as to what Sigismund looked like. He is often depicted in historical manuscripts, especially in images of the disastrous Battle of Nicopolis (1396). See, for example the lavishly illustrated copy of Sebastien Mamerot's Chronicle of the Crusades, Les Passages d'Outremer, completed by Jean Colombe around 1474, and held at the Bibliotheque nationale de France and recently issued in a facsimile. 

A particularly amusing example in this respect is the so-called Pageants of Richard Beauchamp, Earl of Warwick, which can be studied in this 1908 edition. Completed in 1485, this manuscript is the only illustrated biography of a late medieval secular figure, and features the Earl's various encounters with rulers, including Sigismund. Pageant 35 (on page 138 of the Roxburghe Club facsimile) for example shows the Earl and Sigismund exchanging gifts, and Sigismund is depicted as a fairly young, beardless figure, with a fancy three-tiered crown (see below). More information on this manuscript is available on the website of the British Library.

The visit of Sigismund to England
The Beauchamp Pageants, 1485
London, British Library

I went through a lot of effort to gather such images for the 2006 Sigismund exhibition and its catalogue, but no doubt several manuscripts escaped my attention. I would like to mention just one of these, which is currently on view at the Getty Center's exhibition on Fashion in the Middle Ages. The book is a French manuscript from around 1460-1470, containing the popular Tale of Two Lovers by Aeneas Sylvius Piccolomini (a story he wrote in 1444, obviously before he became Pope Pius II). The story of the two adulterous lovers is set in Siena, at the time of Emperor Sigismund's visit and lengthy stay there on his way to his imperial coronation in Rome (1432). The story is dedicated to Kaspar Schlick, imperial chancellor of Emperor Sigismund (and later of Emperor Frederick III), who is also the main character - Euryalus - of Aeneas’ tale.

You can read an English translation of the entire story on this website; I am quoting the beginning of the story from there, too: