Villard de Honnecourt in Hungary

Villard's drawing of a window from Reims,
with announcement of his trip to Hungary 

The Academic doctoral defense of Imre Takács (see my previous post) made me think about Villard de Honnecourt's trip to Hungary. Takács's dissertation is about the early decades of the 13th century, when Hungary was one of the first areas outside Ile de France where French Gothic architectural and sculptural features appeared. The royal palace of Esztergom - especially the palace chapel - is a significant early Gothic building, built during the rule of King Béla III (1172-1196) next to the cathedral. The palace was not quite finished when in 1198 Béla's son, King Emeric handed it over to the archbishop of Esztergom - thus maybe the chapel was only finished after this date. Not Esztergom, but the royal abbey of Pilis is at the center of Imre Takács's dissertation. This Cistercian Abbey - located roughly between Esztergom and Buda in the Pilis hills - was founded by the king in 1184. In 1213, Queen Gertrude, the wife of Andrew II was murdered, and the queen was buried at Pilis Abbey, which - at least the eastern part - was surely completed by that time.

At this period, a renewed impact of French Gothic (High Gothic, to be precise) can be detected in Hungary - especially at Pilis and at the Benedictine Abbey of Pannonhalma. Crucial monuments include the tomb of Queen Gertrude and the famous Porta Speciosa at Pannonhalma, both dating from the 1220s. It is perhaps not coincidental that roughly at the same time, the famous Villard de Honnecourt visited Hungary. Just as we are not quite sure of his profession, it is similarly unclear what he did in Hungary or when exactly he visited. Evidence for his visit is included in his sketchbook: on fol. 10v, next to the drawing of an aisle window at Reims, Villard writes: "I had been sent into the land of Hungary when I drew it because I like it best." He also mentions on another folio the he "was once in Hungary, where [he] remained many days". Of all the things he saw there, he chose to draw a pavement, which he saw in a church - at a place he did not name.

On top, Villard's drawing of pavement
motifs he had seen in Hungary

Theories abound concerning the date and purpose of Villard's Hungarian visit. Pilis abbey emerges as a place he may have visited for several reasons:

One of the pavement motifs drawn by Villard in Hungary is known from Pilis Abbey.

The tomb of Gertrude, as well as the fragmentary tomb slab of a knight is in the same style (the characteristic Muldenfaltenstil) as Villard's drawings - leading Gerevich to believe that these were designed by Villard. 

Mentioning these and similar comparisons, Imre Takács also proposes a hypothesis for the historical context of Villard's Hungarian trip (published first in a study: “The French Connection: On the Courtenay Family and Villard de Honnecourt Apropos of a 13th-Century Incised Slab from Pilis Abbey,” Künstlerische Wechselwirkungen in Mitteleuropa, ed. Jirí Fast and Markus Hörsch, Ostfildern, 2006, pp. 11-21.). After the murder of Queen Gertrude (of Andechs-Meran), King Andrew II married Yolande de Courtenay, and Imre Takács emphasizes the role of the Courtenay family in Hungary. They were also the lords of the area where Villard was from. Takács proposed that the red marble tomb slab from Pilis was that of Robert de Courtenay, Latin emperor of Constantinople (1221-1228).

Drawing of a soldier from Villard's sketchbook
and fragments of the tomb of a knight
(Robert de Courtenay?) from Pilis

Takács also poses the following questions: “Is it possible that Villard … may have been traveling in the entourage of Emperor Robert on his way east in the winter of 1220? Could we not suppose in fact that Villard was a multi-talented individual in the Courtenay court and capable of carrying out “engineering” tasks, giving theoretical advice and making practical decisions? And finally, is it not possible that the quality of the drawing on the Pilis inscribed slab is so similar to Villard’s personal style, because he may actually have taken part in the work’s creation, if only in so much as making the sketches?”

Upcoming events in Budapest

The following events will no doubt be of interest to medieval art historians in Budapest.

November 18 (Thursday): Open debate and defense of the doctoral dissertation of Imre Takács at the Hungarian Academy of Sciences. He is to become a Doctor of the Hungarian Academy (a much higher level than a PhD, see here). His dissertation is titled: Reception of Gothic in the Kingdom of Hungary at the time of King Andrew II (1205-1235). Imre Takács is the director of the Museum of Applied Arts. More info on the website of the Academy.

November 24 (Wednesday): Dedication of a room at the Art History Department at ELTE named after Lajos Fülep, Hungary's great art historian. Also, the presentation of the annual prizes awarded by the Department. For more info, see here.

November 25 (Thursday): Presentation of two books published by the László Teleki Foundation. I wrote on both books here before: one is by Márton Sarkadi about Gyulafehérvár cathedral, the other was edited by Tibor Kollár on medieval architecture in southern Hungary. The books will be presented by Ernő Marosi, Szilárd Papp, and Judit Tamási, see here.

Menawhile, the Natalie Zimon Davies Annual lectures are still going on at the Medieval Studies Department of CEU.

The earliest copies of Hungarian medieval wall-paintings

Máramarossziget
detail of the St. Catherine legend (copy)

In 1844, during repairs after a minor earthquake, medieval wall-paintings were uncovered in the Calvinist church of Máramarossziget (at that time the capital of Máramaros County, today Sighetu Marmaţiei in Romania). Instead of simply recording this fact in the Historia domus, and covering the paintings over, a detailed report was sent to Budapest, to the Hungarian Academy of Sciences, which had been founded not so long ago, in 1825. After requesting more information, Imre Henszlmann, the only art historian member of the Academy, delivered a lecture on the wall paintings of Máramarossziget in 1847. By this time, Henszlmann has already published his monograph on the Church of St. Elisabeth in Kassa (Kaschau, Košice, Slovakia) and also in 1846, was among those issuing a general call for the protection of historic monuments.

Máramarossziget church in 1846

In delivering his lecture, Henszlmann relied on a plan and view of the church (illustrated to the right) and also a copy of the wall-paintings. He did not describe the copy, and his description of the frescoes is not entirely clear. István Szilágyi, a teacher at the college of Máramarossziget and a member of the Academy corrected Henszlmann's interpretation in a lecture presented in 1850 (as it is well known, Hungary was occupied with a revolution and a failed war for independence in 1848-1849). Szilágyi did not have a chance to see the frescoes himself, but his interpretation was based on first-hand eyewitness accounts, in addition to copies. This episode represents the first true art historical debate in Hungary, concerning a medieval monument.

As it happened, the church of Máramarossziget burned down in 1859. The fire destroyed a large part of the town, the entire roof of the church burned down, and the vaults all collapsed. As a result of this catastrophy, the wall paintings - even more of them - came to light again. This time Szilágyi had a chance to examine them, and a new set of drawings and copies were made. A sad decision had to be made - the remains of the church had to be torn down, with the exception of the medieval tower. Rebuilding the church was halted by another fire in 1872 - the new building was only finished in 1892.

Honors for this blog

Dear Readers,

I am very proud to announce that my blog has been listed as one of the 50 best blogs for medieval history geeks. Whether my readers are geeks or not is not for me to say - it still feels good to be listed.
My blog entries were also listed in the October 2010 issue of the Art History Carnival (edited by Margaret Lozano at The Earthly Paradise) and in the November 2010 issue of the Art History Carnival (edited by Monica Bowen at Alberti's Window). One of my posts was included in the 92nd History Carnival at The Early Modern Intelligencer of the Birbeck Early Modern Society. My blog is also mentioned in Vidimus, the only on-line magazine devoted to stained glass.

I am grateful for all these mentions and listings. If you would like to stay up-to-date about this blog, you can follow it by clicking "follow" at the top of the page. Alternatively, you can follow my Twitter feed or follow my blog at NetworkedBlogs (where it is listed as one of the top 38 blogs in art history).

Thanks for reading, and thanks for following and sharing.

Abandoned medieval churches in Transylvania

The Calvinist church of Marosszentimre (Sântimbru) in Transylvania 

I would like to start this post by a poem written by my grandfather, Zoltán Jékely, in 1936. The translation included here is by Bernard S. Adams.¹

A marosszentimrei templomban Fejünkre por hull, régi vakolat, így énekeljük a drága Siont: egér futkározik a pad alatt s odvából egy-egy vén kuvik kiront. Tízen vagyunk: ez a gyülekezet, a tizenegyedik maga a pap, de énekelünk mi százak helyett, hogy hull belé a por s a vakolat, a hiúban a denevér riad s egy-egy szúvas gerenda meglazul: tizenegyedikünk az árva pap, tizenkettedikünk maga az Úr. Így énekelünk mi, pár megmaradt - azt bünteti, akit szeret az Úr -, s velünk dalolnak a padló alatt, kiket kiirtott az idő gazul.

In Marosszentimre Church As crumbling plaster falls upon our heads, Thus we the praises of dear Zion sing: Beneath the pews mice scurry from their nests, An ancient company of owls take wing. We in the congregation number ten, Eleven if we reckon in the priest, But when we sing, we sound a hundred men. Down pour the plaster and the dust; The bats are startled in their attic roost; Worm-eaten rafters weakened even more. Eleventh is our solitary priest, The twelfth among us is the Lord himself. And so we sing, the few that still remain —The Lord exacts a price from him that loves— And those whom wicked time from us has ta’en Join in our psalmody beneath the floor.

On its most simple level, this poem expressed what is an ever-growing problem of abandoned churches in Transylavania. In several areas of Transylvania, Hungarian population has drastically decreased in a process which had speeded up since the middle of the 19th century. After the Treaty of Trianon (1920), when Hungary ceded Transylvania to Romania, this process reached a dramatic scale, especially in southern Transylvania (the area around Gyulafehérvár cathedral, on which see my earlier post). In a place like Marosszentimre, where my grandfather could write about a Calvinist congregation of ten people, today there is practically no Hungarian congregation. Unlike Hungarians, the Romanian population is Eastern Orthodox, and they have built their own new churches in Marosszentimre and similar places. As a result, there are a number of virtually abandoned medieval churches throughout Transylvania. Managed by the Hungarian Catholic or Calvinist churches, sometimes there is no money for even the most basic maintenance of these structures, and with no locals to carry out simple repairs, many of these churches are virtually on the brink of collapse. The Romanian government or its monument protection agency similarly pays little attention to these places.

New medieval history books from CEU Press

Ever since the Department of Medieval Studies has been established at the Central European University (Budapest) in the early 1990s, CEU Press has been publishing a number of important books on medieval subjects. Most of these books are dedicated to the medieval history of East Central Europe. The series of Central European Medieval Texts made important primary sources from this region available in English translation. CEU Medievalia, on the other hand, is a series largely dedicated to publications by members of the Department. A couple of new books have recently been published in these two series.


The latest book is dedicated to one of the founders of the Department, Gábor Klaniczay:


Promoting the Saints Cults and Their Contexts from Late Antiquity until the Early Modern Period. Essays in Honor of Gábor Klaniczay for His 60th Birthday. Eds. Ottó Gecser, József Laszlovszky, Balázs Nagy, Marcell Sebők, Katalin Szende (CEU Medievalia - CEU Press, 2010). For the contents, click here.

Another new volume, the 13th in the CEU Medievalia series is a monograph on a long-neglected subject: Zsolt Hunyadi: The Hospitallers in the Medieval Kingdom of Hungary, c. 1150–1387  (CEU Press, 2010). For more information, click here.

The fifth volume in the Central European Medieval Texts Series has also just been published: Anonymus and Master Roger [Central European Medieval Texts Series Volume V]. Ed. János M. Bak, Martyn Rady, László Veszprémy (CEU Press, 2010). For more information on the book and the series, click here.

This book, along with János Bak's collected studies (János M. Bak: Studying Medieval Rulers and Their Subjects: Central Europe and Beyond (Variorum Collected Studies Series). Ed. Balázs Nagy, Gábor Klaniczay. Ashgate, 2010) will be presented on November 10 at the Department of Medieval Studies at CEU. For an invitation and the detailed program, click here. For other medieval history books published or distributed by CEU Press, see here.

The CEU Medievalia series and the Central European Medieval Texts Series are both available from Amazon (click on the covers below for more information).

Hungarian medieval paintings exhibited in Bruges

Virgin and Child from Bártfa (Bardejov)
Hungarian National Gallery, Budapest 

A major exhibition, titled Van Eyck to Dürer can be seen starting from tomorrow at the Groeningemuseum in Bruges (from October 29, 2010 to January 30, 2011). The aim of the exhibition is to survey the far-reaching impact of early Netherlandish painting on Central Europe. The press release states the following:

"In the fifteenth century the Flemish Primitives triggered an artistic revolution in Central Europe. Talented painters like Jan van Eyck with his brilliant eye for detail, introduced new painting styles and techniques. Their influence spread rapidly and inspired scores of artists, including the painter, draughtsman and etcher Albrecht Dürer. Van Eyck and Dürer are two great masters from the period 1420-1530. A pioneering exhibition brings together first-rate works by them and some of their contemporaries, drawn from notable European and American collections. Paintings and other art forms will illustrate the interaction between the Flemish Primitives and art in Central Europe."

No doubt, an overview of painting in this one-hundred years should be a feast for the eye, and juxtapositions of famous works could provide numerous art historical insights. The exhibition does not seem to have an extensive website, but you can read on it at the Brugge Centraal website, of which the exhibition is part of.

Crucifixion from the altar of Jánosrét
Hungarian National Gallery 

More information is available in a tourist brochure (pdf here) and images of works to be exhibited can also be seen here. A catalogue, published in several languages and edited by Till-Holgert Borchert, should also be available starting from tomorrow (link to the German, English and French versions at Amazon).

In addition to focusing only on Germany, the exhibition also includes several paintings from East Central Europe. The Hungarian National Gallery is loaning a few panel painting to the exhibition, to illustrate the impact of Netherlandish painting on 15th-century Hungarian painting. The works were selected by Gyöngyi Török, who also contributed to the catalogue. Works on loan include a wing of the altarpiece from Jánosrét (Lučky, SK) and panels from the altarpiece of Mosóc (Mošovce, SK), both dating from the 1470s. Two smaller panels illustrated here - a Virgin and Child from Bártfa (Bardejov, SK) and a Man of Sorrow from Kassa (Košice, SK) - are also in the exhibition.

Man of Sorrows from Kassa (Košice)

Hungarian National Gallery, Budapest

These works are perhaps not the most sophisticated examples of Hungarian painting showing the influence of Netherlandish painting. It also has to be said that this influence was for the most part not direct, as new painterly ideas were transmitted to Hungary through Germany and Austria. Finally, some of the best works in this artistic trend - including the main altars of Kassa in Upper Hungary, or Medgyes (Medias, RO) and Berethalom (Biertan/Birthälm, RO) in Transylvania - are still standing in their original location, the same spot where they have been erected in the 15th century. One of these unmovable works is, however, evoked at the Bruges exhibition. A monumental fresco of the Crucifixion in the parish church of Nagyszeben (Sibiu/Hermannstadt, RO), painted in 1445 by Johannes de Rosenau will be shown through a large-scale copy, painted at the beginning of the 20th century, and also lent by the Hungarian National Gallery. I will use this opportunity to include a photo of this fresco here (without the upper part, which was heavily repainted in the 17th century).

(I don't think I will be able to go and see this exhibition. If you have a chance to visit it - please add a comment with your impressions. Other places to see examples of medieval Hungarian paintings include the exhibitions at the Royal Academy in London and at the Musée Cluny in Paris).