The Age of the Árpád Dynasty - The missed opportunity of the Székesfehérvár exhibition

The year 2022 marks the 800th anniversary of the issuance of the Golden Bull by King Andrew II.  Issued at the 1222 Diet held at Fehérvár, the Golden Bull is one of the cornerstones of the medieval Hungarian constitutional system and its anniversary created a perfect opportunity to organize a major exhibition dedicated to Hungary's first ruling house, the Árpád Dynasty. Such an exhibition has been planned for at least a decade and curators at the Hungarian National Museum have prepared a proposal for a major exhibition with international loans. In 2017 government support came, along with the decision that the exhibition should be held at Székesfehérvár, to mark the anniversary of the Golden Bull and to inaugurate a newly renovated museum building belonging to the King Saint Stephen Museum. Curators were appointed from both institutions and the long work of securing loans and preparing a catalog was began. At the beginning of 2019 a new government-funded institution, the Institute of Hungarian Research started its operations. The Minister of Human Resources (in charge of cultural affairs) delegated this Institute to the consortium preparing the exhibition. Work continued and the scheduled date of opening was nearing - although the renovation of the Székesfehérvár museum building was not yet completed.

Installation view

Then late in December of 2021, Miklós Kásler, Minister of Human Resources - in agreement with the newly appointed director of the Hungarian National Museum, László L. Simon - announced in an email that the appointment of the curators (Etele Kiss, Ágnes Ritoók, and Erika Simonyi of the Hungarian National Museum) is being withdrawn, and Miklós Makoldi of the Institute of Hungarian Research is appointed as the new curator of the exhibition. Making such a move three months before the opening of a major exhibition is quite surprising even in Hungary and naturally, a scandal broke out. Given the fact that Miklós Makoldi, an archeologist without a doctorate and any relevant museum-related expertise was about to take over the results of three years of work by a team of experienced museum curators, many scholars decided that they no longer wish to participate in such a project. In the end, 25 scholars signed an open letter, withdrawing their contributions from the catalog of the exhibition (which was already nearing completion). In this situation, many people doubted that the exhibition could be opened at all. In the end, the exhibition - titled Kings and Saints, The Era of the Árpád Dynasty - opened on March 18, 2022, in a former monastery turned into a museum at Székesfehérvár. Due to the circumstances, however, the result amounts to a monumental missed opportunity.

The Monomachos Crown (Hungarian National Museum)

Let me explain in detail. Makoldi, the new curator of the exhibition, had no chance or time to change the concept of the exhibition. He only modified three rooms of the exhibition, mainly to remove references to the non-Hungarian population of medieval Hungary (including Carolingians and Slavs from the first section dealing with the Hungarian conquest and a chapter about Muslims, Jews, and various Eastern nomadic people living in the Kingdom of Hungary). You can read the explanation of the Institute and see for yourself. In any case, the new curator worked with the original synopsis and object list - taking over other people's work, if you will. However, the original concept could not be realized. Several important loans did not make it to Székesfehérvár (the Cross of Adelheid from Lavantall is one such object mentioned in the press, but there are many others). It is hard to tell what role the scandal played in the case of missing loans - I think the venue in Székesfehérvár may also have played a role in this. Not the address itself, but the fact that the museum building in Székesfehérvár was completed just a few weeks before the opening of the exhibition, so lenders could not verify that it is up to international standards needed for sensitive objects. 

Lehel's horn from Jászberény

Enklopion from Maastricht

The exhibition mounted with the remaining objects still contains many highlights and presents a good overview of Árpád-age Hungary. According to the original concept, the objects are arranged in 17 sections, ranging from the period of the Hungarian Conquest to an overview of saints from the Árpád Dynasty. The website of the exhibition (a work in progress at the time of writing) lists the chapters. Many of the highlights - the Monomachos Crown, the crown with lilies from Margaret Island, or some stone carvings - come from the Hungarian National Museum. There are important objects from Székesfehérvár and other Hungarian museums (such as the Lehel's horn/olifant from Jászberény).  A number of recent archaeological finds - such as a reliquary and other finds from Pétermonostora - are on view. There are numerous foreign loans as well: the sword of Saint Stephen from Prague, stone carvings from former monasteries now located in Serbia or Romania, important manuscripts from various libraries, a flag with the double-cross of the Árpád Dynasty from Bern, or even the tombstone of the Blessed Elisabeth of Töss, daughter of King Andrew III (from the Landesmuseum in Zürich). True highlights, such as the 12th century double cross in the Dommuseum of Salzburg and especially the highly sophisticated 13th-century court goldsmith works (the Zaviš-cross, the cross made from diadems in Cracow or the Bern (Königsfelden) diptych) are sadly missing from the exhibition. Granted, such loans are extremely hard to secure and not all of these objects were even envisioned in the original scenario of the exhibition - but such an exhibition is a one-time chance in a generation and this chance was sadly missed. 

A display of stone carvings

The exhibition also does not take advantage of being in Székesfehérvár. Although there are references to the royal basilica dedicated to the Virgin - the coronation church and most important burial place of Hungarian kings - the actual site of the church was closed at the time of my visit (although supposedly it is open daily from April 1st). The highly important Árpád-period stone carvings from this church remain largely inaccessible - a museum scheduled to become their new home will open only by the end of the year.

 

Finds from Pétermonostora

Moreover, it is obvious that the new curator and his team scrambled to put the exhibition together in the three months at their disposal. As there is no list of the exhibition team, it is hard to tell who did what, but two weeks after the opening day, the exhibition looked half-finished. All the rooms are darkly lit (even rooms with stone carvings and goldsmith objects), the object labels are quite impossible to read and some of them are even missing. Some key objects are placed in dark corners or close to the floor, or at the back of large showcases. The larger exhibition graphics are unnecessary and badly designed in general: a section of the Bayeaux tapestry stands in to illustrate 11th-century battles in Hungary, the Legend of Saint Ladislas from the Hungarian Angevin Legendary was adapted to a graphic of a fake medieval stained glass window series, some kings lifted from the 14th-century Illuminated Chronicle are mislabeled, etc. There is no explanation for the complete lack of any information in English in the exhibition. There are some interactive video screens - but no new content was developed for them, they simply show films recycled from other venues and exhibitions. Of course, there is no catalog in any language or any publication whatsoever, due to the lack of authors (see above). All this makes it impossible to reach any kind of international impact with the exhibition All this despite the 506 million HUF (about 1,3 million euros) budget from government support dedicated to the exhibition. A missed opportunity, indeed.

13th-century crown from Margaret Island, HNM

Despite these significant shortcomings, do visit the exhibition if you get a chance. Objects that are otherwise hard to see and some highlights are definitely worth a visit. The original concept of the exhibition can still be followed (as long as you read Hungarian...) and Székesfehérvár is only about 45 minutes from Budapest by train. The exhibition will be on view until June 15, 2022.

Fragments from the tomb of Queen Gertrude, from Pilis Abbey

14th-century reliquary of St. Stephen from Aachen

(photos my own, taken with permission)

In memoriam László Beke (1944-2022)

László Beke (1944-2022)

On January 31, 2022, art historian László Beke passed away in Budapest. He was 78 years old. He was one of the most well-known figures of Hungarian art history in recent decades and he was primarily known for his research of 20th-century art. As chief curator of the Modern Department at the Hungarian National Gallery (1988-1995) and as director of the Műcsarnok (Kunsthalle, 1995-2000), he was instrumental in making Hungarian conceptual art and neo-avantgarde known to the wider public. From the beginning of his career in 1968, Beke was actually a key figure in the Hungarian contemporary art world, much of which verged on illegality. As participant, organizer, and researcher of this period, he left behind a very significant body of work. For the general public, he is most well-known for one of his early publications (apart from his directorial positions): In 1985, he wrote a high-school textbook on art history, which remained in use for decades. Titled Analyzing artworks, it shaped the early approach to art objects for a generation. 

However, László Beke started his career as a medieval art historian: he wrote his MA thesis on the gold background ornaments of medieval panel paintings and then - encouraged by Éva Kovács - he started researching medieval goldsmith works. His 1976 dissertation on filigree enamels was published in 1980 by the Art History Research Group (later Institute) of the Hungarian Academy of Sciences - the institute where Beke worked from 1969 to 1988 and where he later served as director between 2000-2011. László Beke also participated in the 1987 exhibition on King and Emperor Sigismund, being one of the editors of the two-volume catalogue. He was also one of the editors of the English-language Festschrift in honour of Ernő Marosi, published in 2010 on Hungarian medieval art and titled Bonum ut pulchrum.

The 1980 publication on filigree enamel decoration (Sodronyzománcos ötvösművek) traces the history and origin of this decorative technique, which became particularly popular in 15th century Hungary. The work includes a complete catalogue of medieval goldsmith objects with filigree enamel decoration and remains the most complete survey of this material, which makes it invaluable to this day. Despite its very average print quality (resembling a photocopied thesis) the 173 black and white reproductions are also unsurpassed regarding this topic.

Filigree enamel decoration on the foot of the Suki-chalice, c. 1437 (Esztergom, Cathedral Treasury)

The career of László Beke was summarized by Ernő Marosi in 2014, on the occasion of his seventieth birthday (Ernő Marosi: László Beke turns seventy. Acta Historiae Artium 55, 2014). Those of you reading Hungarian can also read an interview with Beke in MúzeumCafé (31, 2012). Beke's inquisitive mind made him a great company at conferences, exhibition openings, excursions, and any other art historical events. I remember fondly our conversations over the last few decades. He will be greatly missed.

László Beke with Jaynie Anderson at the 2007 CIHA Conference in Budapest, at the Museum of Applied Arts

An Overview of the Excavations of Pétermonostora near Bugac

Detail of one of the reliquary plaques

It is well-known that the majority of the medieval monuments of the Hungarian Great Plains had been destroyed, primarily during the Ottoman Period. However, the territory had already suffered a major trauma before that: the Mongol invasion of 1241. Already at that time, entire settlements were destroyed and many of these locations were never rebuilt in later centuries. One such place was the medieval town of Péteri. The town was located near present-day Bugac, just south of Kecskemét, on the Kiskunság plains between the Danube at Tisza rivers. It was established possibly as a royal foundation in 1050 and developed quickly during the next two centuries. Around 1130-1140, members of the Becse-Gergely clan established a monastery there, which likely contributed to the development of the town. Pétermonostora was first mentioned in 1219. In the Spring of 1241, the town was overrun by the Mongols of Batu Khan and the site seems to have been abandoned after that. Recent excavations have brought to light evidence of the massacre of the town's population. Sometime after the Mongol invasion, Cumans were settled in the area - who used the ruins as a convenient quarry.

The site of the monastery

Excavations of the area lead by Szabolcs Rosta since 2011 have brought to light the remains of the medieval monastery of Péteri or Pétermonostora. A large, three-aisled basilica was discovered here, along with various monastery buildings. Remarkably, the ruins preserved a large number of important liturgical objects from the church. Along with the ongoing excavations of the nearby cemetery and the remains of the town itself, Péteri by now has become an extraordinarily rich source of Árpád-period material objects. The most famous objects come from the monastery church itself: among several smaller enamel reliefs from Limoges, the most important finds are two enamel plaques, which originally must have decorated a reliquary. Based on its iconography - the scenes show the Washing of the Feet, Christ talking to St. Peter, and the Ascension of Christ - the reliquary must have preserved the relics of the patron saint of the church, St. Peter. The enamel plaques were made in the Rhine region, around 1180. They are kept at the Katona József Museum in Kecskemét, and an interactive feature developed by Pazirik Ltd. gives a very useful overview of them.

Enamel plaques from Pétermonostora

Another extraordinary find came to light in 2018: it is a book cover made of bone, with figures of the evangelists and inlaid rock crystal decoration. Here are some pictures, along with some other pieces from several hundred finds:

 

Excavations of the medieval town of Péteri and its monastery dedicated to St. Peter will likely continue in the coming years and will undoubtedly shed more light on the flourishing life of the Hungarian Great Plains in the decades before the Mongol invasion. To get more information on the site, have a look at this study of Szabolcs Rosta or this very useful 2017 overview by Edit Sárosi or watch a short film focusing on the site and on the restoration of the reliquary plaques (2020, in Hungarian). Pétermonostora is part of the Central European Via Benedictina network.

Grammar and Grace - Exhibition on the Reformation at the Hungarian National Museum

Perhaps the most important event of the 500th anniversary of the Reformation is the major exhibition organized by the Hungarian National Museum, titled Grammar and Grace - 500 Years of Reformation. The exhibition, which will be on view until November 5, 2017, offers a look at the ever-changing, complex relations of the Hungarian Reformation, and includes a series of unequaled treasures. The exhibition was brought to the audience by the exemplary collaboration of museums, collections and parishes in and out of Hungary, and its co-curators represent the most important ecclesiastical collections in the country. 

While the topic of the exhibition is post-medieval, the exhibition itself provides a wide range of medieval objects as well. This is partly because the narrative focuses more on continuity and connections rather than on radical breaks and destruction. Thus topics of the exhibition include the survival and reuse of medieval liturgical objects in a Protestant context, as well as the transformation of some pre-reformation artworks for later use.

The introductory part of the exhibition specifically focuses on medieval art: it provides an overview of European religious beliefs and practices of the late 15th century, so the eve of the Reformation (see image on the right). As explained in the overview of the exhibition, "Europe in the 15th century was bursting with anticipation, fear and hope. The plague epidemics – the evil feasting in the world – decimating the secular society and the church alike, the evil feasting in the world made the majority of the Christian community find new ideas to follow. Searching for salvation created forms of piety never seen before and launched new social-spiritual movements. Prophets popped up everywhere preaching about the end of the world closing in, encouraging conversion and purification of the church and declining the practice of paying money instead of acting in the right Christian way." This is illustrated in the exhibition with a series of late medieval altarpieces, statues, devotional books and prints and other objects.

Following the introduction, the exhibition surveys the appearance and rapid spread of the Reformation in Central Europe, specifically in Hungary. The theses of Luther made it to Hungary and to the royal court in Buda itself as early as the 1520s by merchants, German noblemen and Humanists. The Kingdom of Hungary fell at the Battle of Mohács in 1526, and starting from the 1530s Protestant preachers had been wandering about in the country, and new churches and religious communities came into life. By the second half of the 16th century the country was lost in the political sense due to the Turkish occupation and being torn into three parts. The permanent and threatening presence of the Turkish power, the cooperation they forced with Hungarians in the occupied regions and the power vacuum all led to an unprecedented level of freedom of speech and religion resulting in the Carpathian Basin turning into the most diverse parts of Europe in terms of denominations. The exhibition surveys these historical developments, focusing on different Protestant churches, and also chronicling religious debates and conflicts. Later parts of the exhibition tell about the role of Protestant churches in various communities: in cities, smaller towns and villages, and also focus on the role of these churches in the cultural life of Hungary. 

Loans from all over the Carpathian basin, as well as from western Europe result in one of the largest historical art exhibitions of recent year, the organization of which was no small feat for the National Museum and for its chief curator, Erika Kiss. Just as units of the exhibition focus on community and cooperation, the exhibition itself is the result of the cooperation of curators and collections. A lot of objects come from the National Museum itself, and the Széchenyi National Library was also one of the major lenders, but there are objects from about 100 lenders in the exhibition. This includes ecclesiastical collections (the National Lutheran Museum in Budapest, the Ráday Collection of the Calvinist Church), the Hungarian Academy of Sciences, the Museum of Fine Arts and the National Gallery, the Museum of Applied Arts and many others. In addition, several small ecclesiastical collections and church communities have lent their treasures, many of which have not been exhibited in decades. It is a carefully organized, beautifully installed and very interesting exhibition. It was designed by Tibor Somlai, who has already proved his talent with several other major exhibition designs.

Ostrich egg cup of Christopher Báthory at the Ashmolean Museum - Updated

The Ashmolean Museum in Oxford has recently called attention to a magnificent ostrich egg cup on Twitter:

#WorldEggDay Silver gilt cup & cover enclosing an ostrich-egg, 46cm tall, made for the prince of Transylvania c. 1576 pic.twitter.com/6Y6ZbA0oem

— Ashmolean Museum (@AshmoleanMuseum) October 9, 2015

The object is part of the Wellby bequest, which entered the Ashmolean collections in 2012, and has recently been put on a new, permanent display. The objects can be browsed on the website of the museum, where the following information is given about the ostrich egg cup:

"Silver gilt cup and cover enclosing an ostrich-egg. The body has embossed and enamelled decoration in red, blue, green and white, three vertical straps, surmounted by masks. The cover has three pierced straps enamelled decoration with crosses and fleur-des-lys. The finial is an ostrich-egg holding up a shield with a crowned coat of arms [...] Made for the prince (waivoda) of Transylvania, a member of the Habsburg family, who ruled as a vassel of the Ottoman Empire. The inside of the egg has silver-gilt meticulously decorated with intersecting curving lines. The egg has been replaced or stripped."

The website also gives the insciption around the coat of arms on top of the lid of the cup:
CHRIST BATHORY WAIVODAE. TRANSYLVANIAE. COMITIS SICULORUM 1576

This inscription enables us to identify the owner of the cup more precisely: it was not made for the Prince of Transylvania - who in 1576 was Stephen Báthory - but for his brother, Cristopher (Krisfóf) Báthory. 

Stephen Báthory, Prince of Transylvania and King of Poland
 (Giulio Ricci, 1586 - Museum of Applied Arts, Budapest)

Christopher Báthory

Hungarian Treasure on view at the Metropolitan Museum

Chalice, 1462, Inv. 2010.109.6

As reported earlier on this blog, The Metropolitan Museum of Art has recently purchased the best objects from the collection of the late Nicholas M. Salgo. The collection includes two late medieval chalices, likely made in Hungary, as well as a large amount of goldsmith works from the 16-18th centuries, and originating from Hungary as well as from the Principality of Transylvania. From April 6th until late October 2015, the collection is on view in the decorative arts galleries of the Metropolitan Museum (just in front of the Robert Lehman Wing).

This is the information from the website of the Museum: 

"Nicolas M. Salgo (1914–2005), a Hungarian native and former United States ambassador to Budapest, was fascinated by the art of the goldsmith in Hungarian culture and formed his own "treasury" by collecting pieces that are individual and unique. This exhibition will celebrate the gift to the Metropolitan Museum of the major part of the silver collection assembled by this focused collector over three decades.

This large collection of silver—about 120 pieces, most dating from the fifteenth to the late eighteenth century—comprises a variety of types with especially refined appearance and high levels of craftsmanship, representing Hungarian silver at its best. The earliest works in the Salgo Collection are two rare medieval chalices ornamented with colorful filigree enamel. The intriguing shapes, inventive decoration, and historical importance of the objects—products of once-prosperous local aristocratic dynasties—make this ensemble exceptional. As a result of this generous gift, the Metropolitan Museum is now the only museum outside Hungary to possess such an array of sumptuous goldsmiths' work from the region."

The collection database of the Metropolitan Museum includes more detailed information on all the objects, as well as a large selection of photographs. You can get to this material via these links: link1 and link2.

Hexagonal dish, 1696, Inv. 2010.110.42

Let me end this post with a personal note. My family on my father's side originates from the town of Brassó in Transylvania (known as Kronstadt in German, now Brasov in Romania). It is recorded that some of my ancestors were goldsmiths - as commemorated for example in a poem by my great-grandfather, Lajos Áprily (Jékely) (you can read it here in Hungarian). Well, the Salgó collection includes a very nice beaker from the early 17th century, made by Jeremias Jekel, goldsmith in Brassó, who died in 1676 - and was thus maybe a distant ancestor of my family. 

Beaker, c. 1600, Inv. 2010.110.32

Medieval news update

During the last five years, I wrote on various subjects on this blog, including the discoveries of treasure hoards and wall paintings, interesting exhibitions and new publications, museum collections and organizational changes and many others. The beginning of a new year seems like a good time to re-visit some of these topics, and to give a quick update on some of the news I reported. Here, then, is a medieval news update, focusing on some of the most popular topics on the medieval Hungary blog.

Wiener Neustadt treasure hoard published

Back in 2011, I reported on the discovery of a significant medieval treasure hoard found in Wiener Neustadt, Austria. The objects - over 200 in total - have since been cleaned and restored, and are now presented in a lavish new publication issued by the Austrian Office of Monument Preservation (Bundesdenkmalamt).

The book describes the discovery of the treasure, and provides an exhaustive survey of the objects, including a detailed techical analysis of the materials, as well as studies on the art historical and cultural significance of the treasures. A catalogue of all the objects and an extensive photographic documentation is also included in the book. On the publisher's website you can browse the beginning of the book, and there are also a number of photos available (this is the source of the image above). A smaller publication, a brief introduction to the treasure, has also been published.

Nikolaus Hofer, hrsg.: Der Schatzfund von Wiener Neustadt. Horn - Wien, Verlag Berger, 2014. 496 pp., ISBN: 978-3-85028-636-7

Goldsmith works from the Herzog collection on view at the Hungarian National Museum

Another treasure collection, goldsmith objects once in the collection of Baron Mór Lipót Herzog, surfaced at a New York auction a few years ago, as I reported also in 2011. It has now been revealed that the mysterious buyer of the objects at the sale was the State of Hungary, and the objects have been placed in the National Museum. After three years, in late 2014, the collection has been put on view in a special exhibition at the museum (which is open until January 25, 2014). No catalogue has been published, and there is no information available on the website of the museum - but a photo gallery is available on the website of the Hungarian state news agency, hirado.hu, by clicking on the image on this page. A total of 32 pieces entered the museum, all of which at one time belonged to Mór Lipót Herzog, who passed away in 1934. The pieces have been recorded earlier as wartime victims of looting, and their whereabouts were unknown until the New York sale.

Transylvanian goldsmith works from the former Herzog collection - Hungarian National Museum, on view until January 25, 2015. For more information (in Hungarian), visit Obeliscus, an online journal on the early modern period.

Treasury of Gyöngyös parish church opens to public

The Treasury of the medieval parish church of Gyöngyös, dedicated to St. Bartholomew, reopened for visitor at the beginning of July. The Treasury - one of the richest in Hungary, after the treasuries at Esztergom and Győr cathedrals - has important medieval holdings as well. Most important in this respect are the seven late medieval chalices made around 1500, probably in a workshop in Upper Hungary, all decorated with a special filigree ornament.

The recent history of the treasury is quite interesting: the treasures were hidden in 1944, and were only recovered in 1967. The objects were later put on display, but a number of them got stolen in 2012. These five Baroque objects were soon recovered by the police, but unfortunately, in a dismembered state. However, as of now, all of the objects are on view in the newly created exhibition room in the parish building, the so-called Szent Korona House. In addition to the chalices, the Treasury also includes a number of other medieval objects, as well as a large number of Baroque liturgical objects, including reliquiaries, monstrances and church vestments. A number of paintings, sculptures and a significant library round out the collection. Visitors can also see two specialised conservation workshops (for goldsmith works and for textiles). More information can be found on the new website of the parish (which is still being developed). You can also read more about the recent history of the treasures in this article (in Hungarian).

Source of images: here and here.

Bethlen 400

Egidius Sadeler II: Gábor Bethlen, c. 1620

This year marks the 400th anniversary of the beginning of the rule of Gábor Bethlen as Prince of Transylvania. To commemorate this, a series of events are being organized both in Hungary and Romania in the Bethlen Memorial Year. The following overview is given by the Institute of History of the Hungarian Academy of Sciences: 

"400 years ago, on 23 October, 1613, Gabriel Bethlen (1580–1629), the most significant Prince of Transylvania ascended the throne. He had to take over a devastated country, empty treasury and desperate politicians due to the ill-considered policy of his immediate predecessor and the damages of the Long Turkish War (1593-1606). The existence of the Principality of Transylvania was restricted by the Turkish protectorate and threatened by the Habsburg Empire. The situation was even worsened by the political and economic crisis affecting all Europe. Gabriel Bethlen was able to get out of this seemingly hopeless situation with recognizing the possibilities lying just in these desperate circumstances. He created a new, effective team of politicians, a court of high European standards, and with brilliant organizing work he could stabilize the political and economic situation in Transylvania. He connected to the European diplomatic and military processes. He generated a powerful military force, and arranged the situation – having been unresolved for more than half a century – of the Székelys forming the main part of the army. His military actions coordinated with his allies were supplemented with his many-folded diplomatic activity. With his peace treaties he was able to enlarge the territory of the Principality of Transylvania, becoming part of the European alliance system with the Treaties of Hague and Westminster. He was elected and ceremonially acclaimed king of Hungary on 25 August 1620, but later he refused to be crowned which made it possible for him to come to an agreement with the Habsburg Monarch and to keep the Ottoman Empire from gaining more influence and from expanding in Transylvania. From then on, Transylvania became the main support for the political and cultural endeavors of Hungarian estates in the Habsburg Empire. The tolerant religious policy of the protestant ruler made Transylvania a host country again. He provided the training of “up-to-date” intellectuals with founding schools and university scholarships. His multifaceted activity served as inspiration for generations from his age on through the centuries."

I would like to call attention to a few exhibitions and events of the Bethlen Memorial Year.

An exhibition on Gábor Bethlen and his era is currently on view at the Hungarian National Archives.

Opening next month (on view November 12, 2013 - February 2, 2014) is the main exhibition of the memorial year at the Hungarian National Museum. Titled Bethlen 1613, the exhibition is organized together with the Institute of History of the Hungarian Academy of Sciences.

Coming up this week is the international conference Gábor Bethlen and Europe, at Kolozsvár / Cluj (October 24-26, 2013). More information on the website of the organizers, the Transylvanian Museum Society and the Hungarian Historical Institute of the Babeş-Bolyai University, Cluj.

Bonus:  In May 2013, an episode of the PBS-program Antiques Roadshow featured an exceptionally rare object, a diamond marriage pendant associated with the wedding of Gábor Bethlen and Catherine of Brandenburg (1626). The object is part of a series, last seen together at the 1884 exhibition of goldsmith works held in Budapest. One pendant of the series is at the Hungarian National Museum, while another similar object is in the collection of the Museum of Applied Arts, Budapest. (via the Institute of History)

You can read about these jewels in the journal of the museum, Ars Decorativa (vol. 24).

Marriage pendant shown in Antiques Roadshow, source: pbs.org

Pope Sylvester and the regalia of St. Stephen (Happy New Year!)

December 31st is the feast day of St. Sylvester, that is Pope Sylvester I (314-335), well known as the recipient of the Donatio Constantini, in which Emperor Constantine transferred power over Rome to the pope. The document is actually an 8th century forgery, as already proved by Nicholas of Cusa and Lorenzo Valla in the 15th century. Pope Sylvester also carried out several miracles - for example resurrecting a bull which was killed by a sorcerer during their contest or defeating a dragon which terrorized the populace of Rome. You can read his legend (from the Legenda Aurea) here. The Hungarian Angevin Legendary illustrates his story in six scenes (all in the main body of the codex, which is at the Biblioteca Apostolica Vaticana); I am including the two scenes mentioned above.

Pope Sylvester revives a bull
BAV Ms. Vat.Lat. 8541, f. 72r

Pope Sylvester pulls a dragon out of the lake
BAV Ms. Vat.Lat. 8541, f. 73v

In this post, however, I would also like to commemorate another Sylvester, Pope Sylvester II (reigned 999-1003), that is, the scholar Gerbert d'Aurillac. Gerbert became pope with the support of Emperor Otto III, and played a crucial role in establishing the Kingdom of Hungary as the newest Christian monarchy of Europe. He established the first archbishopric of Hungary at Esztergom, which became the center of the Hungarian church. The pope also approved the coronation of Hungary's newly baptized ruling prince, István - who became Hungary's first king. According to early chronicles and legends, the pope sent a crown to Stephen for this event. The coronation of St. Stephen took place on January 1st, 1001 (by most accounts). For his role in establishing Hungary as a Christian Kingdom, Stephen was canonized in 1083.

Hungarian silver from Heller collection on view in MAK Frankfurt

Lidded jug, 1605. Nagyszeben (Hermannstadt / Sibiu) 

© Museum für Angewandte Kunst Frankfurt 

Since earlier this year, the gold and silver collection of István Heller has been on view at the Museum für Angewandte Kunst in Frankfurt. István Heller has amassed an exquisite private collection of European goldsmith works, which had been shown at previous exhibitions and was published in several volumes by Hirmer Verlag. After a succesful career in medicine, Heller trained as an art historian late in his life, and at a mature age successfully submitted a thesis for a doctorate in the history of art - he is also the author of the books introducing his collection. István Heller has decided to make his collection accessible to the public through a permanent partnership with the Kunstgewerbeverein in Frankfurt am Main, thus the collection will have a place at the Museum für Angewandte Kunst Frankfurt in perpetuity. A total of 615 objects were placed in the Museum.

The Heller collection contains high-quality gold and silver objects, ranging in time from the mid-sixteenth century to the twentieth, largely from Central European centers of goldsmith art. All the important German centers of gold work are represented, as well as – for biographical reasons – those of Hungary and Transylvania. One of the four volumes mentioned above was dedicated to goldsmith objects from this territory in the collection. In the Museum für Angewandte Kunst Frankfurt, this magnificent collection will be permanently housed in a room of its own in the Historische Villa Metzler. The tasteful exhibition setting allows the visitor to trace the principles of ornamental design from the Renaissance to Art Nouveau.

Flask with lid, 1670. Neusohl 

(Besztercebány / Banská Bystrica)

© Museum für Angewandte Kunst Frankfurt

This text and the images are based on the press release issued by the MAK Frankfurt (and also available in German). You can find an image gallery at hr-online.de.

If you are interested in such collection of gold and silver, you may want to read my earlier posts about the recent sale of Hungarian and Transylvanian goldsmith objects from the Herzog collection, or about the goldsmith objects which entered the Metropolitan Museum last year from the Salgó collection (see also part II and part III).

Late Medieval Goldsmith Works in the Kingdom of Hungary

A new book by Evelin Wetter has been dedicated to late medieval goldsmith works from the historical Kingdom of Hungary. The book was published in the series Studia Jagellonica Lipsiensia, published by the GWZO at the University of Leipzig. The series consists of art historical volumes about the time of the Jagiellonian dynasty (broadly interpreted as Central Europe during the 14-16th centuries). Of the eight books published so far in the series, this is the first one dedicated entirely to medieval Hungary.

Evelin Wetter currently works at the Abbeg Stiftung in Riggisberg, and is a noted expert on late medieval liturgical textiles and goldsmith works. She has published extensively on these subjects, and contributed to various major Central European projects, such as the 2003 exhibition on Gothic Art held in Bratislava, or the 2006 Sigismundus-exhibition in Budapest. The present book is based on her Habilitationsschrift at the University of Leipzig.

Reliquary bust of St. Ladislas from Várad cathedral
Győr, Cathedral Treasury 

Titled Objekt, Überlieferung und Narrativ - Spätmittelalterliche Goldschmiedekunst im historischen Königreich Ungarn (Object, tradition, and narrative - Late medieval goldsmith's art in the historic Kingdom of Hungary), the book represents a major milestone in the research of Hungarian medieval goldsmith works. Unlike most other works published in this field, the book is not dedicated to details of technical questions, but rather focuses on the use and afterlife of the medieval objects. Significant chapters are dedicated to the survival and later use of liturgical objects and reliquaries, often in circumstances quite different from the time of their creation. Another focus of the book is the historiography, display and later interpretation of these objects. The chronological range of the book is thus from the early-15th century to the early 20th, while the territorial focus is largely determined by the survival of the objects, and is thus mainly Upper Hungary (roughly the present-day Slovakia) and Transylvania. The subject of the analysis includes such key works as the reliquary of St. Ladislas, as well as lesser-known objects, giving an overall view of the field. The often hard historical situations, the destruction of major medieval centers and the changing confessions of the population are equally treated, resulting in a complex analysis of Central European history. The chapters on 19th century historiography - especially in connection with such questions as filigree enamel - are similarly captivating. Another chapter is dedicated to profane goldsmith works, including those luxurious items which entered the Museum of Applied Arts from the Esterházy-treasury. The book is beautifully illustrated with 20 color plates and numerous black & white illustrations. All in all, the book represents a much-needed complex approach to the creation and afterlife of medieval Hungarian goldsmith works, and thus comes highly recommended.

Decorative flask from the Esterházy Treasury
Museum of Applied Arts, Budapest 

Bibliographic data:

Evelin Wetter: Objekt, Überlieferung und Narrativ. Spätmittelalterliche Goldschmiedekunst im historischen Königreich Ungarn (Studia Jagellonica Lipsiensia, Bd. 8). Ostfildern: Thorbecke, 2011. Hardcover, 312 pp. ISBN: 978-3-7995-8408-1

P.s.: Notice the similarity of the cover image to my sidebar image? Yes, it is the same object, the chalice of Benedek Suki, today at the Cathedral Treasury of Esztergom - photos by Attila Mudrák.

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.