Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)

Magdolna LICHNER: The reception of electroplates in Hungary I. - Electroplates in the collection of the Museum of Applied Arts 1873-1884

exhibition, 1867. p. 217. and commendations in the Times (4 September, 1867) 53 Konrad Farner: Gustave Doré, der industrialisierte Romantiker III. Dresden, 1963.1.

245-249. D. Malan op. eil 234-344. M On the Shakespeare editions, illustrations and engravings, see: T. S. R. Boase: Illustrations of Shakespeare's works in the 17* and 18'" century. Journal of the Wartburg and Courtauld Institute 10. (1947) pp. 83-108. W. H. Friedmann: Some Commercial Aspects of the Boydell Shakespeare Gallery. Journal of the Wartburg and Courtauld Institutes 36. (1973) pp. 396^101. In Hungarian: Zsuzsa Gonda: John Boydell Shakespeare Galériája. Kísérlet a „történelmi festészet angol iskolájának" megteremtésére. In: Sub Minerváé nationis praesidio. Tanulmányok a nemzeti kultúra kérdésköréből Németh Lajos 60. születésnapjára. Bp. 1989. pp.

71-75. Engravings produced on the model of the Gallery: A collections Prints from Pictures Painted for the Purpose of Illustrating the Dramatic Works of William Shakespeare by the Artist of Great Britain, I—II. London, 1803; The Boydell Shakespeare Gallery, ed. Walter Pope and Frederick Burwick. Cat. Bochum, 1996. 55 On the exhibitions and the reconstruction of the Milton Gallery and on the engravings made on the model of the paintings see: Christoph Becker - Claudia Hattendorf: Johann Heinrich Füssli Das Verlorene Paradies. Stuttgart, 1997. The catalogue was compiled for the exhibition in the Staatsgalerie in Stuttgart, 1997. 56 Thomas Carlyle: Oliver Cromwell's Letters and Speeches. London, 1845. Th.C: On heroes, heroworship and the heroic in history. London. 1846. "According to the catalogues (1868, 1869. 1870. 1875) of the pictures and bronze small sculptures of the Doré Gallery, the gallery exhibited mainly oil paintings of Biblical themes, along with allegorical paintings and statues in the theme of war and peace. For the complete list, see: Malan 1995. pp. 345-349. 89 items. Gustave Doré (1832-1883). Musée d'Art Moderne, Strasbourg, 1983. Cat. 135-139. On the history of London Pilgrimage see: Malan 1995. pp. 127-129. On cultural pessimism and Christian social tendencies see: Ideengeschichte und Kunstwissenschaft. Philosophie und bildende Kunst im Kaiserreich. Hrsg. Ekkehard Mai, Stephan Waetzold und Gerd Wolandt. Berlin, Bonn, Genf, 1983. Especially: Gábriellé von Heesen-Cremer: Zum Problem des Kulturpessimismus. Schopenhauer-Rezeption bei Künstlern und Intellektuellen von 1871 bis 1918. pp. 45-71.; Paul Mai: Kirchliche Kulturpolitik im Spannungsfeld zwischen Staatskirche und Ultramontanismus - Bistum Regensburg pp. 397^109.; Ekkehard Mai: Programmkunst oder Kunstprogramm'? Protestantismus und bildende Kunst am Beispiel religiöser Malerei im späten 19. Jahrhundert pp. 431—459. 58 Morel 1903. p. 29. 59 Bunyan, when describing the figure of Apollion (Abandon), the destroyer, goes back to The Book of Revelations and the dragon figures of tales of chivalry. The figure of the Satan, Lucifer in Delacroix's Faust illustration is not the one of common knowledge. The picture shows a flying figure wearing a Hermes' helmet and winged sandals. *" In the Hungarian section (which displayed Milton by Mihály Munkácsy and Vajk's Christening by Gyula Benczúr) Zichy wanted to exhibit a painting that would attract the general public. 'I thought that it was solely a painting in Doré's style that was missing and that such a picture would indeed make the exhibition complete.' A letter written in Nice, on 29 April 1898, cited by Lázár 1927 p. 85. "' Történelem-Kép. Ed. Árpád Mikó, Katalin Sinkó. Hungarian National Gallery Catalogue. Budapest 2000. Cat. XII. 10. Ildikó Pandúr: Díszpajzs a magyar millennium emlékére, p. 628. The shield was designed by Antal Lórántfi and produced by Mór Wisinger in Károly Herpka's workshop, Budapest Museum of History. IM Inv. No. 291. Ill