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Balázs SEMSEY: Architecture and Museology at the End of the 19th Century

in Hungary]. Budapest, 1874, 157. At the same place he also urged for the elaboration and preservation of similar works: "let it suffice to mention but a few to arouse the attention of specialists and to achieve the preservation, or at least the depiction, of these artworks if they cannot be preserved." (Ibid. 155) 13 MAA Archive 1894/178. On this in more detail see Semsey 2010, 116. 14 Ács, Piroska: "Keletre magyar". Az Iparművészeti Múzeum palotájának építéstörténete a kordokumentumok tükrében ["To East, Hungarians!" History of the building of the Museum of Fine Arts in contemporaneous documents]. Budapest, 1996 (hereinafter Ács 1996), 42, 59. 15 MAA Archive 1892/149; cited: Jánó 2007, 473. 16 MAA Archive KRTF 2608-É/5; published: Ács 1996, 29. 17 Jánó 2007, 473-476; and Semsey 2010, 116-117. 18 Museum curator Kamill Fittler's report on his trip to Sóly, 14 November 1893. (MAA Archive 1893/203) In more detail see Semsey 2010, 116-117. 19 1 would like to express my gratitude again to the leader of the archeological research Miklós Rácz, associate of the Cultural Heritage Agency for his selfless help and for sharing with me his research findings awaiting publication. In more detail, see Rácz, Miklós: 'A sólyi református templom régészeti kutatása' [The archeological research of the Calvinist church in Sóly]. Cf. the forthcoming volume of the periodical A Veszprém Megyei Múzeumok Közleményei. 20 On the inscriptions, see Semsey 2010, 118. 21 A staff member of the Ethnographic Museum Margit Kiss has recently identified in the museum storeroom some elements of the painted balustrade once in the sanctuary of the Sóly church and known from Fittler's notes. The mentioned fragments were shifted from the Museum of Applied Arts in 1970 where, as it turned out later, they were stored as of unknown provenance earlier (in 1957, many years after they got into the museum!). In the Ethnographic Museum they were registered as elements of the Mezőcsát gallery which was given over at the same time. Margit Kiss's researches have called attention to the untenable attribution. I owe my heartfelt gratitude for her helpful cooperation. 22 Kalauz 1897, 15. 23 On the Mezőcsát gallery, see also Tombor 1968, 46, 166; and Domanovszky, György: A magyar nép díszítőművészete [Hungarian Folk Art]. Budapest, 1981, vol. I, 259, and Kiss, Margit: 'Alakos ábrázolások a templomokban' [Figurái representations in churches]. In: Fejős, Zoltán (ed.): Legendás lények, varázslatos virágok - a közkedvelt reneszánsz. (Exhibition catalogue, Ethnographic Museum), Budapest, 2008, 140 and 159 (cat. 246). 24 Gelléri, Mór (ed.): Az Ezredéves Országos Kiállítás kalauza [Guide to the National Millennial Exhibition]. Budapest, 1896, 158. 25 See Weinwurm, Antal: Az Ezr. Orsz. Kiállítás. Történelmi főcsoport [The Millenn. Exhibition. Central historical ensemble]. [Photo album] N. p. [Budapest], n. d. [1896], pi. 12. 26 When the museum opened, the Sóly ceiling panels were not yet exhibited and in 1905 László Éber still only mentions the gallery (Éber, László: 'A bútorművesség emlékei Magyarországon' [Relics of furniture making in Hungary] (hereinafter Éber 1905), In: Ráth, György (ed.): Az iparművészet könyve [Book of applied arts], vol. II, Budapest, 1905, 494), but the guide of the reorganized exhibition published in 1907 already includes the ceiling (Kalauz 1897, 47). On problems of the ceiling reconstruction, see Semsey 2010, 117. 27 Mihalik, József: 'A magyar történelmi pavilon' [The Hungarian historical pavilion]. Magyar Iparművészet III, 1900, 332. On the Hungarian buildings at the Paris exhibition, see Székely, Miklós: 'Az 1900-as párizsi világkiállítás magyar építészeti alkotásai' [Hungarian Architecture at the 1900 Paris Exhibition]. In: Tüskés, Anna (ed.): Omnis creatura significans. Tanulmányok Prokopp Mária 70. születésnapjára. Budapest, 2009,285-289. 19