DOI issue:
Nr. 1-2
DOI article:Korpysz, Ewa: Fundacja biskupa György Szathmáry'ego dla katedry w Pécs
DOI Page / Citation link:https://doi.org/10.11588/diglit.34904#0089
FUNDACJA BISKUPA GYÓRGY SZATHMARY DLA KATEDRY W PĆCS
83
dal otwarta pozostaje kwestia autora lub autorów. Udział twórcy pochodzenia włoskiego,
czynnego także w Esztergomie, jest niewątpliwy, ale nazwisko pozostaje nieznane. Brak
przebadanych źródeł archiwalnych uniemożliwia precyzyjne określenie daty powstania
tabernakulum.
Skąpy materiał zabytkowy, zachowany na Węgrzech po okupacji tureckiej, utrudnia
też określenie kręgu oddziaływania warsztatu, pracującego w Pecs. W pracowni kamie-
niarskiej działali z pewnością zdolni twórcy, którzy swe doświadczenia spożytkowali tak-
że w innych, mniej spektakularnych realizacjach. W odniesieniu do samego zabytku
z katedry, konieczne byłoby przebadanie poszczególnych jego części pod kątem wydzie-
lenia partii zmienionych w trakcie uzupełnień dokonanych po zniszczeniach tureckich.
The Corpus Christi Chape) of Pecs Cathedra) con-
tains a wali tabemacle founded in the years 1505-10
by Bishop Gyórgy Szathmary, the futurę archbishop
of Esztergom.
This monumenta! tabemac)e of red marble takes
the form of an aedicule mounted on a base and sur-
mounted by a semi-circular tympanum decorated
with acroteria. The middle part features an illusion-
ary niche with ^norte/Zo. Two groups of three de-
scending angels emerge from a)coves at the sides.
The niche possesses barre) Aaulting' , with three
coffers accommodating the heads of angels, while
the 'flooring' comprises flagstones depicted in per-
spective. Personńcations of and zletemPety,
placed in the bulging, triangular ńelds between the
niche archway and comice, complement the figura-
tive decoration of the^<Tcmrmw's middle section. The
semicircular tympanum contains a bas-relief bust of
the Holy Father placed between the heads of two cher-
ubs. Apart from the aforementioned ńgurative pre-
sentations, the tabemacle is decorated with rich,
candelabrum elements whose grotesque forms fili the
pilaster surfaces. The architectural form and decora-
tion of the wali tabemacle at Pecs relates to this type
of construction familiar to the 0u<2ttrocento in Flo-
rence, from where it spread to other parts of Italy and
North of the Alps to, among others, the countries of
Eastem-Central Europę. Analogy, in terms both of
constmction and iconographic features include the
wali tabemacle (currently a reliquary) in the Santo
Chiodo Chapel of Colle Val d'Elsa Cathedral, as-
sociated with Domenico Rosselli and dated to im-
mediately after 1465, as well as the yacmrm/?? of
San Barnaba's church in Florence from the years
1489-94 and linked to the workshop of Benedetto
da Maiano.
In Hungary, the very same scheme of aediculae
with semicircular surmounting and illusory niches de-
picted in perspective are to be found in two yrjcmrm
preserved in the parish church at Pecs, both of which
datę from 1503-7. In terms of structure, composition
and omamentation, they relate to Tuscan models
while providing the closest two analogies to the
monument in the city's cathedral. The extraordinarily
high level of artistry is a key feature of the church
tabemacle under discussion, placing this work among
the most distinguished works of its kind outside of as
well as within the country. The structure and style as
well as appearance and method of sculpting the de-
tails may be compared to the decoration of the An-
nunciation Chapel at Esztergom. It is certain that
workshops from Esztergom would have been active
at Pecs, not only in terms of artistry but equal!y in the
person of the founder, bishop Szathmary and the con-
tacts he had at the time with Tamas Bakócz. However,
it is not possible to attribute the church tabemacle's
design to any particular artist. The provision and
sculptural style of the ornaments relates to North
Italian works from the end of the 15th century
(Venice, Urbino) as well as those of Florence.
7/Tm,s7<AeP by Peter /We/rty??
83
dal otwarta pozostaje kwestia autora lub autorów. Udział twórcy pochodzenia włoskiego,
czynnego także w Esztergomie, jest niewątpliwy, ale nazwisko pozostaje nieznane. Brak
przebadanych źródeł archiwalnych uniemożliwia precyzyjne określenie daty powstania
tabernakulum.
Skąpy materiał zabytkowy, zachowany na Węgrzech po okupacji tureckiej, utrudnia
też określenie kręgu oddziaływania warsztatu, pracującego w Pecs. W pracowni kamie-
niarskiej działali z pewnością zdolni twórcy, którzy swe doświadczenia spożytkowali tak-
że w innych, mniej spektakularnych realizacjach. W odniesieniu do samego zabytku
z katedry, konieczne byłoby przebadanie poszczególnych jego części pod kątem wydzie-
lenia partii zmienionych w trakcie uzupełnień dokonanych po zniszczeniach tureckich.
The Corpus Christi Chape) of Pecs Cathedra) con-
tains a wali tabemacle founded in the years 1505-10
by Bishop Gyórgy Szathmary, the futurę archbishop
of Esztergom.
This monumenta! tabemac)e of red marble takes
the form of an aedicule mounted on a base and sur-
mounted by a semi-circular tympanum decorated
with acroteria. The middle part features an illusion-
ary niche with ^norte/Zo. Two groups of three de-
scending angels emerge from a)coves at the sides.
The niche possesses barre) Aaulting' , with three
coffers accommodating the heads of angels, while
the 'flooring' comprises flagstones depicted in per-
spective. Personńcations of and zletemPety,
placed in the bulging, triangular ńelds between the
niche archway and comice, complement the figura-
tive decoration of the^<Tcmrmw's middle section. The
semicircular tympanum contains a bas-relief bust of
the Holy Father placed between the heads of two cher-
ubs. Apart from the aforementioned ńgurative pre-
sentations, the tabemacle is decorated with rich,
candelabrum elements whose grotesque forms fili the
pilaster surfaces. The architectural form and decora-
tion of the wali tabemacle at Pecs relates to this type
of construction familiar to the 0u<2ttrocento in Flo-
rence, from where it spread to other parts of Italy and
North of the Alps to, among others, the countries of
Eastem-Central Europę. Analogy, in terms both of
constmction and iconographic features include the
wali tabemacle (currently a reliquary) in the Santo
Chiodo Chapel of Colle Val d'Elsa Cathedral, as-
sociated with Domenico Rosselli and dated to im-
mediately after 1465, as well as the yacmrm/?? of
San Barnaba's church in Florence from the years
1489-94 and linked to the workshop of Benedetto
da Maiano.
In Hungary, the very same scheme of aediculae
with semicircular surmounting and illusory niches de-
picted in perspective are to be found in two yrjcmrm
preserved in the parish church at Pecs, both of which
datę from 1503-7. In terms of structure, composition
and omamentation, they relate to Tuscan models
while providing the closest two analogies to the
monument in the city's cathedral. The extraordinarily
high level of artistry is a key feature of the church
tabemacle under discussion, placing this work among
the most distinguished works of its kind outside of as
well as within the country. The structure and style as
well as appearance and method of sculpting the de-
tails may be compared to the decoration of the An-
nunciation Chapel at Esztergom. It is certain that
workshops from Esztergom would have been active
at Pecs, not only in terms of artistry but equal!y in the
person of the founder, bishop Szathmary and the con-
tacts he had at the time with Tamas Bakócz. However,
it is not possible to attribute the church tabemacle's
design to any particular artist. The provision and
sculptural style of the ornaments relates to North
Italian works from the end of the 15th century
(Venice, Urbino) as well as those of Florence.
7/Tm,s7<AeP by Peter /We/rty??