Folia Historica 32. (Budapest, 2017)

II. KÖZLEMÉNYEK - Terdik Szilveszter: Posztbizánci miniatűr faragványok a Magyar Nemzeti Múzeumban

carvings) are also suggestive of the so-called Athonite type or similar traditions. The identification of the eight crosses is by no means a simple task. Two of these crosses have retained indications of their original inventory numbers in the Jankóvich Collection. In the first part of the present study, it was possible to demonstrate in relation to a few items inventorized subsequently that they were also part of the Jankovich Collection.

An imposing altar cross from Sibiu (Nagyszeben) in Transylvania, encapsulating an enamel-decorated boxwood carving was incorporated immediately after the Hungarian War of Independence in 1848-49. This object is considered to be the most extensively published Athonite carving of the Hungarian National Museum. The problem of deciphering the Greek inscription on its handle has not been resolved conclusively so far. The enamelled silver frame containing the boxwood carving was commissioned by Le- ontios, a hieromonk from the Monastery of Vatopedi on Mount Athos, in 1735. It may be inferred from written records that previously escaped the attention of Hungarian scholarship that he was the priest of the Greek merchants of Sibiu between 1735 and 1737, a circumstance suggesting that he cannot have been the maker of the silverware parts but rather the patron commissioning them. Regarding the identity of the silversmith, however, no data is available to date.

Mainly through purchases, the set of Athonite items kept at the Museum would continuously be expanded till the end of the First World War. The majority of these works of art were made in the late 17lh century or in the 18th century; one cross may be dated to the 19lh century. Most of the objects are crosses of different sizes and functions; some lack or have lost their metal frames. The most remarkable unit is constituted by the so-called panagias, items worn by bishops, including diptych- and medallion-shaped specimens with rich filigree work ornamentation on their metal parts. Two leaf-shaped encolpia are especially noteworthy: One of them encloses a carving depicting Saint Nicholas the Bishop in an elaborate filigreed frame, whereas, in the other filigree-enamelled item, a western copperplate showing the Virgin Mary surrounded by a lock of human hair was fitted. Despite the western internal contents, its filigree-enamelled metal frame was in all probability produced by an Orthodox master.

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