New Book on the Art of Medieval Hungary

After several years of preparation, a new book dedicated to the Art of Medieval Hungary was finally published by Viella in Rome. Edited and written by a team of Hungarian and international experts, including today’s foremost experts in medieval art history, the book provides an up-to-date overview of research about the medieval Kingdom of Hungary. The editors are Xavier Barral i Altet, professor of art history at Université de Rennes, Pál Lővei, researcher at the Art History Research Institute of the Hungarian Academy of Sciences, Vinni Lucherini, professor of art history at Università di Napoli Federico II, and Imre Takács, Head of the Art History Department at ELTE.

The editors have developed a novel concept for this collection of studies: rather than providing a simple chronological structure, the first part of the book consists of a series of studies arranged into thematic groups, surveying medieval art in various contexts: the art of towns and villages, art in the context of liturgy and religious cults, and art in various public and private contexts. A great attention is also given to the sources and the historiography of medieval art in Hungary. The second part of the book contains two sets of shorter essays: one dedicated to key monuments and medieval artworks, while the second set deals with museums and collections of medieval art.

Publication of the book was coordinated by the Hungarian Academy in Rome, and especially its previous director, Antal Molnár. As stated in the publisher's description: "the Hungarian Academy of Rome offers to the medievalist community a thematic synthesis about Hungarian medieval art, reconstructing, in a European perspective, more than four hundred years of artistic production in a country located right at the heart of Europe. The book presents an up-to-date view from the Romanesque through Late Gothic up to the beginning of the Renaissance, with an emphasis on the artistic relations that evolved between Hungary and other European territories, such as the Capetian Kingdom, the Italian Peninsula and the German Empire. Situated at the meeting point between the Mediterranean regions, the lands ruled by the courts of Europe west of the Alps and the territories of the Byzantine (later Ottoman) Empire, Hungary boasts an artistic heritage that is one of the most original features of our common European past." In addition, the book was produced under the auspicies of the Research Centre for the Humanities of the Hungarian Academy of Sciences and with the support of the National Bank of Hungary.

Thanks to the expertly written essays, as well as the exhaustive bibliography included in the volume, the book can be regarded as an essential new starting point for research on art in medieval Hungary. The detailed contents are listed on the publisher's website, and I copied them below as well. I case you are wondering, I contributed a study on village architecture, specifically on the art and architecture of parish churches in Hungary, as well as a shorter essay on the former Augustinian church of Siklós. I included one of my illustrations below.

Plates from the book

The Art of Medieval Hungary. edited by Xavier Barral i Altet, Pál Lővei, Vinni Lucherini, Imre Takács. Bibliotheca Academiae Hungariae - Roma. Studia, 7. Roma: Viella, 2018.
732 pages, 176 plates, ISBN: 9788867286614
The book is now available for purchase.


From the contents - List of studies in the book

• Xavier Barral i Altet, Introduction. Hungarian Medieval Art from a European Point of View
• I. Sources and Studies for Hungarian Medieval Art
  Ernő Marosi, Two Centuries of Research, from the Austro-Hungarian Monarchy to the Present
  Kornél Szovák, Written Sources on Hungarian Medieval Art History
• II. City and Territory
  Katalin Szende, Towns and Urban Networks in the Carpathian Basin between the Eleventh and the Early Sixteenth Centuries
  Pál Lővei, Urban Architecture
  Zsombor Jékely, Expansion to the Countryside: Rural Architecture in Medieval Hungary
  István Feld, Castles, Mansions, and Manor Houses in Medieval Hungary
• III. Architecture and Art in the Context of Liturgy
  Béla Zsolt Szakács, Romanesque Architecture: Abbeys and Cathedrals
  Krisztina Havasi, Romanesque Sculpture in Medieval Hungary
  Imre Takács, The First Century of Gothic in Hungary
  Pál Lővei, Imre Takács, “Hungarian Trecento”: Art in the Angevin Era
  Gábor Endrődi, Winged Altarpieces in Medieval Hungary
• IV. Religious Cults and Symbols of Power
  Gábor Klaniczay, The Cult of the Saints and their Artistic Representation in Recent Hungarian Historiography
  Vinni Lucherini, The Artistic Visualization of the Concept of Kingship in Angevin Hungary
  Pál Lővei, Epigraphy and Tomb Sculpture
• V. Forms of Art between Public and Private Use
  Evelin Wetter, Precious Metalwork and Textile Treasures in Late Medieval Hungary
  Anna Boreczky, Book Culture in Medieval Hungary
• VI. The Middle Ages after the Middle Ages
  Imre Takács, Medieval Twilight or Early Modern Dawn: Art in the Era of Sigismund of Luxembourg
  Árpád Mikó, A Renaissance Dream: Arts in the Court of King Matthias
  Gábor György Papp, Medievalism in Nineteenth-Century Hungarian Architecture
• Annex I. Medieval Artworks and Monuments
• Annex II. Museums and Collections Holding Medieval Art

Siklós, Augustinian church. Detail of the early 15th-century wall paintings

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A Hedwig Beaker and Other Medieval Objects at the Corning Museum of Glass

Headwig Beaker, 12th century.
Collection of The Corning Museum of Glass (67.1.11) 

During my recent visit to the Corning Museum of Glass (at Corning, New York), I was happy to see the Museum's Hedwig beaker, which is a great example of this mysterious object type. Originating from the late 12th century, about 15 such beakers are known today, most stemming from church treasuries. Their name comes from their association with Saint Hedwig of Silesia.  Several known pieces were mounted and transformed into reliquaries, and some of the most famous surviving pieces are still preserved in church treasuries: at Halberstadt cathedral, Minden cathedral and at the Wavel Cathedral in Krakow, as well as at Notre Dame d’Oignies in Namur (2 pieces). Important museum pieces are in the Germanisches Nationalmuseum, the British Museum, and the Rijksmuseum, in addition to the Corning Museum's piece. The cut glass pieces are decorated with lions, griffins or eagles, and they seem to imitate rock crystal objects made in Fatimid Egypt. The origin of these small masterworks has been much debated: most likely they were made in Sicily, but other theories also exist. Ample literature can be found on the subject: the collection databases of the museums mentioned above or even the relevant Wikipedia article can be a starting point for further exploration. In fact, on the website of the Corning Museum of Glass, you can find an essay on these objects, written by David Whitehouse, as well as a nice video (see below).

Drawing (with reconstruction) of the fragment
from Buda castle. Budapest History Museum

It is important to mention that a fragment of a Hedwig beaker was also uncovered during excavations of the royal palace of Buda, the center of the medieval Kingdom of Hungary. Katalin Gyürky H., who had published the fragment, proposed that the object may have belonged to the royal treasury. Another of the beakers also has a Hungarian connection: the object in the Kunstsammlungen der Veste Coburg is said to have belonged to St. Elisabeth of Hungary (while some centuries later, it was in the possession of Luther). St. Elisabeth was the daughter of King Andrew II and Queen Gertrude - the latter being the sister of St. Hedwig of Silesia. Lack of early sources about these object prevent the creation of elaborate theories.

Naturally, the Corning Museum of Glass - which has one of the best collections of historic glass in the world - holds many other medieval treasures, including some pieces of stained glass as well as superb pieces of Islamic glass. One more object I would like to highlight is of a different nature: it is a 12th-century recipe book known as Mappae Clavicula. Among other things, it includes recipes for making colored glass. Held at the Rakow Research Library of the Corning Museum, the manuscript has been digitized and is accessible from the website.

Exhibition of Medieval Stove Tiles at the Budapest History Museum

Tile from the knight-figure stove.
Buda, 1450s. © Budapest History Museum 

A major exhibition on medieval stove tiles from Hungary is on view at the Budapest History Museum in Buda Castle. The exhibition is titled Heartwarming Middle Ages - Stoves and Stove Tiles in Medieval Hungary, and its chief curator was András Végh, the director of the Castle Museum. The use of stove tiles (unglazed or glazed) was a Central European invention and such stoves became increasingly common in Hungary starting from the early 14th century. The exhibition presents the development of tile stoves at the royal court and in aristocratic castles, and it also provides an overview of the most popular motifs - biblical, historical, heraldic, etc. - on stove tiles. These motifs are explained through comparisons with other media - books, prints, seals and other objects. The exhibition also discusses the techniques and development of the making of tile stoves.

Because of the durability of glazed tiles and because of the relatively clear dates we can assign to them, these objects are favorites among archaeologists. The Budapest History Museum - which preserves all of the archaeological finds from the royal palace of Buda - has a very extensive collection of tiles, which formed the basis of the exhibition. The local material was extended through a large number of loans from Hungary and abroad alike. Taken all together, the exhibition provides an unprecedented overview of the development and richness of this medium.

 St John on a stove tile, from the Bothár-house, Besztercebánya
© Museum of Applied Arts, Budapest

Figural stove tiles from late medieval houses in Besztercebánya (Banská Bystrica, Slovakia) are among the most interesting sets displayed in the exhibition. The so-called Bothár workshop made good-quality glazed and unglazed tiles depicting saints and other figures. Most of the pieces are preserved today in the Museum of Applied Arts in Budapest - you can browse these and other tiles from that collection in the Museum's collection database.

The exhibition will remain on view until September 2, 2018. A catalogue is in preparation. An exhibition website (sadly only in Hungarian) provides more information and photos of the exhibition.

Additional photos:

Stove tile from the Sigismund-period. © Budapest History Museum

© Budapest History Museum

© Budapest History Museum

Medieval News Update

I haven't had time lately to post on the Medieval Hungary blog - but there are several interesting news which needs some coverage here. So, here is a quick update on the world of medieval art from late 2017 - early 2018.

The statue on view at Matthias Church.
Photo: MTI 

Restoration of the Buda Castle Madonna

After a three-year restoration project, a late medieval statue of the Virgin and child was unveiled at Matthias church (Church of Our Lady) in Buda castle, Budapest in December 2017. The origins of the statue are unclear - it was transferred from another church in 1975. The current restoration, which was carried out by Éva Galambos, revealed much of the original polychromy of the statue. It was also revealed that the right hand of the Virgin is a replacement from the Baroque period, along with the left arm of the church. The statue dates from the early 15th century and was most likely carved in Southern Germany. Its restoration and display make the statue available for further art historical research. Since December 2017, the statue is on view in the permanent exhibition of ecclesiastical art set up inside Matthias Church.

For more on the statue and its presentation, see this report in Magyar Kurír.

Felix Terra - Exhibition on the Bishopric of Oradea/Nagyvárad in Bucharest

The National Museum of History of Romania, under the aegis of the Ministry of Culture and National Identity, in partnership with the Roman Catholic Bishopric of Oradea, the Hungarian National Museum, Széchényi National Library, the National Archives of Hungary and the Museum of Oradea organized a large exhibition dedicated to the history and ecclesiastical art in the Roman Catholic Bishopric of Oradea (Nagyvárad). The exhibition was on view at the National Museum of History of Romania from December 14, 2017 until April 1, 2018. The exhibition is accompanied by a catalogue written in Romanian and Hungarian.

The exhibition focuses on the history of the bishopric of Nagyvárad, especially on the lost medieval cathedral of Nagyvárad, the former resting place of King Saint Ladislas and of Emperor Sigismund. Works on view include fragments of the medieval cathedral building as well as finds recovered during various archaeological campaigns. Another focus is the renewal of the bishopric in Baroque period: a series of liturgical works from the Treasury of the cathedral were on view. Along with architectural fragments and stone carving, preserved from the Middle Ages, rare medieval documents were also shown in the exhibition - such as the Dubnica Chronicle or the Zalka Antiphony.

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)

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:

Overview of Hungarian late medieval works (in English)

Overview of Austrian and German medieval painting and sculpture (in English)

Full catalogue of Central European medieval painting and sculpture (in Hungarian, for now)

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

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