Tanulmányok Budapest Múltjából 29. (2001)

A BUDAI KIRÁLYI PALOTA MŰVÉSZETI, KULTURÁLIS SZEREPE - Lovay Zsuzsanna: A Thék-gyár bútorai a budai királyi palotában 473-486

darabok, átvételi elismervények ellenében, a Köztársaság Elnökének palotája számára, használatra kiadattak". In: Állami lakóházak központi kezelőségének budai kirendeltsége. Egyes állami javak kezelése. Budai várpalota ingó vagyontárgyainak leltára. Bútorok. 1-705. tétel. 17. HAUSZMANN, 1903,178. 18. HAUSZMANN, 1903,179. 19. HAUSZMANN, 1903,178. 20. HAUSZMANN, 1903,179. 21. N. N.: Hauszmann Alajos. = Vasárnapi Újság, 50. évf, 1903,36. sz., 585. 22. HAUSZMANN, 1903,162. 23. Hauszmann Alajos (1847-1926) önéletrajza. In: PRAKFALVI-HAJDÚ, 1995,41. 24. HAUSZMANN, 1903,164. 25. HAUSZMANN, 1903,178. 26. HAUSZMANN, 1903,178. 27. Az Iparművészeti Múzeum gyűjteményében őrzött karosszék lt. sz.: 53.1821.1. In: VADAS-VADÁSZI, 1992,65., tárgyleírás: Kiss Éva. 28. 404. tételszám: „2 db karosszék, renaissance, faragott diófa, figurális kompozíciójú domborművei díszített egyenes támlával, egyenes karfával, esztergályozott lábakkal és kartámasszal, bőrhuzatú ülőrésszel, előcsarnok bútorzatából". In: Állami lakóházak kezelőségének budai kirendeltsége. Egyes állami javak kezelése. Budai várpalota ingó vagyontárgyainak leltára. „Bútorok, 377—678-ik tételig Miniszterelnöki rendelet alapján ideiglenes megőrzésre és használatra, átvételi elismervények ellenében, a Magyar Nemzeti Múzeumnak átadatottak. 1948. szeptember 30." 29. CZAGÁNY, 1978,241. ZSUZSANNA LOVAY FURNITURE FROM THE THÉK FA CTORY IN THE ROYAL PALACE Summary In 1891, after the death of the Architect Miklós Ybl, Alajos Hauszmann was commissioned to continue the extensions on the Royal Palace. Hauszmann changed much of Ybl's plans. Most of the furnishings of the Royal Palace were, unfortunately, destroyed in the Second World War. The reconstruction is based on contemporary reviews and a handful of archive photographs. Hauszmann's concept of furnishing the Royal Palace was a grandiose project that aspired to conjure up the heroic moments of Hungary's history, and to express historical continuity. Alajos Hauszmann himself wrote, "...we sought to create visions of the Árpáds [St Stephen Room, Romanesque], the Hunyadi [Mátyás Hunyadi Room, Renaissance], and the Habsburgs [Queen Maria Theresa Room, Baroque], and to that end, in the focal points of the Palace, we built authentically furnished rooms." According to Hauszmann, "...however, we took a few liberties with the details, and rather than installing stern, over-chivalric Romanesque figures, we brought in Hungarian ornamentation to draw attention to the Hungarian character." "...we applied Hungarian ornaments, whether in plastic form, or woven or painted." Hauszmann's idea of highlighting the national character was this: "...we wove Hungarian ornamentation into them, and made every effort to bring our national character to the fore in all fine and applied art works and furnishings." In line with his concept, Hauszmann had to find a Hungarian contractors to do he job. When it came to cabinet-making, Endre Thék was the obvious choice. Thék, who had learnt his trade in Paris, was one of Hungary's most famous cabinet-makers. He was commissioned to built the St Stephen Room, and he contributed to many other rooms, too. Built in the "Romanesque style," the St Stephen Room functioned almost like a museum. It was never designed to be used as a room, but rather, to justify historical continuity, and to represent Hungarian statehood. It can be safely established that Endre Thék and Alajos Hauszmann worked together on a long-term basis in developing the palace interiors. The concept was unquestionably Hauszmann's but detailed furniture design was done by his colleagues Géza Györgyi and Endre Thék. Just before the Paris Exposition, in 1899, the Applied Arts Society organised a Christmas exhibition at the Museum of Applied Arts in Budapest, where the best works of applied art of the year were put on display. At the 1900 World Exposition Hauszmann's Saint Stephen Room won a grand prize. Unfortunately, no genuine photographs of the Italian Renaissance-style Mátyás Hunyadi Room have come down to us. The door is known to have come from the Thék factory, the wood panels of the room possibly. The two-storey-high, cavetto vaulted, gilded 485