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The Iconography of the Scala Salutis on the Fourteenth Century Wall Painting of Želiezovce

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The Iconography of the Scala Salutis on the Fourteenth Century Wall Painting of Želiezovce Krisztina Ilko Salvation in Angevin Hungary: The Iconography of the Scala Salutis on the Fourteenth Century Wall Painting of Želiezovce MA Thesis in Medieval Studies Central European University Budapest CEU eTD Collection May 2015 Salvation in Angevin Hungary: The Iconography of the Scala Salutis on the Fourteenth Century Wall Painting of Želiezovce by Krisztina Ilko (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest Month YYYY Salvation in Angevin Hungary: The Iconography of the Scala Salutis on the Fourteenth Century Wall Painting of Želiezovce by Krisztina Ilko (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest Month YYYY Salvation in Angevin Hungary: The Iconography of the Scala Salutis on the Fourteenth Century Wall Painting of Želiezovce by Krisztina Ilko (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Supervisor CEU eTD Collection Budapest Month YYYY I, the undersigned, Krisztina Ilko, candidate for the MA degree in Medieval Studies, declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. I declare that no unidentified and illegitimate use was made of the work of others, and no part of the thesis infringes on any person’s or institution’s copyright. I also declare that no part of the thesis has been submitted in this form to any other institution of higher education for an academic degree. Budapest, 20 May 2015 __________________________ Signature CEU eTD Collection Abstract The aim of this thesis is to place the wall painting (c. 1388) of the St James Church in Želiezovce (Slovakia) into a broader iconographical context. The fresco depicts a debate for the soul of the dying knight György Becsei between the Devil, the Virgin Mary, Christ, the Father, and the angels. Earlier scholarship suggested that the subject of the fresco was formed only around the turn of the fourteenth and fifteenth century, and came to Hungary from German or Czech territories. I contribute research on the wall painting of Želiezovce by researching its historical, theological, and art historical aspects. With the help of unpublished archival sources I have contextualized the history of the town, its landlords, and the church in the fourteenth century. My observations on the architectural history of the church and its wall paintings are based on personal observations, since I was contributing to the art historical researches which were going on alongside the restoration research which started in the summer of 2014. I was focusing on the visual sources and analogies of the fresco with the help of comparative iconography. The goal of the thesis is to demonstrate the existence of the Scala Salutis as an independent iconographical type beginning with its first monumental piece, the wall painting in Želiezovce. I collected sixteen pictorial and nine textual examples which form the basis of this study. In debate with the earlier scholarship I localize the origins of the iconographical type to the first part of the CEU eTD Collection fourteenth century in western Europe, probably in France. I connect its spread with the popularity of the topic depicted, emphasized by the visio beatifica debate which began in the 1330s. i CEU eTD Collection ii Acknowledgements I thank my supervisors Gábor Klaniczay, Béla Zsolt Szakács, Marianne Sághy, and Harald Wolter- von dem Knesebeck for all of their help and support during this work. Beside my other colleagues I would also like to say special thank Peter Koreň and Martin Mikuláš restorators who I worked closely with on the research of the wall paintings of Želiezovce and whose suggestions supported my work greatly. CEU eTD Collection iii Table of contents Enigma on the wall ......................................................................................................................... 1 Introduction to the wall painting of Želiezovce .......................................................................... 1 Questions raised by the wall painting ......................................................................................... 3 The structure of the thesis ........................................................................................................... 8 The discovery of the wall paintings .......................................................................................... 10 The fresco of the St James Church in Želiezovce ......................................................................... 13 Fourteenth-century Želiezovce as the center of the Becsei family ........................................... 13 The architectural history of the church ..................................................................................... 16 The fresco decoration ................................................................................................................ 18 The Scala Salutis................................................................................................................... 18 The Imago Pietatis and Veronica’s Veil ............................................................................... 19 The saints in the nave ............................................................................................................ 21 Life and death in the medieval mind............................................................................................. 23 The historical and theological context of the Scala Salutis ...................................................... 23 CEU eTD Collection The history of the judgment of the soul ................................................................................ 23 The debate of the visio beatifica ........................................................................................... 25 Visualizing the Particular Judgments........................................................................................ 28 iv Angels and demons ............................................................................................................... 28 The double intercession ........................................................................................................ 30 Forming the text of the Scala Salutis ........................................................................................ 32 The iconography of the Scala Salutis ........................................................................................... 36 Depicting the way of salvation ................................................................................................. 36 The Devil .................................................................................................................................. 41 The double intercession of Mary and Christ ............................................................................. 45 Saints as intercessors................................................................................................................. 48 The dying man .......................................................................................................................... 50 Dead men don’t talk .................................................................................................................. 51 The importance of the wall painting of Želiezovce .................................................................. 53 Conclusion .................................................................................................................................... 56 Bibliography or Reference List ..................................................................................................... 57 Appendices .................................................................................................................................... 66 CEU eTD Collection v List of Abbreviations ANB Archív Nitrianskeho biskupstva [Archive of the Bishopric of Nitra] APÚ Archív Pamiatkového úradu [Archive of the Office of National Monuments], Bratislava DL Diplomatikai Levéltár [Diplomatic Archive] FKI Forster Központ, Irattár [Forster Center, Archive] FKT Forster Központ, Tervtár [Forster Center, Ground Plan Archive] CEU eTD Collection vi Enigma on the wall Introduction to the wall painting of Želiezovce What happens with the soul of the dying knight? An enigmatic wall painting (Fig. 2) in the St James Church in Želiezovce (Zseliz) depicts the unusual scene of a trial between the Devil and the Saints for the salvation of a dying man. The red and ugly Devil himself
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