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

Pál Esterházy initiated the building of the Rococo castle of Köpcsény (Kittsee, Burgenland) near Pozsony. It served as a summer residence for the prince-primate Batthyány. The plan of the main entrance with a helmeted herma ornament,displaying all the affected charm of the Rococo, recalls the craftsmanship of a Viennese court artist (Cat. No. 69.). For analogies we may note the supraports, decorated with helmeted hermae of the cloisters in Klosterneuburg, as well as Donato Felice Allio himself, whose activity in Pozsony is well known. Another of Esterházy's buildings is also an enigmatic master's work: the plan of the Franciscan monastery and Calvary in Kismarton (Cat. No. 70.). The peculiar building — containing the chapel and stations of the Calvary with its caves and stair-and corridor system — looks like a cultic showpiece hidden within the mountain. It creates a unique but none the least artistic impression. Much loftier than the former, eventually realized plan is the coloured wash-drawing of Franz Sebastian Rosenstingl, a brilliant Viennese designer, whose plan for count Károlyi's castle in Nagykároly never got accomplished (Cat. No. 78.). The broken lined wings of the castle are shaped as if they were spread wings of an eagle, figuring in the coat-of-arms of the counts Károlyi. This is a rare example of architectural iconography. The convolute comprising Rosenstingl's surveys and plans, accomplished partly in Hungary partly in Austria, and preserved at the Technische Hochschule in Vienna, perished during the war. Luckily not only masters from abroad but also the small masters, settled in Hungary, are represented at the exhibition with their plans and sketches. Examples of such works are the sculptor József Bechert's sketches for the figures made on the bridge of Gombás stream in Vác (Cat. No. 98.) as well as Ignác Oraschek's plan for the episcopal church in Vác from 1755 (Cat. No. 97.). This master-mason from Buda designed the bridge and was the building contractor of the Buda Royal Palace. The ideas of the architect and majordomo of the Zichys, Károly Bebo,are illustrated inthe plan forthe Zichy-castle in Óbuda. The drawing was made by Henrik János Jäger (Cat. No. 75.). An other example of the craftsmanship of small masters is Kristóf Hofstädter's fine castle-and garden plans for the count Festetics family in Keszthely (Cat. No. 94.). A practically unknown foremanbuilder from Eger, József Schäuffler, made for the Minorite monks of Eger a plan of a domed cathedral surrounded by a round portico thus expressing a provincial foreman's ambition and claim for international fame (Cat. Nos. 81—84.). Hugo Maria Hazael Servite monk and geometrician, who excells with his fine calligraphically illustrated farmland maps and garden plans worked in Eger too (Cat. Nos. 95—96.). The same conception is reflected in Andreas Fucker's sketch drawn at the occasion of the bishop, count Ferenc Barkóczy's visit to Eperjes where, in addition to the view of Eperjes, he drew the bishop's entry in a coach, drawn by six horses, with his mounted, liveried attendants, luggagecarts, even the decorated tents appear as the chronicle noted: "The bishop Barkóczy amused with his suite in the fair fields of Eperjes for days, and under magnificient and superb tents he ate his dinner in the eye of the whole crowd of people gathered there" (Cat. No. 80.). Another monk Antal Hueber, Capistranian friar, court priest of baron Ferenc Haruckern, represented in aquarelle the medieval castle of Gyula — in its original form before Hillebrandt's extension — and its environment with episodic details in 1749 (Cat. No. 79.). Johann Baptist Martinelli should be mentioned among the local masters. He was, from 1751 on, the head of the Building Office of the Hungarian Chamber. His plans, made in 1753, for the parish-church and its altars at Dunaalmás rise above the average. Martinelli was Italian only by name, unlike the members of Ricca's team — mentioned before, in connection with the cathedral of Nagyvárad — who maintained close relationship with their native-land, with the countryside of the lake Comoand Lugano, and who all returned home towards the end of their life if not earlier. Those coming from Lugano spent a longer repose at Gyöngyös, some of them even settled down there or in its neighbourhood, as the sculptor Carlo Adami and the architect Giacomo Berra from Lugano, bishop Barkóczy's Italian artists, as well as master-masons, the two Quadri from Agno and Carlo