Jávor Anna - Lubomír Slavícek szerk.: Késő barokk impressziók, Franz Anton Maulbertsch (1724-1796) és Josef Winterhalder (1743-1807) (A Magyar Nemzeti Galéria kiadványai)

Haris Andrea: „Istae fabricae a Martino". Padányi Bíró Márton és a sümegi templom falképei

The iconographie programs of the frescoes and altarpieces are not independent, nor are they built one upon the other, but the whole must be interpreted as one program read off continuously. That is why there are no altar edifices - only altar tables (mensae) - and no statues interrupt the flow of painted decoration on the walls. It is presumed that the bishop took the Jesuit church in Székesfehérvár decorated by Caspar Franz Sambach in 1749-51 as his model where probably also the fresco of the sanctuary was the most important element. After an analysis of the bishop's biographic data, it appears better founded to presume than earlier hypotheses that it was also the Jesuits who mediated between the bishop and Maulbertsch. The program of the interior decoration is interpreted as the history of Salvation, starting on the vault under the organ loft. The Fall of Adam and Eve, the Old Testament prophets and kings awaiting the Messiah are depicted here. In the first vault section of the nave the Father appears who sends Gabriel to the Virgin, the Son is born of the Father's will (Adoration of the Shepherds), then he is circumcised as the sign of the first covenant. The second vault section is predominated by the Son, the divine incarnation (Epiphany) and his Crucifixion for mankind. The third vault section is dedicated to the Holy Ghost. Via the outpouring of the Holy Spirit, the resurrected Saviour sends his Apostles to spread the Gospel throughout the world. The Church, the guardian of the divine revelation, is founded (St Peter's sermon). In the sanctuary, the triptych of the Ascension terminates the program with the ecclesiastic and secular powers paving tribute on either side. On the two lateral walls of the sanctuary the depictions of the four western doctors of the church - the basic pillars of the Roman Catholic Church complete the story of the Redemption. It is hypothesized that the cycle was to have been terminated by the Last Judgment on the organ loft, the upper part of which - Maiestas Domini with the archangel St Michael and the 24 elders (?) under it - is still visible in fragments, the lower part being overpainted. (In my view, also subsequent additions are the figures of four sainted bishops: Ss Martin, Patrick, Nicholas and Francis of Sales on the side walls of the sanctuary.) The time and reason for overpainting are unknown but they might have been made in the bishop's lifetime or little after his death. This is supported by the portrait-like presence of the bishop (and his patron saint) as well as his immediate surroundings. It is unlikely that Maulbertsch' portrait was painted by his assistant during his work in the church. More probably, his assistance settled in Sümeg after the master's leave, Johannes Pöckel did the overpaintings. So far, no written program of the frescoes adorning the Sümeg church has been found but in the knowledge of Márton Bíró's writings and diary the entire theological program can be attributed to him. All the critics ofMaulbertsch' Sümeg frescoes stress the lifelikeness of the scenes and the harmony of the pastel hues. What is, however, Maulbertsch' extraordinary merit is the realization of the compositional schemes as panorama pictures in the tall, narrow sections with three-centered arches, so unusual surfaces for him. The vitality of the paintings probably satisfied the client's expectations. In Márton Padányi Bíró's concept of paintings, these lifelike details helped comprehend a picture and recall it later.