Bocskay György kalligráfus antikva betűs síremlékfeliratai: All’antica reprezentáció I. Ferdinánd bécsi udvarában

Borbála Gulyás

doi:10.1556/muvert.63.2014.2.2

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Művészettörténeti Értesítő

Volume/Issue:: Volume 63: Issue 2

Bocskay György kalligráfus antikva betűs síremlékfeliratai

All’antica reprezentáció I. Ferdinánd bécsi udvarában

Author:

Borbála Gulyás

Borbála Gulyás Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet / Research Centre for the Humanities, Institute of Art History, Magyar Tudományos Akadémia / Hungarian Academy of Sciences, Budapest, Magyarország

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Pages:: 265–306

Online Publication Date:: Dec 2014

Publication Date:: 01 Dec 2014

Article Category:: Research Article

DOI:: https://doi.org/10.1556/muvert.63.2014.2.2

Keywords:: kalligráfia; Bocskay György; síremlékfelirat; I. Miksa császár síremléke (Innsbruck); Nádasdy Tamás nádor és Kanizsay Orsolya síremléke (Léka); I. Ferdinánd; all’antica udvari reprezentáció; Pietro Ferrabosco; Hermes Schallauzer; Wolfgang Lazius; Jacopo Strada; klasszikus antikva kapitális; kőmaratás; George Bocskay; sepulchral inscription; sepulchral monument of Emperor Maximilian I. (Innsbruck); sepulchral monument of Palatine Tamás Nádasdy and his wife; Orsolya Kanizsay (Léka); Ferdinand I; representatio all’antica and antiquarianism at the court of Vienna; Pietro Ferrabosco; Hermes Schallauzer; Wolfgang Lazius; Jacopo Strada; Roman Square Capitals; acid-etching

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György (George) Bocskay (†1575) was a member of a well-known Hungarian noble family. He was capable to adapt himself to the expectations of the Viennese court of the Habsburg Monarchy to build a significant career at the Hungarian Royal Chancellery as royal court secretary, royal councillor and calligrapher. He decorated various writing model books and charters for the Habsburg rulers as well as several letters of arms for Hungarian noblemen. However it is less known that the calligrapher made sepulchral inscriptions in stone as well applying a new technique of his time, the acid-etching. Emperor Ferdinand I commissioned him to prepare the Square Capitals for the marble cenotaph of Emperor Maximilian I in Innsbruck. Additionally, he used similar letters to inscribe the sepulchral monument of the highest ranking official of the Hungarian Kingdom, the Palatine Tamás Nádasdy and his wife, Orsolya Kanizsay in Léka (Lockenhaus).

After the Treaty of Passau (1552) the claim was established that after Emperor Charles V the member of the Austrian line of the Habsburg dynasty, Ferdinand I could have imperial power. The revival of the antiquity significantly influenced the rebuilding of his main residence, the Hofburg, the development of the Roman lapidaries and collections of antiquities at his court (Hermes Schallauzer, Wolfgang Lazius, Ferdinand I), and the style of festive decorations and artworks all’antica he commissioned during this era.

In 1562 Bocskay dedicated a writing model book to Ferdinand I in order to be commissioned to prepare the inscriptions of the sepulchral monument of Emperor Maximilian I. The manuscript included several writing samples in Square Capitals imitating the epigraphic monuments of the ancient Romans. Later he worked on the acid-etched and gilded inscriptions in Vienna in 1563–1568 according to the archival sources. He prepared inscribed marble plates for 24 marble reliefs of the cenotaph representing scenes of the life of Maximilian I as well as 18 plates of the sepulchral inscription on the frieze. The Latin texts were compiled by the vice-chancellor of Ferdinand I, Georg Sigmund Seld.

Bocskay was accommodated in the house of the Nádasdy family in Vienna. He probably equipped a workshop for the process there. He also prepared three more inscribed limestone plates for the sepulchral monument of the already mentioned Tamás Nádasdy and Orsolya Kanizsay. The marble cenotaph was erected in 1566 in the castle of Léka where the Palatine and later his wife were buried. The monument was transferred to the new family crypt of the Augustine monastery of Léka in the 17^th century.

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