Voit Pál: Barokk tervek és vázlatok (1650-1760) (A Magyar Nemzeti Galéria kiadványai 1980)

planned by János Hölbing in 1722 — were made by Johann Matthey, engineer-captain in 1742 (Cat. No. 37.). The Bibliothèque Doucet in Paris preserves the sketchbook of the imperial chief-architect Jean Nicolas Jadot baron de Ville Issey. In the sketchbook Jadot's ground-plan with the inscription "Chateau de Bude, execute" shows the outset of the building course in 1748 (Cat. No. 77.). Though the exterior of the royal palace was considerably changed later on, when the complex was extended and rebuilt, Jadot's witty ground-plan was kept althrough. Sebastian Zeller's copies from 1758 — preserved at the Hofkammerarchiv in Vienna — assert the onetime facade and state-staircase (Cat. Nos. 99—100.). The solemn, neo-classical French spatial composition of the latter truly reflects Jadot's art. The convolutum from the Jesuit monastery of Győr is a unique document of 18th century graphic work. It contains plans and drawings of the interior decoration of Jesuit churches, dating from the close of the 17th century onwards. The bulk of the material was prepared in the 1740's when the St. Ignatius' churchof Győrwas refurnished. In addition a number of high standard drawings of architectural details enrich this collection. This series begins with the delicately coloured plan for the principal entrance leading to the refectory of the Jesuit monastery in Szakolca (Cat. No. 19.). Generally the plans are drawn - following the contemporary practice — biversally, i.e. to the right and left of the centre line, two different variants are offered for choice of the commissioner. The plan of the church spire of Szakolca was done a few years later, in 1728 (Cat. No. 26.). Its onion-shaped concave parts surround an arcaded gallery, thus preserving the characteristic 17th century spire forms. The principles of 17th century altar building can be seen on the drawing of the "Saviour" altar too. It well represents — with its abundantly applied column and pillar elements and with a pair of twisted columns — the early Baroque wooden architecture (Cat. No. 4.). The same hand had accomplished the two delicately worked out gate designs; in the chronostichon of one of them the date 1744 is hidden (Cat. Nos. 39—40.). In the tympan of both the figures of St. Francis of Xaver are seen; proving that the plans were designed for a Jesuit monastery. The same hand had drawn the elegantly proportioned altar in the tympan of which God the Father is represented. It was carved by the Viennese sculptor Joseph Ressler (Rössler 1700—1772), whose works were the altar figures of the St. Ignatius' church in Győr, of the church of St. Paul's order in Pápa, the Cistercian's in Zirc, those of the cathedral in Temesvár and the statues of the ornamental stairs of the Esterházy's castle in Fertőd (Cat. No. 51.). A plan of a side altar of noble simplicity, came down to us: it is signed: "Jäger Ar. 745" (Cat. No. 41.). Evidently it proves the stonemason Jacob Jäger's authenticity, who had worked with Ressler on the high altar of the Jesuit-church in Győr between 1743—1744. The convolutum in Győr contains plans of numerous altars, organloft carvings, frames, stalls, decorated with foliage-and ribbon inlays, sacristy furniture, confessionals, pews. A few of the drawings got actually realized, as that of the ceiling stucco of one of the side-chapels in Győr and the stucco ornaments framing the arched openings of the sidechapels (Cat. No. 54.). One of the four pulpit plans, the most ornated, of Lajos Gode pupil of Georg Rafael Donner in Pozsony — was also realized. Here, on its dorsal the artist carved the image of the "Good Shepherd" (Cat. No. 58.). We may attribute certain interest of architectural history to the series of plans, accomplished for the episcopal cathedral of Nagyvárad in the middle of the 18th century (Cat. Nos. 66—68.). The ground plan — following the so called "Viennese norm" — and the side-elevation at its intersection with the transept of the nave — originally planned with a dome — reminds of Giovanni Battista Ricca's style. In an other sheet one can observe the mark of division between the building activities of Ricca — that is Domenico Luchiniand Franz Anton Hillebrandt, the master of the following building period.