General view of the ruins of Visegrád Palace (The Art of the Renaissance in Eastern Europe, 1976, Illustration 36)
King Matthias Corvinus (reigned 1458-90) of Hungary is renowned for his patronage of Renaissance art. He employed artists to his court through Lorenzo de Medici (Bakos et al, 2008, page 313). In his writings, Vasari claimed Chimenti Camicia was Matthias’ chief architect (ibid.).
Image of Matthias Corvinus published 3 June 1488 (Artstor database)
One of Matthias’ projects was a new addition to the previously Gothic castle at Buda, begun in 1479 (grove article on Budapest). Sigismund in 1411 began the Gothic reconstruction of the palace (Kauffman, 1995, page 39). The castle was renovated with Renaissance details on the outside, using materials such as bronze and a dense red limestone. The limestone is especially significant as it made its name again under Matthias because of skilled Italian stonemasons (Bakos et al, 2008, page 317). The red “marble” from Hungary was rapidly exported to other parts of Europe and had a strong international reputation (Farbaky, 2017, page 65). This relationship of Italian Renaissance artists making a Hungarian material famous in Renaissance architecture throughout Europe lends an international element to Hungarian Renaissance architecture.
Detail of ceramic tiles at Buda with Islamic imagery and open book motif (Exhibition Catalogue: Budapest History Museum, 2008, page 358)
What is further interesting is another international connection found in Renaissance forms at Buda. Ceramic tile was an important addition to the castle. The floor tiles were colourful with very particular imagery. There were many Islamic elements such as florals and other vegetation, as well as the specific symbols of an open book and a burning throne. These two symbols are directly associated with the crown of Aragon (Bakos et al, 2008, page 355). Matthias’ wife was Beatrice of Aragon, and after their marriage the traditional royal residence was renovated for their arrival. Renaissance architecture and forms in Spain followed the more “conservative” Gothic form and used Islamic imagery and techniques because of the long history between the two groups. Both the use of Islamic imagery and Aragon symbols are key in our understanding of how Renaissance architecture is international and not solely dependent on classicism.
Detail of ceramic tiles at Buda with burning throne motif (Exhibition Catalogue: Budapest History Museum, 2008, page 354)
Straight-lintel cross frame window at Buda (Exhibition Catalogue: Budapest History Museum, 2008, page 316)
This of course does not mean that the majority of Renaissance detail found in Hungarian Renaissance architecture was Italian in style. The vast studies into classical architecture done in Italy and its subsequent publication and circulation worldwide is key to its widespread influence globally. An excellent example of a form that made it out to Hungary was in the window frames of the castle. Of the two styles employed in the renovation, the straight-lintel cross frame is directly linked to styles from antiquity and was widely written about in Rome, and we can trace some of that literature directly to Matthias’ workshops in Hungary (Bakos et al, 2008, page 317).
Courtyard at Visegrád with remnants of Hercules fountain after reconstruction (The Art of the Renaissance in Eastern Europe, 1976, Illustration 39)
The most well-known of Matthias’ Renaissance architecture projects was the redecoration of the summer palace of Visegrád, started in 1473 (Entz, "Visegrad"). It was described at the time as a “complete redecoration” (Bakos et al, 2008, page 324) of the Gothic style building using Renaissance elements (ibid., page 326).
Detail of panel from the base of the Hercules fountain (The Art of the Renaissance in Eastern Europe, 1976, Illustration 41)
Perhaps the most famous Renaissance architectural element in Hungary is the Hercules fountain. Often attributed to Giovanni Dalmata (however, not definitively – see Białostock, 1976, page 16), one of the sculptors in Matthias’ court who was given preferential treatment for his work (see Białostocki, 1976, page 15; Farbaky, 2017, page 54; Prijatelj,"Giovanni Dalmata"), the fountain represents several important Renaissance ideals and is a symbol of Matthias’ commitment to classicism. The fountain was monumental in size, with the base measuring half a metre in diameter. The basin was made of six panels with oval heraldic shields (Bakos et al, 2008, page 325). The bottom surface of the bowl had geometric shapes and ornaments imitating gems (ibid.), which can be linked to Dalmata’s style based on some of his works back in Italy (Farbaky, 2017, page 56).
Detail of remains of Hercules and Lernaen hydra statue from the fountain (The Art of the Renaissance in Eastern Europe, 1976, Illustration 40)
The titular element of the fountain is the most important. In the centre there was a statue depicting Hercules in an altercation with a Lernaen hydra. The statue is said to be commemorative of Matthias’ victory over the Ottomans recently prior. The association of Matthias as Hercules is a theme that came up again and again in both the palaces – at Buda, the heavy bronze doors of the palace had many images of Hercules and his labours (Białostocki, 1976, page 14). There was the suggestion that he was a Hercules Hungarius who was “a heroic ruler who struggles again the forces of disorder, especially the Turks” (Kauffman, 1995, pages 44-45). The youthful depiction of Hercules may mean he was a ruler deemed for greatness by fate, or “the fatalis puer of antiquity” (ibid.). This association is comparable with Ancient Rome and Imperial illusions, aspirations with which Matthias was said to share (ibid., page 45).
Renaissance column from Visegrád part of the courtyard loggia (Exhibition Catalogue: Budapest History Museum, 2008, page 333)
Another element of Renaissance architecture transported to Hungary is the colonnade and loggia that was added to the palace during the redecoration. The loggia was important – it was first one surrounding a courtyard with columns connected to a balustrade in the area (Bakos et al, 2008, pages 325-6). The colonnade was Tuscan in style, and was composed of short columns (ibid.). The illusionary element of the balustrade is key, as the viewer in the courtyard would examine the loggia, and their eye would trace upwards. There they would notice the superficial carving, which from afar looks much deeper and painstakingly made (ibid., page 336).
Detail of balustrade from Buda - Visegrád's is expected to be similar in style (Exhibition Catalogue: Budapest History Museum, 2008, page 336)
Exterior view of Santa Maria del Fiore in Florence with grand dome visible in back (DIGITAL IMAGE LIBRARY: GARDNER'S ART THROUGH THE AGES: THE WESTERN PERSPECTIVE, 2009, FADIS database)
We can see examples of this Renaissance-exterior-medieval-frame building practice elsewhere. The church of Santa Maria del Fiore in Florence, started in 1470 by Fillipo Brunelleschi and later Michelangelo, is one such example. The dome of the church is especially important. The building’s construction began during the Middle Ages but had to be halted because of the Black Death. The design of the building dictated a very large dome, however, this was not technologically possible during the time (Anderson, Introduction: God, Number, and The Pleasure of Building, 13 September 2017). During the Renaissance, the building was taken up again and the dome was completed. The dome represents how you can add a Renaissance element to a previously medieval building to re-characterise it. Of course, the building hosts many Renaissance designs inside, from the main sanctuary to the sacristies and side chapels, but the practice of adding Renaissance elements to a previously built building was a common practice.
Façade of the Santa Maria Novella in Florence (Scott Gilchrist, 1998, FADIS database)
The façade of the Santa Maria Novella is another example of the Renaissance exterior. Leon Battista Alberti took a medieval building and added a classically “Renaissance” front from 1456 to 1470. He employed several classicist design details to accentuate the building’s previous design. One such element was the scroll detail that connects the top section to the main façade. The use of squares and triangles to create a balance and organized composition reflects a Renaissance Humanistic vocabulary that explained perfection and divinity to the viewer (Anderson, Politics, 20 September 2017). The façade’s use of classicism shows understanding of the key elements of the antique style: proportion, shape, and number.
How is this related to the educated eye? First and foremost, Matthias was well-versed in Renaissance art and architecture, the latter being his main passion. Further, the buildings used a variety of mythical imagery and stories that related figures from myth to Matthias, Hungary and their enemies. The use of Hercules again and again is attributed to Matthias’ valiance by many academics. The sculptural imagery would speak to the learned viewer of the palaces. The use of classicism reflects the message Matthias wanted to pass on – that of a strong, educated, and certain ruler. The attribution of him to the heroic Hercules established his strength.
The use of classical forms that created a balanced and classically beautiful exterior showcased his learned nature and therefore his definite ability to rule cleverly and level-headedly. As a result of the reach of Renaissance visual imagery based in antiquity and classicism, the viewer of architecture at the time would be an educated and subsequently engaged participant in the new buildings constructed at the time. The architect would take on the role of teacher and would engage the viewer in conversation with their monumental work.
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