Folia Historica 31. (Budapest, 2016)
I. KÖSZÖNTJÜK A 80 ÉVES T. NÉMETH ANNAMÁRIÁT - Ridovics Anna: III. Károly pozsonyi koronázási érmei nyomán készített delfti fajansz tányérok
Who could order the dishes in Delft and for what function? The dishes could have been comissioned quite possibly during the negotiation's period of Utrecht Peace Treaty (1712, januar - 1713, april). There were more diplomats on behalf of the Habsburg Imperial Court in Utrecht. The most remarkable was Philip Ludwig Graf Sinzendorf (1671-1742) who represented with great experience the Hab- sbug Court in France, in the Neatherlands earlier. He was an expert on art and knew very well the Dutch luxury products. He could be the organiser of the comission. He was the person who together with Prince Eugen Savoy tried to convince of the further fight the earlier federates, the English and Dutch envoys. The initiator could be also possibly Prince Eugen Savoy (1663-1736) (count Eugène-François de Savoie-Carignano) himself. After the Rastatt Treaty the famous General Eugen Savoy became the governor of Austrian Neatherlands. The high quality fayance dishes with heraldic motives, gilded, coloured after the "Imari-palette" from the workshop of "De Grieksche A" seems to be popular in the high rank of the European aristocrats at the beginning of 18th century. There are three dishes, sets with heraldical motives and similar ornaments to the Nürnberger dishes. One was produced for the service of the elector of Brandenburg, king in Prussia, Friedrich I (III) (1657-1713). He was the alley of Habsburg imperial court and honoured very much General Eugen de Savoy. He was an artlover as his family members. His mother bom Oranian princess organised one of the first porcelain cabinets in 1663. For his wife was built Charlottenburg with a famous Chines cabinet. The two other dishes were prepared for French aristocrats, for general Nicolaus August de la Baume and for the Count of Toulouse. Count Louis Alexander de Bourbon (1683-1737) was the youngest son of Madame Montespan and the king Louis XIV. He was a great fun of porcelain and the Dutsch tiles as it was certified by the decoration of the Palace Rambouillet. So these kind of Delft pieces were very exclusiv. But there are no figurai expression on these pieces. The dish with the artistic portrait of Charles VI is a valuable rarity. The producing technology of the Delft doré, fayance with gildid decoration was very complicated and only few masters could do it. There are four known masters - Daniel Colier, Eduard de Kooningh en Jan Geleijsz, Bacchus, Adriaan van Rijsselberg - who worked with this technology in 1713 at the workshop "De Grieksche A". Quite possibly we can find the master of the Nürnberger dishes between them. The article briefly outlines the development of the Delft fayance, the importance of the Chinese, Japanese porcelain and their Delft fayance followers in the luxury consumption, in the interiurs and barock table culture of the 17lh-18,h century. The pompoese way of life in the French court served as a model for the European courts, for Habsburgs as well. The royal and imperial tables were set by precious metal services, but porcelain (and Delft fayance) was used in the table sets for the sweets, jams and fruits, acidic foods and for the new hot drinks. They were more popular during the unofficial, privat eating or at the summer palaces. The dishes in honour of the coronation of Charles as Hungarian king were produced in Delft at "De Grieksche A" and "De Metaale Pot" workshops in 1712 or a little later after the coronation medals, or medaldesigns. There are no known written sources about the comissions and use of these pieces. Most possible that count Sitzendorf who was in 56
