Mikó Árpád – Verő Mária - Jávor Anna szerk.: Mátyás király öröksége, Késő reneszánsz művészet Magyarországon (16–17. század) 2. kötet (A Magyar Nemzeti Galéria kiadványai 2008/4)

The English Summary of Volumes I—II

H-41 The Nádasdy Mausoleum Mausoleum potentissimorum ac gloriosissimorum Regni Apostolid Regum et primorum militantis Ungariae Ducum... Nuremberg, Michael and Johann Endtner, 1664 Paper; foil. [4], 407, [3]; 2° Budapest, Magyar Nemzeti Múzeum, Történelmi Képcsarnok the Batthyánys' castle at Németújvár (Güssing) (an appears on old inventories) ; and one of the copies now held in Trencsény (Trencín) was hanging on the wall of the county hall in what was still Trencsény in 1910. The allegorical representation became a focus of research around ten years ago, and there are still several unanswered questions surrounding it. II-45a The Holy Crown with the coat of arms of its lands c. 1650-1660 Canvas, oil; 110,5 * 78,5 cm H-42 Elias Berger: Symbolutn Sacrum Symbolum sacrvm et Avgvstvm Decern Reginarum Hungáriáé. Politice et Historiée expositum. Serenissimae et Potentissimae et Catholicae Principis ac D.D. Mariae Imperatricis Romanae Regináé Hungáriáé et Bohemiae foelicissimae Coronationi. Dicatum Consecratumque Avthore Elia Perger, S. C. R. M. Aulae familiari et Historico Vienna, 1637 Paper; foil. [38]; 4° Budapest, Magyar Nemzeti Múzeum, Történelmi Képcsarnok, 1831. II-45b The Holy Crown with the coat of arms of its lands Between 1673 and 1676 Canvas, oil; 110 * 79 cm Budapest, Országos Széchényi Könyvtár, Régi Nyomtatványok Tára, Szombathely, Szombathelyi Képtár, F 87.34. RMK III 1518 11-43 Book of Péter Révay on the Holy Crown of Hungary Petrus de Rewa: De Sacrae Coronae Regni Hungáriáé ortu, virtute, victoria, fortuna annos ultra DC clarissimae Augsburg, Christoph Mang, 1613 Paper; foil. [4], 100, [2], 1 engraving; 4° Budapest, Országos Széchényi Könyvtár, Régi Nyomtatványok Tára, RMK III, 1118(1. copy) 11-44 Portrait of Ferdinand III, King of Hungary Justus Sustermans (Antwerp 1597 — Florence 1681) and workshop, 1626 Canvas, oil; 201 x 126 cm Budapest, Magyar Nemzeti Galéria Régi Magyar Gyűjtemény, 92.20 M. THE HOLY CROWN WITH THE ARMS OF THE PROVINCES These four, essentially identical, pictures show one of the earliest representations of the Holy Crown of Hungary. The crown is surrounded by the arms of the provinces surmounted by a horseshoe inscription: Deus custodiat te ab omni malo ("God preserve you from all troubles"). In the inscription among the pendants, the crown itself relates (in first person singular) how it came to Zólyom (Zvolen) in early 1621. The bottom of the painting is taken up by a recumbent tablet with a red frame and griffins at the corners, on which a long metrical poem is written in two columns, also relating the journey of the crown from Pozsony (Bratislava) to Zólyom. It was taken there when Gábor Bethlen when he abandoned his occupation of Pozsony in 1621 and took the Holy Crown east. The four pictures are not contemporaneous, and not even copies made at the same time of a — perhaps as-yet undiscovered — original. The National Museum copy was bought from Kassa (Kosice); the Szombathely copy came from II-45C The Holy Crown with the coat of arms of its lands c.1670-1675 Canvas, oil; 112 x 81 cm Trencín, Trencianske múzeum, H 1636. II-45d The Holy Crown with the coat of arms of its lands c. 1800 Canvas, oil; 113 * 81 cm Trencín, Trencianske múzeum, 1637. KRISTÓF LACKNER (1571-1631) A major, if lesser-known, figure of the late Renaissance in Hungary, Lackner was born in Sopron in 1571 and received some of his schooling in his home town. He matriculated at the University of Padua in 1595, where he graduated as a Doctor of Law. On coming home, he was appointed to the town senate in 1599, became a judge in 1603 and was subsequently mayor. Until his death in 1631, he was one of the leading notables of Sopron, the wealthiest and most cultured person in the city. In 1604, he founded the Sopron Scholars Society, whose members held symposia and attempted to assemble a joint library. Lackner was an accomplished engraver (his father had been a goldsmith) and produced several illustrations for his own books. Most of them of the were emblems of the classical form, consisting of three parts: a symbolic image, a related motto and an explanation. It was a form taken up by very few Hungarian artists, although János Zsámboky's Emblemata, published in Antwerp in 1564, became one of the standard works of European emblem literature. Lackner's emblems did not achieve such fame. Many of his engraved plates have survived, and are now in the Sopron Evangelical Collection.