Folia archeologica 44.

Gerelyes Ibolya: Iszlám hatások a 16-17. századi magyar ötvösségben

ISZLÁM HATÁSOK A MAGVAR ÖTVÖSSÉGBEN 211 published by Francesco Pellegrino in 1530 in Paris (Fig. 1 la) and by Virgil Solis in 1541 in Nuremberg (Fig. lib),

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1 reveal the influence of the islamic art of Spain, reflected by the angular, geometric forms, the so-called moresques, the figure prominently in the two latter pattern books. 'Moresque' and 'arabesque' were in fact used as synonyms and interchanged in contemporary usage.

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2 The so-called arabesques and moresques soon appeared in metalwork, ingeniously adapting the oriental ornamentation to objects tnat were manufactured in the European taste. On this metalwork, the arabesques and the moresques, removed from their original context and stripped of their original meaning, only appear as novel decorative motifs. German metalwork offers particularly elegant examples, where this tendency can be traced throughout the 16th century, one outstanding representative of this art being Wenzel Jamnitzer (1508-1585), a goldsmith working in Nuremberg, on whose work moresque-like halved angular cartouches and the arabesques filling them are quite prominent (Fig. 12).

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3 Jamnitzer's designs for two lidded tankards from 1545 " show an ornamental motif comparable to the rim ornamentation of two beakers in the Hungarian National Museum. Moresques and arabesques were also very popular in 16th and 17th century Augsburg metalwork, from which several analogies to Hungarian pieces can be quoted, such as the lidded tankards made by Ulrich Schönmacher in the early 1580s or by Georg Christoph Erhard at the close of the century.

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5 This motif also appears in ecclesiastic art: suffice it here to quote Abraham Lotter's (1562-1570) baptismal font or Theophil Glaubich's (1560-1570] ciborium.

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6 The analogous articles would suggest that the Hungarian objects were made after German models, with a predilection for the more angular, geometric forms imported from Spain. The Hungarian goldsmiths were probably acquainted with Virgil Solis'pattern book, since the ornamental motifs on Hungarian objects are very close to its designs. The analysis of the ornamental motifs on these objects has again shown that the Ottoman Turkish and Islamic influence in Hungarian art of the Turkish Occupation period were often indirect, reaching Hungary either from Germany or from Italy, as part of a general European fashion. Ibolya Gerelyes