Lengyel László (szerk.): Devóció és dekoráció - 18. és 19. századi korolstormunkák Magyarországon - Studia Agriensia 7. (Eger, 1987)
Summary
Among the devotional picture and relic amulets which could worn around the neck, there are many two sided oval forms. Generally on one side of it a vellum miniature can be seen, with the image of the chosen patron saint, on the other side in polion decorated frames they placed relics with subtitled ribbons. It can be said that the casket shaped amulet type which was mounted in goldsmith work was also widespread. Apart from the wonder-working Baroque ecclesiastical pictures and the pictures and bones of saints, a number of other relics were also revered. The appearance of reference for garment relics is represented by a silver filigree mounted pendant which only contained the garment relics of saints. A demonstration of the belief in the aiding force of devotional pictures is an eight sided amulet which was made with collage techniques. The small composition which is a work of art in tiself, probably illustrates St. Pascal of Baylon. This amulet which is a rare one, because of its size and technique takes its place among the most beautiful pieces of this genre in Hungary (111. 60.). SMALL PIOUS PICTURES Within the art practices of convents one of the genres with the greatest tradition is the circle of small pious pictures. The small pictures painted on vellum with tempera and aquarelle are the organic continuations of the medieval miniature are the organic continuations of the medieval miniature painting. Generally these small pious pictures were placed inside prayer books, or on the inner side of chests and cupboards to serve the aims of individual faith. Among the small devotional pictures which were painted on vellum the so-called Schnitzvilds or Spizenbilds were made in large number. These were the so-called cut devotional pictures. The Schnitzbilds which were made at the beginning of the 18th century seem to be a little coarser than the more precise, mostly Roccoco style vellums which were made in the second half of the century. The motifs of the earlier work strengthened the genre’s autonomy, while the Roccoco style cut devotional pictures which seem to be technically more brilliant wanted to ape the forms of bobbin or sewn laces. 146
