Résumé: L’article analyse en première les peintures murales de l’église fortifiée Notre Dame de Ighișu Nou, signalées en 1934, mises en évidence en 2012 et restaurés en THE NEWLY DISCOVERED MURALS 2014. Les spécialistes ont prélevé INSIDE THE CHURCH OF VIRGIN MARY d’importants fragments dans le chœur, qui IN IGHIȘU NOU, SIBIU COUNTY relèvent le programme iconographique originaire, similaire avec le sanctuaire de l’église de Mălâncrav (c. 1400), composé par des Docteurs de l’Église Catholique, avec les symboles apocalyptiques des Évangélistes (St. Jérôme avec l’aigle de Jean et le bœuf de Luc, qui était représenté, après les canons, avec Augustine, qui a la figure difficilement visible à cause des dégradations), des Saintes-Vierges Dana Jenei (Catherine et Barbe ?), les prophètes Iona et Jeremias. Deux scènes de la Vie de Notre caractère spectaculaire de l’ensemble des Dame (la Rencontre à la Porte d’Or et la nobles Apafi, et dans la simplification de Naissance de Marie), sont préservées sur le certaines représentations, due à la tympan nord et le registre médian conserve contribution massive de l’atelier. des fragments de la Passion de Jésus Christ et le Vir dolorum. Autour de l’arc de Keywords: , Ighișu Nou, triomphe les scènes du Jugement dernier Mălâncrav, mural painting, iconography, sont peintes en trois registres, tandis que style. sur le mur nord de la nave, les vies des saints Ladislas, Catherine et Margaret sont The existence of the murals inside the peintes. L’ensemble mis en valeur à Ighișu fortified church from Ighişu Nou (Eibesdorf, Nou est d’une majeure importance pour Szászivánfalva), a village that belongs today l’art médiéval, le répertoire de la peinture to the Mediaș municipality, is known since murale de Transylvanie de l’Europe 1934, evidenced in 2012 and restored in 2014 Centrale étant enrichi par des (Fig. 1). Ever since their discovery, the représentations inédites, caractérisées par connection to the paintings of the Mălâncrav des scènes uniques et typologies originales. sanctuary (c. 1400)1, known as a major D’une égale importance est le fait que cette landmark of the "international Gothic style" découverte confirme l’existence d’un in Transylvania and Eastern Central Europe atelier conduit par le Maître du sanctuaire was noticed. de Mălâncrav, un des plus importants The historical data are relevant in this peintres du “gothique international” de respect. The first mention of the settlement, cette partie de l’Europe, dont le style from 1305, is linked to the division of the unique a été identifié encore dans les nobleman Apa’s estate (the common ancestor peintures extraites du choeur de l’église de of Apafi and Bethlen families), among his Dârjiu. À Ighiș, sont réitérées des successors. Ighişu Nou was inherited by typologies, des éléments de décor, des Gregorius, Mălâncrav went to Gregorius vêtements, des armures, des scénographies filius Nicolai (his homonym nephew, de Mălâncrav, mais des différences mentioned mostly as Gegus in the later notables résident dans l’absence du bleu documents), and the third legatee was azurite, qui prive ces peintures du Jacobus2.

REV. ROUM. HIST. ART, Série BEAUX-ARTS, TOME LIII, P. 47–62, BUCAREST, 2016 47

Fig. 1 – The Virgin Mary church in Ighișu Nou (Sibiu county). Inner view of the fragmentary ensemble of mural paintings discovered in the choir, on the triumphal arch and on the northern wall of the church.

The next documents concerning Ighiș Romanesque window and, at least, the lower date from 1359 and mention Count part of the choir walls are preserved. The Valterus and the village elders – seniores church was fortified in the fifteenth century, de Isontelke, which means that at with a defensive floor on the altered apse, a Gregorius’ death, who had no heirs, the massive tower to the west, and a precinct village was bought by the community, reinforced with towers and bastions, which becoming a free settlement of Mediaș Seat3. was successively developed. Later sources from 1391, 1392 and 1394, According to the study published by the recorded Count Johannes, son of Johannes architect Paul Niedermaier in 1969, after de villa Jsopiswas4. eleven years of research, the choir and the In the years 1414 and 1415, the charters nave were erected in two distinct phases, refer to the church dedicated to Virgin Mary with the site stopped and resumed after a – ecclesia beatae virginis de villa Ysopis, led short break, by a different workshop, in by the provost Johannes, who was one of simpler forms. The differences between the Şeica Chapter priests, who turned against the two parts of the church, both built in bishop from Alba Iulia5. The latter document stonemasonry, are spatial, technical and was issued on February 18th 1415, by Pope formal6. John XXIII in Konstanz, where the The present polygonal apse is covered Ecumenical Council that ended the schism of by a Gothic vault on stone ribs, with the the Catholic Church took place. key decorated with a stylized carved wild rose, while the walls, supported by * buttresses outside, are pierced by high, The Gothic one nave church in Ighişu Nou narrow, pointed windows, with double was built in late fourteenth century, stone frames, tracery and the old colored seemingly, on the place of an older building round stained glasses partially preserved, to of which the sacristy with a small the north and northeast. 48

Fig. 2 – The carved stone sedilia on the southern Fig. 3 – The pinion of the old tabernacle, dismantled and part of the choir: Paul Niedermaier, Biserica cetate built in the upper part of the west tower. din Ighișu Nou, in Muzeul Brukenthal, Studii și Cercetări, 1969, Plate IX a.

The triumphal pointed arch is also built disposed in the upper part, outside. Inside, in profiled carved stone, while the nave is the stone sedilia, with a triangular covered with a simple ceiling and provided tympanum decorated with a pretentious with three entrances to the west, south and tracery, is crowned by the pelican feeding north, the latter being walled up. its young, this consecrated symbol of Christ The main western door, with the portal replacing the regular fleuron (Fig. 2). The richly decorated with moldings in retreat gable of the old tabernacle, dismantled in and a frieze of capitals with vegetal the late fifteenth century was built in the motives, was later protected by a portcullis, upper part of the west tower masonry, whose guide grooves are still preserved in beneath the watch gallery (Fig. 3). These the adjacent buttresses. valuable items of decorative sculpture are One aspect that retained the scholars’ comparable with the pieces in the church attention is the typology of the windows in choir of Curciu, where they are preserved the apse, with the upper tracery delimitated in situ9. The new tabernacle from Ighiș, by a horizontal baguette, also identified in adorned with the figure of Vir dolorum in other several churches of the Târnava Mare relief bears the date 1491 and is the first Valley, from Șaroș7, Curciu and Mălâncrav8. known piece of a series of similar items, The stone decoration of the choir which are preserved today at Bazna, Valea includes human and animal figures that Viilor (1504), Cisnădioara (1504), Tărpiu adorn the architecture. On the windows (1504), Dupuș (1511) and Boian10. ledges are disposed a stylized lion head The defensive arrangements of the with a grotesque expression and a small church, begun around 1420 with the oval seated figure with three hands, keeping the irregular precinct and the old gate tower, globe and a scroll, an original produce of were continued after the first Turkish the medieval imaginary that probably incursion on the Târnava Mare Valley in symbolizes the Holy Trinity. Other carved 1435, with a defensive floor in masonry human heads are apparently randomly added to the choir. In 1494, the massive 49

western tower of the same width as the The fragmentary ensemble of murals nave and a bell from 1496 was built in researched in 2012 was fully brought to brick atop the older walls of the church, light, conserved and restored in 2014 by a being reinforced with buttresses of the team coordinated by Péter Pál and Kiss same material11. Loránd. Important mural fragments were The works were continued in the first found in the choir and nave, where only the decades of the next century, when the north north wall and the eastern one, around the octagonal stair case of the nave was erected, triumphal arch were decorated. The surface with the year 1526 and the Mediaș Seat coat of the paintings was fully hammered in of arms represented on its door with a order to receive the new plaster that wooden frame, as well. The round bastion covered it until recently. was added to the earlier surrounding In the apse, the painting is preserved fortification, with the upper part of the façade mainly on top, but other fragments existing in decorated in brick, in a similar form in which 12 various parts, although discontinuous, allow the towers of the City of Sibiu were rebuilt . the assumption that the walls were originally The ensemble was developed later, with a decorated in three horizontal rows of rectangular court to the north, zwinger to the figurative representations, to which the south and the rooms of the community draperies register was added in the lower part. attached to the wall inside, today preserved Besides the dominant layer of painting, only on the southern side, the rest of them two earlier representations were evidenced by having been demolished. the restorers: a small Crucifixion scratched in The northern door of the nave was closed the plaster on the south wall of the choir, near and on its masonry a religious inscriptions in Latin was written, similar to the line the sedilia, and the image of Vir dolorum, preserved at the same height on the entire with Jesus in the tomb, framed by flying adjacent wall13, a small fragment being also angels with torches, near the tabernacle, on found in the choir, near the sacristy entrance. the northeastern wall of the apse. The later inscription in different characters The iconography of the upper part of the was discovered by the restorers inside a choir, partially follows the program of the niche: Johannes Sterner / 175114. Mălâncrav sanctuary, with Doctors of the Catholic Church in association with the * apocalyptic symbols of the Evangelists, The wall paintings of Ighişu Nou were Virgins-Martyrs on the vault and figures of mentioned in 193415, but the first concrete Prophets in the tympanums of the walls. information is due once more to Paul Among the Doctors of the Catholic Niedermeier, who noticed the traces of Church, there are better preserved the color outside the north-eastern wall of the figures of St. Jerome with the eagle, symbol choir and on the western portal where of John the Evangelist (Fig. 4), and the bull, "small characteristic Gothic motives in symbol of Luke, which was canonically white, black, red and yellow, applied on a represented with Augustine, whose thin layer of plaster" could be observed. silhouette is hardly legible because of the The scholar also published the telegraphic degradations of the paintings, to the south. note of the Lutheran priest in the village We may presume that Gregory the Great chronicle of 1951, according to which, with John’s angel, respectively Ambrose figures and inscriptions had appeared "in with Mark’s lion were symmetrically the nave (to the left, at 2.5 m beneath the represented on the north segment of the ceiling) and also, behind the altar, when the walls were washed. In the nave, beautiful vault. To the east, only two figures of the and clear icons with the inscription four Virgines Capitales were recovered: Jeremiah, in Gothic letters. Same as, Catherine with the wheel and, probably, behind the altar. Here, the word pastor and Barbara with the tower of which just a 16 small fragment seems to be preserved17. 50 the date 1628 had occurred ".

Fig. 4 – St. Jerome, Doctor of the Catholic Church, with the eagle, symbol of John the Evangelist. Mălâncrav, St. Gregory the Great, with the angel, symbol of Mathew the Evangelist.

Fig. 5 – Iona propheta and Jeremias propheta, painted on the northeastern and southeastern tympana of the apse.

On the northeastern and southeastern the tympanum of the north wall, while on the tympanums of the apse, the busts of Iona opposite side the painting was lost. The propheta (recognizable after his bald head meeting at the Golden Gate shows Joachim and sea monster from the Old Testament, and Anna embraced in front of the City of held as an attribute) and Jeremias propheta, Nazareth in Galilee, with the buildings both their names inscribed on the scrolls conventionally painted on a smaller scale in that they support, are painted (Fig. 5)18. the background. Nearby, the Nativity of Our Two scenes from the life of the Virgin Lady is rendered as a veritable genre scene in Mary, the patron saint of the church, decorate which Saint Anna holds the baby Mary, while 51

a maid brings the food, holding a spoon wearing tights and one in a brownish and a bowl (Fig. 6). The novelty of the vestment, holding a T cane and a fish, composition, which differs from the current which allow him to be hypothetically representations of the scenes derived from the identified, as Saint Antony of Padua. The 19 Italian Trecento , the elements of material fragments preserved in the third register, at culture, unique in the Transylvanian medieval the junction of the north-eastern and eastern painting and the original scenography made walls of the apse show that the Passion of wooden frames and curtains are worth Cycle was painted. The Judgement at mentioning. Annas and Caiaphas can be noticed, with In the median register of the walls, full- Jesus having a rope tied round his neck (an figured saints frame the windows, from element of Franciscan iconography), which just one is preserved in its entirety, brought by the soldiers in front of the two wearing a red mantle coated with ermine, high priests, who share the same throne, as a sign of royalty, but the color layer is same as in Mălâncrav (Fig. 7). Another extremely faded and the details are lost. fragment preserves only the heads of a From the other figures in this row, only group of soldiers with pointed helmets. small lower fragments are kept, of two

Fig. 6 – The Meeting at the Golden Gate and the Nativity of Our Lady, painted on the northern tympanum of the choir.

Fig. 7 – The Judgement at Annas and Caiaphas painted in the median register, 52 at the junction of the northeastern and eastern walls of the apse.

Fig. 8 – Vir Dolorum Eucharistic painted over the earliest rep- Fig. 9 – St. Oswald painted at the intrados resentation of the common variant of the same motive, on the of the triumphal arch. northeastern wall of the apse.

On the same row of the northeastern figure preserved on the north lateral side wall, near the tabernacle and covering the (Fig. 9), while beneath him, the striate halo earliest Vir dolorum, the same motive was of a lost saint is still visible in the thickness painted, but in the Eucharistic variant of the of the plaster. The Holy King of theme, with full-figured Jesus and His Northumbria, also revered on the continent Blessed Blood pouring out into the Chalice. in Germany, Carinthia and Styria, where he The Savior is wearing a perizonum and is patronizes many towns and churches was depicted under an aedicule (Fig. 8). considered in the alpine lands, as one of the Holy Fourteen Helpers and a protector * against the plague20. In Transylvania he The saints painted at the intrados of the was also painted at Sic, on the face of a triumphal arch were represented in a pillar which divides the southern collateral similar way, under aedicules with trilobed of the central nave. arcades and triangular gables, and they The Last Judgement was displayed around were arranged in two registers, on each the triumphal arch of the church, in three part. Oswald, with his royal mantle lined horizontal registers. This extremely visible with ermine and his characteristic attribute, area was favorite for the representation of the the raven with a ring in his beak, is the only theme, as it is preserved in the Transylvanian 53

churches from Sic, Tileagd, Bădești21 and prayer, while the damned try to hide back Mediaș, which was almost completely lost in their tombs, terrified by the divine wrath. when the old sanctuary was demolished22. The backgrounds of the scenes, blue in Same as the aforementioned examples Paradise and red in Hell, suggest by way of (excepting Sic), the tribunal of the apostles color the different spiritual substance of the was depicted in the upper register, which is two places of the "world beyond", also fragmentary in Ighiș, with the top part characterized by the iconographic covered by the later reparation plaster of the conventional features. The Heaven is nave ceiling. shown as a church whose gate is open by In the second register, the Heaven and St. Peter, followed by a Pope, clergy and Hell are symmetrically painted, framing the laity, while the damned in chains are opening of the triumphal arch, above the banished by a flying angel, sword raised, in third register, where angels are blowing the the mouth of the Leviathan. Some souls trumpets for the Resurrection of the dead astray, outside the group, are carried by (Fig. 10). The chosen are represented in demons towards the place of torment23.

Fig. 10 – The Last Judgement painted on the walls of the triumphal arch. 54 The tribunal of apostles and the Hell, the Resurrection of the dead.

* figure of the Hungarian knight, carring a targe The ensemble of the north wall of the bouched for the lance, in the red-silver stripes nave is also divided in three horizontal of the kingdom coat of arms), the duel (the figurative registers that represent kidnapped girl helps Ladislas and hurts the hagiographic cycles. Same as the rest of the Cuman with an axe) and his defeat (the ensemble, part of the painting is lost and the kidnapped girl gives him the coup de grace preserved surfaces were wholly hammered. with a sword). Ladislaus’ rest, a typical image The lives of three popular saints in of the medieval "courtly love", closes the Transylvanian murals are illustrated: cycle (Fig. 11). From this cycle, the blessing Ladislaus of , Catherine of of the Bishop of Oradea is missing, scene Alexandria and Margaret of Antioch. preserved at Ghelința, Crăciunel, , The upper register is canonically Chilieni and Dârjiu (recently discovered). dedicated to the history of St. Ladislaus, an The battle of Chiraleș, the most spectacular extremely widespread theme in the churches episode of the story is also lost at Ighiș. Just from this part of Europe, including Hungary, as the other representations of the theme, the Slovakia, Slovenia and Austria. The number gaps between the scenes are scarcely marked, of ensembles known today in Transylvania is fact that gives to the representations the of 30, chronologically situated between appearance of a frieze and the dynamism of a Cricău (before 1300)24 and Dârjiu (1419), the cartoon. most famous representation in the whole Catherine and Margaret belong to the four kingdom, painted during the reign of Capital Virgins26, to the group of the seven Sigismund of Luxembourg. The other Holy Martyrs mentioned in the canon of the examples, near Ighișu Nou are Mugeni, Catholic Mass, and to the Fourteen Holy Ghelința, Crăciunel, Daia-Secuiască, Helpers27. Drăușeni (under the lime), Sighișoara The first two episodes of St. Catherine’s (fragments discovered in the archeological life, Christ’s mystical bride, are missing. The excavations), Chilieni, Ațel, Remetea, scene of the saint converting from prison Chichiș, Ocland, Panticeu, Saciova, Empress Faustina and Porphyrius, the Mihăileni, , Armășeni, Biborțeni, captain of the guard (Fig. 12), was preceded Pădureni (small fragments), Misentea and by the arrest, from which a fragment in the Gidfalău, recently discovered by the same right lower corner is preserved, with the feet restorers. At Mărtiniș, the paintings similar in of a soldier wearing tights28. There follow the style with Ghelința and Crăciunel25, known execution of the queen in the presence of her only from Jószef Huszka’s copies, are to be husband, the tyrant Maximianus, the debate mentioned among the other lost ensembles with the 50 philosophers of Alexandria, their from Oradea, Fizeșu Gherlii, Filia, Moacșa, martyrdom by burning at the stake, and the Dej and a second earlier example at Pădureni. miracle of the wheel, in which Catherine The life of the king-hero, patron saint of knees praying, while an angel shatters the Hungary, was conceived in the theological instrument of torture with a sword and a milieu of the Bishopric in Oradea, founded by hammer, "killing four thousands pagans". It is the king himself, where he was miraculously worth mentioning that the scene with buried and where the first representations of Catherine, Faustina and Porphyrius is unique his life were painted. The first example shows in Transylvania, besides the rest of the that the earliest representations of vita representations encountered in the known Ladislai painted in churches date back from illustrations of the saint’s life: the dispute the Arpadians’ age, before the Angevins, to with the philosophers appears in the whom the exaltation of his cult has been ensembles of Ghelinţa, Drăuşeni and Șmig, exclusively attributed in the previous scien- the martyrdom of the queen and of the tific literature. converted philosophers is shown at Drăuşeni At Ighişu Nou, only four canonical and Șmig, while the most widely spread episodes in the history of Ladislas are episode, the miracle of the wheel, is present at fragmentarily preserved: the Cuman’s chase Drăuşeni, Șmig, Floreşti and Mălâncrav29. (with the king depicted as the emblematic Catherine’s beheading appears in Șmig and 55

Floreşti, and the final scene of the cycle, in fragments. I do not mention in this context which the angels carry her body on Mount the representations in Dârlos, much later and Sinai is preserved only at Ghelinţa, in radically different in style and iconography30.

Fig. 11 – The history of King Ladislas: the Cuman’s chase, the duel, his defeat and the king’s rest. In the second register, scenes from St. Catherine’s life: the Execution of the 50 philosophers burned at the stake and the 56 Miracle of the wheel.

Fig. 12 – St. Catherine converting Empress Faustina and Porphyrius.

Fig. 13 – St. Margaret defending her faith and meeting the prefect Olibrius.

The third register on the northern wall of through a typical gestual argumentation. the church from Ighiş is dedicated to The next episode depicts Margaret meeting Margaret of Antioch’s life, the daughter of Olibrius, the prefect of the Roman Eastern the pagan priest Aedesius from Pisidia, Diocese and a Christians’ prosecutor, who converted to Christianity. The first image of fell in love with the shepherdess (Fig. 13). the cycle is missing and the second one is Refused by Margaret, who declared unusual, presenting Margaret in the herself as sponsa Christi, the prefect orders doorframe of a house, with the Crucifixion her to be imprisoned, tortured and executed. painted on the wall revealing the subject of The scenes of her passion are difficult to the debate with a figure which threatens her follow, as the painting layer is blurred and with a sword, while she defends her faith in destroyed in a significant proportion: the saint the "God hanged and raised on the Cross", is brutally grabbed by a soldier, then put into 57

the "darkest and worst of the dungeons", scene enthroned figure is hardly visible in the that is almost completely lost, excepting few scene, and then her beheading by Malcus, fragments that show it takes place indoors. The the soldier who fell dead after the most famous episode of Margaret’s execution. The cycle ends with the saint’s iconography, with her getting out of the funerals, as recounted by Teochimus, the dragon’s belly through the sign of the Cross narrator of the story, "one of God’s might be represented here. The scene that was servants, instructed in God’s law", who also painted at Mărtiniș (where the ensemble is placed Margaret’s "beautiful body" in a known only from József Huska’s copies)31, is "stone coffin in the house of her preserved at Mugeni (nave) and Sic (choir, grandmother" (Fig. 14). The scene from fragments), where Margaret defeating the devil Ighișu Nou presents Theoteinus (as was also represented. The torture scenes are Voragine names him)32, as the bishop who visible at Mugeni, Sic and Remetea. conducts the funeral mass, with three At Ighiş there follows the sentence to priests, in front of an impressive basilica, death pronounced by angry Olibrius, whose painted in detail (Fig. 15).

Fig. 14 – St. Margaret sentenced to death by Olibrius, her execution and funerals. Beneath, the stylized drapery register and a frieze of a regular wooden structure with a spiral motive in its upper part.

58 Fig. 15 – St. Margaret’s funerals officiated by Teochimus and three priests.

* bands" painted in degrade are replaced by common motives derived from Gothic The lower part of the church walls from quatrelobs and vegetal motives, while the Ighișu Nou is decorated, both in the nave extremely expensive azurite pigment, used and apse, in wide vertical stripes, for the backgrounds of the Apafi nobles’ differently colored, which represent a ensemble, was not used, the murals being stylized replica of the draperies register, as chromatically dominated by blue-grey, shown in the case of the paintings in the sienna-brown and cinnabar-red. Mălâncrav sanctuary, where the model of Only a part of the figures from Ighiș can Mary Chapel from Karlstein Castle was be attributed to the Master of the Mălâncrav mentioned, to which I add the example sanctuary, whose style characterized by a from Remetea, where the shape of the highly decorative stereotypical stylization curtains is more explicit. Between the of the figures was also identified in the figurative representations and the fragments of painting, extracted from the decorative row, a frieze of a regular choir of Dârjiu, and preserved in Budapest wooden structure, with a spiral motive in its 34 (Szépművészeti Múzeum) (Fig. 16) . At upper part is rendered, replacing the Ighiş the typologies are much diversified, consoles painted in perspective. In the the physiognomies are rounded and the eastern part, an inscription in Gothic letters garments are decorated by small tinfoil on white background is illegible today. rhombs, replacing the buttons, as the The striate halos of the saints, the restorers observed. thrones, aedicules and buildings rich in details, with double pointed windows and * quatrelobe rosettes, the cracked and rocky Comparing to the solemn and highly soil are also similar to the Mălâncrav decorative aspect of the Mălâncrav paintings. The armors and costumes belong sanctuary, the general impression of the to the same model: the pointed helmets of paintings of the Virgin Mary church in soldiers, Ladislas’ targe, the frilled veil – Ighişu Nou is simplified and even superficial kruseler, worn by women, the male in execution, due to the predominant clothing with tights and pourpoint, and involvement of the workshop, beside the some decorative patterns: the double bands main master. The different pigments led to with diagonal converged lines and different chromatic results, the decorative illusionist effect, the floral stylized motives motives that delimit the scenes and highlight made with the template, which imitate the the architectural elements are less elaborate brocade fabrics from the garments, and, in terms of style, the contours of the backgrounds and stripes. "The vegetal paintings are, in most cases, thick, imprecise patterns, freely painted, with the virtuosity and less accurate. and elegance of a vignette, in subtle tones Beyond these considerations, the of beige and light green on sienna discovery of this extremely valuable background, outlined with white", inspired ensemble constitutes a recovery of a major by the contemporary miniature from the importance for the medieval art, which enrich Prague's court of Vaclav IV are also present the repertoire of the murals in Transylvania in the apse, near the bust of Jonah, but the and Central Europe with rare or unique degradation of the painting doesn’t permit scenes and original typologies. Of an equal the observation of the main painter’s importance is the fact that the retrieval of the virtuosity, which seems to attest his paintings in Ighişu Nou confirms the possible miniaturist training33. existence of a workshop led by the Master of The ensemble is less spectacular than the Mălâncrav sanctuary, one of the most the Mălâncrav sanctuary, whose unmistak- representative painters of the "international able marks are missing at Ighiş. The "cloud Gothic", also present at Dârjiu. 59

Fig. 16 – Portraits: a) Mălâncrav, apse; b) Dârjiu, choir (Budapest, Szépművészeti Múzeum); c) Mălâncrav, choir; d) Ighiş, nave; e) Mălâncrav, choir vault; f) Ighiş, nave. Dana Jenei, Les peintures murales de l’église de Mălâncrav. Notes avant la restauration, in Revue Roumaine d’histoire de l’art, 2015, Fig. 23.

Notes 1 Victor Roth, Die Frescomalereien im Chor der 5 Ub. III, doc 1738, pp. 600; doc. 1764, pp. 646- Kirche zu Malmkrog, in Korrespondenzblatt des 646; doc. 1765, pp. 646-651. Vereins, Hermannstadt, 26/1903, published a sgrafitto 6 Paul Niedermaier, Biserica cetate din Ighișu on the painting in the apse, with the year 1404 or 1405. Nou, in Muzeul Brukenthal, Studii și Cercetări, 1969, 2 Franz Zimmermann und Carl Werner, pp. 185-220. The plasters, mortars, masonry and Urkundenbuch zur Geschichte der Deutschen in coherence of the profiles between the choir and nave Siebenbürgen, I, Hermannstdt, 1892, doc. 302, pp. 229- have been analyzed. The previous studies do not 230. Gregorio comiti filio Apa terrae seu villae mention the Romanesque phase. Bethlend, Fighe, Malom, Totesdi, Ujfalu, Baromlak et 7 Marosi Ernő (ed), Magyarországi művészet Isontelke, Keresd et Földsintelke. About the Apa family 1300-1470 körül, Budapest, 1987, II, p. 295. in the Middle Age, Nagy Iván, Magyarország Családai, 8 Anca Gogâltan, The Architecture of the Church in Pest, 1857, I, pp. 48-52; Gernot Nussbächer,”Runder Mălâncrav (Sibiu County), in Ars Transsilvaniae, VIII- Apfelwald” oder“Halber Kragen”. Zur ältesten XIX, 1998-1999, pp. 131-132; Anca Gogâltan – Dóra Ortsgeschichte von Malmkrog, în Karpaten Rundschau, Sallay, The Church of Mălâncrav and the Holy Blood 30 (2409), 26 Juli 1997, Kronstadt. Chapel of Nicholas Apa, în Arhitectura religioasă din 3 Ub. II, doc. 743, p. 158. The documents from Transilvania, Satu Mare, II, 2002, p. 189. 1315 and 1318 show that Ighișu Nou belonged to 9 The carved stone sculpture in the area, coming Șeica Chapter. from a common supposedly worksite, deserves a 60 4 Ub. III, doc. 1735, pp. 599-600. thorough scientific research.

10 Victor Roth, Beiträge zur Kunstgeschichte XXII/2012, p. 50. Later representations of the theme Siebenbürgens, 1914, p. 99-100; Iuliana Fabritius on the triumphal arch at Hărman (St. Nicolas Church, Dancu, Sächsische Kirchenburgen in Siebenbürgen, traces above the vault reconstructed after the fire Sibiu, 1983, p. 54. from 1595 and chapel, around the entrance) and 11 Paul Niedermaier, Biserica cetate, p. 189-190. Sighişoara (the Church on the Hill, lateral, on the The year 1494 is written on the tribune of the tower north side of the opening). Idem, Thèmes which is covered by a star vault on ceramic ribs. iconographiques et images dévotionelles dans la 12 Virgil Vătășianu, Istoria artei feudale din peinture murale médiévale tardive de Transylvanie România, București, 1952, p. 582; Hermann Fabini, (deuxième partie du XVe siècle-premier quart du Atlas der siebenbürgisch-sächsischen Kirchenburgen XVIe siècle), in Revue Roumaine d’Histoire de l’Art. und Dorfkirchen, Hermannstadt-Heidelberg, I, 1998, Série Beaux Arts, Tome LI, Bucarest, 2014, p. 14-17. p. 101 23 A prayer of the “Brüdergemeinde” was written 13 [TUNC I]USTI FULGEBUNT SICUT SOL IN on the whitewash that covers the upper part of the REGNO PATRIS. SAP. V (Mathew 13, 43). Lateral: scene of Paradise, repainted and altered later. [IN OMNIBUS TUIS] MEMORARE NOVISSIMA ET 24 Szabó Tekla Katalin, Boroskrakkó újonnan IN AETERNUM NON PECCA[BIS. ECCL]ES. VII előkerült freskótöredékei, in A szórvány emlékei, [40], verse usually associated with Memento mori. Tibor Kollár (Ed.), Budapest, 2013, p. 74. Crosses of consecration were found on this side from 25 Dana Jenei, Gothic Mural Painting in before and after the painting. 14 Transylvania, București, 2007, pp. 48 and 49. László In the eighteenth century a porch open on three Gyula, in A Szent László-legenda középkori falképei, sides was added to the southern door (1715) and the Budapest, 1993, counted 23 years ago 48 altarpiece was replaced (1754). Paul Niedermaier, representations of the theme in the whole Hungarian Biserica cetate, p. 191. 15 Kingdom (part of them known only by older copies Otto Szőnyi, Régi magyar templomok, Budapest, or being under the lime) from which, 22 in 1934. Transylvania, including Hațeg and , 16 Paul Niedermaier, Biserica cetate, p. 205. 17 with no further data preserved. On the apse vault in Mălâncrav, ten Virgins 26 Passienbüchlein von den vier Hauptjungfrauen seated on thrones are represented: Apollonia (keeps a was dedicated to them and a mass was composed in tooth in her hand, an angel offers her the tongs), their honor. Their purity made them all Christs’ Dorothy (Child Jesus offers her the flowers basket), mystical brides and powerful intercessors: Stanley E. Ursula (an angel offers her an arrow), Catherine Weed, Venerating the Virgin Martyrs: the Cult of the (with the wheel and an angel offering her a sword), Virgines Capitales in Art, Literature and Popular Angela (an angel offers her a lily), Margaret (keeps a Piety, Sixteenth Century Journal, XLI/4, 2010, p. little dragon), Barbara (keeps a little tower, an angel 1605 and the followings. offers her a host), Agnes (with the lamb), Lucia 27 vi(r)go (with an angel carrying a scroll with her The Vierzehn Nothelfer / Quatordecim name), Agata (keeps a palm leave, with her name Auxiliatorum, revered since the ninth century in written on the throne). Vasile Drăguț, Picturile Southern Germany, are different in componence from murale din biserica evanghelică din Mălâncrav, in one region to the other, and generally comprise SCIA 1967, Fig. 5. Catherine, Barbara, Margaret, Dorothy, George, 18 The latter figure was mentioned in 1951 by the Leonard, Nicholas, Sebastian, Egidius, Vitus, Lutheran priest, as being in the nave. Christopher, Achatius, Blasius, Cyriacus, Erasmus, 19 One of the most well-known cycles dedicated Eustachius, Dyonysius, Anthony, Laurence, Stephan, to Virgin Mary’s life in the fourteenth century is Rochus, Wolfgang, Pantaleon and others. Anne attributed to Tadeo Gaddi (1328-1330) and preserved Simon, The Cult of Saint Katherine in Late-Medieval in Florence, in Capella Baroncelli of the church Santa Nurnemberg. Saint and the City, Farnham, 2012. 28 Croce. It comprises 18 scenes, among which Joachim The regular opening scenes of the cycle are in the Temple, the Nativity and the Crowning of the Catherine’s birth, her conversion by a hermit and her Virgin, respectively the Tree of Jesse. Scene from the mystical betrothal. Louis Réau, Iconographie III / I, life of the Virgin, others than those represented at Paris, 1958, p. 267-268. 29 Ighiș, are preserved in Transylvania, in the choirs of Éber László, Tanulmányok magyarország the churches from Sic and Alțâna. Anna Kónya, közérpkori falfestményeiröl müemlékkei, Budapest, Iconográfiai össezefuggések az alcinai templom 1915, p. 74; Dana Jenei, The Church of Virgin Mary falképein, în Kóstoloni a szép-tudományaba, in Malancrav, 2001, http://www.mihaieminescutrust.org/ Budapest, 2014, pp. 45-60. images/content/Virgin%20Mary%20Church%20Malancr 20 Louis Réau, Iconographie de l’art chrétien. av.pdf; idem, Les peintures murales de l’église de Iconographie des saints, III / III, Paris, 1958, p. 1013. Mălâncrav. Notes avant la restauration, in Revue 21 Jékely Zsombor – Kiss Lóránd, Középkori Roumaine d’histoire de l’art, 2015, p. 56. falképek Erdélyben. Értékmentés a Teleki László 30 Gábor Gaylhoffer-Kovács, Alexandriai Szent Alapítvány támogatásvál, Budapest, 2008, p. 21-23. Katalin legendája három szászföldi freskón, in A 22 Dana Jenei, Picturi murale din jurul anului szórvány emlékei, Tibor Kollár (Ed.), Budapest, 1500 la Mediaş, in Ars Transsilvaniae, Cluj-Napoca, 2013, pp. 294-322. 61

31 Jánó Mihály, Színek és legendák - Tanulmányok century: MS Bodley 34 and MS Royal 17 AXVII. az erdélyi falfestmények kutatástörténetéhez, Thomas F. Head, Medieval Hagiography: An Budapest, 2008, Fig. 47-48. Margaret’s complex cycle Anthology, 2001, New York – London, p. 675-708; from Mărtiniș was painted on the northern wall of the http://sourcebooks.fordham.edu/basis/goldenlegend/ nave in association with Ladislas’ vita above, same as at GoldenLegend-Volume7.asp. Mugeni, but different in style, while at Remetea the http://sites.broadviewpress.com/bablonline/files/2012 themes were represented on the northern and southern /05/Vol-1-Web-Life-of-Saint-Margaret2.pdf. 33 oposite sides. Dana Jenei, Les peintures murales de l’église 32 Voragine’s version of St. Margaret’s story de Mălâncrav, p. 73. corresponds to the manuscripts from early thirteenth 34 Ibidem, p. 74.

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