Tóth Vilmos: Funeral Art - Our Budapest (Budapest, 2006)

Kerepesi út Cemetery at the Turn of the 20th Century

pie of how religious motifs were driven into the background by images of a profane significance - such as national symbols or mythological allegories - in Hungary’s most impressive funeral sculpture. Another motif of the country’s national symbolism is the variant of the Nagyszentmiklós cup featuring double - rather than the traditional single - bullheads decorating the tomb designed by Rezső Hikisch. (That part of the monument has been recently stolen.) The most spectacular of Zala’s works, on Antal Lukács’s sepulchre unveiled in 1912 (K 19), was not originally made as a funeral sculpture; the piece on the tomb is a replica of Zala’s fine piece representing the Virgin Mary and Mary Magdalene. His important works originally meant for a cemetery include József Csukássi’s 1893 sepulchre (K 34/1), the Komócsy Monument unveiled a decade later (K 34/1) in an architectural framework designed by Zoltán Bálint and Lajos Jámbor, and Imre Pekár’s tomb from 1898 — whose architectural component was the work of Albert Schickedanz

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