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St John of God is the patron saint of booksellers and bookbinders. An engraving by Joseph Anton Schmidt of Augsburg depicts him, still in civilian clothes, in a baroque printing office of the engraver’s time, around 1770. Johann Andreas Pfeffel jr. made an engraved portrait of his father with a German text of 8 lines under it. My collection has two engravings from around 1670 showing engraving workshops.

Hereafter I am going to list types of Christ. In Johann Andreas Pfeffel sr.’s composition the triumphant Saviour is standing on the instruments of Passion on top of Golgotha, with the flag of Easter in his right hand. His favourite disciple is holding to a rope lowered by the Heavenly Father, his feet treading on the column of the flagellation. The meaning of the allegorical picture is illumined by a quotation from St John’s Gospel (6,44). The Lord Triumphing over Death is reminiscent of a painting by Giovanni Battista Tinti: the blood flowing from Jesus’s heart is gathered by an angel in a cup. Christ’s foot is treading on a skull, he is holding his cross with the wreath of thorns. The mannerist painter of Parma drew inspiration from Michelangelo’s Risen Christ in Rome’s S. Maria sopra Minerva. In a book illustration Pfeffel depicts the blood and water from the side of the transfigured Saviour as the material of the Eucharist, adoring angels gathering it in a chalice and a pitcher.

In Buda’s Víziváros district, on the first side altar on the right in the former Franciscan church (later belonging to the sisters of St Elizabeth) a painted version of the votive statue of Vir Dolorum in Matrei in Tyrol, of which János Fülöp Binder made an engraving, was venerated.

Two monumental works by Michelangelo Buonarroti convey the mystery of Easter. The statue of Jesus in BasBassano Romano was made by Michelangelo earlier (1514- 16) and can thus be taken as precedent to the sculpture of a similar theme in S. Maria sopra Minerva (1521). The dominant attribute is the cross. In the earlier sculpture, in addition to the ropes, sponge and loincloth, the robe of mockery is dropped by Christ’s left hand onto the column of his flogging, which also serves as support.

There is a short red jasper column in the middle of a recess opening from the St Zeno chapel in Rome’s Basilica di S Prassede. Cardinal Giovanni Colonna, the commander of the papal army of the fifth crusade (1219) brought it home from the Holy Land and set it up in 1223. It is allegedly the column of Christ’s flagellation. The Greek emperor Alexios I Komnenos listed the relics kept in Constantinople in 1092: he already mentioned the purple robe and the reed. A register of 1200 includes the sponge, the purple chlamys and the reed in the sanctuary of Hagia Sophia. After the transfer of the relics to Rome, the reed with the sponge could be found in the reliquary of the Sancta Sanctorum in the Lateran. The Lord’s loincloth was preserved in the cathedral of Aachen visited by pilgrims for plenary indulgence as late as the 16th century.


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Senior editors

Editor(s)-in-Chief: Árpád MIKÓ

Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet
P.O. address: Budapest, 1250, 31, Hungary


Chair of the Editorial Board: Anna JÁVOR

Magyar Nemzeti Galéria
Budapest, 1250, 31, Hungary


Editorial Board

  • Géza GALAVICS (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
  • Erika KISS (Magyar Nemzeti Múzeum)
  • András KOVÁCS (Babeș–Bolyai Tudományegyetem, Kolozsvár)
  • Ildikó NAGY (Budapest)
  • Enikő RÓKA (Budapesti Történeti Múzeum)

Művészettörténeti Értesítő
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CrossRef Documents 18
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