Szilágyi András (szerk.): Ars Decorativa 15. (Budapest, 1995)

ÁCS Piroska: „Átváltozások" - Stobwasser-szelencék dekorációinak művészeti párhuzamai

nates in an antique representation of the killed Niobides. Hoecker, as a matter of fact, left Antwerp, and worked for a number of years in Italy, then in Vienna. 24. Christian Museum of Esztergom, Collection San Marco, Inv. Nr.: 55.639.1.2. Papier-maché, Japan. Diam.: 9,9 cm. H.: 1,7 cm. Beginning of the 19th century. 25. Rooses, M.: "L'oeuvre de P. P. Rubens, histoire et description de ses tableaux et dessins", vol. I-V, Anvers, 1886-1892. First volume of illustrations, table 128, second volume of text (198). 26. This 32,2x25,6 cm engraving was made by Van Dalen between 1655-1659. His marks are the following: "P. P. Rubens/Pinxit." and "C. Van Dalen Junior/Sculpsit/A. Blotelingh exc." 27. There are two earlier records bearing witness to its existence. It appears for the first time in the inventory of Jeremias Eildens on the December 30, 1653 as "Die vier Doctoren met gonde coorkappen van Rubens" (The Four Fathers of the Church in Golden Pluvials, by Rubens); it is then mentioned at an auction in Brussels on May 1, 1788: "Un Tableau représentant les quatre Docteurs de l'Eglise". There is also an indication of the size of the sketch: 65 x46 cm. 28. This version of the Bible pushed the great variety of earlier Latin texts known under the name Vetus Latina into the background. The Old Testament part was translated into Latin from the original as opposed to from the Greek of the so-called Septuagint. The Council of Trent declared the Vulgate to be authentic and ordered the preparation of an official edition. 29. It might be worth to mention that the representations of the four Fathers of the Church occur on several works by Rubens, e.g. as lateral figures in the St. Paul Cathedral of Atwerp (around 1609) and on a piece of the series of tapestries entitled "The Triumph of the Holy Sacrament" (1625/27). The vestments of the four saints are in both cases accurately elaborated. 30. Christian Museum of Esztergom, Collection San Marco, Inv. Nr. 55.383. Papier-maché, Japan. Diam.: 9,5 cm. H.: 1,5 cm. Beginning of the 19th century. 31. He served briefly in the National Guard in 1814, leaving it as chevalier of the Legion of Honour. At the beginning, he for the most part made illustrations and lithographs about the Napoleonic legend. Seven of his paintings were refused by the 1822 Salon because of his anti-Bourbon opinions. 32. Oil, canvas: 53,1x64,4 cm. Bottom, right: H. Vernet/1819. Wallace Collection, London ("The Wounded Trumpeter"), Inv. Nr.: P 613