Péter Farbaky
Péter Farbaky PhD (1957), is working in the Budapest History Museum, Hungary, since 2001. He has degrees in both architecture and art history and completed his PhD-dissertation on the patronage of a bishop and chancellor of the early Renaissance in Hungary, György Szatmári (1999). He has held postdoctoral fellowships at Villa I Tatti, Florence (2002), St John’s College at the University of Cambridge (2003), Universität Leipzig (2012) and Center for Advanced Study in the Visual Arts, Washington DC (2019), as well as teaching at Art History Institute of Eötvös Loránd University in Budapest between 1999 and 2013. He organised the Italy
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János, azaz Giovanni d’Aragona jelentőségére, aki szintén szoros kapcsolatba került Mátyással és a Magyar Királysággal. Tanulmányom az eddig
kevés figyelemre méltatott kapcsolatra szeretne több fényt deríteni, Giovanninak I. Mátyás műpártolásának kibontakozásában, fejlődésében betöltött
szerepét vizsgálom.
THE RENOVATIO OF THE MIDDLE AGES IN 18TH CENTURY BAROQUE
ART IN HUNGARY
In Hungary, the special art geographical situation and the Ottoman occupation which lasted for a century and a half interrupted the continuity of stylistic development, and the spiritual-material reconstruction had to reach back to medieval precedents of several centuries earlier. By 1700 the united European forces led by the Habsburgs recaptured the entire medieval area of Hungary, and the main task was now the political-ideologial-institutional reconstruction of the country.
The renovatio of the ideal of medieval Hungarian statehood also implied the cult of the founder of the State King St Stephen (1000-1038) and the saints of the Árpád Dynasty. The Habsburgs reconstructed the destroyed royal residence in Buda but the ruler did not move in: Maria Theresa (1740-1780) tried to compensate the Hungarians by having the hand relic of St Stephen brought back from Ragusa (Dubrovnik, 1771) and a chapel built for it in the palace (Chapel of the Holy Right, 1778). In 1769, the monarch founded the Order of the Knights of St Stephen.
The high priests also joined the ruler's efforts. In the religious centre of Hungary, Esztergom, the primate Ferenc Barkóczy had a new episcopal residence planned by French Isidore Canevale (Ganneval, 1762) on the mount of the medieval royal palace. The plan that survives in mock-up only took the early Renaissance centralized Bakócz chapel (1507-1508) as its basis. By multiplying the chapel, the architect designed a nine-part cathedral on a Greek-cross plan, the corners and rectangular spaces crowned by domes reiterating the Renaissance composition.
In Veszprém, the chapel of Gisela next to the episcopal palace was consecrated in 1772. Bishop Ignác Koller, the builder of the chapel, wanted to transfer the ashes of Bavarian princess Gisela, wife of St Stephen, there from Passau. The two-level palace chapel of the 13th century was rebuilt by incorporating Romanesque architectonic elements and repainting the frescoes by imitating the original wall paintings.
In Pécs, bishop György Klimó (1751-1777) wished to reorganize the medieval university for which purpose he founded a library. He had the cathedral reconstructed and furnished newly in Baroque style. The Italian sculptor of South Tirol working in Vienna, Antonio Giuseppe Sartori designed an altar for the Corpus Christi sepulchral chapel of the
bishops using at the centre the early Renaissance tabernacle of György Szatmári. The Baroque additions (1786): column and pilaster capitals were created on the model of the Renaissance original. As for the medieval chapter house, the Early Christian sepulchral chapel
which was incorporated together with the Romanesque chapel above it in both the Renaissance and the Baroque buildings was discovered in the Baroque age.
Unlike the revival of historical styles in the 19th century, the same process in Baroque art has been far less explored. At the beginning of the 20th century, Hans Tietze studied the Gothic reviving tendencies of Austrian Baroque. In Hungary, together with the parallel tendencies of Gothic Survival and Revival in Central Europe, some rare 18th century
phenomena of Romanesque and Renaissance Revival can be demonstrated.
The paper showed the Role of Hungarian High Priests in the Dissemination of the Early Renaissance Forms in Late Medieval Hungarian Kingdom. Among them here is a brief summary of the activities of Miklós Báthori, bishop of Vác; Péter Váradi, archbishop of Kalocsa; Albert Vetési, bishop of Veszprém; János/Johann Filipecz, bishop of Várad/Oradea; Ippolito d"Este, archbishop of Esztergom; Tamás Bakócz, archbishop of Esztergom; György Szatmári, bishop of Pécs and archbishop of Esztergom, Lukács Szegedi, bishop of Zágráb/Zagreb.
János, azaz Giovanni d’Aragona jelentőségére, aki szintén szoros kapcsolatba került Mátyással és a Magyar Királysággal. Tanulmányom az eddig
kevés figyelemre méltatott kapcsolatra szeretne több fényt deríteni, Giovanninak I. Mátyás műpártolásának kibontakozásában, fejlődésében betöltött
szerepét vizsgálom.
THE RENOVATIO OF THE MIDDLE AGES IN 18TH CENTURY BAROQUE
ART IN HUNGARY
In Hungary, the special art geographical situation and the Ottoman occupation which lasted for a century and a half interrupted the continuity of stylistic development, and the spiritual-material reconstruction had to reach back to medieval precedents of several centuries earlier. By 1700 the united European forces led by the Habsburgs recaptured the entire medieval area of Hungary, and the main task was now the political-ideologial-institutional reconstruction of the country.
The renovatio of the ideal of medieval Hungarian statehood also implied the cult of the founder of the State King St Stephen (1000-1038) and the saints of the Árpád Dynasty. The Habsburgs reconstructed the destroyed royal residence in Buda but the ruler did not move in: Maria Theresa (1740-1780) tried to compensate the Hungarians by having the hand relic of St Stephen brought back from Ragusa (Dubrovnik, 1771) and a chapel built for it in the palace (Chapel of the Holy Right, 1778). In 1769, the monarch founded the Order of the Knights of St Stephen.
The high priests also joined the ruler's efforts. In the religious centre of Hungary, Esztergom, the primate Ferenc Barkóczy had a new episcopal residence planned by French Isidore Canevale (Ganneval, 1762) on the mount of the medieval royal palace. The plan that survives in mock-up only took the early Renaissance centralized Bakócz chapel (1507-1508) as its basis. By multiplying the chapel, the architect designed a nine-part cathedral on a Greek-cross plan, the corners and rectangular spaces crowned by domes reiterating the Renaissance composition.
In Veszprém, the chapel of Gisela next to the episcopal palace was consecrated in 1772. Bishop Ignác Koller, the builder of the chapel, wanted to transfer the ashes of Bavarian princess Gisela, wife of St Stephen, there from Passau. The two-level palace chapel of the 13th century was rebuilt by incorporating Romanesque architectonic elements and repainting the frescoes by imitating the original wall paintings.
In Pécs, bishop György Klimó (1751-1777) wished to reorganize the medieval university for which purpose he founded a library. He had the cathedral reconstructed and furnished newly in Baroque style. The Italian sculptor of South Tirol working in Vienna, Antonio Giuseppe Sartori designed an altar for the Corpus Christi sepulchral chapel of the
bishops using at the centre the early Renaissance tabernacle of György Szatmári. The Baroque additions (1786): column and pilaster capitals were created on the model of the Renaissance original. As for the medieval chapter house, the Early Christian sepulchral chapel
which was incorporated together with the Romanesque chapel above it in both the Renaissance and the Baroque buildings was discovered in the Baroque age.
Unlike the revival of historical styles in the 19th century, the same process in Baroque art has been far less explored. At the beginning of the 20th century, Hans Tietze studied the Gothic reviving tendencies of Austrian Baroque. In Hungary, together with the parallel tendencies of Gothic Survival and Revival in Central Europe, some rare 18th century
phenomena of Romanesque and Renaissance Revival can be demonstrated.
The paper showed the Role of Hungarian High Priests in the Dissemination of the Early Renaissance Forms in Late Medieval Hungarian Kingdom. Among them here is a brief summary of the activities of Miklós Báthori, bishop of Vác; Péter Váradi, archbishop of Kalocsa; Albert Vetési, bishop of Veszprém; János/Johann Filipecz, bishop of Várad/Oradea; Ippolito d"Este, archbishop of Esztergom; Tamás Bakócz, archbishop of Esztergom; György Szatmári, bishop of Pécs and archbishop of Esztergom, Lukács Szegedi, bishop of Zágráb/Zagreb.