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This paper deals with an Abgar image in the Liszt Ferenc Memorial Museum (Budapest), which was used as a devotional image by the composer. First the relationship of this representation to its prototype, the cult image of S. Silvestro in Capite in Rome is examined. Second we discuss information about the panel's first possessor, an abbess of the Poor Clares in Pozsony (today's Bratislava), whose name is known from the inscription of the verso. Not only do we attempt a more precise dating based on this information, but also endeavour to place the picture in its original context. The use of images among the nuns of the order of St. Clare, and the question on what occasion the abbess may have received this panel are also considered. The third part addresses the issue of Liszt's relations with Rome, in particular the role his cordial relationship with Pope Pius IX may have played from his painting's point of view. As music and visual arts were considered closely related in Liszt's eyes, in the last part of the paper an analogy is drawn between the composer's Abgar image and his sacred choral works in terms of their archaicism.

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