A Selected Bibliography of Selected Recordings Italian Influence on the Source Materials Hungarian Renaissance Brown, Julie (2007). Bartók and the Grotesque, Studies in Tiszta forrás (Pure Springs): Hungarian Folk Tunes and their
Modernity, the Body and Contradiction in Music, arrangements (2002), song, Béla Bartók and Zoltan Kodály: various,
Royal Musical Association Monographs 16. Vargyas, Lajos (1983). Hungaroton Classic, 18252, Hungary.
Hungarian Ballads and the European Ballad Tradition, volumes 1 & Works by György Kurtág (1995), song & chamber music, György
2, Akadémia Kiadó, Budapest. Kurtág: András Mihaly, Erika Sziklay, István Antal, et al,
Frigyesi, Judit (1998). Béla Bartók and Turn-of-the-Century Hungaroton Classic, HCD 31290, Hungary.
Budapest, University of California Press, Berkeley. Bánk Bán, (2000), opera movie, Ferenc Erkel: Tamás Pál conductor,
Benjamin Rajeczky, Desző Legány, János Kárpati, & Bálint Sárosi Hungarian State Opera, Éva Marton, Andras Molnar et al, Hungary. (2001). The New Grove Dictionary of Music, Hungary: Art Music, Hungarian Folksongs for voice and piano (2007), song, Béla Bartók: Sarah W. Lynch & Hungary: Folk Music. Vargyas, Lajos (2005). Folk Music of the Herczku Ágnes, Djerdj Timea, Kincses Margit, Hungarian Heritage
Hungarians, Akadémiai Kiado Budapest. Collected and ed. by János House (Hagyományok Háza), (HHCD016), Hungary.
Demény et al (1971) Béla Bartók Letters, Faber and Faber, London. Blue Beard’s Castle (2002), opera, Béla Bartók: Ivan Fischer conductor, Manga, János (1969). Hungarian Folk Song and Folk Instruments, Budapest Festival Orchestra, Laszló Polgár, Ildikó Komlósi, Phillips ...... Kossuth Printing House, Budapest. Kerékfy, Márton (2008). ‘A “new Classic, 470 633-2. music” from nothing’: György Ligeti’s Musica ricercata”, Studia Gyorgy Ligeti Edition Vol 8 - Le Grand Macabre (1999), opera, The Frick Collection Kiscelli Museum Musicologica, Volume 49, Numbers 3-4/September 2008, Akadémiai György Ligeti: Esa-Pekka Salonen conductor, London Sinfonietta, 1 East 70th Street 1037 Budapest Kiadó, Budapest. Philharmonia Orchestra and Chorus, Charlotte Hellekant, Jard Van New York, NY 10021 Kiscelli utca 108 Bartók, Béla (1976). “The Influence of Peasant Music on Modern Music”. Nes, Laura Claycomb, Derek Lee Ragin, et al, Sony, B00000ICMU. [email protected] Adviser: Dr. Péter Farbaky Béla Bartók Essays. ed. Benjamin Suchoff. Faber & Faber, London. Le Grand Macabre (2004), opera, György Ligeti, Elgar Howard Bartók, Peter (2002). My Father, Bartók Records, Homosassa, conductor, Gumpoldskirchner Spatzen, ORF-Symphony Orchestra, ...... Florida. Danielle Fosler-Lussier (2007). Music Divided: Bartók’s Dieter Weller, Ernst Salzer, Johann Leutgeb, Laszlo Modos, et al,
Legacy in Cold War Culture (California Studies in Wergo Germany, B000025RRC.
20th-Century Music), University of California Press, Berkeley. György Ligeti Edition Vol. 4 - Vocal Works (Madrigals, Mysteries, In researching the Hungarian Renaissance and its relationship to artistic and intellectual Tim Janof (2004). Internet Cello Society Interview with Janos Starker: Adventures, Songs)(1997), song & chorus, György Ligeti: Esa-Pekka developments in Italy, I have observed the developments in visual styles from the court-centered http://www.cello.org/Newsletter/Articles/starker2/starker2. Salonen conductor, The King’s Singers, Philharmonia Orchestra, et works in the Matthian period (1458-1490) through the sixteenth century with a particular htm Zsuffa, Joseph (1987). Béla Balázs: The Man and the Artist. al, Sony, B0000029P3. emphasis on the period from 1490-1526 when Hungary was ruled by the Jagiellonian dynasty. University of California Press, Berkeley. Gillies, Malcolm (1990). A mixture of Hungarian traditions and Italian innovations allowed the Renaissance to flourish Bartók Remembered, Faber and Faber, London. in a manner unique to Hungary. This paper gives a brief overview of Renaissance art in Hungary from Matthias’s reign until the mid 16th century, using three prominent examples to illustrate different styles and stages of development: the Bakócz chapel in Esztergom, the town hall in Bártfa (Bardejov, Slovakia), and the castle at Sárospatak. I conclude with a short description of my research and time spent in Hungary.
210 211 AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance
marriage, in 1476, to Beatrix of Aragon, a who had had a humanist education in these metaphors were commissioned Introduction Neapolitan princess. his youth, therefore made sure that his from a host of Italian artists, including I would first like to thank the Fulbright Hungary was the first place for the interest in literature and learning was Mantegna, Filippino Lippi, Verrocchio, committee for their support, without ideals of the Italian Renaissance, both well known. He had a studiolo, a private Caradosso, Ercole de’Roberti, Pollaiolo, which this year would have been intellectual and artistic, to appear north office in which the owner would display and perhaps even Leonardo da Vinci and impossible, and my advisor, Dr. Péter of the Alps. Unfortunately, few artistic objects of intellectual and monetary Botticelli.4 Italian artists also came to his Farbaky, for his advice and support. monuments from this early period value, and symposiums, structured, court, and when he commissioned work I would also like to thank my fellow survive. Only fragments remain from intellectual conversations on a specific on his palaces at Buda and Visegrád, he grantees as without their good humor and the castles of Buda and Visegrád. Today topic, were held at his court and at other hired Italian architects to direct the work, encouragement, I may never have left the Matthias is perhaps best known for his centers of learning around Hungary. In and imported Italian artists to execute library. library, which consisted of between 1500 the written account of one symposium, sculptures and building plans. My research has been on the art of the and 2000 volumes,1 making it one of held at the house of János Vitéz between However, although Matthias had an Hungarian Renaissance mainly focusing the largest in Europe. Matthias did not 1468 and 1472, on the topic of theology, interest in Italy, classicism, and the newest on the Jagiellonian period, 1490-1526, come from a royal family; his father, the king was presented as the wisest of intellectual and artistic developments although similar styles and trends János Hunyadi, had been a powerful the debaters.2 This flattering portrayal from south of the Alps, the king continued throughout the sixteenth magnate and successful military leader, was common among the intellectual maintained an interest in and loyalty century. Today I would like to give a brief but he still lacked the heritage of many Italian magnates, and whether or not to Hungary’s own Medieval traditions. overview of the period beginning with the of the nobility who served him. In order the symposium ever took place, or if Matthias continued to commission reign of Matthias Corvinus (1458-1490), to support his royal position, Matthias it happened in the way described is buildings in the Gothic manner, for and then discuss three prominent adopted many of the vestiges of power unimportant compared with the image example, St. Elizabeth’s in Kassa (Košice, examples of Renaissance architecture that used by other rulers without prestigious of the king it presented. Additionally, to Slovakia) (figure 1),5 and even the Buda this grant has allowed me to see in person: family trees, including Federico de enhance his image as an enlightened ruler, and Visegrád palaces continued to use the Bakócz chapel in Esztergom, the town Montefeltro, the duke of Urbino, and in the manner of many Italian magnates, Gothic structural elements. Matthias’s use hall in Bártfa (Bardejov, Slovakia), and the Lorenzo de Medici, the unofficial leader Matthias presented himself in the guise of a mixture of Gothic and Renaissance castle at Sárospatak. of Florence, with both of whom he was of various historical and mythological forms was not accidental. Some, certainly, in close contact. Additionally, both these figures. To his political and military can be attributed to Hungarian masons’ rulers were responsible for sending enemies, he drew on imagery of Attila the lack of familiarity with Italian design and artists and art objects to the Hungarian Hun, becoming a sort of Attila Secundus, building methods, but the use of Gothic The Matthian Period, king. Contemporary Italian humanist the scourge of Europe. For the intellectual styles had a specific purpose as well. The 1458-1490 thought emphasized that nobility, and classes, he presented himself as Alexander king presented himself as being possessed hence legitimacy in office, was not a the Great, the conquering, learned leader. of Classical virtues and Renaissance Although there had long been right of birth, but was gained through His role as the defender of Christianity culture, as well as the strength and connections between Hungary and Italy, education, intellectual achievements, against the Turks was embodied by courage of a chivalric Medieval knight.6 one of the most fruitful collaborations and an understanding of what would be Hercules metaphors.3 Works illustrating between a Hungarian ruler and Italian today called ‘high culture’. Matthias, gherese”, Il veltro: rivista della civiltá italiana, vols 1-2, January-April, thinkers and artists undoubtedly occurred 2 Klára Pajorin, “I simposi degli umanisti” in Uralkodók és 1993, p. 13. under Matthias Corvinus, who ruled Corvinák= Potentates and Corvinas: Az Országos Széchényi Könvytár 4 Scafi, p. 13. from 1458 to 1490. The king’s interest 1 Uralkodók és Corvinák = Potentates and Corvinas: Az Országos Jubileumi Kiállítása a Lapításának 200. Évfordulóján = Anniversary 5 Antal Kampis, The History of Art in Hungary, trans. Lili Halápy, in Italian-style art, literature, and court Széchényi Könvytár Jubileumi Kiállítása a Lapításának 200. Évfordulóján Exhibition of the National Széchényi Library, Budapest, May 16 – August London, 1966, p. 114. ceremony noticeably increased with his = Anniversary Exhibition of the National Széchényi Library, Budapest, May 16 – August 20, 2002, p. 16. 20, 2002, p. 117. 6 János Bak, “The Kingship of Matthias Corvinus: A Renaissance 3 Alessandro Scafi, “La cittá ideale del Filarete e il Rinascimento un- State?” in Matthias Corvinus and the Humanism of Central Europe, eds.
212 213 AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance
This duel identity of the king and, indeed, with classical orders, elements groups in included three openings in the window, or at building ‘Renaissance’ structures in of Hungary continued throughout the twos, and an emphasis on symmetry and had the frame elements end half way down Hungary, Italianate styles were applied early modern period. balance. the window rather than at the bottom as merely as decorative elements, and, due to Hungarians had particular ways of was characteristic in Italy and, for example the rigidity of Hungarian guild structure, mixing these two styles together. Certain the Bakócz chapel (figure). the fundamental Gothic building Gothic and Renaissance in all’antica ornaments, to use the Italian Window frames and classical techniques, that is the carving of the Hungary and Europe phrase for classicizing elements, were ornamentation, however, are merely opening elements from the same stones as imported into Hungarian Renaissance decorative elements, and the major the walls, remained the same.7 Before I go on, I would like to give a architecture, and were found all over the structural feature that distinguishes The adoption of Italian Renaissance general characterization of the concepts of country. One particular element, is the Gothic from Renaissance building is the styles was not, as it happened in Florence, Gothic and Renaissance in art history. In window and door frame of the type found construction of the opening elements, a simple matter of the old pushing out general, Gothic structures are identified in figure 2, in this case from a house in that is the door and window frames, the new. At first Italian elements were by a few certain characteristics, namely, Lőcse (Levoca, Slovakia). This frame is regardless of how they are ornamented. In associated only with the court, as only pointed arches, an exaggerated verticality, found throughout the Hungarian lands, the medieval building tradition, elements Matthias had significant access to Italian elements grouped in threes, and an but with variations based on local building such as door and window frames were artists. However, works of a religious interest in negative space. Renaissance traditions. Medieval door frames, such as carved from the same stones as the walls nature, in particular church painting and architecture developed from an attempt that in figure 3, were typically formed with (figure 4), while in Italian buildings, architecture, continued to be executed in to re-create the building styles of ancient a sloping surface which ends the framing walls were constructed and door and the Gothic style, as this was traditional. Rome. It is generally characterized by element, about half way down the window. window frames were added separately, North of the Alps, religious painting rounded arches, columns decorated When Hungarian masons adopted the usually made from a different material new Renaissance-style cross windows, than the wall itself (figure 5). On projects 7 Rózsa Feuer-Tóth, Renaissance Architecture in Hungary, trans. Tibor Klanczay and József Jankovics, Budapest, 1994, p. 45. they often used the Italianate frame, but without an Italian master, early attempts Ivan Feherdy, Budapest, 1981, p. 21.
Figure 1
St. Elizabeth’s Cathedral, Kassa
Figure 2, window on a house in LÔcse 214 215 AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance was seen as Gothic, and although there German-speaking minority, continued to Bakócz Chapel (figure 6) in Esztergom a desire to start a powerful dynasty.10 His are occasional exceptions, such as the use Gothic art for political and spiritual is probably the best known monument of political connections were numerous, Italian-style frescoes at Esztergom purposes. In 1486, Matthias Corvinus had the Hungarian Renaissance, and one of and in 1505 he was encouraged by the from the early fifteenth century, when himself portrayed in the Gothic manner the few remaining whole structures from Emperor Maximilian I to seek the papacy. people went to church, they expected to at Ortenberg castle, today in Bautzen, the period. It is significant, however, not The same year, news that Michelangelo see Gothic architecture and painting. Germany, where his rule was unpopular.9 merely for its survival, but also as one had begun work on a monumental tomb Additionally, although by 1500 Italian The Gothic decorative elements helped of the great masterworks of the period, for Pope Julius II reached the Cardinal. 11 artists and styles were prevalent in courts to emphasize a continuity with the past characterized both by its overwhelmingly Bakócz was inspired to create a monument and cities around Europe, rulers still used and legitimize his rule. Italian form, and the use of traditional to himself that would not only express his Gothic elements to emphasize certain Hungarian building materials. judgment as a patron of the arts, but also political points. In the German speaking Cardinal Thomas Bakócz came from his political ambitions. lands in particular, there was a revival of Bakócz Chapel obscure origins to great power both in the The following year, in 1506, the knightly, medieval values. This found its In stark contrast to the Ortenberg relief Church and in more worldly capacities. foundation stone was laid for the chapel. expression particularly in chivalric poetry is a monument in Hungary intended to At various times he was Bishop of Győr, The chapel was not fully completed until and the emphasis on armor, although, emphasize its patron’s suitability for a Bishop of Eger, Archbishop of Esztergom, 1519 when the white Carrera marble since the development of firearms, prominent role in Italian politics. The a member of the royal council, and finally altar, carved by Andrea Ferrucci and it was militarily obsolete.8 Hungary, Cardinal in 1500. He later became the which had strong ties with the German 9 Bogusław Czechowicz and Mateusz Kapustka, “Hope and Latin Patriarch of Constantinople. 10 The Register of a Convent Controversy (1517-1518): Pope Leo X, cities and Austria, as well as a large Pragmatism: The Rule and Visual Representation of Matthias Corvinus He was both a thoughtful scholar and Cardinal Bakócz, the Augustinians, and the Observant Franciscans in in Silesia and Lusatia” in Matthias Corvinus, the King: Tradition and humanist, a patron of the arts, and a Contest, ed. Gabriella Erdélyi, Budapest and Rome, 2006, pp. xix, xxi. 8 Thomas DaCosta Kaufmann, Court, Cloister, and City: The Art of Renewal in the Hungarian Court, 1458-1490, Budapest Historz Museum, skilled politician who was motivated by 11 Miklós Horler, The Bakócz Chapel of Esztergom Cathedral, trans. Central Europe 1450-1800, Chicago, 1995, pp. 68-69. Budapest, March 19 – June 30, 2008, p. 81. Lili Halápy, Budapest, 1987, p. 18.
Figure 3 Figure 4
doorway in Besztercebánya doorway from the castle at Trencsén (TrenCˇin, Slovakia)
216 217 AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance shipped from Italy, was installed (figure renovations of older buildings rather However, despite the similarities to his funerary monument in Salzburg.15 7).12 Although Bakócz would narrowly than new structures, did not adopt an contemporary Italian architecture and Although it had a symbolic content similar miss the papacy in the election of 1513, Italian-style ground plan, although they decoration, there are two elements of to that of porphyry, which was used in the prelate went on building the chapel. incorporated Renaissance decorative the chapel which are specific to Hungary. Italy wherever it was available, red marble The chapel is remarkable for many motifs. The Bakócz chapel was the The first is the use of local Hungarian red was a specifically Hungarian material, reasons. Although there had been a strong first centrally-planned chapel built in marble to cover the entirety of the chapel. unknown in Italy. The other particularly interest in Italian art and architecture Hungary. The central plan was a key The use of red marble to cover walls had Hungarian element of the Bakócz chapel in Hungary for almost a century when element of Renaissance architecture in a long tradition in Hungary, but marble is the bronze lettering around the cornice Bakócz began building, Bakócz was the Italy, and was described by Alberti and covered chapels were not yet common and in the drum of the dome. Although first non-royal patron to embark on used throughout the peninsula. Stylistic in Italy. In Hungary red marble was numerous Italian buildings, chapels, such an ambitious Italianate building links can be found with the chapel of used in building elements and projects churches, and palazzi had monumental project, and the first person of any sort to the sacristy in Santo Spirito in Florence, of particular importance. It was used by inscriptions, the insertion of bronze construct a building entirely in the Italian which was built between 1483 and 1487 King Imre (1196-1204) in his castle in letters was a technology that had been style, not merely use classical elements as by Andrea di Salvi, but the decorative Óbuda, now known only by description, used by the Romans but was subsequently decorations in a fundamentally Gothic style is reminiscent of contemporary which had a red marble floor and portals, lost in Italy. In Hungary however, the building. Other non-royal humanist Rome.13 Records are scant, but the name or doorways decorated with red and white knowledge of the technique survived, patrons, such as János Vitéz and Jannus of Iohannes Fiorentinus is associated with marble, and white marble lining the walls. and was employed with some frequency Pannonius, had merely collected books, the workshop at Esztergom, and he may Additionally, red marble covers the porta throughout the middle ages.16 commissioned paintings, and held have been responsible for the carving and speciosa in Pannonhalma, built around the 14 symposia. Matthias’s commissions at Buda decorative work in the chapel. 1220s, and it may have even covered the 15 Pál Lővei, “‘Virtus, es, marmor, scripta’: Red Marble and Bronze and Visegrád, perhaps because they were walls of the original church at Esztergom. Letters”, Acta Historiae Artium, vol. XLII, 2001, pp. 41, 44-46. 13 Horler, p. 24. Later, it was used by Frederick III for 16 Lővei, pp. 46-52. 12 Rózsa Feuer-Tóth, p. 23. 14 Horler, pp. 25-26.
Figure 5 Figure 6
the Bakócz chapel, the Bakócz chapel, Esztergom, Esztergom, door to the sacristy altar by Andrea Ferrucci
218 219 AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance
There is one other Hungarian element when the cathedral was reconstructed, centers to develop were in Kassa and to the chapel. Although there were the chapel was dismantled and rebuilt, The Town Hall at Kolozsvár (Cluj-Napolca, Romania). certainly Italians involved in the design piece by piece, in a different location. It Bártfa and the Castle at The guilds in these cities influenced and building of the chapel, and although is possible that seams in the door frame Sárospatak building styles in northern Hungary and the decorative elements, proportions, and and surrounding wall were made at that Transylvania. However, although many execution are all unmistakably Italian in time and were not part of the original The Bakócz chapel is perhaps the of the artisans had worked with Italians, nature, the basic structure of the walls construction, but the lack of seam most famous example of Italian or were familiar with the work being reveals some discrepancies. In some between the edge of the door frame and Renaissance-style architecture produced produced in Buda and at Esztergom, places different elements are carved from the wall is clearly visible; they were carved in Hungary in the sixteenth century, but they did not simply adopt the new styles different pieces of stone, while in others from the same piece of marble. The it is not the only one. After the death of wholesale. Rather, the tightly organized opening elements are carved from the discrepancy between these two parts of Matthias Corvinus in 1490, many of the nature of guild life and the desires of same piece of stone as the wall itself. For the chapel is symptomatic of construction court projects were continued by the patrons who were not likely to have had example, in the back of the choir stalls in Hungary at this time. The chapel was succeeding Jagiellonian dynasty, but many great familiarity with Italian building the engaged columns are visibly distinct undoubtedly under the supervision of of the Italian and local artisans who had ensured the continuation of Gothic styles pieces of marble from that of the wall an Italian architect, but the labor would been working in the Buda workshops in Hungarian art and architecture well panels between them (figure 8). On the have been a mix of Italian and Hungarian had to move on and find other work. In into the sixteenth century. Although much door to the sacristy, however, the wall workers, and elements of the Hungarian addition to Italians, the court had attracted of the work of the Kassa and Kolozsvár and door frame are carved from the same guild system, which did not distinguish builders, sculptors, painters, and joiners guilds has been altered or destroyed, piece of marble (figure 9). It would be too between different parts of the building from around Hungary, and many carried there are a few important monuments that much to read certain things into figure practice in the same way as Italian guilds, the new styles with them as they returned survive. One of the most important is the 9. The chapel survived the Turkish wars, persisted. home or to other centers of artistic town hall in Bártfa (Bardejov, Slovakia), a even if the attached cathedral did not, and production. Two of the most important town north of Kassa.
Figure 9, the town hall at Bártfa
Figure 7
door frame in the Bakócz chapel, Esztergom
Figure 8
the back of the choir stalls in the Bakócz chapel, Esztergom
220 221 AY 2008-2009 Sarah Lynch: Italian Infl uence on the Hungarian Renaissance
The town hall (fi gure 10) was the fi rst ceiling, cross windows with only two enclosed) (fi gure 16), and numerous The Renaissance in Hungary was not a public building to take into account the openings and classical frames (fi gure 12), decorated door and window frames homogeneous movement characterized Renaissance style without the help of any and a porch in an Italianate style (fi gure throughout the structure.18 Fortunately, by a steady progression from Gothic Italian artists or craftsmen, but it shows 13). However, the sloping roof with its the castle still stands, largely in its original to Renaissance, nor was it invariably a signifi cant amount infl uence from Gothic embellishments, lack of any sort state. Several of the door frames and other backward looking or unwilling to local building traditions. Constructed of classical framework applied to the embellishments were moved in a later experiment. Both Hungarian designers between 1508 and 1510 by one ‘Master exterior, and repeated use of traditional renovation, but they still survive. Motifs and Italian architects in Hungary proved Alexius’, the contract for the building Gothic motifs, such as the broken-branch popular in the Matthian and Jagiellonian themselves willing to work creatively with stipulated that it have Italian windows, door frames (fi gure 14) and balustrade, periods, such as rosettes and dolphins, new and old elements, to accommodate but the resulting structure is a mix of and the triple window in the Renaissance continued to thrive at Sárospatak, but the strict guild codes and to build in Gothic and Renaissance styles.17 At fi rst porch indicate a persistence of local there was still no attempt to impose a many styles. Different political and glance, the hall is hard to identify as building styles. unifying order to the entire façade of the social concerns as well as a differing Renaissance, especially to anyone familiar In contrast to the Bardejov town hall, castle as was almost inevitable in Italy at level of access to actual examples of with contemporary Italian buildings, such the castle at Sárospatak, owned by the this period. Although construction was Italian architecture and Italian artists as the Palazzo della Cancellaria in Rome. Perényi family, was remodeled under supervised by the Italian Vedani, Péter resulted in an uneven and idiosyncratic However, it contains distinctive features the direction of an Italian architect, Perényi requested masons from Kassa development of Renaissance style which break from Hungary’s Gothic Alessandro Vedani, who came from and Krakow to help build and fortify throughout the Hungarian lands. The traditions. There are several highly Lombardy and worked at Sárospatak from his castle,19 indicating the sort of mix of picture of the Hungarian Renaissance, so decorated Renaissance-style door frames 1534 until his death. This architect was backgrounds to be expected in building often imagined from abroad, as that of a inside the building (fi gure 11), a coffered responsible for remodeling the vöröstorony projects in Hungary at this time. wholesale transplant of Italian ideas and (red tower) (fi gure 15) and building a arts to Hungary, is simply untrue. The 18 Feuer-Tóth, p. 27. 17 Feuer-Tóth, p. 24. new wing with a three light arcade (now uniform and authentic Italianate style of 19 Feuer-Tóth, p. 27.
Figure 10
door Frame at the town hall, bártFa
Figure 11 window Frame From the town hall, bártFa
Figure 12 window From the ChurCh in CSÜtÖrtÖKhely 222 (SpiŠSKÝ ŠtvrtoK, SlovaKia) AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance the Bakócz chapel is the exception rather Research in Hungary above mentioned monuments, but also, field of Central and Eastern Europe than the rule. The Bártfa town hall is among others, Kassa, Lőcse (Levoca), have studied the subject only cursorily, nearly contemporary, but could hardly be The primary difficulty in studying the Frics (Fričovce), Eperjes (Prešov), because they do not know the language, more different in aspect, although both Hungarian Renaissance is the scarcity Besztercebánya (Banská Bystrica), or otherwise, they have studied the subject were built from the ground up with clear of material to work with. From the Pozsony (Bratislava), Sáros (Šariš), and without knowing Hungarian because all intentions to imitate the Italian manner. perspective of a foreigner, in particular, Késmárk (Kežmarok) in Slovakia, and of the primary resources for the subject, In contrast, the Sárospatak castle is a it can seem that there is little more than Siklós, Pécs, Pácin, Eger, Vác, Tata, archives, letters, documents, books, and so belated renovation and extension, and in a few fragments from the Buda castle Nyírbátor, and Pécel in Hungary. These forth, were written in Latin in that period. many ways comes closer to the Italian and the Bakócz chapel in Esztergom. travels have allowed me to learn what is It is only the secondary literature that is in ideal than Bártfa, having more elaborate Indeed the destruction of the Turks, the not possible in a library; how wide spread Hungarian, and much of that is available in and finely carved ornamentation executed Habsburgs, and other invading forces, as the used of Italian motifs was in Hungary, either German or English. However, there and arranged, at least in the new wing, in a well as well as occasional disputes between even in domestic architecture without a are a few things, journals, some books, more organized and Renaissance fashion. Hungarians themselves, has damaged and public or religious function. I now have older travel literature that may describe a Despite its limited embrace of the Italian destroyed invaluable resources for the a better understanding of the scale and palace or building since destroyed, that are manner, the town hall in Bártfa must scholar of art. Research in Hungary, then, function of these works, and the manner in Hungarian, and that are necessary for have served the patron’s purpose in its as well as extensive travel in areas like of their execution. the serious student to read. expression the wealth and sophistication Slovakia and Transylvania is necessary to I have also, of course, spent a good deal For this reason, and to ease my of the prosperous mining city. develop a full understanding of the period. of my time in Budapest in the library. The transition to life in Hungary, I have been I have been lucky enough to visit many other great challenge to the would-be studying Hungarian with some success. of the important sites around Hungary student of the Hungarian Renaissance, Although conversations are still laborious, and Slovakia, including not only the is the Hungarian language itself. Indeed, my Hungarian reading is useful, not only some foreign scholars, who work in the in the library, but on a day to day basis
Figure 14
doorway Figure 13 from the town hall, Bártfa porch on the town hall, Bártfa
224 225 AY 2008-2009 Sarah Lynch: Italian Influence on the Hungarian Renaissance
as I navigate Budapest and other parts Bibliography of the country where my research has taken me. Even my rudimentary spoken Bak, János, “The Kingship of Matthias Corvinus: A Renaissance The Register of a Convent Controversy (1517-1518): Pope Leo X, Hungarian skills have proved useful State?” in Matthias Corvinus and the Humanism of Central Europe, Cardinal Bakócz, the Augustinians, and the Observant Franciscans in in the areas formerly included in the eds. Tibor Klanczay and József Jankovics, Budapest, 1994. Contest, ed. Gabriella Erdélyi, Budapest and Rome, 2006. Hungarian crown, and I have often found Czechowicz, Bogusław and Mateusz Kapustka, “Hope and Scafi, Alessandro, “La cittá ideale del Filarete e il Rinascimento that speaking just a little Hungarian has Pragmatism: The Rule and Visual Representation of Matthias ungherese”, Il veltro: rivista della civiltá italiana, vols 1-2, opened doors, both literal and figurative. Corvinus in Silesia and Lusatia” in Matthias Corvinus, the King: January-April, 1993, pp. 11-26. On one occasion, and attendant at a Tradition and Renewal in the Hungarian Court, 1458-1490, Uralkodók és Corvinák = Potentates and Corvinas: Az Országos church, pleased with my attempts to speak Budapest Historz Museum, Budapest, March 19 – June 30, 2008, Széchényi Könvytár Jubileumi Kiállítása a Lapításának 200. Hungarian, opened the sacristy, which pp. 77-87. Évfordulóján = Anniversary Exhibition of the National Széchényi was not normally open to the public, and Feuer-Tóth, Rózsa, Renaissance Architecture in Hungary, trans. Library, Budapest, May 16 – August 20, 2002. on another occasion, a guard in a castle Ivan Feherdy, Budapest, 198. allowed me to photograph a chapel, that Kampis, Antal, The History of Art in Hungary, trans. Lili Halápy, normally did not permit visitors to used London, 1966. photography. Kaufmann, Thomas DaCosta, Court, Cloister, and City: The Art of All photographs are the author’s. My experiences in Hungary have Central Europe 1450-1800, Chicago, 1995.
been both personally and professionally Lővei, Pál, “‘Virtus, es, marmor, scripta’: Red Marble and Bronze rewarding and enriching. I will return Letters”, Acta Historiae Artium, vol. XLII, 2001, pp. 39-55. to the United States better prepared Miklós Horler, The Bakócz Chapel of Esztergom Cathedral, trans. Figure 16 to embark on further research on the Lili Halápy, Budapest, 1987. arcade of the castle at Renaissance in Central Europe. Sárospatak
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Figure 15, the castle at Sárospatak, red tower on the right “But, really, what do you think?:” The Challenges and Opportunities of Teaching Across Cultures as a Fulbright E.T.A.
Robyn Dyan Russo
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Georgetown University Pázmány Péter Catholic University Washington, D.C. 20057 Institute of English and American Studies www.georgetown.edu H-2087 Piliscsaba-Klotildliget Northern Virginia Community College http://www.btk.ppke.hu/ Loudon Campus Fulbright EducationUSA Advising Center Sterling, VA 20164-8699 Hungary-1082 Budapest, Baross utca 62. [email protected] www.fulbright.hu/advising www.educationusa.hu
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The Fulbright English Teaching Assistant (ETA) in Budapest faces a two-part job: teaching at a Hungarian university and advising at the Fulbright Center. Each job requires patience in negotiating the cultural differences in style of teaching and learning – a difference that covers far more than just the language barrier alone. In this paper, I discuss both the challenges and rewards of teaching and assisting Hungarian students, and offer my ideas for how to best bridge these differences.
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