Klenot flámskej gotickej miniatúry Kniha hodiniek Ilony Andrássyovej Dušan Buran (ed.) Klenot flámskej gotickej miniatúry Kniha hodiniek Ilony Andrássyovej Slovenské národné múzeum — Múzeum Betliar 2019 Dušan Buran (ed.) Pamiatke Ilony Andrássyovej (1917 — 1990) 10 Úvod 311 1 : 1 Tímea Mátéová 371 Katalóg 27 Eseje Dušan Buran 28 Ilona Andrássyová a jej odkaz 507 Prílohy Július Barczi 508 Výberová bibliografia Katarína Bányászová 524 Zoznam vystavených 84 Kniha liturgických hodiniek exponátov z Betliara 534 List of exhibited works Paleograficko-kodikologická 544 A kiállított műtárgyak listája analýza 554 The Ilona Andrássy Book Juraj Šedivý 132 Kniha hodiniek Ilony Andrássyovej a jej miesto v dejinách umenia Dušan Buran of Hours (Summary) 592 Andrássy Ilona Hóráskönyve (Összefoglaló) 632 Skratky 1:1 Mojej najmilšej vnučke Predsádka Ilone Andrássyovej. Jún 1934. Fol. 1v-2r Kalendár: január Fol. 2v-3r Kalendár: január — február Fol. 3v-4r Kalendár: február — marec Fol. 4v-5r Kalendár: marec — apríl Fol. 5v-6r Kalendár: apríl — máj Fol. 6v-7r Kalendár: máj — jún Fol. 7v-8r Kalendár: jún — júl Fol. 8v-9r Kalendár: júl — august Fol. 9v-10r Kalendár: august — september Fol. 10v-11r Kalendár: september — október Fol. 11v-12r Kalendár: október — november Fol. 12v-13r Kalendár: november — december Fol. 13v-14r Kalendár: december Fol. 14v-15r Zoslanie Ducha svätého Fol. 23v-24r Ukrižovanie Fol. 33v-34r Madona s anjelom Fol. 49v-50r Zvestovanie Fol. 76v-77r Navštívenie Fol. 93v-94r Narodenie Fol. 101v-102r Zvestovanie pastierom Fol. 108v-109r Klaňanie Troch kráľov Fol. 115v-116r Predstavenie v chráme Fol. 122v-123r Vraždenie neviniatok Fol. 133v-134r Útek do Egypta Fol. 142v-143r Smrť Panny Márie Fol. 155v-156r Kráľ Dávid Fol. 184v-185r Vzkriesenie Lazara Fol. 254v-255r Sv. 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Görlitz — Zittau 2000. 522 523 List of exhibited works Session 1: Ilona Andrássy • Julius von Blaas (1845 — 1923) Eleonora Andrássy, born Kaunitz Oil on a cardboard, 1889 Slovak National Museum — Museum Betliar • Family Tree von Kaunitz executed for Countess Eleonora Andrássy, born Kaunitz, 1901 Slovak National Museum — Museum Betliar • Atelier Veres Ilona Andrássy Coloured photography Budapest, around 1940 Slovak National Museum — Július Barczi Katarína Bányászová Museum Betliar • Atelier Szenes Dušan Buran Three generations of the family Andrássy — Tímea Mátéová Count Gejza I., Emanuel II., Maria, Matúš Molnár born Choloniewska, Ilona and Gejza II. Photography. Budapest, around 1936 • Documents and Postcards found together Slovak National Museum — with the Ilona Andrássy Book of Hours Museum Betliar in the drawer of a Baroque commode • Koller Károly in the Betliar Manor House, 1940´ Countess Eleonora Andrássy, Slovak National Museum — born Kaunitz Museum Betliar Photography. Budapest, 1890 • Journal Film Színház Irodalom Slovak National Museum — (Film, Theatre, Literature) with Museum Betliar a photograph of Ilona Edelsheim, • Anonymous Photographer a nourse and a colleague Ilona Andrássy in a Red Cross uniform of Ilona Andrássy, 1943 Photography, 1940´ Slovak National Museum — Slovak National Museum — Museum Betliar Museum Betliar • Stamp-album of Ilona Andrássy • List of books red by Ilona Andrássy in August, probably 1936 Around 1935 Slovak National Museum — Slovak National Museum — Museum Betliar Museum Betliar • Private correspondence • Princess Marizza v. und. z. Liechtenstein, aunt of Ilona Andrássy with her sons, of Ilona Andrássy, 1940´ around 1930 Slovak National Museum — Slovak National Museum — Museum Betliar Museum Betliar Session 2: Small Manuscripts Slovak National Museum — Museum Betliar • The New Testament, commented • Re-edition of the Prayer Book by Martinus (with a possesor of Ilona Andrássy) von Cochem: Der grosse Baumgarten Print, 1928 (?) in grossem Druck. Print, Sulzbach 1810 Slovak National Museum — Slovak National Museum — Museum Betliar Museum Betliar • Prayer Book: Officium Rakoczianum • Unknown Painter Print, Trnava 1769 Madonna with Angels from Poprad Slovak National Museum — Spiš County, 1484 Museum Betliar Slovak National Gallery Bratislava, O 1593 • Jerusalem Conquest in the First crusade • Unknown Scribe (1096 — 1099). Epic prose, vols. I-II. Book of Hours Print, Amsterdam 1678 France, Late 15th Century Slovak National Museum — Church Assembly of the Evangelical Museum Betliar Church A. C. in Slovakia Bratislava • Prayer Book: Andächtige und zu den Herrn ihren Gott stets Old Town • Unknown Illuminator sehende Augen. Visitation with bound-in: Evangelical hymnal Paris or Northern France, Late 15th Century of casual songs by Martin Luther et al. Library of the Bratislava City Museum, Print. Chemnitz, before 1750 (?) R 00024 • Unknown Illuminator Annunciation to the Shepherds Paris or Northern France, Late 15th Century Slovak National Museum — Betliar Museum • LAB of the Slovak National Gallery Library of the Bratislava City Museum, Bratislava R 00022 A digital copy of the Book of Hours • Unknown Illuminator Circumcision Paris or Northern France, Late 15th Century of Ilona Andrássy (Calendar and illuminated bi-folios), 2018/2019 • Unknown Illuminator Library of the Bratislava City Museum, Grisaille Initial S-piritus domini R 00021 (Fragment of the Bratislava Misal VIII) • Unknown Illuminator Olomouc (?), around 1400 Crowning of the Virgin Mary Library of the Bratislava City Museum, Paris or Northern France, Late 15th Century R 00006/8 Library of the Bratislava City Museum, R 00023 Session 4: Flemish Painting of the 15. and 16. Century Session 3: Book of Hours of Ilona Andrássy & Grisaille • Master from Alkmaar (active between 1475 — 1515) • Willem Vrelant — workshop The Last Supper Ilona Andrássy Book of Hours Antwerp, Beginning of the 16th Century Bruges (?), ca. 1460 — 1480 Slovak National Gallery Bratislava, O 331 • Albrecht Bouts (1452 — 1549) Session 5: Book Collections The Man of Sorrows (Christ with the Crown of Thorns) • Unknown Painter Leuven, around 1500 St Stephen Protomartyr in Dispute Slovak National Gallery Bratislava, O 550 Second Half of the 15th Century • Jan Mertens ml. (1470 — 1527) — workshop Epiphany (Annunciation, Nativity). Slovak National Gallery Bratislava, O 334 • Fragments of parchment liturgical So called Banská Bystrica Triptych manuscripts from the 15th Century, recycled Antwerp, around 1520 on the print bindings from the 16th — 17th Slovak National Gallery Bratislava, Century O 6807 — 6809 Slovak National Museum — • Unknown Carpenter Table Museum Betliar • F. Constant Scheman — I. Marchand Kingdom of Hungary, 15th Century Leopold Andrássy, Founder of the Betliar Slovak National Museum — Library Museum Betliar Print, around 1810 • Unknown Carpenter Chair with the Coat of Arms Malatesta from Rimini Italy, around 1500 (?) Slovak National Museum — Museum Betliar Slovak National Museum — Museum Betliar The Ilona Andrássy Book of Hours The present exhibition presents one (Summary) of the most recent discoveries at the Slovak National Museum — Museum Betliar. Apart from later religious books, correspondence and stamp albums, one drawer of a Baroque commode, unopened for decades, concealed a miniature illuminated manuscript. It contains a brief written dedication on the front end paper: To my dearest granddaughter Ilona Andrássy. June 1934. And so we also know the identity of its final owner.1 1 Meiner liebsten Enkelin Ilona Andrassy. Juny 1934. Dušan Buran 555 Ilona Andrássy (1917 — 1990) was movement. Ilona grew up in a mul- the daughter of Betliar’s last own- ticultural environment, surrounded er Emmanuel II (1892 — 1953) and by art collections of her ancestors at his wife Maria Choloniewska Betliar, in Veľké Tŕnie, in Parchovany (1892 — 1975). She and her brother or in their Budapest palace. Géza II (1920 — 1997) were brought Everything changed after the Sec- up in a harmonious, strictly Catholic ond World War. The Andrássys had environment. The family of Countess to leave Betliar as early as 1944, their Eleonora Kaunitz (1862 — 1936) — Il- Czechoslovak estates nationalized ona’s paternal grandmother, and in 1945, followed by their Hungari- probably also the previous owner of an possessions in 1949. Ilona’s par- the illuminated codex — had strong ents and brother ended up in exile ties to the Czech national revival in Liechtenstein, but she herself endured a life full of suffering in 556 The generous giver was probably Central Europe. During the war, she Ilona’s grandmother, Countess worked as a Red Cross volunteer in Eleonora Kaunitz. the Budapest Hospital of the Rock. 557 She was later displaced, persecuted The entire contents of the small and imprisoned, and became a sym- drawer certainly belonged to Ilona bol of succour to the weak and ag- Andrássy, which we know not only grieved. She returned to Betliar in thanks to the manuscript dedication, the 1970s as a tourist: she always but also other objects, particularly bought an entrance ticket and toured letters addressed to her. But the most with other guests, in the rooms in precious object will always be the il- which she grew up and which were luminated Book of Hours, immedi- once her home. ately striking as the work of Flem- 2 ish painting from the second half of 558 2 The short biography for exhibition the 15th century. Although its grisaille purposes was adapted by Július miniatures are distinguished by their Barczi and Katarína Bányászová. high quality, and the Betliar house Cf. also BARCZI — BuRAn 2017. itself is testament to the Andrássy The following text is a translation passion for collecting — the Book of of a revised version of the essay Hours is exceptional in this collec- in BuRAn 2017. tion for several reasons. Ilona — only 559 17 years of age in 1934 — did not have Books of Hours the opportunity to continue building an art collection, employed as she “Hours” describe medieval collections was as a wartime volunteer in a Bu- of prayers, as a rule of ‘pocket’ for- dapest hospital. Rather than a part mat, intended for private devotion. In of the collection of antiques, then, the field of book illumination, they the Book of Hours may be considered are one of the most numerous types of as a kind of privatissimo — a family manuscripts in European and US col- gift to a young woman. As such, it lections.3 They are usually introduced never appeared in inventories, and by a calendar, and their core is made the fate of the codex up to now only up of daily Marian prayers (officium confirms its former exclusive ties to Beatae Mariae Virgines), most of- its last owner. ten supplemented by night-time prayers for the dead (officium mortuorum). Their function determined 3 560 WIECK 1988; WIECK 1997. 561 562 to a significant extent their format centuries, illuminated codices appear and decorative character. They were to be in a contest to exceed each oth- exceptionally small manuscripts, usu- er in miniature formats, while their ally kept on the owner’s person at all decoration demanded special skills times. They were not only a source from painters — and intense scrutiny of prayers, but also richly illustrat- from their owners. ed; indeed, differences in parchment Aside from the monumental works wear in the Ilona Andrássy Book of of Gothic painting and sculpture pro- Hours’ illuminated parts are eloquent duced for sacral spaces, the period of testimony of this. the 15th century could be described Books were not only worn, but also as one which saw a gradual perco- leafed through, stroked, often kissed. lation of art into the private sphere. These ties to the human body almost This was accompanied hand in hand seem to represent a functional coun- by the growing popularity of small terpart to the monumental altarpiec- formats — domestic altarpieces were es or frescos made for public admira- made, ivory carvings were traded, tion — to distance. In the 14th and 15th and rosaries, ‘prayer nuts’, assorted 563 badges, jewels and their casings were The Illuminations of the Ilona produced. Andrássy Book of Hours These objects, books of hours among them, were commonly passed on from The Betliar codex was written and one generation to the next, which illuminated at the same time, rough- may account for the fact that a rela- ly in the period between 1460 and tively high number have survived in 1480. Its leather binding, strength- excellent condition in the West. As ened just before the exhibition,4 is a result, the Hours of Jeanne d’Evreux probably late and from the 19th cen- (1324 — 1328), the Très Riches Hours tury (85 × 65 × 30 mm), and protects du Duc de Berry (1412 — 1416), or 276 folios.5 Folios 2r — 13v contain the Rohan Hours (1430 — 1435) long ago became respected not only in 4 Prior to the exhibition the narrow field of codicology and the manuscript was treated by liturgy, but in the world history of conservator Veronika Szalai. painting as such. 5 Smooth grained parchment, 81 × 60 mm. No foliation. 564 565 the calendar. According to its selec- 14v — 15r contain the first of fifteen tion of saints, and diocesan patrons illuminated double pages, in this case in particular, it is possible to sur- with a miniature of the Pentecost.7 mise local liturgical customs. In our case, we are most likely dealing with the Ghent — Bruges region. Folios 6 7 In each case the figural painting is on verso in a gold, rectangular frame with a segmented upper Text: Italicising Gothic rotunda edge of rich foliage. Recto, in in single column with 14 lines a similarly richly decorated frame, (48 × 38 mm). contains in every case 14 lines 6 Less popular saints are also 566 with the prayer beginning, two included: 2 February, St Amandus; to fours initial lines (Incipit…) 4 March, St Adrian; 15 May, St are highlighted with red ink, Sophia; 31 May, St Petronella; 14 followed by a single large, June, St Basil; 1 September, St illuminated, as a rule gilded initial, Giles; 1 October, St Bavo and St followed by another smaller Remigius; 14 October, St Donatian. one. The illuminated bi-folios are 567 These double pages serve to signal prayers, for ease of orientation: af- chapter breaks between individual ter the prayer to the Holy Spirit (15r), the Holy Cross (24r) or Marian liturgy 568 thematically ordered as follows: (34r), the ‘hours’ themselves begin 14v, Descent of the Holy Spirit; with the scene of the Annunciation 23v, Crucifixion; 33v, Madonna and text on fol. 49r: Incipit officium Enthroned with Angel; 49v, beate mariae virginis secundum usum Annunciation; 76v, Visitation; 93v, romanum ecclesiae : ad matutinum. Nativity; 101v, Annunciation to The condition of the miniature dou- the Shepherds; 108v, Adoration ble pages, the fingerprint marks in of the Magi; 115v, Presentation the marginal decoration in particular, in the Temple; 122v, Massacre of allows us to conjecture that the il- the Innocents; 133v, Flight Into luminations served their function Egypt; 142v, Death of the Virgin; far often than the rest of the codex. 155v, King David; 184v, Raising Indeed, more modestly decorated of Lazarus; 254v, St Jerome in folios are immeasurably less worn. His Study. Their ornamentation is restricted 569 to pen and ink initials, also called in the Temple, St Jerome in His Study fleuronée, emphasised with blue and others). He reduced the number and red, but surprisingly also with of figures to only the most essen- gilding. The left-hand side of many tial, but modelled their bodies and of these folios also contain a gilded draperies all the more (with white strip with plant decoration along its highlights as well as hatching). He entire length. clothed the figures themselves in However, the decorative apogee is effective, nevertheless simple robes represented by the already men- after the antique, and only excep- tioned figural scenes. Depending on tionally are they enriched by mod- theme, their illuminator set them ern fashionable detail (Kind David, either in a mountainous landscape the commander from the Crucifixion). with a distant horizon (King David, He also worked with only a few facial Visitation, Annunciation to the Shep- types, preferring three-quarter and herds, Flight Into Egypt and others) full profiles. or in an interior (Massacre of the Innocents, Annunciation, Presentation 570 571 Artistic Milieu and Grisaille workshops, with perhaps hundreds of illuminators of similar pocket-sized Even a basic art historical classifi- codices. In light of the great demand, cation shows that the manuscript is workshops often made books of the product of Flemish book illumi- hours for export, and their produc- nation, from a period of one of its tion did not have to be necessarily greatest flowerings. The majority of tied to a particular order. They were formal signs suggests an artistic-geo- increasingly made with a view to sell graphical region somewhere between them on the open market. Utrecht, Bruges and Ghent, today in This tendency is demonstrated by Holland and Belgium, but in the 15 a rather serial quality, which is also century all Flemish cities.8 In this pe- visible in the Betliar manuscript when riod, the area was home to dozens of compared with its closest analogies. th Even the writing style (Gothic minus- 572 8 Overview of the subject: MARROW cule influenced by Italian rotunda) 2006, 163-176. Also cf. exh. cat. shows a strong tendency to stand- Illuminating the Renaissance 2004. ardisation and rapid production; 573 catchwords or custodes, for instance, hand, the relatively generous use of are missing. At the same time, how- gilding — using several techniques — ever, it was probably not produced by is aimed at amplifying the impression several scribes. The miniatures them- of luxury. This working process was selves, after comparison with related relatively economic in terms of time, manuscripts, almost ostentatiously but it did demand the foundation of repeat very similar compositions, and unattached workshop units whose are often based on well-known types illuminators seem to migrate between known in Netherlandish painting (Ro- permanent workshops. It also meant gier van der Weyden), and certain mo- the possibility of developing an iden- tifs may even be inspired by proliferat- tifiable, and therefore also commer- ing graphic prints (Master E.S., Martin cially successful style. On the basis of Schongauer). The number of figures style, it is possible to identify several and colour is reduced. On the other other manuscripts from the workshop 9 that produced the Ilona Andrássy 9 Cf. Juraj Šedivý’s codicological analysis in this volume. 574 Book of Hours. It was led by Willem Vrelant (†1481) — a painter to whom 575 scholarship attributes illuminations, say ‘fraternal’ — codices to the Betliar or at least a part in the decoration of manuscript include the following: several manuscripts for the Dukes of • Hours of Jacques de Brégilles in Burgundy. The closest — one could the British Library in London 10 10 Willem Vrelant first appears in 576 Chroniques de Heinaut (1468). documentary sources in 1545 He also contributed to several in Utrecht; he later moved to miniatures for the Hours of Bruges, where he made around 70 Mary of Burgundy (önB Wien, manuscripts, whose popular style 1475 — 1480). Cf. profile in exh. cat. was imitated in his own workshop Guillaume Wielant 1997; briefly and beyond. He also worked in also in exh. cat. Illuminating the services of Philip the Good, the Renaissance 2004, 117-119 Duke of Burgundy, for whom (with lit.). Vrelant’s manuscripts he made some illustrations to are also known in libraries in the second volume of the widely Central Europe: PRůŠOVÁ 2016, known historical manuscript 39-57; PŁOnKA-BAŁuS 2010, 28-43. 577 (around 1460, only two miniatures are by Willem Vrelant).11 • The book of hours in the Walters Art Museum collection in Baltimore (mS. w. 180).13 • The so-called ‘Rant Hours’ in the Morgan Library & Museum in New York, around 1460 — 1470. 12 • A book of hours from the estate of Yates Thompson and Bright, auctioned by Christie’s on 11 London, British Library, Yates 16 July 2014.14 Thompson MS. 4. Available online: https://www.bl.uk/catalogues/ illuminatedmanuscripts/record. 1460 — 1470. Available online: asp?MSID=8134&CollID=58& http://www.thedigitalwalters.org/ NStart=4 (retrieved 13 April 2019). Data/WaltersManuscripts/html/ 12 New York, Morgan Library & Museum MS. M 25. Available online: https://www. 578 13 Origin and date: Bruges, W180/description.html (retrieved 5 October 2016). 14 https://www.christies.com/ themorgan.org/manuscript/76883 lotfinder/books-manuscripts/ (retrieved 13 April 2019). book-of-hours-use-of-rome- 579 • The Black Hours from As with the Betliar manuscript, the workshop of Willem Vrelant the illuminators of these codices in the Morgan Library & Museum usually worked with a reduced grey in New York, around 1480. scale tonality when painting figura- 15 tive miniatures — called grisaille, or semi-grisaille (apart from the last in-5814192-details.aspx?from= example). salesummery&intobjectid=581 Grisaille is the name for a special 4192&sid=ceca5f81-5100-48e1- tonal painting technique that em- b83f-192eb7bfa969 (retrieved ployed the monochromatic scale of 12 January 2019). white, grey and black. By the end of 15 New York, Morgan Library & the 15th century it could already boast Museum, MS. M 493. Digital of a rich tradition.16 One of the first facsimile available online: https:// known monumental works made in www.themorgan.org/collection/ black-hours/26 (retrieved 26 May 2017). 580 16 KRIEGER 1995; KRIEGER 1996; exh. cat. Monochrome 2017. 581 this way includes the series of sins fact, confined to grey tones. Though and virtues in Giotto’s famous Arena they certainly dominate the scenes, Chapel in Padua (1303 — 1305). It was as in our case, there are other inten- immediately followed by the creation tionally placed colours, firstly flesh of the sumptuous Hours of Jeanne tones, ochre blonde hair — and gild- d’Evreux (1324 — 1328) at the French ing. A significant factor in spreading royal court,17 which for the follow- the aesthetics of peinture en camaieu, ing 200 years established this book which was another way of saying gri- painting technique as a synonym saille, was the hundreds of ‘statues’ of artistic refinement — and luxu- painted on the wings of numerous ry. The colour reduction was not, in Netherlandish altarpieces, which in the 15th century spread across 17 Metropolitan Museum of Art, 582 the whole of Europe. Although we New York, inv. no. 54.1.2. Available still do not have the desired consen- online: http://metmuseum.org/ sus regarding the interpretation of art/collection/search/470309 their true meaning, it is nevertheless (retrieved 26 May 2017). more than clear that grisaille served 583 from the very outset to produce a single manuscript: but there is also mediating distances, and material an effort to achieve a kind of rich- and optical illusions.18 Apart from ness of variation, even if they hew the similar format and technique, closely in form and motif to their the codices in American collections types. By contrast, the marginal plant are related to the Betliar manuscript decoration around the framed scenes in other ways, too: the compositions is almost indistinguishable; but of the figural miniatures betray the Betliar manuscript includes var- the use of identical models, even if ious decoratively interpreted birds in the resulting miniatures themselves the foliage, something that is absent are not wholly identical. It is pos- in the Baltimore work for instance. sible to explain the differences by But we do find them in the Hours of the painting process, in other words Jacques de Brégilles in the British the hands of various illuminators in Library, evolved in fact into more narrative scenes (archer and bird 18 PREIMESBERGER 1991; KRIEGER 1996; KEMPERDICK 2016. 584 and so on); or also in the Hours auctioned by Christie’s in 2014, serving 585 586 the same function as in the Betliar To conclude: the scenes from the manuscript. A significant stylistic Betliar Book of Hours are far more difference between the Betliar book consistent in their grisaille technique, on the one hand, and the New York while the visibly rather more vibrant and Baltimore volumes on the other, palette of the Baltimore figural min- is the softer character of the Betliar iatures, in so-called semi-grisaille, figural miniatures. Where, for exam- suggests somewhat different artis- ple, the Baltimore illuminator creates tic intentions. But similar technical relatively high-contrast structures experiments in the circle of Willem with sharp contours and ‘broken’ Vrelant should come as no surprise. drapery folds primarily with hatch- In the 1460s to the 1480s, in other ing, the scene painter of the Betliar words in the period when the Ilo- manuscript carefully models the gar- na Andrássy Hours were produced, ments by layering white; the flesh Vrelant’s workshop made several tones are even more ‘painterly’, and other sumptuous codices. One of even the landscape backgrounds are the most important of all were the al- conceived with greater care. ready discussed Black Hours, today 587 in the Morgan Library in New York.19 individual workshops, illuminators In light of the intense demand, but had to come up with increasingly also growing competition between more attractive formal innovations. From today’s aesthetic point of view, 19 Around 1470. The Morgan Library 588 the grisaille ‘negatives’ — using sil- & Museum, New York, MS. M 493. ver-grey and blue colour on black Available online: http://www. parchment — was another origi- themorgan.org/collection/Black- nal innovation which secured Vre- Hours (retrieved 26 May 2017). lant’s workshop, however fleetingly, In total, there are seven such prime position on the market. surviving ‘black hours’ from The development of print techniques the period 1460 — 1470, and also transformed the field of book il- they were also made by other lumination, and printmaking herald- workshops: cf. for example ed a radical change in the production the luxurious Hours of Charles and distribution of books. It is true the Bold, Duke of Burgundy, to say that many artists, particular- 1466 — 1476 (önB Wien, cod. 1856). ly those at royal or princely courts, 589 were able to resist this trend by pro- once again adorns the Betliar collec- ducing luxurious as well as techni- tion. Despite the fact that its pres- cally demanding artefacts, including ence here is most probably the result illuminated manuscripts (but also of 19th or early 20th century art deal- hand-illustrated printed books). With ing, and despite the fact that it only the sharply rising number of prints, emerged after the death of its last but also with the lowering of book owner (and that more or less by ac- prices, the interest in hand-written cident). Apart from its original value and expensive illuminated codices in the context of art history, it is at definitively ends in the 16 century. the same time a testament to the cul- And so, with Ilona Andrássy’s book of tural horizons of the Andrássys as hours we hold in our hands a docu- art collectors. th ment of a cultural epoch, condemned to imminent demise. Estranged from its original aim, such artefacts later became mere collectors’ curiosities. The Ilona Andrássy Book of Hours 590 591