Kachlice Z Oponického Hradu B

KACHLICE Z OPONICKÉHO HRADU B. Jančiová - D. Repka P. Sater M. Styk

100

ISBN 978-80--972904-1-2 25

Barbora Jančiová - Dominik Repka 5

Peter Sater - Matej Styk 0 KACHLICE z Oponického hradu KACHLICE Z OPONICKÉHO HRADU

Autori: Mgr. Barbora Jančiová Mgr. Dominik Repka, PhD. PhDr. Ing. Peter Sater, PhD. Mgr. Matej Styk, PhD.

Recenzenti: PhDr. Marta Mácelová, PhD. Mgr. Mário Bielich, PhD.

Publikácia vznikla s finančnou podporou Nitrianskeho samosprávneho kraja a Agentúrou na podporu výskumu a vývoja, na základe Zmluvy č. APVV-17-0063 „Vita intra muros – interdisciplinárny výskum hradov stredného Slovenska“.

Obec Oponice

Za finančnú podporu patrí vďaka aj obci Oponice, Chateau Appony v Oponiciach, Nadácii SPP, Poľnohospodárskemu družstvu DEVIO v Nových Sadoch a Jozefovi Kaczirkovi

Vydalo: Apponiana, občianske združenie v Nitre, 2019 Jazyková úprava: PhDr. Marcel Olšiak, PhD. Preklad: Mgr. Viera Tejbusová Technická úprava a grafika: Mgr. Dominik Repka, PhD. Návrh obálky: Mgr. Matej Styk, PhD. Tlač a väzba: MICHELANGELO, Nitra

Obálka: rohová rímsová kachlica s motívom strešnej krytiny z Oponického hradu

ISBN 978-80-972904-1-2 KACHLICE Z OPONICKÉHO HRADU

Barbora Jančiová – Dominik Repka Peter Sater – Matej Styk OBSAH

ÚVOD ...... 5 1. NÁSTUP KACHĽOVÝCH PECÍ ...... 6 2. OPONICKÝ HRAD ...... 16

2.1 Stručná história ...... 18

2.2 Archeologický výskum a nálezy kachlíc ...... 22 3. GOTICKÉ A RENESANČNÉ KACHLICE Z OPONICKÉHO HRADU ...... 24

3.1 Náboženské motívy ...... 28

3.1.1 Náboženské motívy zo Starého zákona ...... 28

3.1.2 Náboženské motívy z Nového zákona ...... 30

3.1.3 Kult legiend a svätých ...... 38

3.1.4 Náboženské Symboly ...... 43

3.2 Svetské motívy ...... 44

3.2.1 Svetské figurálne motívy ...... 44

3.2.2 Svetské heraldické motívy ...... 51

3.3 Ornamentálne motívy ...... 56

3.3.1 Ornamentálne rastlinné a zvieracie motívy ...... 56

3.3.2 Ornamentálne geometrické a architektonické motívy ...... 66

3.4 Chronologické zaradenie kachlíc ...... 75 4. VÝROBA KACHLÍC ...... 76

4.1 Surovina ...... 78

4.2 Technológia výroby ...... 79

4.3 Kachliarske dielne na území Slovenska ...... 83 5. VYKUROVANIE NA OPONICKOM HRADE ...... 86 6. REKONŠTRUKCIA KACHĽOVEJ PECE Z OPONICKÉHO HRADU...... 98 7. ZÁVER ...... 106 8. POUŽITÁ LITERATÚRA ...... 112 9. SUMMARY ...... 116

| 4 | ÚVOD

rcheologické výskumy a prieskumy, ktoré sa uskutočnili na Oponickom hrade v rokoch 1999 až 2018, pri- niesli veľa dôležitých informácií o podobe hradu a živote na ňom. V archeologickom nálezovom súbore Amajú pritom významné postavenie nálezy kachlíc. Celkovo bolo dosiaľ nájdených až 4586 fragmentov, čo predstavuje takmer 40 % spomedzi všetkých známych archeologických nálezov z hradu. Z uvedeného dôvodu sa ko- lektív štyroch autorov podujal na spracovanie a prezentovanie tohto bohatého súboru. Publikácia nemá pritom slúžiť len odbornej, ale aj laickej verejnosti, ktorá prejavuje čoraz väčší záujem o Oponický hrad. Hlavným autorom publikácie je Barbora Jančiová, ktorá v posledných rokoch venuje svoj záujem prioritne kach- liciam z Oponického hradu. Časť z nich spracovala v rámci diplomovej práce s názvom „Kachlice z Oponického hradu“, ktorá bola v roku 2018 obhájená na Katedre archeológie Filozofickej fakulty Univerzity Konštantína Filozofa v Nitre. V súčasnosti pokračuje v tejto práci na uvedenej katedre v rámci doktorandského štúdia. Okrem toho publikovala v roku 2019 na uvedenú tému vedeckú štúdiu, ktorá ja zameraná na poznanie dobovej módy 15. a 16. storočia na prí- klade nálezov kachlíc z Oponického hradu (Jančiová 2019). Druhým autorom publikácie je Dominik Repka, ktorý taktiež pôsobí na Katedre archeológie Filozofickej fakulty Univerzity Konštantína Filozofa v Nitre. Pod jeho vedením bol rokoch 2015 až 2018 na Oponickom hrade uskutoč- nený dosiaľ najrozsiahlejší terénny archeologický výskum. Vyvolaný bol začatím rozsiahlej pamiatkovej obnovy hradu, ktorú realizuje občianske združenie Apponiana s finančnou podporou Ministerstva kultúry SR prostredníctvom jeho grantového programu „Obnovme si svoj dom“. Predsedom uvedeného občianskeho združenia je v poradí tretí autor pub- likácie Peter Sater. Okrem sanačných a rekonštrukčných prác sa ako vyštudovaný historik venuje histórii a stavebnému vývoju hradu. Poslední dvaja menovaní publikovali výber nálezov kachlíc z Oponického hradu z rokov 2001 až 2017 už v minulosti (Bóna/Repka/Sater 2017; Repka/Sater 2017; Repka/Sater/Šimunková 2017). Súčasťou autorského kolektívu je tiež Matej Styk, ktorý sa venoval 3D rekonštrukcii predpokladanej podoby kach- ľovej pece, na základe nálezov z Oponického hradu. V súčasnosti pôsobí na Katedre archeológie Filozofickej fakulty Univerzity Konštantína Filozofa v Nitre, kde sa okrem iného venuje aj vizualizácii a rekonštrukcii archeologických nálezov a nálezísk.

| 5 | | 6 | 1. NÁSTUP KACHĽOVÝCH PECÍ

Prvé kachľové pece sa v Uhorsku objavujú v 14. storočí

| 7 | | 16 | 2. OPONICKÝ HRAD

Oponický hrad sa v písomných prameňoch prvýkrát spomína v roku 1300 ako „castro Opohn“

| 17 | | 24 | 3. GOTICKÉ A RENESANČNÉ KACHLICE Z OPONICKÉHO HRADU

Na Oponickom hrade bolo dosiaľ nájdených 4586 fragmentov gotických a renesančných kachlíc

| 25 | | 76 | 4. VÝROBA KACHLÍC

Kachlice boli vyrábané bežnými pracovnými postupmi

1. výber a úprava suroviny 2. príprava plastického cesta a formovanie 3. sušenie 4. výpal

| 77 | | 86 | 5. VYKUROVANIE NA OPONICKOM HRADE

O vykurovaní na Oponickom hrade máme len zlomkovité informácie

| 87 | | 98 | 6. REKONŠTRUKCIA KACHĽOVEJ PECE Z OPONICKÉHO HRADU

moderné 3D počítačové technológie slúžia nielen k vizualizácii, ale aj samotnej archeologickej analýze

| 99 | | 106 | 7. ZÁVER

Rozsiahly súbor kachlíc z Oponického hradu bol prezentovaný na viacerých podujatiach aj laickej verejnosti

| 107 | 9. SUMMARY

STOVE TILES FROM THE OPONICE CASTLE

INTRODUCTION The archaeological researches and surveys which were carried out at the Oponice castle in 1999 – 2018 have brought important information on the castle’s design and on the life there. Finds of stove tiles are particularly important in the assemblage of archaeological finds. In total, 4586 fragments have been discovered so far.

1 OCCURRENCE OF TILED STOVES The oldest type of stove consisted of an earthen construction into which ceramic vessels were inserted (fig. 1, 2). They are so-called vessel-tiles placed with their openings facing the exterior through which accumulated heat radiated (fig. 3). First documents of their existence, however, are known from Switzerland and Southern Germany from the 11th or 12th century (Kvietok/Mácelová 2013, 5; Pavlík/Vitanovský 2004, 9). From the 14th century, first stoves expanded in the eastern part of Central Europe as well (fig. 5-8; Chovanec a kol. 1996, 14). At the turn of the 14th and 15th centuries, innovation in tiled stoves and heating method started when the original vessel-tiles were closed with heating panels and their bottoms turned to the stove interior remained open (Kvie- tok/Mácelová 2013, 5). Thus, the so called niche-tiles were created (fig. 4, 9). They represent not only functional parts of tiled stoves but also play a decorative role. Their front heating panels were decorated with various ornamental elements. The basic shape of a stove consists of three main parts: a) platform (lower part), b) firing chamber and c) heating chamber (upper part; fig. 10). The platform was made of massive stone, clay or was bricked. Mainly from the beginning of the 16th century, platforms were replaced by iron frames with ceramic legs (fig. 11;Roth-Heege 2012, 129, Abb. 230). In the firing chamber part built mostly in a square shape, fire was burning and fuel was loaded from a special side area. Hot air from the fire rose and heated the top part of the stove, the so-called heating chamber, which was square, rectangular or circular in shape. The total height of all three parts together was usually 2 – 3 m (Hazlbauer 1998, 26; Pavlík 2017, 9–10; Smetánka 1968, 228–229). In individual parts of stoves, we distinguish stove tiles by their function: a) basic, b) cornice, c) crown tiles or by their placement: d) row or e) corner tiles (fig. 10).

2 OPONICE CASTLE 2.1 Brief history The Oponice castle is situated in southwest of Slovakia (fig. 12), approx. 2.5 km southeast from the developed area of the epony- mous village of Oponice, Topoľčany district (fig. 14, 16, 17). It is mentioned as castro Oponh in the first written document from 1300. Then, the castle was owned by Magister Csák. After his death, the castle passes into the hands of his brother, Matthew III. Csák (fig. 13). Later, after Matthew’s death in 1321, the castle is acquired by Hungarian King Charles I of Hungary. It remains in royal hands as late as 1389. By the end of the 14th century, Peter of Stráže, who adopted the nobiliary particle of Aponi (fig. 15), becomes the only owner of the castle (Bóna/Repka/Sater 2017, 15–21). In the second half of the 15th and in the first half of the 16th century, the contemporary written sources inform us of the fact that the castle is not permanently inhabited. This was probably caused by property controversies among individual family members. The evidence of the fact that the Aponi family were not permamently present at the castle is provided by a historic report from 1514

| 116 | on a robbery of the castle by serfs from the nearby village of Ludanice. More intense life returned to the castle as late as the period of Turkish danger after the mid 16th century, when there were several adaptations and reconstructions. Shortly after that, in the first half of the 17th century, however, it was definitely abandoned Bóna/Repka/Sater( 2017, 6–8; Repka/Sater 2019, 168).

2.2 The archaeological research and finds of stove tiles Despite the intense interest in the castle from the end of the 19th century, first finds of stove tiles are known as late as 1999. In that year, 65 Gothic and Renaissance stove tiles were discovered during a surface collection of the archaeological club Tip-Top from Šaľa (fig. 18). Other 13 fragments of stove tiles from the castle of Oponice obtained in 2007 are deposited in the Tribeč Museum in Topoľčany. Another assemblage of 124 fragments from stove tiles comes from the trench excavations of the Archae- ological institute of SAS in the eastern part of the cannon bastion called Tereš in 2008 (fig. 18; Bielich 2011; 2012). The system- atic archaeological investigation of the castle associated with its monument restoration realized the Department of Archaelogy of Constantine the Philopher University as late as 2015. In four investigation seasons (2015 – 2018), 3967 fragments of stove tiles were discovered (fig. 18, 19). Other 417 fragments were obtained during rescue and reconstruction works at the castle by civic association of Apponiana.

3 GOTHIC AND RENAISSANCE STOVE TILES FROM THE OPONICE CASTLE From the numerous assemblage of stove tiles, 2038 fragments were analyzed (55 vessel-tiles, 1878 niche types; fig. 20-22). An important role is played by representations on the heating panels of the niche-tiles.

3.1 Religious motifs The only motif from the Old Testament depicted on the stove tiles from the Oponice castle is Adam and Eve at the Tree of knowledge, around which a snake was wrapped (fig. 25). Much more often we come across religious scenes from the New Testament. These include e. g. Annunciation to the Virgin Mary (fig. 28). A dove as a symbol of the Holy Spirit is situated above the kneeling and praying figure of the Virgin Mary. In the background, there is Archangel Gabriel holding the attribute of a lilly in his right hand. The Virgin Mary is wearing the undergarment in form of a shirt or a loose tunic, a mantle is loosely wrapped around her shoulders. The whole scene is located in an arcade space (fig. 28). The motif of the Crucifixion of Jesus Christ is documented by one fragment with a preserved representation of the Virgin Mary figure (fig. 29). Based on analogies, however, we assume that originally, a triumphal arch was situated there. Under the arch, the so-called Little Calvary was depicted. In the middle, the dead Christ with bent down head on the cross is situated. Below him, there are figures of Saint John, Virgin Mary and probably also Mary Magdalene (fig. 30). The Resurrection of the Lord as a figure of the Christ wearing a burial cloth covering his groins and a mantle across his back is depicted on three stove tiles from the Oponice castle (fig. 31). The lifted right hand with three blessing fingers is a typical feature. In two cases, Jesus is holding a thin cane ended with a cross. A group of three men standing under an arcade can be associated with the scene of the Descent of the Holy Spirit (fig. 37). The male figure situated on the edge is holding his head high and looks up, where a dove as the symbol of the Holy Spirit was originally depicted. The last motif from the New Testament is the scene of the Last judgement (fig. 34). A demonic figure with a human body covered with feathers and with claws on the feet throwing a naked man into the hell fire is depicted on a preserved fragment. Next to them, there is another – partly depicted – figure in a long garment.

| 117 | Another category of decorative motifs on the front heating panels is the cult of legends and saints. The most numerous depic- tion is saint Margaret with a dragon as her personal attribute under a Gothic niche (fig. 41, 44). George is another saint depicted on the stove tiles from Oponice (fig. 39, 40). In one case, he is sitting on a horse, he is turned left and fighting a dragon. A castle tower is visible in the upper right corner (fig. 39). In another case, saint George is turned right and he is stabbing a dragon below him with a spear. A castle tower is situated in the upper left corner (fig. 40). The last religious motif contains a head of a cherub in tendril of acanthus leaves (fig. 45). The lower part of the relief depicts a face of an angel with wings among stylized plants. In the upper part, tendrils of acanthus leaves and a cordon with geometric elements are represented.

3.2 Secular motifs Stove tiles with secular figural motifs can include stove tiles with a figure of a bust of a nobleman in a medallion (fig. 46, 47). In the central part of the relief, a face of a man – probably a nobleman – with a long beard and moustache – is depicted. The man is wearing a specific crown or a hairdo on his head. The motif is set in an oval medallion in a diamond-shaped frame and the surrounding area is filled with rich floral decoration. The next motif is a standing man with beard (fig. 48, 49). He is wearing hose, a tight jerkin fastened with a row of buttons and reaching down to the tights and a conical headwear. The man is holding a sword in his left hand and a cane in his right hand, pointing to the Latin inscription in the upper part of the motif. Words ANDREAS•I and chronogram •1•5•6•8• in the first line can be detected as well as POCABENSKY in the second line and I•IHS•I (In hoc signo – In this sign you shall conquer or Iesus hominum salvator) in the last one. Below them, a vertical column with a mirror inscription ○BEATA•BEAT○(A?), (fig. 48, 49), which can be associated with the Latin name of the Virgin Mary (Beata(e) Mariae Virginis). Identification of the person named ANDREAS POCABENSKY is not clear at the moment, but he was probably a nobleman. A horse rider riding to the right is depicted in the same artistic method (fig. 50, 51). He is holding reins in one had and his other arm is bent behind his back. The rider is wearing tight hose, garment in form of a skirt and a conical headwear with a feather on his head. Hilt of a sword is also visible near the rider’s waist. The horse in the scene is depicted with simple harness and a feather on its head, identically with the rider. The stove tile with the motif of a pair of noblemen facing each other in an arcade can be classified within secular motifs (fig. 52). They are wearing skirts or tunics reaching down to their knees, hoses and jerkins. Both men are wearing caps – berets – on their heads. Secular representations also include heraldic charges. The shieldbearer from the collection of stove tiles from the Oponice castle can be classified within such motifs (fig. 54). It represents a figure in a slashed garment. The figure is holding a coat of arms with a preserved part of a cock in its stretched arms. Another heraldic charges include a double-headed eagle with a coat of arms on its chest (fig. 55). The coat of arms is vertically divided into two parts – the left field shows the symbol of Austria and the right one shows the symbol of Burgundy. The image, which can be associated with the House of Habsburg, is framed with a laurel wreath and the surrounding area is filled with a geometrical-floral ornament (fig. 56, 57). A heraldic figure can be assumed also in the case of fragments from a stove tile with a preserved laurel wreath framing the central – unpreserved – part of a stove tile. Letters M, H, ZD and D•, which might be initials of proper names, are situated in individual corners of the tile (fig. 59, 60).

3.3 Ornamental motifs Grapevine as a motif most frequently occurs on cornice or crown stove tiles. Some fragments of the stove tiles from the Oponice castle show vines with leaves and bunches of grapes (fig. 61). In another case, a grapevine plant is situated between two opposing

| 118 | birds (fig. 62). Along the edges of the relief, there is a line with a geometric motif in form of concentric circles and a wavy line. The stove tile is ended with battlement. A rosette is a frequent floral motif. In the first case, the central flower of the rosette consists of five petals arranged around a dis- tinct ovary and four larger leaves pointing to the edges of the square relief and they are complemented with smaller leaves (fig. 64). Another relief represents a stylized rose flower inserted in a mirror in the central part, on the sides, there are linden leaves and the free area is filled with a dotted ornament (fig. 63). The last variant with a rosette image is part of the so-called tapestry pattern (fig. 65). A composition of repeated floral and geometric motifs is basic (fig. 66). Individual stove tiles, thus, create complex images. A pomegranate occurs in the upper as well as lower parts of crown tiles decorated with floral motifs (fig. 67). The symbolical images of pomegranate and grapevine are on another relief (fig. 68). In the middle, there is a semi-arch segmented into several parts to which a triangle is attached. Both shapes are filled with dots. Where the triangle is attached, a pair of cereal spikes, globular fruit on stalks in form of bunches of grapes and vines stretched towards the corners overlap the semi-arch. A thistle-like plant type might include a centrally located plant with typically cut leaves (fig. 69). Stove tiles with images of thistles from the Oponice castle are basic as well as corner types of stove tiles in association with the motif of Saint Margaret with a dragon (fig. 44). Stylized floral lines occur on late Renaissance stove tiles as well (fig. 70). These stove tiles are low and rectangular, thus, they are identified as cornice tiles. The front heating panel is waved in an S-shape and decorated with stylized relief floral motif. The royal fleur-de-lis is another floral motif (fig. 71). In the central part of the stove tile, groups of three lily petals surrounded with a stylized floral ornament and inserted in a simple frame are situated as mirror images. Late Renaissance stove tiles with two, four, five or six undecorated bowl-shaped depressions on front heating panels are most frequent in the collection of ornamental geometrical motifs (fig. 72-74). Stove tiles with convex medallions are close to them from the aspect of typology (fig. 75). In the middle of the relief, an undecorated upturned bowl or a so-called concave medallion with a circular frame and an astragal ring along its outer side is situated. Along the whole circumference of the front panel of the stove tile, there is a chain ornament and the corners are complemented with geometrical elements. Decor in form of a grid occurs on many fragments of stove tiles – either as central or complementary decoration (fig. 77, 78). Bigger parts of stove tiles were preserved only from one basic and several cornice tiles. In the end of the Late Gothic period, the so-called mirror stove tiles with inwards slanted areas and flat central areas occur (fig. 79). In the central part of the stove tiles with mirror image pattern from the Oponice castle, a circular medallion is situated (fig. 80). Some cornice tiles are decorated with the so-called roofing motif (fig. 81). The front heating panel of a cornice tile is divided into three segments. The upper segment is decorated with imitated “roofing”, the second one is filled with larger globular elements in a row and the third part contains a depression. A diamond pattern is another geometrical motif (fig. 83). It decorates the central part of the relief on the Oponice stove tiles. Pyramid-shaped elements arranged in a row stick out. Below, an inscription with a chronogram in form of 1A5 P 86 is situated (fig. 83). These initials might represent the castle owners – the House of Aponi. According to M. Bielich (2010, 163), they are initials of Pavol Aponi (1564 – 1624), who held an important position at the royal court at the end of the 16th century. The top parts of the firebox and upper stove could have been ended with stove tiles with battlement (fig. 84). However, they were frequently replaced with more simple ledges without vessels called cornice extenders which played a decorative role and completed the stove’s design. Their decoration was most frequently geometrical, consisting of circle segments, or slashed.

| 119 | 3.4 Chronological classification of the stove tiles Older types of stove tiles called vessel-tiles occur in Slovakia from the second half of the 14th century; however, they survive in the later period. In rural environment, they survived as late as the Post-medieval period. Gothic stove tiles with the motifs of saint George, Adam and Eve, rosette, symbols of pomegranate and grapevine, cherub’s head in vines of acanthus leaves, which are dated between the 15th and 16th centuries, come from the Oponice castle. In the second half of the 16th century, stoves decorated with figural scenes from the New Testament under a Renaissance arcade were built at the castle. The figural scenes include the Annunciation to the Virgin Mary, Resurrection of Jesus Christ, Descent of the Holy Spirit or the Last judgement. By the end of the 16th century, principles of secular life become prominent, which is documented by the figural motifs of a horse rider, Pair of noblemen facing each other, Bust of a nobleman in a medallion or the stove tile with the name of Andreas Pocabensky with year 1568 inscribed on it. Another chronogram with the year of 1586 is inscribed also on stove tiles with the diamond pattern. Stove tiles were part of layers with more exact find contexts only occassionally. Thus, the motifs of roofing, Pomegranate, Saint Margaret or grid can be dated to the second half of the 16th – mid 17th century. The stove tiles with the motifs of stylized floral lines, fleur-de-lis, rosette with floral frame or in tapestry, bowl-shaped depressions, mirror image pattern, convex medallion and thistle-like plant can be classified within the Renaissance period. The youngest stove tiles in the assemblage are represented by the charge of a double-headed eagle with a coat of arms, which – based on analogies – comes from the 17th century.

4 PRODUCTION OF STOVE TILES 4.1 Raw material As far as the stove tiles from the Oponice castle are concerned, mainly clays – illite, kaolinite and their mixtures – are documented as the most frequently used basic raw materials. Illite was part of brick clay, the so-called red clay, which acquired its typical terracotta colour after firing due to the higher proportion of iron (fig. 85: 2). On the other hand, kaolinite turns white after firing due to its properties (fig. 85: 1). Mainly silica, mica and felspars were added in the material as tempers. Composition is almost identical in all samples, which points to use of the same sources of raw materials (Gregerová a kol. 2010, 19; Pluhař/Nedbalová 2010, 25). The petrographic analyses of selected fragments from the 15th – 17th centuries confirmed that the stove tiles – despite their identical composition – do not come from one production series. It seems that they could have been manufactured in the same workshop and minor technological changes are a result of improved knowledge and skills of the manufacturer. A workshop for production of stove tiles could have stored such prepared clay for several years. Another possibility is that the stove tiles were produced in different workshops which obtained supplies from the same deposits.

4.2 Production technology Vessel-tiles were – like clay vessels – made on a potter’s wheel (fig. 86: 1). The so-called dish-shaped type is represented in the Oponice assemblage and – based on the ratio of height and area of the opening – belongs to the short variants with large openings (fig. 87; Smetánka 1969, 236–237, tab. 1, tab. 4). The tiles have funnel-shaped bases with circular bottoms with diameter of 11 cm, the walls are maximum 9 cm tall and are ended with widely open right-angled opening with each side approx. 21 cm long. The right-angled openings of such stove tiles were formed immediately after they had been thrown – by hand or with a calibrating frame (fig. 86: 2). The simple rims were then cut – flatly or slantly inwards (fig. 86: 2; 88). As for niche-tiles, the vessel and the heating panel were manufactured separately (fig. 90). The first positive might have been created by the potter who modelled the relief directly in the clay. Sometimes, a negative master could have been created this way.

| 120 | In a more complex process, cooperation of the potter with a specialist carver is assumed. The carver cut the primary relief in wood. In both cases, the relief was then impressed in clay and fired, which resulted in a primary negative mould – master. It was used in production of larger amounts of identical stove tiles. Copying of already made stove tiles is the third option (Hazlbauer 1986, 489; Holčík 1978, 10). In the period of Gothic, a wooden or a clay board was used to press clay in the mould. On the contrary, cloth is used in the Renaissance, which is documented by textile impressions on the backs of the stove tiles’ heating panels (fig. 91, 92). Vessels of the tiles can have three shapes (fig. 93) which document different methods of production. Gothic stove tiles had exclusively semi-cylindrically or cylindrically shaped vessels. A vessel with a cylindrical opening was made as a standard vessel on the potter’s wheel. In the next step, its bottom was cut off, the wider side was modelled into the relevant shape and attached to the heating panel. In production of semi-cylindrical tile vessels, the thrown vessels were longitudinally cut into semi-cylinders into which openings could have been cut and thus created vessels were attached to relief heating panels. In the last step, only one side of the vessel was modelled (fig. 90: 2; 93: 2). 4.3 Workshops producing stove tiles in the territory of Slovakia Evidence of existence of workshops producing stove tiles are rather rare in the archaeological material or in archive records. Master Ján of Vienna is mentioned in our territory in written sources from the mid 15th century. The town council of Bratislava ordered two tile stoves from his workshop. In the book of accounts of Mayor Juraj Strützer from 1482, the oldest document on the construction of tile stove in the town castle in Banská Bystrica is mentioned. It was there, where the important centre of stove tile production was located in the 15th century. The workshop itself was documented also by an archaeological research and it was localized in the area of Dolná ulica street no. 35, where a large number of stove tiles, semi-finished products, three ceramic moulds and a pit for exploita- tion of pottery clay were discovered in the garden of Dr. Samuel Bothár’s former house. The pit was intentionally filled with stove tiles after the workshop’s extinction as a result of the large fire of the town on 10th April 1500 (Holčík 1974, 175–176; Kvietok/Mácelová 2013, 4–5; Mácelová 2006, 370–371; 2009, 275).

5 HEATING AT THE OPONICE CASTLE Besides the finds of stove tiles, horizontal cavities in the circumference walls of the two Late Renaissance palaces document presence of heating at the Oponice castle (fig. 98). They were probably part of a system distributing warm air to individual storeys and rooms. A horizontal cavity with elliptic cross-section and diameter of approx. 40 cm was detected in the western wall of the palace IV southwestern, approx. 1 m above the assumed floor level of the first overground storey (fig. 100). Two openings with square cross-sections of approx. 30 cm lead from the cavity to the interior of the room. A situation similar to that in the southwestern Late Renaissance palace is identified in the Late Renaissance palace III north- eastern. A cavity with square cross-section is situated along the whole lenght of the first overgroud storey (fig. 105). In the interior of the northern room on this storey, two openings connected with the horizontal cavity are preserved. The cavity continued in the central room over the vault of a porthole. Only one flanning and remains of a crown of arch from the porthole have been preserved. Oth- er two openings are situated opposite the dividing walls. In the last – third – room, no openings have been identified. They might have been situated in the currently unpreserved part of the wall (fig. 106). Such method of heating is known from other castles as well, such as the castle of Nový Šumburk in Western Bohemia (Hefner 2010, 27, 28) or the castle of Veveří in Moravia (Varhaník 2010, 328–337).

6 RECONSTRUCTION OF THE TILE STOVE FROMHE T OPONICE CASTLE The assemblage of 4384 analyzed fragments of stove tiles from the Oponice castle weighs approx. 178 kg and contains at least 178 pieces of individual stove tiles. According to the number and shapes of front heating panels of the tiles (fig. 113), basic, cornice

| 121 | and crown tiles are represented. We have exactly seven types of crown tiles from the Oponice castle. They could have terminated the central or upper part of the stove. This number proves that at least four independent stoves were present at the castle. Instead of construction of a physical model, 3D technologies were used to reconstruct the stove from the Oponice castle. The aim was to restore the original design of individual fragments from stove tiles, find out how they were combined and determine which – and in what composition – were present in the tile stove. The first step was 3D documentation of individual fragments from stove tiles (fig. 115). Visualisation and restoration of selected types of stove tiles followed (fig. 116, 117). Finally, the restored stove tiles were connected and combined in individual constructions (fig. 118). Based on this procedure, it was possible to restore one tile stove consisting of 90 base tiles with bowl-shaped depressions of different variants, 12 cornice tiles ad 12 crown tiles (fig. 119). The final size is 91 x 91 cm of the base of firig chamber and 224 cm of height of the stove.

7 CONCLUSION The assemblage of stove tiles from the Oponice castle has been presented at several events at the castle or elsewhere. In 2016, the investigation at the castle was presented during the Science and Technology Week (fig. 122). The Oponice castle participated in this national event two years later, in 2018. In 2017 and 2018, the finds of stove tiles were presented also during the European pro- ject called European Heritage Days (fig. 120, 121). In 2019, the public could learn about the investigation and the finds during three events – Pribina’s Nitrawa, The Middle Ages at the Oponice Castle and Nitra Summer School (fig. 123).

| 122 | KACHLICE Z OPONICKÉHO HRADU Barbora Jančiová – Dominik Repka – Peter Sater – Matej Styk

Vydalo: Apponiana, občianske združenie v Nitre, 2019 Tlač a väzba: MICHELANGELO, Nitra Náklad: 300 výtlačkov Počet strán: 124 Vydanie: prvé

ISBN 978-80-972904-1-2 EAN 9788097290412

| 123 | KACHLICE Z OPONICKÉHO HRADU B. Jančiová - D. Repka P. Sater M. Styk

100

ISBN 978-80--972904-1-2 25

Barbora Jančiová - Dominik Repka 5

Peter Sater - Matej Styk 0 KACHLICE z Oponického hradu