Lengyel László (szerk.): Devóció és dekoráció - 18. és 19. századi korolstormunkák Magyarországon - Studia Agriensia 7. (Eger, 1987)
Summary
Statement is proved by a Transylvanian data from 1744, a “Fresh Infant’s Picture, Nun Work, Cum acclusis reliquis Sanctorum” which was placed in a glass cabinet. On examining the origin and changes of the garland frame decoration which is most typical of nun works it is proved that the architype of frame decorations which show such extraordinary changeable materials and techniques could in part originate from medieval miniature painting. This type of decoration lived on in the painting of 17th centuy Flemish masters, in which they signified sacred themes framed by flower and fruit garlands. The nun works which were made according to the tastes and practices of Flemish painting, include — the earliest dated reliquiary of the exhibition (c. 1670) — which was signed by Gaspar Huberti (P — 1684). The picture shows a characteristic detail from the popular prayer of St. Ignatius. The decoration of the so-called cut devotional pictures (Schnittbild), shows well the relation with the Baroque miniature art. This is illustrated by the flowered frame of a cut devotional picture (vellum) of St. Anthony of Padua from the 18th century. They formed the floral decorations plastically as well, for example, in an iconographically interesting nun work which sketches St. John of Ne- •pomuk on the bier. The nun works which were made in the spirit of Trent, had another important element besides the flower garland, the relics of saints. The practice of the simultaneous use of devotional pictures and relics can be traced back to medieval prototypes. In some medieval panel paintings which serve individual faith, the picture can be a reliquary holder as well. The panel painting which is known as the “Madonna of Bártfa” is such an example. A creator of a silvered copper framed dyptich chose a special form of frame decoration (111. 1.). The miniature on the left illustrates the Madonna and the Child and is framed by the devorative placing of subtitled ribbons which are used to denote relics. Another miniature, which illustrates St. Joseph and the Child is also framed in a special way (111. 9.). The silver and gold embroidered inner frame is a Regence — sytle barred frame. The appliqué work can relate to carpentry and in the collection of flowers it imitates the usual golden frames of the altar pictures. 138
