Acta Historiae Artium Academiae Scientiarum Hungaricae
Volume/Issue:
Volume 64: Issue 1
Another piece of the puzzle: identifying the main patron of the great altarpiece of the Passion in Sibiu (Hermannstadt/Nagyszeben, Romania)
Author:
Ciprian Firea Cluj-Napoca, Romania

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Pages:
89–109
Online Publication Date:
26 Jun 2024
Publication Date:
26 Jun 2024
Article Category:
Research Article
DOI:
https://doi.org/10.1556/170.2023.00003
Keywords:
Renaissance painting; art patronage; Paulus de Tomor/Tomori Pál; Johannes Lulay; Simon Pictor; coats of arms; heraldry; donor portrait; crypto-portrait; Albrecht Dürer; Albrecht Altdorfer; prints; woodcuts; engravings; Kupferstich-passion; restoration of painting
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The altarpiece of the Passion of Christ preserved in the Evangelical church in Sibiu, created in 1519 by a skilful artist, Simon Pictor, using extensively the prints of Dürer and Altdorfer, represents one of the most spectacular surviving artworks of the Renaissance in Transylvania. Its subsequent transformation in 1545 and 1701 certainly enhanced its historical significance. The restoration of the artwork in the 1980s brought back to light very significant details: the dating of the original artwork (1519), two coats of arms hinting to the patronage, and a part of the genuine style of master simon. The identification of the sinister coat of arms, thus the one in the inferior heraldic position, as belonging to Johannes Lulay (royal judge and administrator of the royal mint of Sibiu) constituted the basis of extensive incursions in the patronage of this remarkable altarpiece. However, an important question remained unsolved: who could have been the other patron or commissioner of the altarpiece? As the preeminent position of the coat of arms (on the heraldic dextra) clearly indicates, this was an individual even higher in the hierarchy as Johannes Lulay himself.

The assumption of the study is that this prominent patron was Paulus de Tomor/Tomori Pál. He remained in the Hungarian national consciousness as the heroical leader of the army in the „Mohácsi csata” of 29 August 1526, a critical turning point in the history of the state. This study contributes to the reveal of parts of his “Transylvanian biography,” his allegiances and political network in situ before he left the region, his patronal endeavours, and last, but not least, it discloses his real (and tinctured) coat of arms. At the same time, the great altarpiece of the Passion in Sibiu recovered another piece of its complex content, by the identification of the main patron (or, rather, the more honourable patron) in the person of Paulus de Tomor. Last, but not least, this study asserts that three of the characters depicted in the scene of the Lamentation over the dead Christ on the predella are in fact crypto-portraits of Johannes Lulay, his wife Clara Thabiassy, and his partner and superior Paulus Tomori.

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Acta Historiae Artium Academiae Scientiarum Hungaricae
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