Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)
István SIMONYI: Questions and answers. An attempt at defining the so-called „Bethlen-Násfa"
Brussels. This is the brief description, in: Sieraad Symbool Signaal [The Jewel - Sign and Symbol] Koningin Fabiolazaal, Antwerpen, 1995 / "Huwelijksjuweel" (fig. p. 79) and description: "wedding jewel" p. 187. My attention was called to this exhibition catalogue by András Szilágyi, for which I herewith express my thanks. 20 These revelatory photos were put at my disposal by the associates of the Boyadjian collection, for which I am indebted to them. 21 Just to mention a few sources: Számadáskönyv Bethlen Gábor fejedelem vásárlásairól 1615-1627 [Accounts book about Gábor Bethlen's purchases 1615-27] In: Radvánszky 1888, pp. 1-157: Kerekes 1943 (see note 9!); Erdély története 1606-tól 1830-ig [A history of Transylvania, from 1606 to 1830] vol. II: Eds. Makkai, L. - Szász, Z., pp. 649-655 and 683-684. Erdély története I—III. Chief ed.: Köpeczi, B., Budapest, 1986. 22 Tn 1625, when the campaign was going on for six months, Gábor Bethlen's total expenditure cannot have been less than 720,600 florins. Of that amount, the war claimed 2IŰ, the fulfilment of domestic obligations required the same rate; the Ottoman tax was a fragment at 4.8%, while 53.5% was spent on luxury.' In: Erdély története [A history of Transylvania] II. 1986, p. 684. 21 Szilárdfy 1980, p. 36-37. 2J Magyarország műkincsei [The art treasures of Hungary] II. Ed.: Szalay I., Budapest, 1902-1903, p. 409. 25 A contributory factor to the large number of emeralds must have been that the South American mines poured forth emeralds to the European centres of goldsmith's work in the 17th century. Ruby was still to be acquired from India, at far higher prices than emerald. However, rubies were often replaced by similarly red but far more frequent garnet, satisfying the description of ruby in that-time sources. 26 Let me mention, for example, the pair of engagement násfas in the Museum of Applied Arts from the Esterházycollection (inv. nos.: E 65.14, E 65.15), and the engagement násfa in Amsterdam's Rijksmuseum (inv. no.: R.B.K. 17064). All three feature the indispensable pair of doves, but there is no trace of sacred symbols on them. 27 On the similar násfa in Czçstochowa mentioned by Angéla Héjj-Détári, the Cupid figure shooting an arrow indicates that the iconographie system of the heart pierced by the arrow and flanked by wings as well as the crown is devoid of the predominance of religious contents, unlike in the studied násfas. See note 6, and The Shrine of the Black Madonna (Eds.: J. S. Pasierb - J. Samek) Warsaw, 1985 2 , fig. 139. 28 Princely Magnificence. Court Jewels of the Renaissance, 1500-1630. Ed.: Somers Cocks, Anna. V&A Museum, London, 1980, p. 128-129. 25 For example, Gábor Bethlen bought 16 larger jewels from the diamond merchant Daniel de Briers' firm of Frankfurt for 34,795 thalers (cca 50,000 florins) in late 1625, in return for which he exported 1250 heads of cattle to the firm. In: Wermusch, Günter: A gyémánt története [A history of the diamond]. Budapest, 1987, p. 84. Cf.: Kerekes 1943, pp. 271-272, where Adrien de Briers, jubiler or gemmarius of Vienna (jeweller, gem cutter and merchant), is named as Bethlen's main supplier of jewels, with an identical sum in the invoice, to boot. Kerekes names no partner in Frankfurt.
