Vadas József (szerk.): Ars Decorativa 13. (Budapest, 1993)

PRÉKOPA Ágnes: „Raymundus de Sangro ... invertit"

ÁGNES PRÉKOPA "RAYMUNDUS DE SANGRO... INVENIT" In the rich collection of the Budapest Museum of Applied Arts there are still several interesting, though problematic and for this very reason unpublished objects. Some of the questions raised by them, however, can be cleared and publication may help solving the other, more difficult problems. The picture painted on marble cannot be grouped into either of the "classical" genres. Having been taken over from the National Hungarian Department of Antiquities, it was first listed in the inventory of the Museum of Applied Arts in 1888.

1 This extraordinary piece shows in an etched, lace-like frame a scene known from the autobiography of St. Theresa of Avila

2

: an angel hurts the heart of St. Theresa with the hot spear of God's love ("transverberation"). As the details show, the illustration was printed on the exceptionally good quality white marble plate with the help of a cliché; with a certain acidic procedure the paints were absorbed by the deeper layers of the base and then the surface of the marble was polished.

3 The back of the marble plate shows an inscription made with the same technique, which seems to help us find the answer as to the origin of the painting: 'RAYMUNDUS DE SANGRO PRINCEPS SANTISEVERI INVENIT NEAP." Raimondo di Sangro (1710-1771) was the prince of Sansevero and one of the most peculiar, extraordinary and contradictory personalities of 18th century Naples.'

1 He excelled in the Austrian succession war and his book on military subject was welcome even by Frederick the Great himself. Because of his scientific experiments he was regarded as a witch master by the superstitious Napolitans.

5 Károly Bourbon III (King of Naples then King of Spain 1734-1759) was also bewildered by his unusual talent and they were close friends. This friendship changed, however, when it came to light that the prince was a freemason, moreover, he was the master of the Naples lodge. Raimondo di Sangro was utilizing the results of his experiments as an inventor. He had several inventions of a diverse nature: some concerning warfare and pyrotechnique, an equipment for lifting water, an ever-burning lamp, waterproof cloth, "scawalker" carriage, but he also invented a wax-base paint and a technique for colour print production. A book on the inventions and collections of this real "Kunstkammer", published in 1767

6 mentions a family chapel where Raimondo di Sangro, being the patron, protected his name for art history as well.

7 His art patronage brought significant changes both in the approach and style of eighteenth century arts in Naples. Among his contemporaries he was the only one to hire artists who came from different regions of Italy. Among the masters commissioned with the sculptural decoration of the family chapel the most important role was given first to the Venetian Antonio Corradini