Juhász Magdolna (szerk.): A Kaposvári Rippl-Rónai Múzeum Közleményei 4. (Kaposvár, 2016)
Aradi Csilla: Újabb adalékok az ún. „corona latina” datálásának problematikájához
220 New information to the problematic dating of the so called “corona latina” CSILLA ARADI While the dating of the lower part of the Hungarian Holy crown, the so-called corona graeca is relatively clear, the creation date of the cross section and the enamel plates with Latin inscriptions placed on it is more problematic, moving between a wide interval. Current paper means to provide data to support the presumption of a 12. C. manufacturing through representation as well as stylistic and technical observations. The enamel plates according to manufacture provide a transition between cloisonné and champlevé techniques, and differ from the dense and fine wiring of Byzantine counterparts. The use of zigzag wires are characteristic which have only a few parallels from the period. A similar technique can be traced on an enameled book cover from Maastricht and a reliquary cross from Thessaloniki. David Buckton and Endre Tóth have already laid emphasis on the framed inscriptions which according to their formation, the use of a variety of characters and the appearance of majuscule together with cursive writing have parallels in the Pala d’Oro and the book cover of Sion/Sitten, and point towards the 12. C. The rhomboid form of the key head held in the right hand of S. Peter apostle similarly cannot be imagined prior to the 12. C. Though produced without the whole plate being enameled and with the sole use of the cloisonné technique, but according to the wiring, the portrayal and the coloring, the Pantocrator plate most probably belonged originally also to the same object. The sun, moon and star symbols appear on royal seals and coins from the mid 12. C. starting from the dinar of III. Bohemond of Antioch, who was related to both Manuel and III. Béla. The cypresses depicted on two sides of Christ have numerous analogies, among others in Sicilian Norman art of the period. The shaping of the filigree decoration on the framing bands of the enamel plates show relationship with the gold finds from the royal burials at Székesfehérvár and with the trapezoid plates of the crown on S. Oswald’s head reliquary, which according to Éva Kovács was produced in the goldsmith workshop working under the rule of III. Béla and was acquired by the Guelph dynasty as a present from the Hungarian royal court. Today we cannot give a precise answer to what the cross on the crown originally looked like as it was disconnected from the crown in 1551 by Queen Isabella for her son. We can assume that it belonged to the type of reliquary crosses which János Zsigmond wore in his neck until his death. It is likely that the holiness of the crown originated from this reliquary which explains why Isabella though it important to own it. During the second half of the 12. C. the Byzantine art effected the Western culture at its most, its traces can be found not only in the Norman Kingdom of Sicily, in Venice and in the Crusader states but in Hungary as well. The royal usage of the gold bull can be tracked down from the age of II. Géza and on the copper coins of III. Béla a more direct Byzantine influence can be experienced. The acquisition of Byzantine enamels reached its peak with the sack of the Byzantine Empire in 1204. We have data about the opening of Greek originated goldsmith workshops from Venice and Sicily. It can be presumed that starting from 1165 with the Byzantine conquest of Southern Hungarian territories through the 16 years of occupation Greek masters appeared in this area and could have stayed after the reoccupation. As it is obvious in Venice the art of Greek masters slowly transformed and was enriched by Western influences and Latin letters appeared on their artifacts. The creation of the enamel plates of the corona latina thus can most probably be placed to the second half of the 12. C. The long rule of II. Géza was characterized by restlessness towards the Byzantine Empire which was only partially due to the Western expansion ideal of Manuel and his direct interference in Hungarian inner policy even through dynastic marriages. Géza also cherished great aims. Despite of wars the country flourished and large-scale constructions took place. The origin of the enclosed crown can be placed between 1180 and 1185 when his son III. Béla openly aspired for the title of the Byzantine emperor.
