Agria 43. (Az Egri Múzeum Évkönyve - Annales Musei Agriensis, 2007)

Palmer Matthew: Alexandriai Szent Katalin szobrának új datálása

wife of Charles V of France (1364-1364) in a sculpted figure (Paris, Musée de Louvre, RF 1378),

33 and painted on the Parement of Narbonne (Paris, Musée de Louvre, Ml 1121), as well as in the figure of Isabella of Bavaria (1369-1435), wife of Charles VI of France (1380-1422), from the Tours Maubergeon at the palace in Poitiers.

34 The figure of St Catherine on the altar carved by Jacques de Baerze for the Chartreuse de Champmol (Dijon, Musée des Beaux Arts), 1390-1392 (?), before 1399 also wears a sideless gown, although her hair is left to hang free as was usual in images of the saint.

35 The central clasp complements the studs running down the plastron on the centre front of Blanche of the Tower's sideless gown providing the clasp with a function, albeit visual, we had been unable to explain satisfactorily in our 2002 paper.

36 Indeed, were the Eger St Catherine to have worn such an item of clothing one could invisage the central lozenge-shaped clasp lining up with a row of buttons or studs in a manner similar to the single lozenge-shaped clasp seen on the figure of St Catherine on the Dijon altarpiece.

37 What we have, therefore, with the triple-clasped strap is a short-hand representation for a royal costume fit for a saint of royal descent, which St Catherine was.

38 That the sideless gown does not feature often in Hungarian medieval costume, suggests that this was a form of symbolism brought from abroad.

39 It is interesting to note that the above comparisons refer to French sources close to those used by Schwarz in his early dating for the Buda statues.

40 33 HILGER Hans Peter in LEGNER Anton (ed.) 1978 vol. 1. 45. 34 The Duke of Berry repaired the palace, which included the construction of the Great Hall with a grand fireplace built between 1382 and 1388 by Guy de Dammartin incorporating a sculptural programme. 35 DIDIER Robert-STEYAERT John in LEGNER Anton (ed.) 1978 vol. 1. 57-58. 36 In our 2002 paper we sought instead an explanation in which the central features served a practical, rather than a visual/ formal, function incorporating a hook to which the mantel could be hitched. PALMER 2002. 201. 37 This combination of central clasp element and central vertical dress features can also be found on the representations of Catherine of Bohemia and Johanna of Pfirt on the south tower of St Stephen's Vienna (Vienna, Historisches Museum der Stadt Wien) dating from с. 1360-1365. 38 Weltzer und Weite Kirchenlexikon Band VII. Freiburg im Breisgau. 1891. 335. 39 In Hungarian sculpture, manuscript painting and wall-painting it is the close-fitting apparently buttonless and laceless gowns that were preferred, accompanied by a long mantel and with a nebule head-dress. Local examples can be found in the representations of St Helen in the wall paintings at the parish churches in Tornaszentandrás and Cserény (Cerin, Slovakia), both of whom bear a striking resemblance to the representation of Elizabeth (d. 1382), daughter of Wladislaw I King of Poland, third wife of Charles Robert, in the Hungarian Picture Chronicle (fol. 70v). 40 MAROSI Ernő in MIKÓ Árpád-TAKÁCS Imre (eds) 1994. 286.; SCHWARZ Michael Viktor in TAKÁCS Imre (ed.) 2006. 234. admits, however, that he was probably too eager in his earlier work to attribute the Buda statues to Guy de Dammartin, preferring instead to settle for an unspecified master sharing the same Parisian background. Lothar Schuhes also looked to similar sources, albeit arguing that the transmission of ideas came through the Großlobming Master, who was active in Vienna at the end of the С

14 having benefitted from a period of training in Paris. HEINRICHS-SCHREIBER Ulrike in TAKÁCS Imre (ed.) 2006. 334. 773