F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1995/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1995)

MŰHELY - G. Horváth Erzsébet: Előzetes tájékoztatás a lakosdi falképek feltárásáról

could be concluded from the technique of its making and of the mortar, and the size of the granules. The plaster-work dating back to the second half of the 13th century is characterized by the technique of making frescos in Hungary. The mortar of the brick wall was made with the dry compound of crushed lime which was later pulped. Mortar was dissolved in the wall. The material protruding from the brick jointing was used to hide the uneven surface of the wall. The whitewashed surface was painted later. The adhesion of the plaster could be said good enough, although in certain places the pigmentation of the paint is coming off. The representations of the northern wall are (from east to west): two men turning towards each other. On the wall beside the gallery the person of St. Michael is to be seen. The representations of the southern wall: Christ Enthroned with his Injuries with a king figure bowing, and perhaps the turning figure of the Virgin beside them. At the western end of the southern wall a long haired woman is to be seen on horseback, a little lower the profile of a quiver - on the basis of analogies it may be presumed that the whole is a representation of the St. Ladislas legend. The age of the representations might be considered to be similar to the first period of the church of Csaroda. Comparing the colours, the way of representation and manner this must be presumable. The plaster dating back to the 15th century has an even granule construction made of river sand. On the northern wall only fragments of paintings could be found; draperies, details of architecture, parts of the human body have remained to us. On the southern wall there are the frescoes of two figures; they might be the apostles St. Peter and St. Paul. According to their way of representation the master night have been in connection with Italian painters. The third layer was painted at the end of the 16th century with secer technique. The architectonic frame and the floral motives of the arch of the central medieval window are rather clumsy works of an unpracticed painter. Near analogies of it, without listing all of them are Csaroda, Nagyszekeres, Kisszekeres and Ófehértó. The exact dating and art historical analysis of the representations would be possible only following a restoration based on expert laboratory investigations.