F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1998/1. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1998)
MŰHELY - Kövesdi Mónika: A tatai Esterházy-nyárilak dísztermének falképei
Neoclassicism. The whole building - with its noble proportions and rectangular block - is reflecting a classicising late Baroque taste. The centre of the one-storeyed, 5 axis building is the circular ceremonial hall, stressed on the garden facade with a trapezoid step-out andan extensive terrace. On the attic above putti used to rest, holding a flower-basket on which the Esterházy coat-ofarms were carved. The original inscription of the attic and the motto of the "sans-souci" type manor house was an antique sentence: "Quid tibi natur potius quid rure beato." The arched high windows and a door are leading to the terrace. Above them three stone framed windows look to the garden. The hall was decorated with murals, both on the walls and ceiling. With the help of Elemér Révhelyi 's photos made in the thirties we can imagine, how the original wall paintings might have looked like, and these are the only sources concerning to them. Révhelyi had made two photos of the wall surfaces left and right to the door of the hall. Both details show illusionist landscapes giving the feeling of a kind of continuation of the park's landscape, standing amidst a sentimental scenery on a ruined terrace covered with Mediterranean plants with exotic water birds. In the background the view of a larger mansion can be perceived (not similar to the residence of Tata) and a summer house in the middle of a French fashioned park (a copy of the Tata summer house). Even the black and white photo shows that the wall painting was rich in details. The composition was hiding the windows and door in the foliage. The person of the master is still unidentified. István Genthon mentioned József Jankovszky, who had been active in 1735, and it was less probable that he could have worked in Tata between 1785-86. Révhelyi also mentioned a Viennese painter named Jankovszky, but the accounts investigated by him had not described accurately the painter's role and the building, so the identification is still the task of the future.
