F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1998/1. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1998)
MŰHELY - Váli István Csaba: A cserépkályha a barokk és késő barokk időszakban
und die Trennung des Feuerraumsnur symbolisch. In der nächsten Entwicklungsphase wächst der Feuerraum bis zur Ofenhöhe und der Oberbau schrumpft zur Dekoration zusammen. István Csaba VÁLI TILE STOVES IN THE BAROQUE AND LATE BAROQUE AGE The interior construction of tile stoves had been unchanged for a long time, stylistic trends influenced mainly the formation of tiles and the border. Ornamented and other tile stoves of the Baroque were made of larger tile pieces than the earlier 20x20 cm ones. Stoves used are not really known as most of them was destroyed. The inventory of Munkács castle and a drawing of the old City Hall in Buda show stoves like this. In a few castles of WesternHungary examples are known, like in Fraknó, or Borostyánkő. In this period tile stoves became parts of the organic interior decoration, and stood near the wall. An excellent example of decorative tile stoves can be found in Vöröskő, similar to those of Stift St. Florian in Austria made in 1721 by J. G. Mair. There are transitions between decorated and used tile stoves, like those in Szakinak, Kismarton and Borostyánkő. In the oratory of Kismarton castle a richly decorated tile stove showing French influence is similar to the decorated stove of Attems palace in Graz. Decorated stoves were made after models in a complicated way. they had an interior basket of iron bars. The elements could not be replaced, in case one of them was destroyed, the stove could not be used anymore. From the 18 tn century on more tile stoves have remained to us, as they were larger in number. Engravings of the buildings' plans often represented stoves at that time (e.g. Buda, Batthyány palace, Gyula, Harruckern palace). The stoves of the Archiépiscopal Palace, Eger, the Esterházy castle. Fertőd or the Castle Museum. Nagytétény, are characterised by extremely beautiful Rococo ornaments. Special solutions might occur, as in the case of the stoves in the Koháry castle in Hontszentantal, showing Turkish figures, or that of the Ráday castle in Pécel, with the figure of Moses. At the end of the century there was a serial production of stoves. The faience manufactory of Holies, founded in 1748 made stoves thirty years later not only for the use of the imperial family but for selling well. In the case of Neoclassicist cylinder shaped stoves a model was used often, and the decorated pieces could be varied. At that time smallscale production was usual, Károly Magner, master in Győr had a manufactory of such high level both from technical and artistic points that he made forty stoves for the Liceum of Eger between 1775-78. Their construction shows many similarities, and the use of the model might be supposed. By the end of the century the cylindrical firing area increased, while the height of the construction decreased. First the two parts were almost identical in height, then the division of the firing area became symbolical. In the next stage of development the firing area reached the size of the stove, and the construction itself remained simply a decoration.
