Rad. Inst. povij. umjet. 43/2019.

(123–138) Bálint Ugry – Maja Žvorc: The Čakovec Stone Bust Collection: New Identifications, Possible Dating...

Bálint Ugry
Hungarian Academy of Sciences, Research Centre for the Humanities, Institute of Art History, Budapest

Maja Žvorc
Independent Researcher

The Čakovec Stone Bust Collection: New Identifications, Possible

Dating and the Identity of its Commissioner
Original scientific paper – Izvorni znanstveni rad
Received – Primljen 7. 6. 2019.
UDK 069.51(497.5Čakovec):929.7(093)
DOI 10.31664/ripu.2019.43.10

Summary
The Museum of Međimurje in Čakovec, situated within a former insist it was commissioned by the Festetics in the 1820s. This article
Zrinski residence, stores a stone bust collection containing portraits of proposes another engraved portrait series as a model for the collection,
17th-century Croatian and Hungarian dignitaries. Most of the iden- namely Franz Leopold Schmittner’s engravings published in Cor-
tified portraits have been modelled on Elias Widemann’s engravings pus Juris Hungarici (1751), which can be used to confirm or newly
from the series Icones Illustrium Heroum Hungariae. So far resear- establish the identity of seven busts. The authors examine in what
chers have formed two opposing opinions concerning the collection’s way this new find affects the interpretation of the collection’s commi-
interpretation: while some claim the collection was commissioned by ssion and its contextualization within Croatian and Hungarian art.
the Zrinski family during the second half of the 17th century, others
Keywords: Čakovec Old Castle, bust collection, portrait gallery, László Festetics, Corpus Juris Hungarici, Franz Leopold
Schmittner, Croatian and Hungarian kings

The Museum of Međimurje, situated within Čakovec Old buttons and clasps. All of the busts have been damaged: their
Castle Palace, stores a collection of twenty-five stone busts.1 noses have been broken off, and some have even been cove-
The collection represents a gallery of illustrious men (La- red with tar. When, why and by whom remains unknown.
tin: viri illustri, Italian: uomini famosi) that predominately
contains portraits of 17th-century Croatian and Hungarian
state and church dignitaries. Apart from the identities of the Former discussions on the collection
subjects, little is known about the collection itself due to the
lack of archival documents and records. Using secondary The Identities of the subjects
historical sources and information, researchers have formed Most of the busts that have been identified so far had been
several assumptions concerning the collection’s date of ori- modelled on engraved portraits executed by Elias Wide-
gin, commissioner, original placement and possible creator. mann (Wideman, Wiedemann, Widmann; 1619–1652), a
The busts have been sculpted in sandstone, and are nearly well-known 17th-century portraitist. Widemann was born
twice as large as their subjects were in real life. The portrayed in Augsburg but worked in Vienna and Pressburg (Croa-
are shown en face in strict frontal stature without any torsion tian: Požun, Hungarian: Pozsony; today Bratislava) from
of the body, their gaze fixed straight in front of them. Most the 1630s onwards.2 He executed more than 300 engraved
of the figures are clad in dolmans and pelisses, clothing portraits that were published in three separate series (1646,
characteristic of the Croatian and Hungarian nobility during 1649, and 1652) under the patronage of Johann Christoph
the 17th century. The drapery is modelled flatly, with almost III von Pucheim (first two series) and possibly Ferenc Ná-
graphically executed folds and clothing details, such as dasdy III (the last one).3 His portraits became popular and

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widespread very quickly, serving as a visual medium that

confirmed the importance and position of the subject in the
aristocratic, political, economic and religious hierarchy of
the Habsburg monarchy and the Kingdoms of Croatia and
Hungary. Widemann’s engravings have served as models for
numerous panel paintings, but they have never been used in
mural or sculptural work, with the exception of the Čakovec
collection, as will be discussed further in the text.
The last of Widemann’s three series, Icones Illustrium Heroum
Hungariae (Vienna, 1652),4 has been used as a model in the
sculpting of eleven busts from the Čakovec collection. The
most notable personages whose portraits are represented in
both collections are: the brothers Nikola Zrinski VII (Zrínyi
VII. Miklós; 1620–1664)5 and Petar Zrinski IV (Zrínyi IV.
Péter; 1621–1671),6 during whose lifetime the Zrinski family
reached its political, economic, military and cultural pinna-
cle; György Lippay (1600–1666), primate and Archbishop of
Esztergom;7 and Pál Pálffy (late 1580s or early 1590s–1653),
Privy Counsellor and Palatine of Hungary.8 Only fragments
of the busts of Nikola Zrinski VII and Pál Pálffy have been
preserved, namely their heads. The remaining busts that
have been modelled on Widemann’s engravings are of: Fer-
enc Forgách (1625–1647), Chamberlain to Emperor Ferdi- 1. Bust of King Louis I (formerly identified as Fran Krsto Frankopan),
nand III; Miklós Nadányi, captain of Nógrád and Verebély; 1820s (?), sandstone, Čakovec, Museum of Međimurje
György Illésházy (?–1684), Chamberlain to Emperor Fer- Poprsje kralja Ludovika I. Velikog (prethodno identificirano kao
portret Frana Krste Frankopana), 1820-e (?), pješčenjak, Čakovec,
dinand III and royal steward to Leopold I; János Héderváry Muzej Međimurja
(1620–1662), Pressburg Cathedral canon; Colonel István
Palásthy; András Izdenczy, ambassador of the Crown in
Constantinople; and Zsigmond Lónyay (1593–1653), diplo-
mat and representative of the Princes of Transylvania.9 It is
possible that one more bust was modelled on Widemann’s
engravings. The sculpture was already heavily damaged in
the 1930s (only its face was preserved),10 and today nothing
of it has remained. The bust has previously been identified
as a probable portrait of Ferenc Wesselényi (1605–1667),
military commander and Palatine of Hungary, due to its
similarity to Wesselényi’s portrait in Icones (the high and
frowning brow, the long moustache turned downwards, the
full lower lip, the thick curly beard).11 However, it is possible
that the bust portrayed György Szelepchényi (1595–1685)
or György Széchényi (?–1695), primates and Archbishops of
Esztergom, whose portraits bear a particular facial resem-
blance to that of Wesselényi. Unfortunately, as the bust has
been destroyed, it is impossible to give a definite answer to
the question of its identification.
The Čakovec collection holds a portrait of another Zrinski,
the only son of Nikola VII and one of the last family mem-
bers, Adam Zrinski (Zrínyi Ádám, 1662–1691).12 The bust
is identical to the nobleman’s portrait kept at the Čakovec
Franciscan Monastery, which dates from the early 18th cen-
tury (the original was destroyed by fire in 1699). Several
researchers have identified one of the Čakovec sculptures
as a portrait of Fran Krsto Frankopan II (Frangepán Ferenc
Kristóf; 1643–1671) (Fig. 1),13 the brother-in-law of Petar
Zrinski IV. Not having found the exact engraving or painting
that could have served as a model, they have based their claim 2. Frederik Bouttats the Younger, Portrait of Fran Krsto Frankopan
from a leaflet showing his and Petar Zrinski IV’s execution, 1671,
on physiognomic similarities between Frankopan’s known engraving
contemporary portraits (Fig. 2) and the Čakovec bust. The Frederik Bouttats Mlađi, Portret Frana Krste Frankopana s letka s
accuracy of this identification is disputed further in the text. prikazom pogubljenja njega i Petra IV. Zrinskoga, 1671., bakrorez

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3. Franz Leopold Schmittner, Portrait of King Louis I, “Corpus Juris Hungarici”, Trnava, 1751
Franz Leopold Schmittner, Portret kralja Ludovika I. Velikog, “Corpus Juris Hungarici”, Trnava, 1751.

There remain several busts whose identity has only been the Čakovec palace, Schneider concluded that the sculptures
proposed but not confirmed, and those that have not been must have been executed after Tollius’s visit. Furthermore, she
identified at all. The collection holds three sculptures that determined the year when the Zrinski Frankopan conspiracy
have been identified as possible portraits of Habsburg rul- (in Hungary also known as the Wesselényi conspiracy) was
ers: that of Ferdinand II (1578–1637) (Fig. 4), Ferdinand IV uncovered (1670) as the terminus ante quem since its unveil-
(1633–1654) (Fig. 6), and Leopold I (1640–1705).14 The iden- ing stigmatised the name of the Zrinski family and brought
tity of the first two is discussed further in the text. Among the about the end of its power and influence. If the collection
unidentified portraits are: the busts of two bearded men with was created sometime during the seventh decade of the 17th
long hair, one of whom is wearing a richly decorated cloak century, it could have been commissioned by either Nikola
(Fig. 8), and the other is holding a book with a seal (Fig. 10); VII or Petar Zrinski IV, who both resided at the Čakovec Old
a woman’s torso (Fig. 13); a torso of a Knight of the Order Castle Palace at that time. As Nikola ardently collected books,
of the Golden Fleece (Fig. 15); and a bust of a Hungarian coins, medals, engravings and paintings, the commissioning
nobleman, which has been shattered into several fragments.15 of a bust gallery of illustrious men—who were in great part his
contemporaries—would easily fit his art collector’s profile.19
Possible date of origin and commissioner The main problem with the thesis that the collection was
created sometime in the 17th century is that it lacks support
The pivotal point of the issue of the collection’s interpreta- in primary sources and archival documentation. The first
tion, which is also the one researchers most strongly disagree documents that record the busts’ existence—or at least the ones
on, is the date of its origin. So far, researchers have formed that have been found so far—are plans for reconstructing the
two opposing opinions: some believe the collection was main and inner-courtyard façades of the Čakovec Old Castle
commissioned by the Zrinski family during the second half Palace. The plans were commissioned in the early 1820s by
of the 17th century,16 while others claim it was commissioned László Festetics (Ladislav Feštetić; 1786–1846), the then owner
by the Festetics family in the first half of the 19th century.17 of the Čakovec estate, as a part of his project to renovate the
The fact that many busts in the collection were modelled on Old Castle complex.20 Executed by Carl Reiche, the plans show
the engravings executed by Elias Widemann made the first the busts placed on the façades (mainly) within niches between
researchers believe the collection was created around the the first- and second-floor windows (Fig. 17 and 18).21 Géza
middle of the 17th century. Using secondary historical sources Galavics first used these plans to argue that the sculptures
and information, Marijana Schneider first dated the collection were created in the first quarter of the 19th century, claiming
between 1660 and 1670.18 In determining the terminus post the commission fitted László Festetics’ role as the reviver and
quem, she used the travel writings of a 17th-century Dutch promoter of the Zrinski cult.22 According to Galavics, Festetics
philologist and explorer, Jacob Tollius (1633–1696), who visi- ordered the busts at the initial stage of his plan to renovate and
ted Nikola Zrinski VII at his palace in Čakovec in 1660. As redecorate the Old Castle Palace, which he ultimately had to
Tollius never mentioned the stone busts in his description of abandon due to financial problems.

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Original placement and possible creator of Croatia and Hungary, Roman and (almost exclusively
Another dilemma concerning the collection’s interpretation Habsburg) Holy Roman Emperors, military leaders, Hunnic
is the question of its original placement. So far researchers and Hungarian chieftains (from the 9th and 10th centuries),
have specified two possible options: first, that the busts illustrious men of the world (Europe and the ancient Near
originally adorned the façade of the Čakovec Old Castle East) and Hungarian history, and members of Croatian
Palace;23 and second, that they were placed in the Zverinjak and Hungarian noble families. Collections that contained
Park adjoining the palace.24 Hungarian royal portraits seldom included other types of
portraits. In contrast, portraits of Hunnic and Hungarian
The aforementioned plans of the palace’s main and courtyard military leaders, illustrious men and members of noble
façades go in favour of the thesis that the sculptures were families often appeared in the same collections.
originally meant to serve as architectural decoration. The fact
that the busts’ back sides have been left unfinished strength- Series decorating buildings’ interiors and exteriors have delib-
ens this thesis.25 Additionally, researchers who believe the erately not been discussed separately, because they derive from
collection was made during the 17th century use a com- the same conceptual and pictorial tradition. The discussion has
parative example of busts adorning the main façade of the been focused on portraits executed in sculpture, wall painting
Esterházy family residence in Eisenstadt (Croatian: Željezno, and easel painting. In the last group, the main focus was on
Hungarian: Kismarton) to further support their argumenta- portrait galleries that had been displayed at family castles and
tion.26 Commissioned by Pál Esterházy I (1653–1713) and had consisted of a substantial number of portraits. The paper
executed by a local master Hans Matthias Mayr in 1667, the does not discuss series that were executed in the (Grand)
Eisenstadt sculptures represent the Esterházy family’s gallery Principality of Transylvania (1571–1867).33
of ancestors, which contains the commissioner’s portraits and Portrait galleries that satisfy the abovementioned criteria can
that of his father alongside pseudo-portraits of Hungarian be roughly divided into the following groups:
forefathers.27 However, in literary descriptions and visual • Series that represent illustrious personages from ancient
images of the Čakovec Old Castle Palace dating from the and medieval times are successors of Italian uomini famosi
17th to the 19th century, there is no proof the façade was ever series. Two series of this kind were made in the Kingdom
decorated with any type of sculpture.28 of Hungary. One of them is the series of full-body portraits
On the other hand, according to a newspaper article from of illustrious men (mostly military leaders) and kings
the 1930s, the Čakovec busts were originally placed in a park from ancient and medieval history that was executed in
called Zverinjak (Croatian: zvijer, ‘beast’), which adjoined the sgraffito technique on the façade of Fričovce Castle
the palace.29 Since Zverinjak was primarily used as hunting (today in Slovakia, Hungarian: Frics).34 The other deco-
grounds, it is possible the author of the article confused it rates the walls of Bytča Castle’s arcaded courtyard (today
with Nikola Zrinski VII’s cultivated garden, in literature in Slovakia, Hungarian: Nagybiccse), and it comprises
sometimes referred to by its Italian variant, Giardino. Similar full-body portraits of leaders and legendary personages
to Zverinjak, Giardino was also located near the Old Castle from ancient Greece, Rome and Asia, medieval and early
Palace, and it was supposedly adorned with fountains and modern military commanders and rulers, Hungarian
sculptures.30 However, without any concrete proof either in kings, and members of Hungarian noble families.35
the shape of archival documents, visual material or detailed • By commissioning series of imperial portraits, noble
description, it is difficult to fully accept or discard this thesis. families pledged their loyalty to their elected (from
Although no account recording the name of the busts’ sculp- 1687 hereditary) monarchs, members of the House of
tor has been found so far, several researchers have made Habsburg. The bust series at Červený Kameň (today in
some assumptions concerning his possible origin. Some Slovakia, Hungarian: Vöröskő),36 the murals at Forchten-
have attributed the collection to a sculptor from Burgenland stein (today in Austria, Hungarian: Fraknó),37 as well as
(Croatian: Gradišće, Hungarian: Őrvidék or Várvidék) due the panel paintings at Pottendorf (today in Austria),38
to its connection with the busts from Eisenstadt,31 whereas Zvolen (today in Slovakia, Hungarian: Zólyom)39 and
others have attributed it to a sculptor from Styria (Croatian: Pécel40 all represented Habsburg monarchs—who were
Štajerska, Hungarian: Stájerország) because of the region’s also kings of the Kingdom of Croatia and Hungary—as
historical and artistic connections with continental Croatia.32 the successors of Roman and Holy Roman Emperors.
• Collections containing portraits of monarchs of the King-
dom of Hungary (from 1102 also of Croatia) were the re-
Tradition: Secular portrait series in the decoration of flexions of the Hungarian (Latin: hungarus) historical sense:
castles in the Kingdom of Croatia and Hungary (17th and royal portraits reminded the commissioners and spectators
18th Centuries) about the national constitution(alism), which originated in
the Middle Ages, and the Doctrine of the Holy Crown.41
In early modern interior and exterior decoration of castles Such series could be found at the castles Halič (today in
in the Kingdom of Croatia and Hungary, there were several Slovakia, Hungarian: Gács),42 Eisenstadt,43 Hlohovec (today
types of portrait collections representing secular person- in Slovakia, Hungarian: Galgóc),44 Gödöllő,45 Humenné
ages. These types often intermixed, and although only a few (today in Slovakia, Hungarian: Homonna),46 and Šestine.47
types were parallel in time, we can hardly find two that are • Series consisting of pseudo-portraits of Hunnic48 and
identical. Portraits usually depicted kings of the Kingdom Hungarian military leaders and chieftains were often

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used by members of particular noble families as proof of The book and its engravings had great success in the early
their family’s ancient origin, functioning almost as their modern period. The portraits of kings and military leaders
ancestral galleries. Tracing back their family’s privileges from Mausoleum were one of the most important models for
deep into the past and linking them with rulers who various portrait series decorating the walls of noblemen’s cas-
lived in the Middle Ages, noblemen often “found” their tles, such as the ones at Bytča and Eisenstadt (wall paintings)58
ancestors among the—legendary or real—Hungarian or at Hlohovec and Güssing (panel paintings).59
tribal chieftains.49 For example, the aforementioned
collection of sixteen stone busts placed on the façade of
Eisenstadt Castle was meant to show that the members of Corpus Juris Hungarici
the Esterházy family could trace their roots to the Hun- Almost a century after the publication of Mausoleum, an-
nic leader Örs.50 Apart from the Hunnic and Hungarian other printed series portraying the kings of the Kingdom
leaders, the panel painting collection at Güssing Castle of Hungary was published in Trnava (today in Slovakia;
(today in Austria, Hungarian: Németújvár) included Hungarian: Nagyszombat) in 1751. The engravings were
portraits of János Hunyadi (Croatian: Ivan Hunjadi; c. used as accompanying illustrations in the Corpus Juris
1407–1456) and Matthias Corvinus (Croatian: Matija Hungarici, a two-volume book of Hungarian laws consist-
Korvin; Hungarian: Hunyadi Mátyás; 1443–1490) as well ing of the Tripartitum—a summary of the common law of
as Pál Kinizsi (c. 1431–1494), a general in King Matthias’s the medieval Kingdom of Hungary completed by István
army, with which its commissioner—most probably Werbőczy (Stjepan Verboczy; c. 1458–1541)—and decrees
Kristóf Batthyány (1637–1685)—wanted to evoke the issued by various kings. In the volumes, half-length portraits
glorious time of the Hunyadi family.51 of Werbőczy and twenty-three law-making monarchs are
• There are two collections that are unique in comparison shown within cartouches, which are flanked by scenes from
to other series found in the territory of the Kingdom of their reign.60 The first royal portrait in the books is that of
Croatia and Hungary. The first one is the generals’ por- Stephen I (Croatian: Stjepan I.; Hungarian: I. István; c. 975–
trait gallery that used to decorate the hall of Sárvár Castle. 1038) (Fig. 9) and the last one is a portrait of Maria Theresa
Commissioned by Ferenc Nádasdy III (1623–1671) in (1717–1780). The engravings were executed by a Viennese
the middle of the 17th century, the collection consisted of artist, Franz Leopold Schmittner (Schmitner; 1703–1761),61
twenty canvases portraying (mostly) contemporary gen- who relied heavily on Mausoleum in modelling the faces
erals and two cardinals.52 The second one is the palatines’ and hairstyles of his monarchs.62 The only exception is the
gallery at Felsőhídvég (today: Kölesd, Hungary). Ignác portrait of Louis I (Croatian: Ludovik I. Veliki; Hungarian:
Hiemer, deputy-lieutenant of Fejér County, decorated I. Nagy Lajos; 1326–1382) (Fig. 3), which is rather different
the dining room of his castle with portraits of palatines to the one in Mausoleum.
of the Kingdom of Hungary in the 1780s. The palatines
are portrayed in medallions that run in four rows across The engravings from Corpus Juris were often used as models
the walls, but very few of them are still visible due to the for various collections containing portraits of Hungarian
bad state of the building.53 monarchs. From the aforementioned series, three of them
belong to this group: the surviving portraits from the royal
pavilion at Gödöllő Castle, the grisaille busts in the king’s
Engraved portrait series as models for the decoration of hall at Humenné Castle, and the Kulmer family easel paint-
castles in the Kingdom of Hungary: Mausoleum and Corpus ings from Šestine Castle.63 As will be discussed further in
Juris Hungarici – new identification of the Čakovec busts the text, it seems that to these examples we can also add the
Čakovec bust collection.
Mausoleum Corpus Juris portraits can be used to confirm and newly
Between 1615 and 1632 Lőrinc Ferenczffy (1577–1640), sec- establish the identity of seven busts from the Čakovec mu-
retary of the Hungarian Court Chancellery, commissioned an seum. Two of them have already been mentioned as possible
engraved portrait series of Hunnic and Hungarian military imperial Habsburg portraits. One is the bust of Emperor
leaders and kings,54 which was executed by Aegidius Sadeler Ferdinand II (Fig. 4),64 which shares great similarities with
(c. 1570–1629) and his pupils. Ferenczffy’s intention was to the Emperor’s portrait in Corpus Juris (Fig. 5) in both physio-
publish a book about Hungarian history. He requested Elias gnomy (elongated face, high forehead, receding hairline) and
Berger (Berger Illés; 1562–1644), a historiographer at the garment (drapery strewn over the shoulders, starched ruff).
court of King Matthias II (1557–1619), to write the text, but as The other is the bust that had been previously identified as
Berger never finished his work, the book was not published.55 a possible portrait of Emperor Ferdinand IV (Fig. 6).65 This
However, the engravings were ready in 1632, when their sculpture most probably represents King Matthias Corvinus
sample prints were produced in Vienna.56 Not much later the as it shares a lot of similarities with the King’s portrait from
copper plates were acquired by Ferenc Nádasdy III, iudex cu- Corpus Juris (Fig. 7) (protruding chin, high cheekbones, curly
riae (Latin, ‘judge of court’) of the Kingdom of Hungary, who locks of hair, high collar worn below the armour). Even the
hired Nicola Avancini (Nicolaus von Avancini; 1611–1686) decorative pattern on the bust’s breastplate corresponds to
to write accompanying Latin epigraphs (also translated into the one on Matthias’s portrait. The only difference lies in
German) and published them in Nuremberg in 1664 under the the pose (in the engraving Matthias is shown in half-profile
title Mausoleum potentissimorum ac gloriosissimorum Regni with his body twisted in the other direction, whereas the bust
Apostolici Regum et primorum militantis Ungariae Ducum.57 is sculpted in a strict frontal posture) and the motif of the

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4. Bust of King Ferdinand II, 1820s (?), sandstone, Čakovec, Museum 6. Bust of King Matthias Corvinus (formerly identified as Ferdinand
of Međimurje IV), 1820s (?), sandstone, Čakovec, Museum of Međimurje
Poprsje kralja Ferdinanda II., 1820-e (?), pješčenjak, Čakovec, Muzej Poprsje kralja Matije Korvina (prethodno identificirano kao portret
Međimurja Ferdinanda IV.), 1820-e (?), pješčenjak, Čakovec, Muzej Međimurja

5. Franz Leopold Schmittner, Portrait of King Ferdinand II, “Corpus 7. Franz Leopold Schmittner, Portrait of King Matthias Corvinus,
Juris Hungarici”, Trnava, 1751 “Corpus Juris Hungarici”, Trnava, 1751
Franz Leopold Schmittner, Portret kralja Ferdinanda II., “Corpus Juris Franz Leopold Schmittner, Portret kralja Matije Korvina, “Corpus Juris
Hungarici”, Trnava, 1751. Hungarici”, Trnava, 1751.

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8. Bust of King Stephen I, 1820s (?), sandstone, Čakovec, Museum 9. Franz Leopold Schmittner, Portrait of King Stephen I, “Corpus Juris
of Međimurje Hungarici”, Trnava, 1751
Poprsje kralja Stjepana I., 1820-e (?), pješčenjak, Čakovec, Muzej Franz Leopold Schmittner, Portret kralja Stjepana I., “Corpus Juris
Međimurja Hungarici”, Trnava, 1751.

crown (in the engraved portrait the king is shown wearing

a crown, which is missing in the sculpture).
There is another bust whose formerly proposed identity can
be disputed on the basis of a comparison with the engravings
from Corpus Juris. The bust in question is the one that has so
far been identified as the portrait of Fran Krsto Frankopan
(Fig. 1).66 It is highly likely that the sculpture actually repre-
sents King Louis I since it is very similar to Louis’s portrait in
Corpus Juris (Fig. 3), not only in physiognomy—as is the case
with Fran Krsto Frankopan (Fig. 2)—but also in garment. In
both the engraving and the sculpture, the subject is clad in
armour with a fur cloak draped around his shoulders held
together with a clasp. It is quite interesting that the subject is
represented in armour as this practice was most often used
by members of ruling families, who wanted to evoke Roman
imperial portraits in this fashion.67 Consequently, it seems
more likely that a king, such as Louis I, would be portrayed
in armour rather than a member of nobility, i.e. Fran Krsto
Frankopan, who was actually less influential than other dis-
tinguished men represented in the collection, such as Nikola
and Petar Zrinski, György Lippay or Pál Pálffy, who are all
portrayed wearing dolmans and pelisses.
There remain four busts in the collection that have not been
identified so far. The bust of a bearded man with long hair
draped in a richly ornamented cloak (Fig. 8)68 is actually a 10. Bust of King Andrew II, 1820s (?), sandstone, Čakovec, Museum
portrait of King Stephen I, which is identical to the saint’s of Međimurje
portrait in Corpus Juris (Fig. 9). The sculptor followed the Poprsje kralja Andrije II., 1820-e (?), pješčenjak, Čakovec, Muzej
engraving to such an extent that he even copied the same Međimurja

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11. Franz Leopold Schmittner, Portrait of King Andrew II, “Corpus 12. Portrait of King Andrew II, 1810s, pencil and ink, Budapest, Na-
Juris Hungarici”, Trnava, 1751 tional Széchényi Library
Franz Leopold Schmittner, Portret kralja Andrije II., “Corpus Juris Portret kralja Andrije II., 1810-e, olovka i pero, Budimpešta, Nacio-
Hungarici”, Trnava, 1751. nalna knjižnica Széchényi

pattern on the cloak and the arrangement of decorative gems The remaining two busts that can be identified with the help
on its straps. The bust of a man holding a book with a seal of Corpus Juris have been preserved only fragmentarily and
(Fig. 10)69 represents a portrait of King Andrew II (Croatian: are kept in the museum’s storeroom. The first one is a female
Andrija II.; Hungarian: II. András; c. 1177–1235). Its appear- torso (Fig. 13).70 Although its head is missing, the details on
ance corresponds to the engraved portrait in Corpus Juris (Fig. the dress are extremely elaborate, and they match the ones
11): both men are depicted with long hair, a moustache and
a beard; they have a protruding chin; they are dressed in a
buttoned-up dolman; and they wear a chain necklace with a
pendant around their necks. However, there are a few differ-
ences, namely their pose and the motifs of a book and a crown.
In the engraving, the king is shown in profile, whereas the bust
is in full en face position. The sculpture is missing a crown, but
it has an addition of a book with a seal. It is possible that the
book represents the Golden Bull (1222) Andrew II was forced
to issue, which became one of the fundamental Hungarian
laws. The book motif does appear in another portrait of King
Andrew II (Fig. 12). The portrait in question is a drawing
from the Festetics family collection that used to be stored at
their library in Keszthely. But even in this portrait Andrew
II is depicted with a crown, which poses the question of why
none of the kings in the Čakovec collection (Andrew II, Louis
I and Matthias Corvinus) have been sculpted wearing a crown,
even though the crowns are present in the engravings the busts
have been modelled upon. If we accept the presumption that
the busts were meant to be installed on the Čakovec Palace
13. Torso of Queen Maria, 1820s (?), sandstone, Čakovec, Museum
façade walls, it is possible the sculptures were made without of Međimurje
the crowns so that all of the busts would be equal in size and Torzo kraljice Marije, 1820-e (?), pješčenjak, Čakovec, Muzej Međi-
thus more easily fitted into the niches. murja

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14. Franz Leopold Schmittner, Portrait of Queen Maria, “Corpus Juris 16. Franz Leopold Schmittner, Portrait of King Ferdinand I, “Corpus
Hungarici”, Trnava, 1751 Juris Hungarici”, Trnava, 1751
Franz Leopold Schmittner, Portret kraljice Marije, “Corpus Juris Franz Leopold Schmittner, Portret kralja Ferdinanda I., “Corpus Juris
Hungarici”, Trnava, 1751. Hungarici”, Trnava, 1751.

on the portrait of Queen Maria (Hungarian: I. Mária; 1371– It is possible it represented King Ferdinand I (1503–1564) as
1395) (Fig. 14). She was the daughter of the aforementioned the type of armour and Order’s chain correspond to the ones
Louis I, and is—alongside Maria Theresa—one of two female on Ferdinand’s portrait in Corpus Juris (Fig. 16).
regents represented in Corpus Juris. The other bust is the
As was discussed above, Schmittner’s engravings from
torso of a Knight of the Order of the Golden Fleece (Fig. 15).
Corpus Juris were used as a model for almost one fourth of
the Čakovec bust collection (at least seven out of possible
twenty-five sculptures).71 This fact obliges us to consider a
new terminus post quem of its commission, and that is the
year when Corpus Juris with Schmittner’s engravings was first
published—1751. However, the style of the sculptures does
not quite coincide with the vivacity and impetuosity of the
late Baroque and Rococo art of that period. The busts’ qui-
escent yet very detailed form is more characteristic of works
created at the beginning of the 19th century. This timeframe
coincides with the already mentioned plans of the Festetics
family to renovate the Old Castle Palace, to which we will
direct our attention next.

The Festetics family in Čakovec

In 1791, György Festetics (Juraj Feštetić; 1755–1819) pur-

chased the Čakovec estate from the Althanns, who held it
in their possession for more than 70 years (1720–1791).72
15. Torso of King Ferdinand I (?), 1820s (?), sandstone, Čakovec,
Museum of Međimurje Not long after the acquisition, Festetics hired one of his
Torzo kralja Ferdinanda I. (?),1820-e (?), pješčenjak, Čakovec, Muzej architects, József Lippay, to survey the Old Castle Palace
Međimurja in 1796/97. Lippay made several plans (today stored at the

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17. Carl Reiche, Alteration plan of two façades of the castle’s courtyard, around 1822,
Budapest, National Archives of Hungary, T3 No. 408
Carl Reiche, Nacrt za preoblikovanje dvaju dvorišnih pročelja dvorca, oko 1822.,
Budimpešta, Mađarski državni arhiv, T3 No. 408

18. Carl Reiche, Alteration plan of the eastern façade of the castle’s courtyard, around
1822, Budapest, National Archives of Hungary, T3 No. 411
Carl Reiche, Nacrt za preoblikovanje istočnog dvorišnog pročelja dvorca, oko 1822.,
Budimpešta, Mađarski državni arhiv, T3 No. 411

National Archives of Hungary in Budapest) that document main and inner-courtyard façades.75 It is ascertainable from
the room layout of all four palace floors.73 the plans that the architect (and the commissioner) did not
plan to transform the building’s structure, but to simply give
it a new look using squaring as well as sculptural and stucco
Alteration plans for the palace façades (1822) decoration. Reiche’s neo-gothic and neo-classical plans differ
After György’s death, his son László (Ladislav Feštetić; 1785– due to the distinct intended styles, but they do have one thing
1846) inherited all the family estates, including Čakovec in common: in every drawing, there is a niche between the
Old Castle. At the beginning of the 1820s, he planned to first- and second-floor windows with a bust inside (Fig. 17).
transform the palace façades. In the Festetics family archives, The busts are also shown in one of Reiche’s survey drawings
nine survey drawings have been preserved that testify to his of the courtyard façade with a slight difference: the busts are
endeavour. Four plans were signed by János Szajdensvartz and placed on consoles between the first-floor windows (Fig. 18).76
five by Carl Reiche.74 Reiche made an additional eleven plans Reiche’s plans show how many sculptures were needed for
for the neo-gothic and neo-classical transformation of the the intended renovation: fifteen for the main façade and

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twenty-two for the courtyard facades (ten for the southern

and northern walls, and twelve for the eastern and western
walls). This means that thirty-seven busts should have been
commissioned altogether. However, there is a possibility
that there were plans to adorn the remaining outer façades
with busts as well, which would bring one to a grand total of
sixty-nine sculptures (the remaining outer façades have nine,
thirteen and ten window axes). Marijana Schneider published
a record of a meeting held at the Society for Yugoslavian His-
tory and Antiquities (“Društvo za jugoslavensku povjestnicu
i starine”) in 1852, according to which there were eighty-five
stone busts stored away at Čakovec Old Castle.77 Without
any concrete evidence, it is difficult to prove that there were
originally so many sculptures. However, if this is true, one
cannot but wonder what happened to the remaining busts.

Maintaining the memory of national history in the art

patronage of László Festetics
László Festetics was the only son of György Festetics, one of the
most prominent figures of the Hungarian Enlightenment and
the founder of Georgicon (1797), the oldest regular institution
of agricultural higher education in Europe. László was educated
by the writers and scholars József Péteri Takáts (1767–1821) and
István Kultsár (1760–1828). His father and preceptors believed
it was important for him to know the Hungarian language
perfectly as well as the history and contemporary situation
in the country. From 1799 to 1803, László studied law and
philosophy at the University of Pest (today Budapest). In 1811
he married Princess Josephine von Hohenzollern-Hechingen 19. Anton Dietrich, King Stephen I, 1829, Simaság, Saint Mary Mag-
(1791–1856), with whom he lived in Vienna. Maintaining an dalene Church
aristocratic lifestyle in the imperial city cost huge amounts of Anton Dietrich, Kralj Stjepan I., 1829., Simaság, crkva svete Marije
money—even greater than one of the wealthiest families in Magdalene
Hungary, the Festetics, could afford.78 After the death of his
father, László spent even more money. He had ambitious plans
for renovating family residences. As he was not able to estimate
sioned full-body statues of two medieval Hungarian kings,
the financial consequences of his unlimited spending (the same
was true of his art patronage), by the 1820s he had already got- King Stephen I (Fig. 19) and Ladislaus I (Croatian: Ladislav
ten into debt, and his properties were sequestrated in 1828.79 I.; Hungarian: I. László), which stand in front of the Saint
Mary Magdalene Church in Simaság (today in Hungary).
László Festetics played an important role in the revival of The sculptures were executed in 1829 by a Viennese sculptor,
the cult of the Zrinski family, particularly one of its mem- Anton Dietrich (1799–1872), a pupil of Josef Klieber.83 The
bers, Nikola Zrinski IV (Zrínyi IV. Miklós; 1508–1566), the style of the sculptures is very similar to that of the Čakovec
“hero of Szigetvár”. As a child, during one of his trips with busts: their form is rather closed, the kings stand in strict
his tutor Takáts (1797), László saw the fresco painted across frontal stature, the drapery is modelled flatly, and clothing
the dome of the parish church in Szigetvár, which shows the
and attributes are executed with extreme detail. Even the
last heroic charge of Szigetvár’s defenders from the fort and
locks of hair and eyes are carved in a similar fashion. The
the death of Nikola Zrinski.80 Later, as the owner of former
Zrinski estates, László felt responsible for revitalising the similarity in form between Dietrich’s sculptures and the
cult of his great “predecessor”, and he wanted to achieve Čakovec busts does not mean that one should immediately
this by commissioning works of art that depicted Nikola’s identify Dietrich as a possible creator of the Čakovec collec-
life. He commissioned the Viennese painter Johann Peter tion, but it certainly reinforces the notion that both groups
Krafft (1780–1856) to paint a portrait of the hero of Szigetvár were made around the same time.
(1820), after which Carl Heinrich Rahl (1779–1843) made an Apart from the planned Čakovec Old Castle restoration, the
engraving.81 László also wanted to build a memorial fountain revival of the Zrinski cult and the Simaság sculptures, there
in Zrinski’s honour, which would be erected in the English is one more link connecting the Festetics family with the
landscape garden of the Keszthely castle. The Austrian sculp- Čakovec collection, and that is the aforementioned portraits
tor Josef Klieber (1773–1850) sent plans for the fountain drawn in pencil and ink. The drawings were originally kept at
to László in 1820 and 1821,82 but the plan was abandoned. the Festetics family library in Keszthely (today Helikon Könyv-
In his (historical) art patronage, László did not only order tár), but they were moved to the National Széchényi Library
works connected with the Zrinski family. He also commis- in Budapest (Országos Széchényi Könyvtár) after the Second

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World War. The series contains ninety-three half-length por- later Croatian) kings modelled on Franz Leopold Schmittner’s
traits of kings of the Kingdom of Hungary and early modern engravings from Corpus Juris Hungarici. As Schmittner’s
dignitaries.84 The portraits of István Werbőczy and twenty-two engravings were first published in 1751, the theory that the
monarchs (from Stephen I to Charles III) were modelled on busts were commissioned in the 1820s by László Festetics as a
Schmittner’s engravings from Corpus Juris (Fig. 13), whereas part of his project to renovate Čakovec Old Castle seems more
the portraits of sixty-eight dignitaries were modelled on probable. In his art patronage, Festetics wanted to maintain
Widemann’s work. It is not known when the drawings were the memory of national history, and a collection containing
executed, but an estimate can be made. The last royal portrait portraits of historical figures such as the one in Čakovec would
is that of Francis I, who is shown without a peruke. This type of easily fit his art collector’s profile. Festetics was known for
portrait spread in the 1810s, which places the drawings around his attempt at reviving the history of the Zrinski family, and
that period. Taking this into consideration, the series was most what better way to do it than by ordering portraits of some of
probably commissioned by either György or László Festetics. its last members and their contemporaries, who belonged to
In addition to the fact that both collections were based on the Croatian and Hungarian elite of the 17th century, and use
Widemann and Schmittner’s work, the connection between them to decorate the façade of one of the former Zrinski family
residences? At the same time, by incorporating the portraits
the Festetics drawings and the Čakovec busts is reinforced by
of Croatian and Hungarian kings into the collection, he could
the fact that King Andrew II is portrayed with a book in both
reinforce the notion of national identity and legitimacy of the
collections (Fig. 10 and 12), whereas the book is not present
depicted monarchs’ rule. Such an interpretation would place
in Schmittner’s engraving (Fig. 11).
the Čakovec stone bust collection at the end of the pictorial
To recapitulate, apart from the portraits of seventeenth-century tradition (and at the beginning of the early nationalist tradition)
dignitaries based on Elias Widemann’s engravings, the Čakovec of using secular portrait series in the residential decoration of
stone bust collection also holds portraits of Hungarian (and the nobility, presented earlier in the paper.

Notes

1 5
It is difficult to estimate the exact number of busts because some Sandstone, 40 × 36 × 30 cm, Muzej Međimurja Čakovec (dalje:
have been preserved only fragmentarily. Some pieces are so small MMČ) 6020. See: MAJA ŽVORC, Portretna poprsja iz Muzeja
that it is impossible to discern whether they originally constituted Međimurja u Čakovcu, Zagreb, 2014, 34–35.
one or more busts. The sixteen sculptures that have been preserved
best are exhibited in the museum’s lapidarium, while fragments of 6
at least eight more busts are stored in the museum’s storerooms. Sandstone, 80 × 86 × 27 cm, MMČ 6012. See: LIDIJA PLAVEC
On the basis of the museum’s documentary photographs dating BUTKOVIĆ, Kamena poprsja velikaša, in: Lapidarij. Muzej
from the 1930s, there used to be at least one more bust, which has Međimurja Čakovec, (ed.) Ljubica Ramušćak, Čakovec, 1996,
been lost today. When the numbers are added together (16+8+1), 7–14, 7–8; MARIJANA SCHNEIDER, Zrinski i Frankopani u
they give a minimum of twenty-five sculptures. likovnoj umjetnosti, in: Historijski zbornik, 25–26 (1972–1973),
251–271, 256; MAJA ŽVORC (note 5), 14–17.
2
ULRICH THIEME and FELIX BECKER, Allgemeines Lexikon der 7
bildenden Künstler von der Antike bis zur Gegenwart, Bd. 35–36, Sandstone, 83 × 71 × 32 cm, MMČ 6011. – LIDIJA PLAVEC
München, 1992, 325. BUTKOVIĆ (note 6), 12; MAJA ŽVORC (note 5), 28–29.
3 8
ENIKŐ BUZÁSI, Nádasdy Ferenc pottendorfi galériájának Sandstone, 32 × 45 × 30 cm, MMČ 8558. – MAJA ŽVORC (note
fennmaradt arcképei és a Widemann-portrésorozatok, in: 5), 36–37.
Művészettörténeti Értesítő, 50 (2001), 15–30; GIZELLA CEN- 9
NERNÉ WILHELMB, Über die ungarischen Porträtfolgen von Bust of Ferenc Forgách, sandstone, 77 × 84 × 27 cm, MMČ 7417.
Elias Wideman, in: Acta Historiae Artium, 4 (1957), 325–347; – MARIJANA SCHNEIDER (note 6), 256; MAJA ŽVORC (note
MÁTYÁS GÖDÖLLE, Elias Wideman portrésorozatai, in: Má- 5), 18–19; Bust of Miklós Nadány, sandstone, 85 × 70 × 34 cm,
tyás király öröksége. Késő reneszánsz művészet Magyarországon. MMČ 6002. – MARIJANA SCHNEIDER (note 6), 256; MAJA
(16–17. század), exhibition catalogue, (eds.) Árpád Mikó and ŽVORC (note 5), 20–21; Bust of György Illésházy, sandstone,
Mária Verő, Budapest, 2008, 284–285; GYÖRGY RÓZSA, Elias 73 × 84 × 28 cm, MMČ 6005. – LIDIJA PLAVEC BUTKOVIĆ
Wideman rézmetszet-sorozata és a wesztfáliai béke. Adatok a 17.
(note 6), 9; MAJA ŽVORC (note 5), 22–23; Bust of János Héder-
századi Magyar portréfestészet történetéhez, in: Művészettörténeti
váry, sandstone, 74 × 87 × 29 cm, MMČ 6007. – LIDIJA PLAVEC
Értesítő, 55 (2006), 259–274.
BUTKOVIĆ (note 6), 10; MAJA ŽVORC (note 5), 24–25; Bust of
4 István Palásthy, sandstone, 90 × 50 × 33 cm, MMČ 6006. – MAJA
The series was given its name later by historians. A facsimile ŽVORC (note 5), 26–27; Bust of András Izdenczy, sandstone,
edition is available: ELIAS WIDEMAN, Icones illustrium heroum 80 × 89 × 34 cm, MMČ 6015. – LIDIJA PLAVEC BUTKOVIĆ
Hungariae, (ed.) Ágnes W. Salgó, Budapest, 2004. (note 6), 13; MAJA ŽVORC (note 5), 30–31; Bust of Zsigmond

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Lónyay, sandstone, 80 × 88 × 28 cm, MMČ 6009. – MAJA ŽVORC 19

(note 5), 32–33. ŽARKA VUJIĆ, Baštinski svijet Nikole Zrinskoga u Čakovcu, in:
Zrinski i Europa, (ed.) Jadranka Damjanov, Zagreb, 2000, 12–45;
10
ŽARKA VUJIĆ, Europskim putovima razasute baštine Nikole
The 1930s photographs documenting the bust’s appearance are Zrinskoga, in: Zrinski i Europa 2, (ed.) Jadranka Damjanov, Za-
kept at the Museum of Međimurje’s archive and Schneider’s Photo greb, 2003, 20–47; MAJA ŽVORC (note 5), 66–67.
Archive of the Croatian Academy of Sciences and Arts (Zagreb,
Fototeka Strossmayerove galerije starih majstora Hrvatske aka- 20
demije znanosti i umjetnosti, no. 2054). ISTVÁN BIBÓ, Európai hatások és helyi fejlődés az 1800 körü-
li Magyar építészetben, in: Építés–Építészettudomány, IV/1–2
11
(1972), 125–164, 158–159; GÉZA GALAVICS (note 17), 133–134;
MAJA ŽVORC (note 5), 38.
DÉNES KOMÁRIK, A korai gótizálás Magyarországon, in:
12 Művészet és felvilágosodás. Művészettörténeti tanulmányok, (eds.)
Sandstone, 80 × 74 × 28 cm, MMČ 6014. – MAJA ŽVORC (note Anna Zádor and Hedvig Szabolcsi, Budapest, 1978, 209–300, 295;
5), 43–45. IVY LENTIĆ KUGLI, Nekoliko planova Staroga grada u Čakovcu,
in: Vijesti muzealaca i konzervatora Hrvatske, 1 (1978), 23–31;
13 PETAR PUHMAJER (note 17), 39–41.
Sandstone, 75 × 78 × 33 cm, MMČ 6013. – LIDIJA PLAVEC
BUTKOVIĆ (note 6), 7; MARIJANA SCHNEIDER (note 6), 256; 21
MAJA ŽVORC (note 5), 40–42. Budapest, Magyar Nemzeti Levéltár Országos Levéltára (abbrevi-
ated: MNL OL), T3, No. 400–409, 411, 413.
14
Bust of Ferdinand II, sandstone, 72 × 80 × 30 cm, MMČ 6003. – 22
MAJA ŽVORC (note 5), 46–47, 50; Bust of King Matthias Corvinus GÉZA GALAVICS (note 17), 134.
(formerly identified as Ferdinand IV), sandstone, 78 × 80 × 35 cm,
23
MMČ 6004. – MAJA ŽVORC (note 5), 49–50; Bust of Leopold I,
sandstone, 81 × 79 × 34 cm, MMČ 6018. – MAJA ŽVORC (note DORIS BARIČEVIĆ (note 16, 2003), 623; ANĐELA HORVAT
5), 48, 50–51. (note 16), 29; LJUBICA RAMUŠĆAK, Lapidarij (zbirka kamenih
spomenika) iz fundusa Muzeja Međimurja, in: Lapidarij. Muzej
15 Međimurja Čakovec, (ed.) Ljubica Ramušćak, Čakovec, 1996, 1;
Bust of King Stephen I (formerly unidentified), sandstone, MARIJANA SCHNEIDER (note 6), 257; NELA TARBUK (note
82 × 66 × 30 cm, MMČ 6008. – MAJA ŽVORC (note 5), 52–53; Bust 16), 128.
of King Andrew II (formerly unidentified), sandstone, 78 × 77 × 33
cm, MMČ 6010. – MAJA ŽVORC (note 5), 54–55; Torso of Queen 24
Maria (formerly unidentified), sandstone, 49 × 67 × 37 cm, MMČ JOSO (?), Hoće li grad Zrinskih u Čakovcu biti sravnjen sa
6016. – MAJA ŽVORC (note 5), 56; Torso of King Ferdinand I (?), zemljom, in: Novosti, 18 November 1932, 7; ANĐELA HORVAT
sandstone, 25 × 52 × 15 cm, MMČ 5998. – MAJA ŽVORC (note (note 16), 29, footnote 75; LJUBICA RAMUŠĆAK (note 23), 1;
5), 56. Only the front part of the torso has been preserved, which MARIJANA SCHNEIDER (note 6), 257.
shows parts of armour and the chain of the Order of the Golden 25
Fleece; Bust of unidentified Hungarian nobleman, sandstone, LJUBICA RAMUŠĆAK (note 23), 1; MAJA ŽVORC (note 5),
first fragment: 15 × 70 × 40 cm, MMČ 6017; second fragment: 10, 76.
30 × 29 × 26 cm, MMČ 6019. – MAJA ŽVORC (note 5), 56.
26
16 ANĐELA HORVAT (note 16), 29; MARIJANA SCHNEIDER
DORIS BARIČEVIĆ, Barokno kiparstvo sjeverne Hrvatske, in: (note 6), 257; LJUBICA RAMUŠĆAK (note 23), 1.
Hrvatska i Europa: kultura, znanost i umjetnost. Sv. III., Barok i
prosvjetiteljstvo (XVII – XVIII stoljeće), (ed.) Ivan Golub, Zagreb, 27
2003, 619–635, 623; DORIS BARIČEVIĆ, Barokno kiparstvo sje- The collection contains portraits of Hunnic and Hungarian chief-
verne Hrvatske, Zagreb, 2008, 75; ANĐELA HORVAT, Spomenici tains, grand princes and military leaders (Keve, Kadicsa, Keme,
arhitekture i likovnih umjetnosti u Međimurju, Zagreb, 1956, 29; Béla, Buda, Attila, Álmos, Árpád, Szabolcs, Gyula, Kund, Zoltán,
LIDIJA PLAVEC BUTKOVIĆ (note 6), 7–14; MARIJANA SCH- Lehel, Vérbulcsú, Örs, and Géza), as well as the portraits of Pál
NEIDER (note 6), 256; MARIJANA SCHNEIDER, Historijsko and Miklós Esterházy. – GÉZA GALAVICS, A mecénás Esterházy
slikarstvo u Hrvatskoj, Zagreb, 1969, 28; NELA TARBUK, Kipar- Pál. (Vázlat egy pályaképhez), in: Művészettörténeti Értesítő, 37
stvo 17. i 18. stoljeća u sjevernoj Hrvatskoj, in: Od svagdana do (1988), 136–161, 143; GÉZA GALAVICS, Fürst Paul Esterházy
blagdana. Barok u Hrvatskoj = From Everyday to Holidays. Baroque (1635–1713) als Mäzen. Skizzen zu einer Laufbahn, in: Wiener
in Croatia, (ed.) Vladimir Maleković, Zagreb, 1993, 122–131, 128. Jahrbuch für Kunstgeschichte, 45 (1992), 121–141, 126–128.
17 28
GÉZA GALAVICS, Kult Zrinskih i likovna prezentacija – od MAJA ŽVORC (note 5), 76–78.
obiteljskog mecenastva do novog tipa javnosti, in: Hrvatska/ 29
Mađarska/Europa. Stoljetne likovno-umjetničke veze = Hor- JOSO (?) (note 24), 7.
vátország/Magyarország/Európa. Évszázados képzőművészeti
kapcsolatok. Magyar-horvát művészettörténeti szimpózion, (ed.) 30
Jadranka Damjanov, Zagreb, 2000, 126–138, 134; PETAR PUH- KÁROLY ZRÍNYI, Monografija grada Čakovca: povijest dvorca i
MAJER, Čakovec: Stari grad – Novi dvor: povijesno-umjetnička grada, popis stanovništva iz 1901., Čakovec, 2005, 59–60.
studija, Zagreb, 2006, 41.
31
18 DORIS BARIČEVIĆ (note 16, 2008), 57; MARIJANA SCHNEI-
MARIJANA SCHNEIDER (note 6), 257. DER (note 6), 257.

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32 of a preserved contract. – JÓZSEF LÁNGI, A péceli Ráday-kastély

LIDIJA PLAVEC BUTKOVIĆ (note 6), 8–19. falképei, in: Aranyidők a péceli Ráday-kastélyban, (eds.) Ágnes Berecz
and József Lángi, Budapest, 2003, 71–114, 100–104.
33
On the Transylvanian series: GIZELLA CENNERNÉ WIL- 41
HELMB, Erdélyi fejedelmi arcképsorozatok, in: Magyarországi The doctrine was first articulated by István Werbőczy and was later
reneszánsz és barokk. Művészettörténeti tanulmányok, (ed.) Géza elaborated by Péter Révay, a Crown Guard, in his works Commentarius
Galavics, Budapest, 1975, 279–312. De Sacra Regni Hungariae Corona (Augsburg, 1613) and De monarchia
et Sacra Corona Regni Hungariae (Frankfurt, 1659). At the core of this
34
doctrine was the notion that the crown itself had personhood, and that
Executed in the 1620s, the portraits are located in the blind ar- as a legal entity it was equal to the state of Hungary. It was superior to
cades of the building’s battlements. Apart from historical figures, the ruling monarch, who ruled “in the name of the crown”.
the series included allegorical, biblical and mythological figures.
– ÁRPÁD MIKÓ and MÁRIA VERŐ (eds.), Mátyás király örök- 42
sége. Késő reneszánsz művészet Magyarországon. (16–17. század), The fresco portraits of Hungarian kings at Halič Castle have been
exhibition catalogue, Budapest, 2008, 217–218, VII–38. heavily damaged, and today only a few of them can be identified
with the help of accompanying inscriptions. It is believed the
35 frescoes were made in the first half of the 17th century when the
The series was presumably made in 1720/21, when the castle was castle was in the possession of Zsigmond Forgách, the palatine of
in the possession of the Esterházy family. – GYÖRGY RÓZSA, the Kingdom of Hungary, and his son Ádám. – GÉZA GALAVICS,
Beiträge zur Entstehungsgeschichte der Wandmalereien von Schloß Hagyomány és aktualitás a magyarországi barokk művészetben –
Nagybiccse (Bytča), in: Acta Historiae Artium, 15 (1969), 281–292; XVII. század (A barokk képzőművészeti tematika helyi elemei),
GYÖRGY RÓZSA, Magyar történetábrázolás a 17. században, Bu- in: Magyarországi reneszánsz és barokk. Művészettörténeti tanul-
dapest, 1973, 60–68; ÁRPÁD MIKÓ and KATALIN SINKÓ (eds.), mányok, (ed.) Géza Galavics, Budapest, 1975, 231–277, 239–240;
Történelem–kép. Szemelvények múlt és művészet kapcsolatából Mag- GYÖRGY RÓZSA (note 35, 1973), Appendix 3, footnote 25 (156).
yarországon, exhibition catalogue, Budapest, 2000, 390–391, VI–25.
43
36 Between 1670 and 1690, Pál Esterházy hired the Northern Italian
The busts were placed in the niches of the upstairs great entrance painter Carpoforo Tencalla and his workshop to paint the walls
hall, and they represented Roman monarchs, dukes, archdukes, of his Eisenstadt Castle great hall with forty grisaille portraits of
and Holy Roman emperors of the House of Habsburg. The series Hunnic and Hungarian military leaders and kings. The portraits
was commissioned in 1654 by Miklós Pálffy IV, and was made were executed after the engravings of the Mausoleum (with some
by a sculptor active in Wiener Neustadt, David Weiss. – INGRID alterations). – GÉZA GALAVICS, Hol keressük a Hesperidák
ŠTIBRANÁ, Rodová portrétna galéria a umelecké zbierky Pálffyo- kertjének földi mását? Esterházy Pál és a festő Carpoforo Ten-
vcov na Červenom kameni, Trnava, 2013, 147–153. calla „vitája” és a folytatás a kismartoni Esterházy-rezidencia
37 dísztermének mennyezetképén (1674), in: Művészet és mesterség.
The courtyard walls were decorated with portraits of Roman Tisztelgő kötet R. Várkonyi Ágnes emlékére, (eds.) Ildikó Horn et
and Holy Roman emperors. The series was commissioned by Pál al., Budapest, 2016, 279–362, 349–354.
Esterházy in the 1680s. – KARL GRUBER, Der Innenhof von Burg 44
Forchtenstein als Ausdruck der barocken Adelsrepräsentation des The walls of the Hlohovec Castle guest hall were adorned with
Hauses Esterházy, Diplomarbeit, Universität Wien, Handschrift, a series of panel paintings that depicted Hunnic and Hungarian
2006. military leaders, chieftains and kings of the Kingdom of Hungary.
38 The commissioner could have been either György Erdődy or his
At Pottendorf Castle, which was purchased by Ferenc Nádasdy son János. – ORSOLYA BUBRYÁK, Családtörténet és reprezen-
III in 1660, there were originally more portraits than what has táció. A galgóci Erdődy-várkastély gyűjteményei, Budapest, 2013,
been preserved today. Parts of the collection were modelled on 242–244, pictures 126a–126b and plate XVIII.
Titian’s canvases depicting “the first twelve Roman emperors”, 45
which were commissioned by Federico Gonzaga II and later Situated in the garden of Gödöllő Castle, the interior of the
became well-known across Europe through the engravings of so-called royal pavilion was once decorated with fifty-four oil
Aegidius Sadeler. – ENIKŐ BUZÁSI, Nádasdy Ferenc országbíró portraits of kings of the Kingdom of Hungary. The paintings were
rezidenciáinak festészeti berendezéséről. Számok és következtetések, commissioned by Antal Grassalkovich in the 1760s, and only three
in: Századok, 144 (2010), 895–931, 917–918. pieces of the original Baroque collection have been preserved.
39
– ÁRPÁD MIKÓ and KATALIN SINKÓ (note 35), 394, VI–28.
The series of seventy-eight panel paintings (oil on wood) portray- 46
ing Roman and Holy Roman Emperors, which once decorated Commissioned by István Csáky sometime between 1770 and 1790,
the castle’s great hall, was most probably commissioned by one grisaille portraits of Hungarian monarchs decorated the walls of
of the members of the Esterházy family. – GYÖRGY RÓZSA the so-called King’s Hall. The painter was presumably Sebastian
(note 35, 1973), 68. Hirschlinger. – ANNA PETROVÁ-PLESKOTOVÁ, Maliarstvo
18. storočia na Slovensku, Bratislava, 1983, 85; SZILVESZTER
40
TERDIK, Görögkatolikus püspöki központok Magyarországon a 18.
At the former Ráday Castle, the walls of the so-called udvari képes
században. Művészet és reprezentáció, Nyíregyháza, 2014, 106, 126.
room were decorated with the portraits of Roman emperors, as well
as archdukes and monarchs from the House of Habsburg. The por- 47
traits were executed as panel paintings and grisaille murals, and were The collection of forty-six easel portraits was created during
presumably commissioned by Ráday Gedeon the Younger. Only the the 1780s, most probably in Hungary, and was later acquired by
artist of the oil paintings is known, Franz Paul Zallinger, on the basis the Kulmer family through their marriage with the Zichy or the

136
Rad. Inst. povij. umjet. 43/2019. (123–138) Bálint Ugry – Maja Žvorc: The Čakovec Stone Bust Collection: New Identifications, Possible Dating...

Keglević family. – MARINA BREGOVAC PISK, Galerija kraljeva, 56

in: Od svagdana do blagdana: barok u Hrvatskoj = From Every- ÁRPÁD MIKÓ and MÁRIA VERŐ (note 34), 128–129, II–64 a–c.
day to Holidays: Baroque in Croatia, exhibition catalogue, (ed.)
57
Vladimir Maleković, Zagreb 1993, 247; MARINA BREGOVAC
GYÖRGY RÓZSA (note 35. 1973), 13–80.
PISK, Kruna sv. Stjepana – nastanak i povijest, in: Kolomanov
put, exhibition catalogue, (eds.) Jelena Borošak-Marijanović et al., 58
Zagreb, 2002, 194–218, 197–218; MARIJANA SCHNEIDER, Por- See notes 35 and 43.
treti 16-18. stoljeća, Zagreb, 1982, 13, 33–57; MARIJA ŠERCER,
Predlošci galerije ugarsko-hrvatskih kraljeva, in: Kolomanov put, 59
(eds.) Jelena Borošak-Marijanović et al., Zagreb, 2002, 219–221. See notes 44 and 51.

48 60
Based on the earliest records of the Magyars (Hungarians) from ÁRPÁD MIKÓ and KATALIN SINKÓ (note 35), 392–393, VI–27.;
Byzantium, medieval and early modern scholars considered GIZELLA CENNERNÉ WILHELMB, XVI–XVIII. századi magya-
Magyars to be the descendants of ancient Scythians and Huns. rországi parasztmozgalmak grafikus ábrázolásai, in: Folia Archaeolog-
This historiographical tradition disappeared from mainstream ica, 12 (1960), 259–271, 263–264; MARIJA ŠERCER (note 47), 219.
history after the similarities between the Hungarian and Uralic 61
languages were noted in the late 18th century. The artist signed only the first engraving, the portrait of Saint
49 Stephen: “F: L: Schmitner sc: Viennæ”.
ENIKŐ BUZÁSI (ed.), Főúri ősgalériák, családi arcképek a Magyar 62
Történelmi Képcsarnokból, exhibition catalogue, Budapest, 1988. ÁRPÁD MIKÓ and KATALIN SINKÓ (note 47), 392–393, VI–27.
50 63
See note 27. See notes 45, 46 and 47.
51 64
The pictures that have been preserved are today kept at the See note 14.
Hungarian National Museum, Hungarian Historical Gallery
(Magyar Nemzeti Múzeum, Történelmi Képcsarnok). – ENIKŐ 65
BUZÁSI, Aktualitás és történeti hagyomány a 17. század végén: Ibid.
a Mátyás-kultusz a Batthyányak családi reprezentációjában, 66
in: Művészettörténeti Értesítő, 56 (2007), 115–138, 123–124; See note 13.
ANDRÁS KOLTAI, Portré végvidékkel: Batthyány Ádám és a
képzőművészet (1636–1659), in: Portré és imázs. Politikai propa- 67
ganda és reprezentáció a kora újkorban, (eds.) Nóra G. Etényi PETER BURKE, Očevid. Upotreba slike kao povijesnog dokaza,
and Ildikó Horn, Budapest, 2008, 401–435, 433–434; MONIKA Zagreb, 2003, 70.
ZSÁMBÉKY (ed.), A Batthyányak évszázadai, exhibition cata- 68
logue, Szombathely, 2005, 26–32, II.1–II.13. See note 15.
52 69
The paintings have unfortunately been lost. – ENIKŐ BUZÁSI Ibid.
(note 38), 906–908. It is possible that other castles in the Kingdom
of Hungary had similar collections. In 1642, the Austrian painter 70
Johann Ledentu offered fifty of his paintings to Ádám Batthyány Ibid.
for sale. Among the pictures were six full-body portraits of gener-
71
als of the Long Turkish War (Fifteen Years’ War) and the Thirty
Years’ War. It is not known whether Batthyány purchased them For the explanation about the number of preserved busts, see
or not. – MNL OL, P 1314, Missiles 28592. Published in: BÉLA note 1.
IVÁNYI, A magyar könyvkultúra múltjából. Iványi Béla cikkei és 72
anyaggyűjtése (Adattár XVI–XVIII. századi szellemi mozgalmaink GYÖRGY KURUCZ, Keszthely grófja: Festetics György, Budapest,
történetéhez 11.), Szeged, 1983, 560–562. 2013, 137.
53 73
PÁL LŐVEI, Kölesd–Felsőhídvég Hiemer–Jeszenszky kastélyának MNL OL, T3, No. 263, 265–267.
nádorterme, in: Műemlékvédelem, 57 (2013), 290–298; PÁL
LŐVEI, „…az akkori divat követelményeinek behódolva…” A 74
felsőhídvégi Hiemer–Jeszenszky-kastély és falképeinek sorsa, in: MNL OL, T3, No. 325, 349, 381, 382 (János Szajdensvartz); No.
Ars Hungarica, 39 (2013), Supplementum, 141–150. 399, 409, 410, 411, 412 (Carl Reiche).

54 75
BÉLA HOLL, Ferenczffy Lőrinc. Egy magyar könyvkiadó a XVII. MNL OL, T3, No. 401, 404, 405, 413 – neo-gothic alterations.
században, Budapest, 1980. MNL OL, T3, No. 400, 402, 403 (on both sides of the sheet),
406, 407, 408 (contains two plans) – neo-classical alterations. As
55 Reiche left the plans unsigned, they were formerly attributed to
GÉZA GALAVICS, Ősök, hősök, szent királyok. Történelmünk his colleague Wilhelm Kehrn, who was the first engineer (Ober-
és a barokk képzőművészet, in: ÁRPÁD MIKÓ and KATALIN Ingenieur) at the Keszthely manor. ISTVÁN BIBÓ, Európai
SINKÓ (note 35), 63–72, 64; ÁRPÁD MIKÓ and KATALIN hatások és helyi fejlődés az 1800 körüli magyar építészetben, in:
SINKÓ (note 35), 389–390, VI–24; ÁRPÁD MIKÓ and MÁRIA Építés–Építészettudomány, IV/1–2 (1972), 125–164, 158–159;
VERŐ (note 34), 112–113, II–41. DÉNES KOMÁRIK, A korai gótizálás Magyarországon, in:

137
Bálint Ugry – Maja Žvorc: The Čakovec Stone Bust Collection: New Identifications, Possible Dating... Rad. Inst. povij. umjet. 43/2019. (123–138)

Művészet és felvilágosodás. Művészettörténeti tanulmányok, (eds.) 1797). – GÉZA GALAVICS, A szigetvári Dorffmaister-freskó
Anna Zádor and Hedvig Szabolcsi, Budapest, 1978, 209–300, 295. és a Festetichek, in: Koppány Tibor hetvenedik születésnapjára,
(eds.) István Bardoly and Csaba László, Budapest, 1998, 309–317.
76
MNL OL, T3, No. 411. 81
77 While painting the portrait, Krafft made a mistake: instead of
MARIJANA SCHNEIDER (note 6), 255; MARIJANA SCHNEI- Nikola IV, he painted a portrait of Nikola’s great-grandson, Nikola
DER (note 16), 28. VII. Rahl’s engraving contains the same mistake. See: GÉZA
GALAVICS (note 17), 133–134.
78
GYÖRGY KURUCZ (note 72), 274–277. 82
MNL OL, T3, No. 357, 659/3.
79
About the period: GYÖRGY KURUCZ, Adminisztráció, 83
gazdálkodás, adósságkezelés. Gróf Festetics László pénzügyi The invoice of the commission has been preserved: MNL OL, P
helyzete az apai örökség átvételétől a zárgondnokság időszakáig 248, 9. item, No. 67.
(1820–1830), in: Századok, III/150 (2016), 535–584. 84
80 Budapest, Országos Széchényi Könyvtár, Kézirattár, Fol. Lat. 4333.
The fresco was commissioned by László’s uncle, Lajos Festetics (?– All the drawings (17.5–18.5 × 11–12 cm) are glued onto sheets of
1798) and executed by István Dorffmaister the Elder (1727/1741– paper (32.9 × 20.4 cm).

Sažetak

Bálint Ugry – Maja Žvorc

Zbirka kamenih poprsja u Čakovcu: Nove identifikacije, moguće datacije i naručitelj

U Muzeju Međimurja Čakovec pohranjena je zbirka ka- opremanja dvosveščanog pravnog zbornika Corpus Juris
menih poprsja koja prikazuju hrvatsko-ugarske političke, Hungarici (prvo izdanje: Trnava, 1751.). Na osnovi usporedbe
gospodarske, vojne i crkvene velikodostojnike. Na osnovi Schmittnerovih bakroreza s čakovečkim kipovima, u članku
usporedbe sa suvremenim grafičkim i uljanim portretima, je izložen novi prijedlog identifikacije šest poprsja (Ludovik
dosadašnji istraživači identificirali su portrete triju hrvatsko- I. Veliki – dosad identificiran kao Fran Krsto Frankopan
ugarskih kraljeva (Ferdinand II., Ferdinand IV. i Leopold I.) II., Matija Korvin – dosad identificiran kao Ferdinand IV.,
te četrnaest uglednika (Nikola VII. Zrinski, Petar IV. Zrinski, Stjepan I., Andrija II., Marija i Ferdinand I.) te je potvrđen
Adam Zrinski, Fran Krsto Frankopan II., György Lippay, Pál identitet poprsja Ferdinanda II. Otkriće nove serije grafičkih
Pálffy, Ferenc Forgách, János Héderváry, György Illésházy, portreta koja je moguće poslužila kao predložak za izradu
András Izdenczy, Zsigmond Lónyay, Miklós Nadányi, István zbirke poprsja utječe na pitanje vremena njezina nastanka
Palásthy i Franjo Wesselényi). Najveći broj skulptura nastao kao i naručitelja. S obzirom na to da su Schmittnerove grafike
je po uzoru na bakrorezne portrete Eliasa Widemanna koji su prvi put objavljene 1751. godine, izglednije je da su poprsja
objavljeni u seriji Icones Illustrium Heroum Hungariae (Beč, nastala početkom 19. stoljeća narudžbom Ladislava Feštetića,
1652.). S obzirom na to da dosad nisu pronađeni arhivski po- a ne sredinom 17. stoljeća u vrijeme obitelji Zrinski. Arhitek-
daci ili dokumenti koji bi sa sigurnošću razjasnili okolnosti tonski nacrti Carla Reichea (1822.), koji uključuju prikaz
narudžbe, istraživači su na osnovi posrednih povijesnih po- poprsja na glavnom i dvorišnim pročeljima dvorca, svjedoče
dataka i izvora oblikovali dvije teorije o mogućem vremenu o Feštetićevu planiranom, no neizvedenom projektu obnove
nastanka i naručitelju zbirke: jedni smatraju da su poprsja čakovečkoga Starog grada, ali su ujedno i prvi dokument
nastala u drugoj polovici 17. stoljeća pod pokroviteljstvom koji bilježi postojanje zbirke. Narudžba kamenih poprsja
obitelji Zrinski, a drugi pak tvrde da su isklesana tijekom posljednjih članova obitelji Zrinski i njihovih suvremenika
dvadesetih godina 19. stoljeća u sklopu projekta obnove uklopila bi se u Feštetićevu naručiteljsku ulogu promicatelja
čakovečkoga Staroga grada Ladislava Feštetića. kulta Zrinskih. Uključivanje portreta – u ovom slučaju hr-
Razmatrajući čakovečka poprsja unutar šireg konteksta zbirki vatsko-ugarskih – kraljeva unutar galerije uomini illustri u
koje sadrže portrete kraljeva i/ili velikodostojnika nastalih ono je vrijeme bila uobičajena praksa s osnovnom namjerom
na području Hrvatsko-Ugarskog Kraljevstva od 17. do 19. osnaživanja pojma nacionalnog identiteta i potvrđivanja le-
stoljeća, u članku je – uz Widemannove Icones – predložena gitimiteta portretiranih vladara.
još jedna serija grafika kao mogući predložak za izradu Ključne riječi: Čakovec Stari grad, zbirka poprsja, galerija
poprsja. Riječ je o bakroreznim portretima koje je austrijski portreta, László Festetics, Corpus Juris Hungarici, Franz
grafičar Franz Leopold Schmittner izradio za potrebe likovnog Leopold Schmittner, hrvatski i mađarski kraljevi

138
 Izvori ilustracija i autori fotografija / Sources of
illustrations and photo Credits

Višnja Bralić 6: Bibliothèque nationale de France, Paris, département Musique,

RES-1527.
The Cult of Saint Euphemia, the Patron Saint of Rovinj, and the Vene-
11: Nacionalna i sveučilišna knjižnica, Zagreb, RIIA-8°-8.
tian Politics of Co-creating Local Identities in Istrian Communities in
the 15th Century / Kult sv. Eufemije, zaštitnice Rovinja i venecijanska 12: Nacionalna i sveučilišna knjižnica, Zagreb, RIIA-16°-5.
politika sukreiranja lokalnih identiteta u istarskim zajednicama 15.
stoljeća Milan Pelc
1: © Museo Correr, Venezia (Giuseppe Rosaccio, Viaggio da Venezia a Panegyric Emblem Books, Jesuits and the Habsburg Emperors: Some
Costantinopoli, per mare e per Terra, & insieme quello di Terra Santa, Examples Related to 17th-Century Croatia / Panegirički amblemi
Venetia: Giacomo Franco, 1598, fol. 7v) i habsburški carevi – primjeri iz 17. stoljeća povezani s hrvatskom
2–10: Ljubo Gamulin kulturnom sredinom
1: © Hrvatski povijesni muzej, Zagreb / Croatian History Museum
Anna Boreczky 2: © University Library, Budapest / Egyetemi Könyvtár, Kézirattár
Historiography and Propaganda in the Royal Court of King Matthias: 3–20: © Austrian National Library, Vienna / Österreichische Na-
Hungarian Book Culture at the End of the Middle Ages and Beyond / tionalbibliothek
Historiografija i propaganda na dvoru kralja Matije Korvina. Mađarska
kultura knjige krajem srednjega vijeka i dalje Polona Vidmar
1–11, 14, 16–18: © National Széchényi Library, Budapest (Országos Cæsari in mis omni hora fidelis servivi: The Portraits of Sigismund
Széchényi Könyvtár) Herberstein and Walter Leslie in Diplomatic Robes / Cæsari in mis
12, 13: © Heidelberg University Library (Universitätsbibliothek omni hora fidelis servivi: Portreti Žigmunda Herbersteina i Waltera
Heidelberg) Leslieja u diplomatskim odorama
15: From Wikimedia Commons, the free media repository 1–2, 4, 6: Knjižnica Ivana Potrča Ptuj / Ivan Potrč Library Ptuj
3: Hollstein’s German Engravings, Etchings and Woodcuts 1400–1700,
Ivan Gerát vol. XIII A, 1984
Saint George Between Media and Functions / Sv. Juraj između medija 5, 10, 13: Google Books
i funkcija 7–9, 11–12: Polona Vidmar

1: Image courtesy National Gallery of Art, Washington DC

Nóra G. Etényi
2: https://www.metmuseum.org/art/collection/, Public Domain
3: https://www.metmuseum.org/art/collection/, Public Domain Broadsheets with Engravings in a Manuscript Chronicle from Ulm:
4, 5: Ivan Gerát Visual Representations of the Hungarian Kingdom on German Po-
litical Leaflets during the War of Reconquest (1683–1699) / Grafički
6: Archive of the Institute of Art History of the Slovak Academy of
plakati u rukopisnoj kronici iz Ulma: Vizualna reprezentacija Ugarskog
Sciences
Kraljevstva na njemačkim političkim letcima tijekom Velikog turskog
rata (1683.–1699.)
Ivan Ferenčak
1, 4: © Austrian National Library Portrait Collection, Vienna /
The Illustrations in the Glagolitic Books Printed by Bishop Šimun Österreichische Nationalbibliothek Porträtsammlung
Kožičić Benja in Rijeka (1530–1531) / Ilustracije u glagoljskim knji- 2, 3, 6: © Hungarian National Museum, Budapest / Magyar Nemzeti
gama biskupa Šimuna Kožičića Benje tiskanim u Rijeci (1530.–1531.) Múzeum
1: Tamara Runjak, Rijetkosti u Knjižnici Hrvatske akademije znanosti 5, 7: © National Széchényi Library, Budapest, Apponyi Sammlung /
i umjetnosti: katalog inkunabula i knjiga 16. stoljeća, Zagreb, 2011. Országos Széchényi Könyvtár, Apponyi Metszet
2, 7–10: Zagreb, Knjižnica Hrvatske akademije znanosti i umjetnosti,
R-600, snimio Ivan Ferenčak 2019. Werner Telesko
3: Ivan Ferenčak, 2019. Graphic prints of the Josephine period (1765/1790) and the propa-
4: Biblioteca nazionale Marciana, Venezia, BM – Rari Ven. 579 (su ganda of ‘Religious Tolerance’ / Grafički listovi Jozefinskog razdoblja
concessione del Ministero per i Beni e le Attività Culturali – Biblioteca (1765./1790.) i propaganda “Vjerske tolerancije”
Nazionale Marciana. Divieto di riproduzione).
5: Biblioteca nazionale centrale di Firenze, Firenze, MAGL.2.1.109 (su 1: © Austrian National Library, Vienna
concessione del Ministero dei beni e delle attività culturali. Biblioteca 2: © Austrian National Library, Vienna
Nazionale Centrale di Firenze. Divieto di riproduzione) 3: © Vienna Museum

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4: © Vienna Museum 2–4: © Rijksarchief in België / Archives de l’État en Belgique, Alge-
5: © Vienna Museum meen Rijksarchief / Archives générales du Royaume, Fond Duitse
6: © Vienna Museum Staatssecretarie / Secrétairerie d’État Allemande, 413, p. 309
5: Pompeo Giustiniano, Delle guerre di Fiandra libri 6. Di Pompeo
Martina Frank Giustiniano del Consiglio di guerra di S. M. C. (...) Posti in luce da
Gioseppe Gamurini (...) con le figure delle cose più notabili, In Anversa,
Representing the Republic in Seventeenth-Century Venice / Pred- 1609., 84–85
stavljanje Republike u Veneciji 17. stoljeća
1, 3, 4, 5, 12: © Austrian National Library, Vienna / Österreichische Radoslav Tomić
Nationalbibliothek
Generalni providur Leonardo Foscolo i umjetnost u Dalmaciji /
2, 15: Martina Frank Provveditore generale Leonardo Foscolo and Art in Dalmatia
6: © University Library of Padua / Biblioteca universitaria di Padova
7: © McNay Art Museum 1–30: Fotografije iz arhive autora
8: Cat Bauer (https://venetiancat.blogspot.com/2016/11/thanksgiv- 4: Presnimak iz: Alfons Pavich pl. Pfauenthal, Prinosi povijesti Poljica,
ing-in-venice-celebrates-black.html) Sarajevo, 1903., 79.
9, 10: https://www.lamoneta.it/topic/157941-medaglia-nicol%
C3%B2-contarini/ Petar Puhmajer
11: © José Luiz Bernardes Ribeiro / CC BY-SA 4.0
13: Internet culturale Dvorac Cernik – kontinuitet i mijene predturskog nasljeđa u barokno
doba / The Cernik Castle – Continuity and Change in the Pre-Ottoman
14: © Marciana National Library / Biblioteca Nazionale Marciana,
Heritage during the Baroque Era
Venezia
16: © Museo Civico del Castello di San Giusto, Trieste 1, 2, 9: Paolo Mofardin, Fototeka IPU
3 a, b; 6 a, b, c, d: arhitektonski snimak Sanja Štok i Barbara Kulmer,
Bálint Ugry – Maja Žvorc grafička obrada Marin Čalušić
The Čakovec Stone Bust Collection: New Identifications, Possible 4, 7, 10, 11: Petar Puhmajer
Dating and the Identity of its Commissioner / Zbirka kamenih bisti 5: © Generallandesarchiv, Karlsruhe
u Čakovcu: Nove identifikacije, moguće datacije i naručitelj
1, 4, 6, 8, 10: Jovan Kliska Bojan Goja
2: © Austrian National Library (Österreichische Nationalbibliothek), Kuća Cattinelli 1772. godine: prilog poznavanju stambene arhitekture
Vienna u Zadru u 18. stoljeću /
13, 15: © Museum of Međimurje (Muzej Međimurja), Čakovec The Cattinelli House in 1772: A Contribution to Our Knowledge of
3, 5, 7, 9, 11, 14, 16: Corpus Juris Hungarici, Tyrnaviae, 1751. Housing Architecture in 18th-Century Zadar
12: © National Széchényi Library (Országos Széchényi Könyvtár),
Budapest 1, 2: Bojan Goja
17, 18: © National Archives of Hungary (Magyar Nemzeti Levéltár), 3, 4: Branko Maroević, dipl. ing. arh., izrada nacrta
Budapest
19: Bálint Ugry Iva Pasini Tržec
Slike starih majstora iz zbirke Ervina i Branke Weiss u Strossmayero-
Damir Tulić voj galeriji u Zagrebu / Paintings of Old Masters from the Collection of
Glory Crowned in Marble: Self-promotion of Individuals and Fami- Ervin and Branka Weiss in the Strossmayer Gallery in Zagreb
lies in Seventeenth- and Eighteenth-Century Monuments in Istria
1, 3, 6: Arhiv Strossmayerove galerije HAZU, dokumentacija Weiss
and Dalmatia / Slava okrunjena mramorom: Samopromocija osoba i
obitelji na spomenicima 17. i 18. stoljeća u Istri i Dalmaciji 2: MAK – Museum of Applied Arts (Museum für angewandte Kunst),
Vienna
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 15, 16, 17: Damir Tulić 4: RKD – Netherlands Institute for Art History (Rijksbureau voor
14: Samo Štefanac Kunsthistorische Documentatie), Den Haag
5: Palais Liechtenstein, Vienna
Jasminka Najcer Sabljak 6: © Strossmayerova galerija starih majstora HAZU
7: BDA – Bundesdenkmalamt Archiv (Federal Monuments Authority
Portraits of Habsburg Rulers in the Aristocratic Collections of Eastern Austria Archive), Vienna
Croatia / Portreti vladara obitelji Habsburg u plemićkim zbirkama
istočne Hrvatske
Irena Kraševac
1, 2: © Galerija Matice srpske, Novi Sad
3: Francisca Clary-Aldringen Prva tri djela u fundusu Moderne galerije Društva umjetnosti / The
4: Davor Šarić First Three Artworks in the Holdings of the Modern Gallery of the Art
Society in Zagreb

Danko Zelić 1, 4: Goran Vranić, Moderna galerija, Zagreb

2: Paolo Mofardin, Institut za povijest umjetnosti, Zagreb
Projekt Fausta Vrančića za opsadu Ostendea iz 1603. godine / Faust
3: digitalna presnimka iz kataloga izložbe: Ivan Meštrović. Skulpturen,
Vrančić’s Design for the Siege of Ostend from the Year 1603
Nationalgalerie, Staatliche Museen Preußischer Kulturbesitz, Berlin,
1: Matthias Dögen, Architectura militaris moderna (...), Amstelodami, 1987. (Nenad Gattin?)
1647., 354–355. 5: Arhiv Galerije grada Praga / Archive of Prague City Gallery

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