Vadas József (szerk.): Ars Decorativa 13. (Budapest, 1993)

PRÉKOPA Ágnes: „Raymundus de Sangro ... invertit"

the attribute displays the figure of St. Theresa rather as a doctor than as a mystic saint. St. Theresa's transverberation was a popular topic in 18th century arts. Nevertheless, the above details of special meaning do not influence the essence of the composition, so the picture can be categorized as a type with roots going back as far as Bernini's school-founding composition. The only reason for having changed Bernini's composition is the wish to follow the text more faithfully: as it was described by St. Theresa, the angel here is small, appearing to the left of the saint.

14 How and where was this marble picture, representing St. Theresa, one of the patron saints of Naples, to be placed is still a question, it was likely to have served private devotion; the lace-like frame reminds us of the technique used on small devotional pictures painted on parchment or paper. It also remains open how this marble picture is connected with these devotional pictures, the literature of which is mostly limited to German-language territories. Future laboratory examinations may discover some new facts about the details of the technique and it may probably reveal whether the fainted stain in the left bottom corner hides a signature. After further research we may know whether this technique or other inventions by Raimondo di Sangro were familiar for the contemporary public. Could they contribute to science, could they help with the everyday work of craftsmen? Notes 1 Inv.No. 53.1921. "A" inventory: 8226. (In the 1888 description the picture is mentioned together with a Bronze frame, which has disappeared in the course of time.) The back is marked with the initials of the National Hungarian Department of Antiquities (NMR, initials of the Nemzeti Magyar Régiségtár) 2 Autobiography. The collected works of St. Theresa, named after Christ, Vol.11. Translated into Hungarian by Ernő Szeghy, Budapest 1928, pp.308-310 3 I would like to express my thanks to Katalin Soós and Jenő Rácz, for their technical remarks. 4 Nappi, Eduardo: La famiglia, il palazzo e la cappella dei principi di Sansevero. In. Revue Internationale d'Histoire de la Banque. No.

11, 1975 pp.100-161. Venturi, Franco: Settecento riformatore. Da Muratori a Baccaria. Torino, 1969 pp.539-544 5 Chledowski, Casimir von: Neapolitanische Kulturbilder. XIV-XVIII Jahrhundert. Berlin, 1920, p.466. 6 Brève nota di quel chesi vede in casa del principe di Sansevero don Raimondo di Sangro nella città di Napoli. 1767 7 Nappi, see above, pp. 109-118; Civiltá del '700 Napoli 1734-1799. Catalogo. Pref. R.Causa, Red. D.M. Pagano, M. Utili, Napoli, 1979 t.l, pp.30-31, T.II, 41-41, pp.281-282. 8 Wittkower, Rudolf: Art and Architecture in Italy 1600-1750. Harmondsworth, 1958 p.300. 9 Giangiuscppe Origlia: Istoria dello studio in Napoli..., Napoli, 1753-54; Cited by :Vcnturi, sec above, p.542. 10 Celano, Carlo,

— Chiarini, Giovan Battista: Notizie del bello dell, antico e del curioso della città di Napoli. Napoli, 1974. (on the basis of the 1860 issue). T.4. p. 1012. 11 see above 12 Diderot - d'Alembcrt: Encyclopédie ou Dictionnaire raisonné des Sciences, des Arts et des Métiers...Livourne, 1773 T.X. "Marbre" entry. 13 About the iconography of St.Theresa see Gutierrez Rueda, I^aura: Ensayo de iconografia Teresiana. In. Revista de Espiritualidad XXIII No.90, 1964; Salinger, Margarelta: Representations of St. Teresa. In. Bulletin of the Metropolitan Museum of Art. Vol. VIII. 1949-1950 pp.97-108. 14. "I saw an angel appearing on my left, [...] It was not huge but small and beautiful. [...] holding a big golden spear in its hand, with a slightly hot end, at least as I saw. It seemed to me that the angel sticked the spear into my heart several times..." (See Note 2).