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The first great figure of panel painting in medieval Hungary was the painter Thomas de Coloswar, whose only surviving work is the Calvary-altarpiece from Garamszentbenedek (Hronský Benˇadik, Slovakia), preserved today at the Christian Museum of Esztergom. The altarpiece was completed in 1427, and was commissioned by Nicholaus, son of Peter of Garamszentbenedek, cantor of the royal chapel at Buda castle. Generations of Hungarian and foreign researches have dealt with the significance and origins of this great work, and discussed the likely origins of its painter. In recent scholarship, there seems to be an agreement that the style of the painter stems from the International Gothic style of the Prague court – a style also incorporating French, Burgundian and Italian elements. It has also been suggested that the painter may have left Prague for Hungary at the time and because of the Hussite revolution. In my paper, I would like to demonstrate instead that the origins of the painting style of Master Thomas are to be found in Nuremberg, at the beginning of the fifteenth century. Thomas de Coloswar is closely connected to Nuremberg workshops around 1420, which developed after the completion of the main altar of the Frauenkirche in Nuremberg. Iconographic, stylistic, and historical observations will be discussed to support this proposition, which gives us a chance to re-evaluate painting at the court of King Sigismund as well. Observations concerning the portrait of Emperor Sigismund in Nuremberg and on the Calvary-altar from Garamszentbenedek are also included, as they strongly support the connection outlined in the study.
. Introduction à l’étude de la médecine expérimentale 1865 Vollmann, J., Winau, R.: Nuremberg doctors’ trial
Kunstkammer in Schrift und Bild.
Johann Septimius Jörgers (1594–1676) „Kunststube“ in Nürnberg
Kunstkammer in Word and Image. The ‘Kunststube’ of Johann Septimius Jörger (1594–1676) in Nuremberg. The Kunstkammer of Johann Septimius Jörger in Nuremberg, created in the middle of the 1630s and dispersed only after 1676, is not among the well-known collections of the 17th century. It is not mentioned in the correspondence of famous art collectors, nor is it recorded in the travelogues of the time. Only sporadic information is available about the works of art that had been kept in the Kunstkammer. We regard the owner as an art collector because of a watercolour in the collection of prints and drawings of the University Library of Erlangen, in which the Nuremberg painter Michael Herr (1591–1661) depicted the interior of Jörger’s Kunstkammer. The present contribution aims to enrich our knowledge of this collection based on two new sources, namely a visual representation (cabinet painting) and an inventory of the Kunstkammer drawn up in 1667.
Abstract
The large triptych in the Esztergom Christian Museum, painted in 1427 by Thomas de Coloswar, is a work of art typical of the International Gothic style, and includes formal elements that can be related to the schools of Bohemia, or better to the school of Nuremberg. The painting is analysed from an iconographic point of view, pointing out the most peculiar features, that may lead to an interpretation of the altarpiece also as an affirmation of the Catholic Eucharist doctrine. A new panel painting is added here to Thomas’ catalogue: a Vir Dolorum with Saint Francis receiving the stigmata in Cologne (Wallraf-Richartz-Museum), formerly attributed to the Master of the Lindau Lamentation (Meister der Lindauer Beweinung).
The Christian Museum in Esztergom preserves an epitaph depicting the Death of the Virgin Mary. The panel painting, dated by its inscription to 1498, was ordered by Stephan Geinperger, then burgher of Wiener Neustadt, for his deceased wife, Dorothea Gerolt. The donor’s name was for a long time misread as “Heinperger”, thus hindering his identification. The correct transcription made it possible to reveal information about the person of the donor and detect his family and their kinship network in the contemporary written documents. Based on the inscription and the archival material in Wiener Neustadt, Knittelfeld, Nuremberg, Passau and other related towns, the lives of Geinperger and his wife could be reconstructed and a stepfamily could be identified. In addition, the original placement of the epitaph was determined as was the social topography of the related families in Wiener Neustadt, including their economic and social importance. Moreover, art historical analysis placed the painting in the artistic milieu of the wider region.
A Magyar korona eddig ismert legkorábbi autentikus ábrázolásának keletkezéséről
A Szent Korona a Habsburg Ehrenspiegelben
The origin of the earliest known authentic representation of the Hungarian crown
The Holy Crown of Hungary in the Habsburg Ehrenspiegel
In the past 35 years or so, scores of theories, some bordering on legend, have emerged about the origin of the earliest known authentic representation of the Holy Crown of Hungary. Systematic historical and art historical research, however, has reconstructed convincingly the circumstances of its creation. Contrary to the majority of assumptions proposed until now, it can now be safely declared that the earliest representation of the Hungarian crown jewel has nothing to do with the – actually fictitious – possession of the crown by the Fugger family in the mid-15th century. The handwritten work namely, in which the image survived, is not a Fuggerchronik of Munich but the history of the Habsburg dynasty (Ehrenspiegel des Hauses Österreich) written for the family of the great merchant banker, Johann Jakob Fugger (1516–1575) by the self-taught town historian, genealogist and heraldist Clemens Jäger from Augsburg (c. 1500–1561).
The two-tome manuscript of nearly 800 folios with thousands of coats of arms and hundreds of illuminations is preserved in the Bavarian State Library in Munich. The earliest known depiction of the crown was made replicas of which were unknown until recently but were identified by the authors in three richly illuminated handwritten copies of the Ehrenspiegel. All were made in Innsbruck as the outcome of the court art and art patronage of the archdukes Ferdinand and Maximilian of Tyrol in the late 16th and early 17th century. By dating the manuscripts kept today in Munich, Vienna and Dresden more accurately and analysing the crown depictions in them, the – until recently – controversial chronology of the Ehrenspiegel copies could be clarified reassuringly. A revised version commissioned by Emperor Leopold I was completed by 1668 and was also released in print by the Endter press in Nuremberg with “updated” text by the German poet Sigmund von Birken. This version also included the image of the Hungarian crown, but the publisher replaced the 16th century depiction with a more up-to-date one. It adopted the crown representation on the title-page of Mausoleum (printed in Nuremberg 1664), a series of Hungarian ruler portraits completed a little earlier upon commission from a Hungarian aristocrat and art patron, Chief Justice of Hungary (1655–1671), Count Ferenc Nádasdy. It must be attributed to the publisher’s demand for authenticity that added to the crown from the Mausoleum, which in basic forms emulated the crown image illustrating the famous tract of guardian of the crown Péter Révay published in Augsburg 1613 (De Sacrae Coronae regni Hungariae ortu... Commentarius) and reformulated several times later, he also enclosed the title-page of the politics historical work by Martin Schödel (Respublica et status Regni Hungariae, Leiden 1634) for the purpose of providing more accurate material details.
A German handwritten petition by Clemens Jäger, the author of the Habsburg family history, for a coat of arms and crown representation has been recovered in the Austrian National Library in Vienna. In it he was inquiring about the Holy Crown with reference to the work (Rerum Ungaricarum decades) of the Italian historiographer of Matthias Corvinus, the noted humanist Antonio Bonfini. This source permits us to declare: the earliest authentic representation of the Hungarian crown was made in Augsburg between April 1553 (the terminus post quem for the sending of the petition from Augsburg to Vienna) and November 1561 (the death of Jäger). Confuting earlier presumptions we can contend that instead of some mid-15th or early 16th century model, Jäger used a wholly contemporary reproduction. It showed the crown kept in the Habsburg court in Vienna from the beginning of September 1551 depicted – if we are not mistaken – by the copperplate engraver and draughtsman of antiquities (Antiquitetabconterfetter) Hans Sebald Lautensack served in Vienna from August 1554, who was in close contact with the famous Vienna court historiographer who also knew Jäger, Wolfgang Lazius. Lautensack also engraved a portrait of Lazius in 1554. Some data suggest that our safe dating (1553–1561) can be reduced to the interval between the late summer of 1554 and 1556, between the beginning of Lautensack’s service in Vienna and the publication of the historian Lazius’s great map of Hungary (1556), the latter adorned with a Holy Crown with pendants. To conclude, the earliest detailed and authentic representation of the Hungarian crown was the outcome of the collaboration of Central European historiographers, first of all historians of Augsburg and Vienna, genealogists, heraldists and engravers, without the involvement of Hungarians, as far as we know. Not that this fact would reduce in any way its outstanding significance or peculiar value.
Jesus Baigorri Jalón: De Paris à Nuremberg: Naissance de l'interprétation de conférence; Dorothy Kelly: A Handbook for Translator Trainers; Lukasz Bogucki: A Relevance Framework for Constraints of Cinema Subtitling; Heidrun Gerzymisch-Arbogast et al.(eds.): Textologie und Translation
Summary
A drawing kept in the Nuremberg Germanisches Nationalmuseum is here attributed to Bartholomäus Strobel and its iconography is described as a rare allegoric representation of the Road of human life.
Lukáts Sámuel (1767–1789) Rajzairól
About Drawings of Sámuel Lukáts (1767–1789)
Abstract
A graphic series of 13 pieces were acquired by the Hungarian National Gallery from private collection two years ago. They are drawn by the Hungarian painter Sámuel Lukáts (1767 Pécel–1789 Losonc/Luèenec) who died very young, at his age of 22. We knew only two works of him until now. Seven pages of this newly appeared series (portraits, pictures of saints and genres) were made after the Nuremberg engraver, Bernhard Vogel's (1683–1737) mezzotintos that had been published in 1745 in a book entitled Ioannis Kupezky, incomparabilis artificis, imagines et picturae…. Lukáts used this book as a collection of models for practicing painting. The other six drawings made after various engravings show some important persons of the Hungarian history. All of them were palatines of Hungary in the 17–18th century. The row is incomplete and it is unknown how large it could be, but was made perharps by commission.
Egy másik Martin Schwarz – A budapesti Riemenschneider-Madonna festője
Another Martin Schwarz, Painter of the Madonna by Riemenschneider in Budapest
Abstract
Sive Marten Swarcz seu Martinus Niger alias Marcin Czarny, master of Veit Stoss's Cracow high altar – this is the subtitle of Miklós Mojzer's major two-part study published in 2006 and 2008 in which he identified Master MS and traced the roots of his work to Veit Stoss's Nuremberg and Cracow workshops. He mentioned in passing that at the very same time, in the 1480s, another winged altarpiece was being made in another important town of Frankonia, Rothenburg on the frame of which the following inscription can be read: Frater Martinus Schwartz die Sancte Marie Magdalene complevit. The altarpiece dedicated to the Virgin was once in the monastery of the Dominican nuns in Rothenburg and is now in the Germanisches Nationalmuseum in Nuremberg. Martin Schwarz was the guardian of the Franciscan monastery in Rothenburg from 1485 where he had his workshop fitted out. He was the local leader of the order until 1506.
Recent researches have proven that some statues carved by Tilman Riemenschneider were painted by Martin Schwarz. The starting point for indentification was the identity of the Pressbrokat on the St John figure of the Wiblingen altarpiece and on the clothes of the Virgin figure of the inscribed altarpiece. The same pattern can be found on the fragment of the attire of the Madonna preserved in the Budapest Museum of Fine Arts since 1923. Before the museum, the statue was in an altar shrine (now lost). The history of the altarpiece can be retraced with certainty to the village church of Schweinsdorf outside Rothenburg, but tradition associates it with the neighbouring imperial town.
Among the rich documentation on the furnishing of the Jakobskirche mention is made of an altar of the Virgin erected in 1495/96, which was carved by a sculptor of Würzburg – obviously Riemenschneider. The question arises whether the statue painted by Martin Schwarz and datable to the end of the 15th century according to the chronology of the Riemenschneider Madonnas belonged to this altar.
