Wednesday, November 29, 2017

Medieval Fresco Cycle of St. Ladislas Uncovered in Transylvania

Figure of the Cuman chased by St. Ladislas, detail from the fresco cycle at Somogyom

News of a spectacular discovery in Transylvania was reported by Hungarian media yesterday: a previously unknown cycle depicting the legend of St. Ladislas was partially uncovered in the church of Somogyom in Transylvania (Șmig, Romania, germ.: Schmiegen).

The village of Somogyom (Schmiegen) was a Transylvanian Saxon community, near the town of Medgyes (Mediasch/Mediaș), established probably in the 13th century - although it was first mentioned only in 1317. Its parish church was built in the 14th century, and was rebuilt during the 15th century. The winged altarpiece of the church was painted some time between 1510-1520 (it is now on permanent loan in the National Museum of Art of Romania, in Bucharest, click on Room 3 in this panorama). Like all of the Saxon communities in the area, Somogyom became Lutheran during the first half of the 16th century, and over the following centuries, the original medieval decoration of the church was slowly covered over. We know that the church was rebuilt and redecorated in 1859, and again in 1909, when a new altarpiece was erected in place of the medieval one. By this time, the medieval frescoes of the church were long forgotten. As both the Hungarian and Romanian population of the village increased, the Saxons slowly diminished, and the Lutheran church has been out of use for decades now. It is thus one of dozens of important medieval churches in Transylvania where urgent actions of protection would be necessary. I've reported on this endangered heritage several times - for example when a medieval copy of Giotto's Navicella was discovered in the ruinous church of Kiszsolna (Senndorf, Jelna) or when two church towers collapsed after last year's winter.

Somogyom, scenes from the Legend of St. Catherine (2 rows), the Crucifixion of St. Peter, etc.
At Somogyom, restorer Loránd Kiss and his colleagues have carried out surveys and smaller interventions of preventive conservation during the last few years, in an effort to save the building. Examination of wall paintings were carried out in the course of a general survey of Transylvanian Saxon churches, and attention was focused on Somogyom after a few scenes were accidentally found there during repairs. Loránd Kiss partially uncovered the medieval frescoes in the nave of the church  a few years ago, revealing a high-quality cycle of the Legend of St. Catherine of Alexandria (these were published in 2013). It was established that the entire north wall of the church, as well as the entire sanctuary was once fully painted - meaning an estimated painted area of about 250 square meters. Research continued this October, when wall paintings in the top register of the north wall of the nave were surveyed. As Loránd Kiss reports, here the Legend of St. Ladislas was uncovered. So far, only parts of a largely intact cycle were freed, as seen on the photos below - with the scene of Ladislas chasing the Cuman being the most clearly visible. The wall paintings can be dated to the beginning of the 15th century, a high point in the popularity of the Ladislas cycle.

Somogyom - Frescoes of the nave, with the newly uncovered Ladislas-cycle in the top row (photo: Tekla Szabó)


Thursday, November 23, 2017

Online Catalogue of the Christian Museum of Esztergom

Reliquary bust from Cologne. Around 1350
The Christian Museum of Esztergom is the largest ecclesiastical collection in Hungary and is one of the oldest public collections in the nation. It was established in 1875 by Archbishop and Prince Primate János Simor (1813-1891) and was based on his private collection. The intention of the Archbishop was to make known to the general public old and new treasures of art, and thereby cultivate the aesthetic taste of the visitors. Archbishop Simor purchased works of art primarily from legacies and during his travels abroad. He also had parts of medieval altarpieces collected from the territory of the Archdiocese of Esztergom. Following Primate Simor’s death in 1891, the Museum’s collections grew significantly when the bequest of Arnold Ipolyi, Bishop of Nagyvárad/Oradea (1823-1886), which consisted mainly of late medieval Italian, German, Austrian and Hungarian paintings and sculptures, finally arrived to Esztergom in 1920. The resulting museum is the third most significant historic picture gallery in Hungary, on account of its Hungarian, Italian, Netherlandish, German and Austrian paintings.

As one of the results of a research project financed by the Hungarian Scientific Research Fund (OTKA PD 104215), an exhaustive online summary catalogue of the Hungarian, German and Austrian Late Medieval Collection of the Christian Museum was published online. This is one of the most famous parts of the collections, containing among others the altarpiece from Garamszentbenedek, painted by Thomas de Coloswar in 1427, or four panels depicting scenes from the Passion and painted by the enigmatic Master MS in 1506. Already in the middle of the 19th century, both János Simor and Arnold Ipolyi recognized the significance of these medieval works of art, most of which were not in use any more. Simor brought to the museum painted fragments of winged altarpieces that had been dismantled, primarily from the Benedictine Abbey of Garamszentbenedek (Hronsky Benadik). Sculptures in the museum mainly come from the Ipolyi collection, along with the majority of medieval Austrian and German works of art.

The Calvary altarpiece of Thomas of Coloswar, 1427 
The research project and the online catalogue was realized by Emese Sarkadi Nagy, who explained to me that in the present catalogue there was no intention to separate objects originating from the Hungarian Kingdom from those of the German and Austrian territories. This is partly due to the fact that these groups of objects can be considered as a unit, based on numerous art historical and stylistic relations that can be observed among them. Mid-15th century Netherlandish art had a very strong impact on the painting and sculpture of German and Austrian regions as well as in Hungary, and the migration of masters among these regions is also a well-known phenomenon. Moreover, most of the works coming from nineteenth-century collections have lost their original, medieval context and thus the original provenance of a number of objects is uncertain. Attribution and localization based on stylistic analysis alone is often impossible  - for example it is hard to decide if a work of a Viennese-schooled master was created in Hungary or the work was imported at a later time. Therefore, the new online catalogue offers an overview of all (ca. 150) objects originating from these Central European regions. It is aimed not only for specialists, but also to the wider public; at the same time, it will hopefully represent a starting point for further research on the topic. Each entry is accompanied by an up-to-date bibliography and other information, as well as high-quality photographs (individual panels and statues of altarpieces are each photographed and described separately). So far, the catalogue is only available in Hungarian, but an English version is to be published online soon. The catalogue is accessible through the website of the museum at the following link: www.keresztenymuzeum.hu

Master MS: Crucifixion, 1506 

Key objects from the collection are also available in the general part of the website, with English descriptions, but for new and up-to-date information, as well as for the entire material, head to the online catalogue. Links below:

Sarkadi Nagy Emese: A Keresztény Múzeum középkori magyarországi, a német és osztrák tartományokból származó tárgyainak online katalógusa. Keresztény Múzeum, 2017. (Online catalogue of medieval objects in the Christian Museum originating from Hungary as well as German and Austrian territories. Christian Museum, Esztergom, 2017.)

The text above is based on the website of the Christian Museum and on a short report by Emese Sarkadi Nagy. Photos by Attila Mudrák © Christian Museum





Austrian painter, c. 1440: Triptych with the Death of the Virgin

Saturday, November 18, 2017

First volume of the Handbook of the History of Art in East-Central Europe appears

The first volume of a very ambitious project of the Leibniz Institute for the Hiistory and Culture of Eastern Europe (GWZO) in Leipzig has finally appeared. The project aims to publish a new series of a Handbook on the History of Art in East Central Europe in 9 volumes. The series will provide an overview of art in the territories between the Baltic, the Black and the Adriatic Seas from the Early Middle Ages up to the present day. The Handbook series represents the first attempt to discuss the history of art of this entire region in a complex matter and in a European framework. Each volume in the series will contain about 650 pages, with essays and about 300 catalog entries,  as well as plenty of illustrations. 

The first volume, which is out now, focuses on the period of the early Middle Ages, from the time of the disintegration of the Roman Empire to the establishment of the new, Christian kingdoms of Bohemia, Poland, Hungary and Croatia. The time around the turn of the first millennium is commonly seen as marking the beginning of art history in Eastern Central Europe. New kingdoms and the adoption of Christianity gave rise to new impulses to architecture and the arts. Volume one of the handbook series examines the prerequisites of and precursors to this epochal change, including Late-Antiquity and early Medieval churches in the eastern Adriatic, golden treasures from the Migration Period, jewelry of the Great Moravian Empire, and everyday culture of the Slavic peoples.


The following two volumes in the series will also focus on the Middle Ages, dealing with Romanesque and Early Gothic art, then High and Late Gothic - with volume 4 dedicated to Late Gothic and Renaissance art. Look out for them in the coming years! To get a better idea of the entire series, have a look at this flyer.



Christian Lübke (Hrsg.), Matthias Hardt (Hrsg.): Handbuch zur Geschichte der Kunst in Ostmitteleuropa 1. Vom spätantiken Erbe zu den Anfängen der Romanik, 400–1000.
Berlin-München, Deutscher Kunstverlag, 2017.
652 pages, 600 illustrations, 21 x 27,5 cm, € 98.00





Finally, a word about the object on the cover of volume one. It is a detail of one bull's head bowls from the Treasure of Nagyszentmiklós (Sânnicolau Mare, Romania), uncovered in 1799 and now preserved at the Kunsthistorisches Museum in Vienna. Widely believed to be connected to the Avar Khaganate and dating from the 8th century, the treasure looms large in Hungarian national consciousness, as for a long time it was believed to be of Hungarian origin from the time of the Magyar conquest. A quick look at the popularity of the bull's head bowl as an architectural decorative motif around 1900 can illustrate this - see this article in Art Nouveau Magazine.


Bowl from the Nagyszentmiklós Treasure, Vienna, KHM