Mentényi Klára szerk.: Műemlékvédelmi Szemle 2004. A Kulturális Örökségvédelmi Hivatal tájékoztatója (Budapest, 2004)
KIÁLLÍTÁS - Simon Anna: Esztergom új kőtári kiállítása
the research and preparation for the exhibition was started by Pál Lővei, Lajos Bozóki together with a few students. The exhibition shows the carvings divided to six large groups. A ridge with palmette decoration (No. 2) and a capital with the figure of a (Nr. 1) originate from the early 12 th century. Their identification with the remains of the provostal church of Dömös was helped by their material. Considering their amount and scientific importance the most important group is the second of the 12- 13 th century Esztergom carvings. The three periods within the 12 th century architectural history of the cathedral can be followed on the fragments (two capitals from the second quarter of the 12 lh century (No. 3, 4.), from the second half of the century (No. 5.), and from the end of the century (No. 6, 20.), all made of limestone. The red marble group from around 1200 is represented by newly identified groups of carvings: detail of a blind niche row, probably from the cathedral's rood-screen and an incrusted cover panel known formerly (No. 9.), fragments of column holding gryphons (No. 17.) and other architectural constructions. The third large group is put here into the Esztergom material because of chronological reasons: at the end of the room are the newly identified early 13th century remains of the Cistercian abbey of Pilisszentkereszt (No. 10-15.): a trumeau and details of the base of an order of arches of a portal and pillars. The next Gothic remains of the Esztergom group are the pillier-cantonnée base of the church of St. Sthepen protomartyr (No. 21.) and mainly unpublished 1.3* century fragments (No. 22-24.). In the fourth large unit of the exhibition three of the more than 1000 medieval tombstone fragments can be seen (No. 25-27.). In the southern part of the room mainly the 15 th century late Gothic remains of the archiépiscopal palace are displayed (No. 28-30.) There is an interesting novelty in the Renaissance carvings of the fifth group: a detail of a mantelpiece fragment was found (No. 36.) with the detail of the coat-of-arms of György Szathmáry György known till now complemented suggesting a different dating. The exhibition is closed by a 16 th century red marble gate frame reconstruction. (No. 40.). The catalogue is under preparation.
