A Veszprém Megyei Múzeumok Közleményei 24. (Veszprém, 2006)

Rainer Pál–S. Lackovits Emőke: Egy címerekkel díszített XVII. századi faládika

A WOODEN SMALL CASKET DECORATED WITH COATS OF ARMS FROM THE 17TH CENTURY 1. The work of art that is the object of our paper is a richly carved, heraldic decorated wooden small casket that came to the Museum of Veszprém (now: Laczkó Dezső Museum) as a consignment in 1905. On the top of the small case: the coats of arms of the imperial couple, Ferdinand II of Habsburg (1612-1637) and his wife, Eleonóra Gonzaga can be found, on its front longer side: the coats of arms of Johann Schweickhardt von Kronberg, archbishop and prince-elector of Mainz (1604-1626), and Lothar Metternich, archbishop and prince-elector of Trier (1599-1623), on its left shorter side: the coat of arms of Ferdinand von Wittelsbach, archbishop and prince-elector of Cologne (1612-1650), on its right shorter side: the coat of arms of Maximilian 1, prince of Bavaria (from 1597) and prince-elector (1623-1651), on its back longer side: the coats of arms of John George I, prince and prince-elector of Saxon (1611-1656), and George William, prince-elector of Brandenburg (1619-1640), on the bottom of the small case: rich vegetal ornament, and on the inner side of its lid: the fictive coat of arms of Jesus Christ and the symbol of the four Evangelists can be seen. The date of the making of the small case could be determined well after identifying the coats of arms and their owners. So it was made between February, 1623 (the prince of Bavaria, Maximilian I, got the electoral honour at the time) and September, 1623 (the time of the death of the elector of Trier). If we suppose that with the death of Lothar von Metternich, archbishop of Trier, the carved series of coats of arms on this work of art lost its topicality, and because of this, this unfinished object was presented to somebody, then we would get an explanation for the difference between the coats of arms, because the coats of arms of the imperial couple and the prince-electors are excellent, first-rate artistic works, while the blazon of Jesus Christ and the symbols of the four Evangelists are only good quality craftwork. In this case, probably the latter ones were carved or made carved by the new owner to make this beautiful object finished. The small casket that was surely made in German environment originally was most likely to be the box or case for some present (jewel or goldsmith's work). Although in the Middle Ages and in the modern times as well, the German prince-electors and their coats of arms were predilectionally represented on many different objects, we could not find any parallel of our small case. This work of art dating back to the Thirty Years War is probably a unique piece in the collection of the Hungarian museums. II. The cutter placed the composition, regarded as the blazon of Jesus Christ, in the inner part of the lid of a small casket which is decorated with seventeenth century late-Renaissance coats of arms. It is surrounded by the symbols of the four evangelists (Matthew=angel or human, Mark=lion, Luke=ox or bull, John=eagle). The meanings of the blazons on the shield (with heart shields), which is divided on a round base into sixteen sections with three cleaving and three cuttings: 1. The comet or the Star of Betlehem refers to the birth and embodiment of the Saviour, indicating that the work of redemption started with birth. At the same time it recalls the prophecies of the Old Testament (Numbers 24:17, Micah 5:1, Isaiah 9:1,5), and the Three Kings visiting the child Jesus as a popular element in western and southern European civilizations. 2. The mitre of the High Priest means the priest king, Melchishedek (Psalms 110:4,5; Hebrews 7:1-3, 16, 17), as the predictor, and also means Jesus, the real high priest and king. 3. The open royal crown and the orb are royal plaques, the symbols of dignity, the plaques of the Kingdom of Christ (1 Timothy 6:15, Revelation 19:16), but in German-speaking countries, it also means the Three Kings who are the advocates of good death (Matthew 2:1; Isaiah 60:3; Psalms 72: 10-11). 4. The Lamb with the flag is the Lamb of God, who takes the sins of the world, and sacrificed himself as an Easter Lamb upon the wish of the Father (John 1:29, 36; 1 Corinthians 5:7; Isaiah 53:7; John 19:2427). 5., 6., 7. The feet and hands of the Saviour, which were nailed on the cross, and his pierced heart mean the Saviour hanging from the cross and refer to His five Holy Wounds. These wounds were especially honoured in the Middle Ages, some separate worship forms were attached them. On a coat of arms, they were used as the prevailing badges of Christ. It symbolised the suffering of the Saviour and the story of redemption. The enduring the suffering and the immersion in it have become the central theme of mysticism since the Middle Ages. This is in connection with the appearance of wounds (stigmas) on the bodies of some saints. 8. The cup does not only symbolise Jesus praying and seating in blood on the Mount of Olives, but also represents the cup of the New Testament meaning the Lord's Supper (Luke 22:20). 9. The kerchief reminds us of the kerchief of Veronica and the shroud of Jesus, which have become the one of the pieces of evidence of the Resurrection (John 19:38-40). 10. The rooster means the frailty of man through the denial by Peter (Luke 22:34), and it is also the symbol of the resurrection and return of Jesus Christ. 11. The crosier of the High Priest refers to Jesus being a high priest and a ruler, indicating that Jesus is the shepherd of the spirits. 72. The sceptre is royal symbol, which calls attention to Christ as the victorious Lord of the world. 13. The column with straps is a means of suffering, referring to being whipped. In depictions of the story of suffering, it has become a picture of its own since the fifteenth century. The flagellant movements originating from Perugia, and the relics, which ended up in Rome in the 13

th century played a great role in its respect. 14. The cross is the tree of salvation, which was set up due to the sins of the first couple. It is the symbol of the cruel death of Jesus and the redemption. 15. The undergarment of the Lord, which was seamless (John 19:23), and for which the soldiers cast 178