F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1997/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1997)

MŰHELY - Claudia Piovano: A siklósi plébániatemplom szentélyének falképei

Naples, attributed to a painter whose works are resembling to those of Simone Martini in Assisi from iconographie point of view dated to the fifties-sixties of the 14th century. The connection of Naples figurai art with Czech painting must not be left out of consideration. In the mid 14th century the artistic circle working at the court of Naples had painters (Cavallini, Giotto and Simone Martini worked here at the first half of the century) representing different geographic places and style. Investigating the situation of Naples at the period from either artistic or historical points, and considering its connections with the Hungarian Kingdom it is easy to suppose that a few of the painters working in Siklós had gone to Naples, or they had got to Hungary from there. An earlier master of Siklós must have belonged to the workshop of the „Facepainter": the so-called „Graphic-painter", to whom the apostles of the apse are attributed. The linear representation, the fine, drawing-like faces, the strict pleating of the dresses is showing a nortern kind of painter: perhaps a Hungarian one educated in Italian workshops. Beside them three different masters can be perceived in the fresco-cycle of the parish church. In the case of the so-called „Naive-painter" (the majority of the medalions of the window-frame, the Tricephalus and the Vir Dolorum scene were painted by him.), the so-called „Moon-face painter" (only a few heads on the lower parts of the window-frames must have been his work) and the so-called „Byzantinepainter" (his only work is a bust of an apostle) it might be supposed that local painters of lower quality must have painted them. Summarizing the above works and sentences: the date of the wall-paintings might be put to even a few decades later than the sixties and the seventies of this century, supposing that Italian artists working for a long time here had followed the examples and patterns long out of fashion in Italy. The second decade of the 15th century means however at least 50 years lateness, which is definitely much considering the style.