Tüskés Anna (szerk.): Omnis creatura significans - Tanulmányok Prokopp Mária 70. születésnapjára (2009)
Antik és középkori művészet
Omnis creatura significans sehe Akademie, 1983.4iff.; Brucher, 2000. 454- 455, 210. sz. 37 Altichiero hatása Németországban is kimutatható: Wolters, Wolfgang: Ein Freskenzyklus aus der Nachfolge des Altichiero in St. Salvatore zu Donaustauf. In: Arte Veneta 36 (1982), 9-19 (Donaustauf Regensburg közelében fekszik). 38 A lapot ma a frankfurti Städtische Galerie őrzi: Europäische Kunst um 1400. Wien, Kunsthistorisches Museum, 1962. 211, 194 kát. sz.; Il Gotico nelle Alpi, 1350-1450. Szerk. Castelnuovo, Enrico - Gramatica, Francesca de. Trento, 2002. 640-641, 88. kat. sz. 39 A keszthelyi freskókról lásd Prokopp Mária: A keszthelyi plébániatemplom gótikus falképei. In: Építés- és Építészettudomány 10 (1980), 367-385; Prokopp, 1983. 158-159; Prokopp, 1995; Keszthely, egykori ferences templom. 4.143 kat. sz. (Tóth Sándor). In: Sigismundus, 2006. 419-420. 40 Aquila freskóiról lásd Johannes Aquila und die Wandmalerei des 14. Jahrhunderts. Beiträge der Tagung vom 15.-20. Oktober 1984 in Velem. Szerk. Marosi, Ernő. Budapest, MTA, 1989; Höf- ler, Janez - Balazic, Janez: Johannes Aquila. Murska Sobota, 1992. Velemérről: Jékely Zsombor: A veleméri templom falképei. In: Velemér múltja és jelene. Szerk. Horváth Sándor, Velemér - Szombathely, 2004, 108-122 (korábbi irodalommal). A bántornyai templom monográfiája: Zadnikar, Mariján - Balaéic, Janez: Turnisce - Zgodovinska in umetnostna podobafame cerkve. Murska Sobota, 1994. Aquila stílusáról: Végh, János: Johannes Aquila, die Wurzeln seines Stils. In: Internationale Gotik in Mitteleuropa. Szerk. Pochat, Götz - Wagner, Brigitte, (Kunsthistorisches Jahrbuch Graz 24). Graz, Akademische Druck, 1990.114-126. 41 SrSa, Ivan: Rezultati konzervatorskih istrazivanja u kapeli Svete Jelene u Senkovcu kraj Cakovca. In: Népek a Mura mentén (Völker an der Mur - Ljudi uz Muru - Ljudje ob Muri) 2. Szerk. Simon Katalin. Zalaegerszeg, 1998.123-150; a stíluskapcsolatokról pedig Balazic, Janez: Poslikava v kapeli sv. Helene v Senkovcu. In: Zbomik za umetnostno zgodovino n.v. 40 (2004), 18-60. Lásd továbbá: Jékely Zsombor: A Lackfi-család pálos temploma Csáktornya mellett. In: Építészet a középkori Dél- Magyarországon. Szerk.: Kollár Tibor (előkészületben). 42 Marosi Ernő: A gerényi rotunda építéstörténetéhez. In: Építés- Építészettudomány 5 (1973), 296- 304; Prokopp, 1983.100,153. The Style of the Frescoes at the Augustinian Church of Siklós The present study focuses on a medieval church in Hungary and its fresco decoration from the beginning of the fifteenth century. The church is located in the southern Hungarian town of Siklós, adjacent to an important castle of medieval origin. In the Middle Ages the church belonged to the Augustinian canons; presently it is the Roman Catholic parish church of the town. The Augustinian canons settled at Siklós in the early fourteenth century, probably under the inducement of the Siklósi family. Their first church, dedicated to Saint Anne, was built in the first decades of the fourteenth century in a simple manner resembling contemporary mendicant churches. When at the end of the fourteenth century the town and church had new patrons, the Garais, the church was remodelled and its sanctuaiy was decorated with a complete cycle of frescoes. The decoration consisted of large scenes on the side walls (Crucifixion, Coronation of the Virgin, Traditio Legis), of apostles on the eastern walls, and of the representation of prophets, the Evangelists and the Church Fathers on the vaults. The Siklós frescoes exhibit a style of comparatively high quality in relation to Hungarian painting of the period. The near perfect survival of some of the figures enables us to fully grasp the character of the painters, even if so much of the original decoration has been lost. The technique and details of the execution are deeply rooted in the painting of the Italian Trecento. Altogether four painters worked on the figurái decoration, and two clearly identifiable masters were responsible for the bulk of the decoration. The Siklós frescoes are indirectly related to the work of Altichiero in Padua and Verona, whose style was transmitted through a number of monuments in Northern Italy and Central Europe. A number of direct comparisons can be established with the work of Altichiero—including the dependence on Paduan compositions and picture types—but Siklós repeats these elements in a simplified form indicating that its painters are at least one step removed from the great Paduan master. It can be supposed that the Siklós frescoes are perhaps directly related to works in South Tyrol (Brixen, Neustift, etc.), where the impact of Altichiero was the strongest. Siklós is thus a very significant monument as it demonstrates that the Italian connections characterizing much of the fourteenth century lived on during the rule of King Sigismund as well. The connections followed a trend established in the second half of the fourteenth century, and the work was executed by workshop-members or followers of an important Northern Italian workshop. 136
