The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert... more The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert Cathedral and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical methods, such as relative humidity measurement, macroscopic and microscopic photography and X-ray fluorescence with lithologic description. Besides the comparative analysis of the stone materials, archive documents, the current state and the impacts of subsequent restorations of the four stone artefacts were also studied.
The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert... more The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert Cathedral and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical methods, such as relative humidity measurement, macroscopic and microscopic photography and X-ray fluorescence with lithologic description. Besides the comparative analysis of the stone materials, archive documents, the current state and the impacts of subsequent restorations of the four stone artefacts were also studied
This essay was carried out in the framework of a research programme (Thesaurus mediaevalis, Eötvö... more This essay was carried out in the framework of a research programme (Thesaurus mediaevalis, Eötvös Loránd University, Budapest, 2017-2022) funded by the Hungarian Academy of Sciences, and deals with one of the most complex but hardly accessible works of the Árpád period, the former main portal of the Esztergom cathedral, which was decorated with sculptures and inlaid marble images. It was built in the last decade of the 12 th century under king Béla III (1172-1196) and survived the Turkish invasion, but its remains were destroyed during the 19 th century construction works. Since then, it exists only in textual sources, depictions and museum fragments. The present work aims primarily to collect and catalogue the fragments, but also to examine the structure of this work of exceptional quality, the artistic orientation of its workshop and the content of the images. It examines questions such as the history of the construction of the building, the sculptural quality of the fragments, which European art centres are related to them (including, in addition to the dominant role of the centres in northern Italy, the Byzantine influence conveyed by the various forms of transport), the circumstances under which the artists could have arrived in the kingdom of Hungary, the inspiration for their art, what their knowledge and the needs of their clients reveal, and whether there were any interruptions, changes of plan or new beginnings during the construction.
A tervben foglaltaknak megfelelően elkeszult a temahoz kapcsolodo 14 tanulmany, egy 640.000 karak... more A tervben foglaltaknak megfelelően elkeszult a temahoz kapcsolodo 14 tanulmany, egy 640.000 karakter terjedelmű forrasgyűjtemeny es mintegy 300 targyi emlek leirasa. A kutatomunka soran a program resztvevői 10 kulfoldi tanulmanyuton vettek reszt. Az időszak soran a programba bevont kutatok ket alkalommal szamoltak be munkajuk eredmenyeiről a Regeszeti es Műveszettorteneti Tarsulat nyilvanossaga előtt konferencia-előadas formajaban (Sipos E., Wehli T., Kerny T., Lővei P., Takacs I.: 2004 marcius, Magyar Nemzeti Galeria; Toth S.: 2006 marcius, Magyar Nemzeti Muzeum). Az eredmenyek reszleges kozzetetelere Magyarorszagon es kulfoldon is sor kerult (magyar, angol, nemet es francia nyelven). A munkak kozvetlen hasznositasa mar a program időszakaban, illetve azt kozvetlenul kovetően bekovetkezett (Luxemburgi Zsigmond-kiallitas, Budapest - Luxemburg, 2006 marcius - oktober). | As planned, a total of 14 studies, a source collection of 640.000 characters and the description of about 300 objects were completed in connection with the research topic. During research, the participants of the project went on 10 research trips abroad. The researchers of the project presented their results to the public on two separate occasions in conference-lectures organized by the Hungarian Society of Archeology and Art History (E. Sipos, T. Wehli, T. Kerny, P. Lővei, I. Takacs: March 2004, Hungarian National Gallery; S. Toth: March 2006, Hungarian National Museum). Part of the research was published in Hungary and in abroad, in Hungarian, English, German and French languages. The direct application of research results took place in the later phase of the project (exhibition dedicated to Sigismund of Luxemburg, Budapest-Luxembourg, 2006 March - October).
Mehrere, fast zufallig zusammenfallende Aktualitäten trugen zum Zustandekommen vorliegender Studi... more Mehrere, fast zufallig zusammenfallende Aktualitäten trugen zum Zustandekommen vorliegender Studie bei. Eine davon ist zweifellos darin zu sehen, dass ich mich in den letzten Jahren im Budapester Kunst-gewerbemuseum mit einer besonderen Goldschmiedearbeit aus dem Mittelalter befassen konnte. Dieses Kunstwerk hatte Eva Kovács vor mehr als 30 Jahren zusam-men mit anderen ähnlichen Gegenständen entdeckt und für die europäische "Mode-geschichte" beschrieben. Es handelt sich hierbei um einen nicht als einmalig zu be-zeichnenden kunsthistorischen Fall, bei dem zwischen der minuziösen Dekoration eines kleinen Gebrauchsgegenstandes und einem in jeder Hinsicht entfernten künst-lerischen Gebiet, der architektonischen Ornamentik, eine überzeugende Parallele hinsichtlich der Form gezogen werden kann. Letzteres Gebiet war mir auch bisher nicht gleichgültig, hatte ich doch in jüngster Zeit-vollkommen unerwartet-mehr als früher die Möglichkeit, mich mit derartigen Fragen zu befassen.
A magyar középkorkutatás számára a legapróbb töredékek és a legelszigeteltebb adatok sem lehetnek... more A magyar középkorkutatás számára a legapróbb töredékek és a legelszigeteltebb adatok sem lehetnek közömbösek, amelyek az alig ismert Árpád-kori temetkezési kultúra rekonstruálásá-hoz nyújtanak segítséget, még akkor sem, ha ezek pillanatnyilag nem a kérdések megoldásá-hoz, hanem magukhoz a kérdésekhez vezetnek 1. Az Esztergomi Vármúzeum raktárában található, felmérésre és értelmezésre váró kőfaragvány tömeg számos izgalmas és kihívó kérdést szegez a középkori művészettörténet művelőinek és talán néhány választ is tartogat. 1. IV. Béla, Mária királyné és fiuk Béla szlavón herceg elpusztult síremlékéhez tartozó, vers-tani szempontból és irodalmi stílusát tekintve kifogástalan epitáfium-szöveg, amelynek pon-tos leírását feltűnő figyelmességgel hagyományozta ránk a magyar krónika-irodalom, nem az egyetlen igényesen megfogalmazott sírfelirat az ismert esztergomi emlékek körében 2. A király temetkezőhelye körül kitört, 1272-ig tartó viszály és a szóban forgó négy soros leo-ninus vers tartalma miatt nehezen elképzelhető és bizonytalanul datálható síremlék,, vagy síremlék csoport készítési idejénél jóval korábbi az a vörösmárvány lapba vésett töredékes felirat, amelyet Máthes János közölt 1827-ben, és amelynek az akkori állapothoz képest tovább aprózódott két kisebb töredéke ma is megvan a Vármúzeum kőraktárában 3 (függe-lék 1. sz.). A töredékek márványnak nevezett kemény, jól csiszolható, vöröses mészkő anyaga a Tardos-piszkei kőbányából származik 4. Vastagságuk megegyezik a Szent Adalbert székes-egyház falainak és padlózatának burkolásához is használt lapok leggyakoribb, 8-10 centi-méteres hasítási vastagságával. A nagyobbik darab az egykori teljes tábla felső részéről való, amire a töredék tetejének kevéske épen maradt csiszolt-tehát szabadon álló-maradványa hívja fel a figyelmet. A töredék jobb oldalát nagyjából egyenesen levágó, a felső, ép zárósíkra merőleges felület a darab másodlagos építészeti felhasználásának bizonyítéka. A kövön négy felirati sor teljes szót nem tartalmazó foszlányai olvashatók, amelyek a funkciót mégis sej-tetik: a NATV(S) és a (LA)PIS ISTE szavak leginkább sírfelirat kontextusában értelmesek. E sejtést megerősíthetik a vésett betűket elhomályosító kopásnyomok, amelyek a kő pad-lózaton való vízszintes helyzetét tételezik fel vagy eredeti vagy másodlagos elhelyezése idején. (A hátoldal soha meg nem munkált, durva hasítási felület.) A kisebbik töredék két feirati sor egy-egy egymás felett elhelyezkedő, a kopások miatt csak nehezen felismerhető betűjét mutatja. Az előző darabbal való összetartozását a lap azonos vastagsága és a betűk azonos magassága sugallja, meggyőző bizonyítékot azonban csak a Máthes által közölt, a leírás illusztrálására szánt metszet nyújt. Máthes leírásából és a metszetből az tűnik ki, hogy a kőlap legalább öt soros feliratot hor-dozott. A jelenleg ismert két töredék közül a nagyobbik az 1827-es ábrázolás jobb felső részéből, a kisebb a bal alsó sarokból származik. A felirat, leszámítva az utolsó sortöredék nagyon kétséges helyességű kiegészítését, időmértékes verselésű 5. A kő, hacsak nem volt még több soros a felirat, téglány alakú lehetett. A betűk azonosításában a metszet készítője is több helyen árul el bizonytalanságot, különösen nehéz az utolsó sortöredék megfejtése. Az egyes szám harmadik személyű névmás (El) ellentmondásban van a második sornak a fennmaradt töredékhez képest teljesebb ME LAPIS ISTE szövegfragmentumával. Máthes
Acta Historiae Artium Academiae Scientiarum Hungariae 56 pp. 5-88, 2015
The burial site and fragments of the tomb of Queen Gertrude of Andechs-Meran, first wife of King ... more The burial site and fragments of the tomb of Queen Gertrude of Andechs-Meran, first wife of King Andrew II (1205–1235) and a victim of assassination in 1213, were discovered during the excavations carried out in the Cistercian church of Pilis between 1967 and 1982. Her tomb was found along the central axis of the church, in the crossing. The present study, which includes the complete catalogue of the known fragments, attempts to establish the typology, iconography, and stylistic context of the artwork. New reconstructions are proposed for the two short sides of the sarcophagus-shaped tomb, which each bore distinct forms: one contained a wide, shallow niche, while the other depicted two standing figures under a double arcade. The figural ornaments on the sides of the tomb and the gisant with angels on the lid occupy an important place in the history of funerary art. In fact, the tomb displays one of the first examples of this type of decoration. The seated figures on the side relief probably represent the choir of saints in heaven, who provided companionship for the soul of the deceased queen. Gertrude herself is represented not only on top of the tomb, but also appears as a donor in one of the reliefs. Stylistic analysis of the figures proves that their master came from the workshop responsible for the Last Judgment and Callixtus portals of the cathedral of Reims. He must have left the workshop around 1220, before the portals were completed and installed in the façade of the northern transept. At about this time, Villard de Honnecourt also embarked on his travels that took him from Reims to Hungary. The style of Gertrude’s tomb bears similarities to the Villard’s drawings, even if we do not wish to attribute the sculptures to him. A team of masons from Reims also arrived in Pannonhalma during this time frame and worked on the abbey church there. Their most important work in Pannonhalma is the southern portal of the new church, the Porta Speciosa. The complicated nature of these construction histories reminds us of the need for caution when attributing one work of art to one person. Both Gertrude’s tomb and the Porta Speciosa are prime examples of the cultural and artistic period that began in the late 12th century, when the Kingdom of Hungary was a leader in the region in the reception of French Gothic.
Acta Historae Artium Academiae Scientiarum Hungariae 53 pp. 15-43. , 2012
The study focuses on some original parts of the second building of Gyulafehérvár cathedral which ... more The study focuses on some original parts of the second building of Gyulafehérvár cathedral which are now missing, such as its original sanctuary, which was demolished soon after completion and replaced by another. Also discussed are a number of carvings used in a secondary or tertiary setting, as spolia, originally made around 1200 or at the beginning of the 13th century, and then removed from their original context. Fragments of chevron-decorated carvings can be arranged along an arch that, because of its size, can only be identified with the transverse arch of the original apse of the sanctuary. The transverse arch on the face of the Gyulafehérvár apse, built around 1200, was – as far as we know today – the largest structural element in Central Europe decorated with a “Norman” chevron ornament. From the exterior decoration of the original apse a surprisingly large number of richly decorated details still survive. The entablature high on top of the polygonal apse of the present-day sanctuary is richly decorated with figures and other motifs in high relief. The placement of these carvings is clearly secondary. Obviously pieces from the entablature of the 12th-century apse were re-used in the 13th-century Gothic apse (and later when it was rebuilt in the 18th century). The thematic focus of the Gyulafehérvár cornice also relates to the figural decoration of the capitals inside the sanctuary. In addition to this series, about a dozen or so other figural carvings from this same period adorn the church. The two reliefs depicting St. Michael, both found in secondary placement high on the outside wall of the sanctuary, are the most important of these carvings.
The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert... more The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert Cathedral and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical methods, such as relative humidity measurement, macroscopic and microscopic photography and X-ray fluorescence with lithologic description. Besides the comparative analysis of the stone materials, archive documents, the current state and the impacts of subsequent restorations of the four stone artefacts were also studied.
The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert... more The paper deals with the material analysis of four emblematic stone fragments from Saint Adalbert Cathedral and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical methods, such as relative humidity measurement, macroscopic and microscopic photography and X-ray fluorescence with lithologic description. Besides the comparative analysis of the stone materials, archive documents, the current state and the impacts of subsequent restorations of the four stone artefacts were also studied
This essay was carried out in the framework of a research programme (Thesaurus mediaevalis, Eötvö... more This essay was carried out in the framework of a research programme (Thesaurus mediaevalis, Eötvös Loránd University, Budapest, 2017-2022) funded by the Hungarian Academy of Sciences, and deals with one of the most complex but hardly accessible works of the Árpád period, the former main portal of the Esztergom cathedral, which was decorated with sculptures and inlaid marble images. It was built in the last decade of the 12 th century under king Béla III (1172-1196) and survived the Turkish invasion, but its remains were destroyed during the 19 th century construction works. Since then, it exists only in textual sources, depictions and museum fragments. The present work aims primarily to collect and catalogue the fragments, but also to examine the structure of this work of exceptional quality, the artistic orientation of its workshop and the content of the images. It examines questions such as the history of the construction of the building, the sculptural quality of the fragments, which European art centres are related to them (including, in addition to the dominant role of the centres in northern Italy, the Byzantine influence conveyed by the various forms of transport), the circumstances under which the artists could have arrived in the kingdom of Hungary, the inspiration for their art, what their knowledge and the needs of their clients reveal, and whether there were any interruptions, changes of plan or new beginnings during the construction.
A tervben foglaltaknak megfelelően elkeszult a temahoz kapcsolodo 14 tanulmany, egy 640.000 karak... more A tervben foglaltaknak megfelelően elkeszult a temahoz kapcsolodo 14 tanulmany, egy 640.000 karakter terjedelmű forrasgyűjtemeny es mintegy 300 targyi emlek leirasa. A kutatomunka soran a program resztvevői 10 kulfoldi tanulmanyuton vettek reszt. Az időszak soran a programba bevont kutatok ket alkalommal szamoltak be munkajuk eredmenyeiről a Regeszeti es Műveszettorteneti Tarsulat nyilvanossaga előtt konferencia-előadas formajaban (Sipos E., Wehli T., Kerny T., Lővei P., Takacs I.: 2004 marcius, Magyar Nemzeti Galeria; Toth S.: 2006 marcius, Magyar Nemzeti Muzeum). Az eredmenyek reszleges kozzetetelere Magyarorszagon es kulfoldon is sor kerult (magyar, angol, nemet es francia nyelven). A munkak kozvetlen hasznositasa mar a program időszakaban, illetve azt kozvetlenul kovetően bekovetkezett (Luxemburgi Zsigmond-kiallitas, Budapest - Luxemburg, 2006 marcius - oktober). | As planned, a total of 14 studies, a source collection of 640.000 characters and the description of about 300 objects were completed in connection with the research topic. During research, the participants of the project went on 10 research trips abroad. The researchers of the project presented their results to the public on two separate occasions in conference-lectures organized by the Hungarian Society of Archeology and Art History (E. Sipos, T. Wehli, T. Kerny, P. Lővei, I. Takacs: March 2004, Hungarian National Gallery; S. Toth: March 2006, Hungarian National Museum). Part of the research was published in Hungary and in abroad, in Hungarian, English, German and French languages. The direct application of research results took place in the later phase of the project (exhibition dedicated to Sigismund of Luxemburg, Budapest-Luxembourg, 2006 March - October).
Mehrere, fast zufallig zusammenfallende Aktualitäten trugen zum Zustandekommen vorliegender Studi... more Mehrere, fast zufallig zusammenfallende Aktualitäten trugen zum Zustandekommen vorliegender Studie bei. Eine davon ist zweifellos darin zu sehen, dass ich mich in den letzten Jahren im Budapester Kunst-gewerbemuseum mit einer besonderen Goldschmiedearbeit aus dem Mittelalter befassen konnte. Dieses Kunstwerk hatte Eva Kovács vor mehr als 30 Jahren zusam-men mit anderen ähnlichen Gegenständen entdeckt und für die europäische "Mode-geschichte" beschrieben. Es handelt sich hierbei um einen nicht als einmalig zu be-zeichnenden kunsthistorischen Fall, bei dem zwischen der minuziösen Dekoration eines kleinen Gebrauchsgegenstandes und einem in jeder Hinsicht entfernten künst-lerischen Gebiet, der architektonischen Ornamentik, eine überzeugende Parallele hinsichtlich der Form gezogen werden kann. Letzteres Gebiet war mir auch bisher nicht gleichgültig, hatte ich doch in jüngster Zeit-vollkommen unerwartet-mehr als früher die Möglichkeit, mich mit derartigen Fragen zu befassen.
A magyar középkorkutatás számára a legapróbb töredékek és a legelszigeteltebb adatok sem lehetnek... more A magyar középkorkutatás számára a legapróbb töredékek és a legelszigeteltebb adatok sem lehetnek közömbösek, amelyek az alig ismert Árpád-kori temetkezési kultúra rekonstruálásá-hoz nyújtanak segítséget, még akkor sem, ha ezek pillanatnyilag nem a kérdések megoldásá-hoz, hanem magukhoz a kérdésekhez vezetnek 1. Az Esztergomi Vármúzeum raktárában található, felmérésre és értelmezésre váró kőfaragvány tömeg számos izgalmas és kihívó kérdést szegez a középkori művészettörténet művelőinek és talán néhány választ is tartogat. 1. IV. Béla, Mária királyné és fiuk Béla szlavón herceg elpusztult síremlékéhez tartozó, vers-tani szempontból és irodalmi stílusát tekintve kifogástalan epitáfium-szöveg, amelynek pon-tos leírását feltűnő figyelmességgel hagyományozta ránk a magyar krónika-irodalom, nem az egyetlen igényesen megfogalmazott sírfelirat az ismert esztergomi emlékek körében 2. A király temetkezőhelye körül kitört, 1272-ig tartó viszály és a szóban forgó négy soros leo-ninus vers tartalma miatt nehezen elképzelhető és bizonytalanul datálható síremlék,, vagy síremlék csoport készítési idejénél jóval korábbi az a vörösmárvány lapba vésett töredékes felirat, amelyet Máthes János közölt 1827-ben, és amelynek az akkori állapothoz képest tovább aprózódott két kisebb töredéke ma is megvan a Vármúzeum kőraktárában 3 (függe-lék 1. sz.). A töredékek márványnak nevezett kemény, jól csiszolható, vöröses mészkő anyaga a Tardos-piszkei kőbányából származik 4. Vastagságuk megegyezik a Szent Adalbert székes-egyház falainak és padlózatának burkolásához is használt lapok leggyakoribb, 8-10 centi-méteres hasítási vastagságával. A nagyobbik darab az egykori teljes tábla felső részéről való, amire a töredék tetejének kevéske épen maradt csiszolt-tehát szabadon álló-maradványa hívja fel a figyelmet. A töredék jobb oldalát nagyjából egyenesen levágó, a felső, ép zárósíkra merőleges felület a darab másodlagos építészeti felhasználásának bizonyítéka. A kövön négy felirati sor teljes szót nem tartalmazó foszlányai olvashatók, amelyek a funkciót mégis sej-tetik: a NATV(S) és a (LA)PIS ISTE szavak leginkább sírfelirat kontextusában értelmesek. E sejtést megerősíthetik a vésett betűket elhomályosító kopásnyomok, amelyek a kő pad-lózaton való vízszintes helyzetét tételezik fel vagy eredeti vagy másodlagos elhelyezése idején. (A hátoldal soha meg nem munkált, durva hasítási felület.) A kisebbik töredék két feirati sor egy-egy egymás felett elhelyezkedő, a kopások miatt csak nehezen felismerhető betűjét mutatja. Az előző darabbal való összetartozását a lap azonos vastagsága és a betűk azonos magassága sugallja, meggyőző bizonyítékot azonban csak a Máthes által közölt, a leírás illusztrálására szánt metszet nyújt. Máthes leírásából és a metszetből az tűnik ki, hogy a kőlap legalább öt soros feliratot hor-dozott. A jelenleg ismert két töredék közül a nagyobbik az 1827-es ábrázolás jobb felső részéből, a kisebb a bal alsó sarokból származik. A felirat, leszámítva az utolsó sortöredék nagyon kétséges helyességű kiegészítését, időmértékes verselésű 5. A kő, hacsak nem volt még több soros a felirat, téglány alakú lehetett. A betűk azonosításában a metszet készítője is több helyen árul el bizonytalanságot, különösen nehéz az utolsó sortöredék megfejtése. Az egyes szám harmadik személyű névmás (El) ellentmondásban van a második sornak a fennmaradt töredékhez képest teljesebb ME LAPIS ISTE szövegfragmentumával. Máthes
Acta Historiae Artium Academiae Scientiarum Hungariae 56 pp. 5-88, 2015
The burial site and fragments of the tomb of Queen Gertrude of Andechs-Meran, first wife of King ... more The burial site and fragments of the tomb of Queen Gertrude of Andechs-Meran, first wife of King Andrew II (1205–1235) and a victim of assassination in 1213, were discovered during the excavations carried out in the Cistercian church of Pilis between 1967 and 1982. Her tomb was found along the central axis of the church, in the crossing. The present study, which includes the complete catalogue of the known fragments, attempts to establish the typology, iconography, and stylistic context of the artwork. New reconstructions are proposed for the two short sides of the sarcophagus-shaped tomb, which each bore distinct forms: one contained a wide, shallow niche, while the other depicted two standing figures under a double arcade. The figural ornaments on the sides of the tomb and the gisant with angels on the lid occupy an important place in the history of funerary art. In fact, the tomb displays one of the first examples of this type of decoration. The seated figures on the side relief probably represent the choir of saints in heaven, who provided companionship for the soul of the deceased queen. Gertrude herself is represented not only on top of the tomb, but also appears as a donor in one of the reliefs. Stylistic analysis of the figures proves that their master came from the workshop responsible for the Last Judgment and Callixtus portals of the cathedral of Reims. He must have left the workshop around 1220, before the portals were completed and installed in the façade of the northern transept. At about this time, Villard de Honnecourt also embarked on his travels that took him from Reims to Hungary. The style of Gertrude’s tomb bears similarities to the Villard’s drawings, even if we do not wish to attribute the sculptures to him. A team of masons from Reims also arrived in Pannonhalma during this time frame and worked on the abbey church there. Their most important work in Pannonhalma is the southern portal of the new church, the Porta Speciosa. The complicated nature of these construction histories reminds us of the need for caution when attributing one work of art to one person. Both Gertrude’s tomb and the Porta Speciosa are prime examples of the cultural and artistic period that began in the late 12th century, when the Kingdom of Hungary was a leader in the region in the reception of French Gothic.
Acta Historae Artium Academiae Scientiarum Hungariae 53 pp. 15-43. , 2012
The study focuses on some original parts of the second building of Gyulafehérvár cathedral which ... more The study focuses on some original parts of the second building of Gyulafehérvár cathedral which are now missing, such as its original sanctuary, which was demolished soon after completion and replaced by another. Also discussed are a number of carvings used in a secondary or tertiary setting, as spolia, originally made around 1200 or at the beginning of the 13th century, and then removed from their original context. Fragments of chevron-decorated carvings can be arranged along an arch that, because of its size, can only be identified with the transverse arch of the original apse of the sanctuary. The transverse arch on the face of the Gyulafehérvár apse, built around 1200, was – as far as we know today – the largest structural element in Central Europe decorated with a “Norman” chevron ornament. From the exterior decoration of the original apse a surprisingly large number of richly decorated details still survive. The entablature high on top of the polygonal apse of the present-day sanctuary is richly decorated with figures and other motifs in high relief. The placement of these carvings is clearly secondary. Obviously pieces from the entablature of the 12th-century apse were re-used in the 13th-century Gothic apse (and later when it was rebuilt in the 18th century). The thematic focus of the Gyulafehérvár cornice also relates to the figural decoration of the capitals inside the sanctuary. In addition to this series, about a dozen or so other figural carvings from this same period adorn the church. The two reliefs depicting St. Michael, both found in secondary placement high on the outside wall of the sanctuary, are the most important of these carvings.
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and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta
speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red
limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of
the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical methods,
such as relative humidity measurement, macroscopic and microscopic photography and X-ray fluorescence with lithologic
description. Besides the comparative analysis of the stone materials, archive documents, the current state and the impacts of
subsequent restorations of the four stone artefacts were also studied
(1205–1235) and a victim of assassination in 1213, were discovered during the excavations carried out in the Cistercian church of
Pilis between 1967 and 1982. Her tomb was found along the central axis of the church, in the crossing. The present study, which
includes the complete catalogue of the known fragments, attempts to establish the typology, iconography, and stylistic context of
the artwork. New reconstructions are proposed for the two short sides of the sarcophagus-shaped tomb, which each bore distinct
forms: one contained a wide, shallow niche, while the other depicted two standing figures under a double arcade. The figural ornaments
on the sides of the tomb and the gisant with angels on the lid occupy an important place in the history of funerary art. In
fact, the tomb displays one of the first examples of this type of decoration. The seated figures on the side relief probably represent
the choir of saints in heaven, who provided companionship for the soul of the deceased queen. Gertrude herself is represented
not only on top of the tomb, but also appears as a donor in one of the reliefs.
Stylistic analysis of the figures proves that their master came from the workshop responsible for the Last Judgment and Callixtus
portals of the cathedral of Reims. He must have left the workshop around 1220, before the portals were completed and
installed in the façade of the northern transept. At about this time, Villard de Honnecourt also embarked on his travels that took
him from Reims to Hungary. The style of Gertrude’s tomb bears similarities to the Villard’s drawings, even if we do not wish to
attribute the sculptures to him. A team of masons from Reims also arrived in Pannonhalma during this time frame and worked
on the abbey church there. Their most important work in Pannonhalma is the southern portal of the new church, the Porta Speciosa.
The complicated nature of these construction histories reminds us of the need for caution when attributing one work of art
to one person.
Both Gertrude’s tomb and the Porta Speciosa are prime examples of the cultural and artistic period that began in the late
12th century, when the Kingdom of Hungary was a leader in the region in the reception of French Gothic.
such as its original sanctuary, which was demolished soon after completion and replaced by another. Also discussed are a
number of carvings used in a secondary or tertiary setting, as spolia, originally made around 1200 or at the beginning of the 13th
century, and then removed from their original context. Fragments of chevron-decorated carvings can be arranged along an arch
that, because of its size, can only be identified with the transverse arch of the original apse of the sanctuary. The transverse arch
on the face of the Gyulafehérvár apse, built around 1200, was – as far as we know today – the largest structural element in Central
Europe decorated with a “Norman” chevron ornament. From the exterior decoration of the original apse a surprisingly large
number of richly decorated details still survive. The entablature high on top of the polygonal apse of the present-day sanctuary
is richly decorated with figures and other motifs in high relief. The placement of these carvings is clearly secondary. Obviously
pieces from the entablature of the 12th-century apse were re-used in the 13th-century Gothic apse (and later when it was rebuilt in
the 18th century). The thematic focus of the Gyulafehérvár cornice also relates to the figural decoration of the capitals inside the
sanctuary. In addition to this series, about a dozen or so other figural carvings from this same period adorn the church. The two
reliefs depicting St. Michael, both found in secondary placement high on the outside wall of the sanctuary, are the most important
of these carvings.
and the Royal Palace of Esztergom from King Béla III’s era. All of the four examined objects (two fragments from the Porta
speciosa and two throne arm-rests) have incrustations with red limestone basement and other colourful stone pieces. As red
limestone is a well-known material in Hungarian art history with a rich historiography, the paper focuses on the findings of
the analyses of other stone materials of the incrustations. The research contains several non-destructive analytical methods,
such as relative humidity measurement, macroscopic and microscopic photography and X-ray fluorescence with lithologic
description. Besides the comparative analysis of the stone materials, archive documents, the current state and the impacts of
subsequent restorations of the four stone artefacts were also studied
(1205–1235) and a victim of assassination in 1213, were discovered during the excavations carried out in the Cistercian church of
Pilis between 1967 and 1982. Her tomb was found along the central axis of the church, in the crossing. The present study, which
includes the complete catalogue of the known fragments, attempts to establish the typology, iconography, and stylistic context of
the artwork. New reconstructions are proposed for the two short sides of the sarcophagus-shaped tomb, which each bore distinct
forms: one contained a wide, shallow niche, while the other depicted two standing figures under a double arcade. The figural ornaments
on the sides of the tomb and the gisant with angels on the lid occupy an important place in the history of funerary art. In
fact, the tomb displays one of the first examples of this type of decoration. The seated figures on the side relief probably represent
the choir of saints in heaven, who provided companionship for the soul of the deceased queen. Gertrude herself is represented
not only on top of the tomb, but also appears as a donor in one of the reliefs.
Stylistic analysis of the figures proves that their master came from the workshop responsible for the Last Judgment and Callixtus
portals of the cathedral of Reims. He must have left the workshop around 1220, before the portals were completed and
installed in the façade of the northern transept. At about this time, Villard de Honnecourt also embarked on his travels that took
him from Reims to Hungary. The style of Gertrude’s tomb bears similarities to the Villard’s drawings, even if we do not wish to
attribute the sculptures to him. A team of masons from Reims also arrived in Pannonhalma during this time frame and worked
on the abbey church there. Their most important work in Pannonhalma is the southern portal of the new church, the Porta Speciosa.
The complicated nature of these construction histories reminds us of the need for caution when attributing one work of art
to one person.
Both Gertrude’s tomb and the Porta Speciosa are prime examples of the cultural and artistic period that began in the late
12th century, when the Kingdom of Hungary was a leader in the region in the reception of French Gothic.
such as its original sanctuary, which was demolished soon after completion and replaced by another. Also discussed are a
number of carvings used in a secondary or tertiary setting, as spolia, originally made around 1200 or at the beginning of the 13th
century, and then removed from their original context. Fragments of chevron-decorated carvings can be arranged along an arch
that, because of its size, can only be identified with the transverse arch of the original apse of the sanctuary. The transverse arch
on the face of the Gyulafehérvár apse, built around 1200, was – as far as we know today – the largest structural element in Central
Europe decorated with a “Norman” chevron ornament. From the exterior decoration of the original apse a surprisingly large
number of richly decorated details still survive. The entablature high on top of the polygonal apse of the present-day sanctuary
is richly decorated with figures and other motifs in high relief. The placement of these carvings is clearly secondary. Obviously
pieces from the entablature of the 12th-century apse were re-used in the 13th-century Gothic apse (and later when it was rebuilt in
the 18th century). The thematic focus of the Gyulafehérvár cornice also relates to the figural decoration of the capitals inside the
sanctuary. In addition to this series, about a dozen or so other figural carvings from this same period adorn the church. The two
reliefs depicting St. Michael, both found in secondary placement high on the outside wall of the sanctuary, are the most important
of these carvings.