A Nyíregyházi Jósa András Múzeum évkönyve 50. (Nyíregyháza, 2008)

Művészettörténet - Terdik Szilveszter: A máriapócsi kegytemplom építésére és belső díszítésére vonatkozó, eddig ismeretlen források

death of bishop György Gennadius Bizánczy in 1733. New bishops, especially György Blazsovszky tried to continue the work, so in 1742 they made a new contract with the builder. Blazsovszky's death again hindered the start of the work; finally, under bishop Mihály Mánuel Olsavszky building started again. By 1749 the church was mostly ready, only a part of the interior works and two façade towers were left. Comparing to the first architectural plan the church was built in a more monumental form. Changes can be seen on two façade drawings from the time of Olsavszky, found in the Beregovo archives. They must have been also made by Liczky or some of his assistants. We suggest that in this time Liczky was one of the most popular masters of the eastern part of Hungary. Beside aristocrats, the Court Chamber and Roman Catholic bishops (Eger and Nagyvárad) liked to employ him, though, judging from the sketches and existing buildings, the world of forms and education of the master builder could have made a rather conservative impression. Two of his foremen, Ferenc Dinczer and Tamás Strausz worked at the construction of the Máriapócs church. In 1749 building of the Basilite monastery connected to the church was started, it was also planned by Liczky. The church and the monastery were almost completed by 1757. In 1748^49 the interior painting of the church was also completed. The painter applying the elements of illusion architecture, was also citizen of Kassa: "Izbeghy, alias István Veress". Significance of newly found data concerning the painter is even larger, because before that, no wall painting was known that could be reliably connected with this artist. Sources considering the building of iconostas are of special importance. According to a survived contract, in 1748 bishop Olsavszky agreed with a wood curver Konstantinos Thaliodoros on the construction of the iconostas. Judging from other sources this master came from Constantinople. On the basis of the style, it has been suggested earlier that the master was educated at the Balkans. Now it is supported by historic documents. Pieces from Balázsfalva and Nagyrév, and that from the Greek Catholic cathedral of Nagyvárad (the latter now in Körösrév) related to the Máriapócs iconostas can be associated with this master or his atelier which, in all probability, also worked for the Hungarian Orthodox church. (Brassó, Bolgárszeg, Chapel of Ascension). So, we are able to build up a much more accurate picture than earlier about the largest, mid-18th cent, iconostases of old Hungary. Szilveszter TERDIK H^4235 Biri Mező Imre utca 17. e-mail: terdik.szilveszter@gmail.com