Mikó Árpád – Verő Mária - Jávor Anna szerk.: Mátyás király öröksége, Késő reneszánsz művészet Magyarországon (16–17. század) 2. kötet (A Magyar Nemzeti Galéria kiadványai 2008/4)
The English Summary of Volumes I—II
VI-21 Calvinist Agenda Samarj ai János: Az helvetiai valláson levő ecclesiaknak egyházi ceremóniájukról es rendtartásokról való könyvecske Ló'cse (Levoca), Lőrinc Brewer, 1636 Paper; pp. [7], 224; 4° Debrecen, Tiszántúli Református Egyházkerületi és Kollégiumi Nagykönyvtár VI-22 Handkerchief from the Calvinist church in Oltszem (Ölteni) Transylvania, 1592 Canvas, embroidery; 97 x 110 cm Budapest, Iparművészeti Múzeum, Textilgyűjtemény, 9262. VI-23 Fragment of a panelled cover from the Calvinist church of Marosvécs (Brîncoveneçti) Transylvania, late 1 T a century Canvas, embroidery; 46 x 47 cm Budapest, Iparművészeti Múzeum, Textilgyűjtemény, 9207. VI-24 Communion kerchief from the Calvinist church in Ónod Mid-17 th century Canvas, embroidery; 64 x 75 cm Budapest, Iparművészeti Múzeum, Textilgyűjtemény, 11305. VI-25 Turkish turban-cover from the Calvinist church in Ónod Ottoman Turkish, late 16 th century Canvas, embroidered in silk, silk taffeta; 106 x 107 cm Budapest, Iparművészeti Múzeum, Textilgyűjtemény, 11307. VI-26 Kerchief from the Calvinist church in Szendrő Second half of the 17 th century Canvas, embroidery; 80 x 75 cm VII. ARCHITECTURE There is no common stylistic denominator in 16 th- and 17 ,b-century Hungarian architecture. The starting point was the unity of northern late Gothic and Italian Renaissance - a characteristic confined to Hungary at the time - on the state buildings of the Jagiello Era. The last phase of late Gothic reconstruction of Eger Cathedral took place under archbishops Tamás Bakócz and Ippolito d'Este, and displays the coexistence of the two styles. Tamás Bakócz' funeral chapel in Esztergom was the first purely all'antica building outside Italy (started 1506). The Bártfa (Bardejov) town hall, built at the same time, bears features of the Northern Renaissance (started 1505); and the architect of the Lázói Chapel in Gyulafehérvár (Alba Julia) adapted Renaissance forms to Gothic construction (1512). By the mid-16th century, the Turkish occupation and the constant demands of war drastically shifted the focus of architecture to the construction of modern forts. The aristocratic residences and town buildings built in the remaining parts of the country conformed to the Central European late Renaissance: regular ground plan, arcaded courtyards, highlighted doorways on the façade and castellated crown. (In Transylvania, these features first appeared on the buildings on Prince Gábor Bethlen.) Interior decoration included painted wooden ceilings and arabesque wrought ironwork. VII-la Details of the north-eastern choir chapel of the St John's cathedral in Eger Drawing: János Varsányi (1807-1877), 11. February 1849. Paper, pencil; 27,3 x 37 cm Budapest, Magyar Tudományos Akadémia Könyvtára, Kézirattár, Archaeológiai Bizottság anyaga, K. 1219/33. VII-lb Inscriptions of Miklós Oláh, Péter Perényi and an unknown person ; transcription of the Perényi inscription from the cathedral of Eger Drawing: János Varsányi (1807-1877), 11. February 1849. Paper, pencil; 39,2 x 24,8 cm Budapest, Magyar Tudományos Akadémia Könyvtára, Kézirattár, Archaeológiai Bizottság anyaga, K.1219/33. (44-45ik, I-III) VII-2a Eger, St John's cathedral, ground-plan with building periods József Csemegijun. (1909-1963), 1930s (c. 1934?) Pounce paper, Indian ink, colour pencil; 47,3 x 32,5 cm Budapest, Kulturális Örökségvédelmi Hivatal, Tervtár, Lux Kálmán hagyatéka, 00386. VII-2b Eger, St John's cathedral, ground-plan of the north-western part of the choir József Csemegijun. (1909-1963), 1930s (c. 1934?) Paper, pencil; 48,5 x 33,5 cm.
