Sacral architecture Research Papers - Academia.edu (original) (raw)

Building of the Collegiate church of St. Martin at the turn of 13th century, indicates the importance of Spiš County in the policy set forth by the Hungarian kings of the Arpad family. Two buildings had risen, unique for the region of Hungarian kingdom: Chapter church of St. Martin and Spiš castle as a royal residence. Church of St. Martin became the memorial place of burial for many members of the families, who lived in the Spiš castle. The church became the place where various significant works of art sui generis had been collected as well. The latest architectonic-historical research proved the fact, that in the very beginning Cathedral included a transept. Room, situated on the second floor in the western part of the double-tower, was re-defined as a representative hall (royal westwerk). After its destruction during the Mongolian invasion (1241), it was never restored again. In spite of all the damages, the church still to this present day today impresses with its moulding, consisting of profilation of bases of the bundle pillars and responds, crocket capitals, socle friezes, cordones and entablatures. In addition what also impresses is the artistic design of stone parts (alteration of sandstone and travertine), together with highly-developed system of vaulting at the ground and second floor, finished by pointed arches. All the mentioned details rank the church among the most significant examples of the central European building constructional development of the time. The latest research has also defined an unexplored late Gothic building phase which included addition of sacristy and two chapels, built in the 14th century. Painting of the interior walls was a part of the phase, conducted under the Italian influence. It is connected with the beginning of the Anjou family reign on the Hungarian throne. The fact is expressively depicted by the only uncovered mural painting in the Cathedral today – Coronation of Charles Robert from Anjou. Together with other fragments of mural paintings, found in the attic of the church, the Coronation of Charles Robert is the proof of the high standard of painting decoration of the Cathedral in the first third of 14th century. Similarly to the Leo Albus statue, the mural paintings of the Cathedral prove the high artistic level of the author, as well as support extensive painting program, which has been successfully applied in more churches of the Spiš County. Thus we may assume, the magnificent painting decoration of the Church of St. Martin, dating back to the second decennia of 14th century, was the trendsetter for iconographic programs and painting compositions, applied specifically in the churches of the so called “Spiš double-aisles”. The oldest mention of the altars in the Cathedral is dating back to around the halfway mark of 14th century. The volume of building adaptations, held in 15th century is clearly recognizable even today. It represents the late Gothic masonry at its highest level. After addition of Zapolya family chapel to the southern part of the Cathedral, the church obtained the present area. It has remained unchanged till this present day, with the only exception being an addition of modern sacristy and the anterooms of the northern façade. Magnificent vaulting with new net and star vaults, as well as opening of the aisles, connected together by the high arcades. This ranked the church among the most highly-developed samples of the late Gothic sacral architecture of the period. The collection of Gothic altars preserved in the interior of the Cathedral up to the present day originated during the same late Gothic rebuilding of the church in 1478. There were twelve altars consecrated at that time, while four of them have been preserved till today: the main altar, the lateral altars of Adoration of Magi and of the Death of Virgin Mary, as well as the altar of St. Michael the Archangel. Other well-preserved altars have been stored now in the Magyar Némzeti Galéria in Budapest. After consecration of the church in 1478 and after the death of palatine Emericus Zapolya, who was buried in the choir, the Chapel of the Zapolya family was built at the southern side of the church, and funded by palatine Stefan Zapolya, the brother
of the deceased Emericus. On completion of building of the burial chapel before 1498, the altar of Coronation of Virgin Mary was built there, which has been preserved till the present day. Palatine Stefan Zapolya mentions it in his testament, as well. The latest architectonic-historical research uncovered a Renaissance phase of the church history, unknown till the present day. It was represented by addition of a northern sacristy, equipped with parapet gutter, mouthed into the gargoyle. The exterior of the sacristy was decorated by bossage – the scratch design of the façade coating. The sepulchral monuments, especially tombstones of Emericus and Stefan Zapolya, as well as epitaph of provost Stanislaus Várallyi represent the Renaissance phase in the interior of the Cathedral. Written sources depicting the interior equipment of the Cathedral in the first half of 17th century are very rare. We suppose that stagnancy of the artistic development of the Cathedral was due to spreading of the Reformation. Revival of Catholicism in Spiš County, beginning in the second half of 17th century, brought considerable changes to the church. Spiš provosts and cannons repaired the older altars, baroquized them, or build the new ones. Preserved written inventory of the church, dating back to 1697, mentions 22 statues, 11 altars and 2 organs. Interesting proof of Catholic restoration is shown by the altar of the Holy
Cross, dating back to 30s of the 17th century. Interesting changes in the interior, including roof constructions were brought about after establishing of Spiš bishopric in 1776, and consequently, church was transformed into the cathedral. The changes had begun at the end of 18th century. The most important change was the augmentation of an organ loft and dividing the space of the main nave in the space into the two floors. This addition caused the misinterpretation of the Romanesque phase of the church in the older literature. During this change the former Romanesque staircase within the western wall was
closed, and new entrance to the organ loft from the south was opened. Great changes were made in the crypts under the choir, and under the Zapolya family chapel. The crypts were rebuilt, and new exterior entrances replaced the former entrances from the interior of the Cathedral. Former late Gothic frameworks, preserved till this present day,
were partially supplemented by Baroque frameworks. Several items of older equipment were moved from the interior of the church. A new monumental organ was built on the organ loft. The flooring of the Cathedral was changed, the bars dividing the Zapolya family chapel and the rest of the church was dismantled. Church pews were rearranged to
their present condition. Neo Gothic adaptations, made in 19th century may be considered as the ordinary modernization and repair of the
church, represented by contemporary adaptations (often accompanied by purism) of the interior and the exterior of the Cathedral. Unfortunately, such adaptations did not enhance the value of the church.Two anterooms were built at the northern side of the Cathedral – first one in front of the church, the second at the entrance to the sacristy. First restorations of the Cathedral were conducted in the first half of 19th century under Bishop Ladislaus Zaboyszky (1850 –1870). Bishop Joseph Samassa (1871 – 1873) was responsible for extensive restoration works in the Zapolya family chapel. Francis Storno, the architect and conservator from Sopron, was the author of the drafts of statues, arranged in the pillars, the plan of latticed windows, portal to the sacristy, as well as of the new altar of Pieta, built in the chapel. The set of works and adaptation of the interior of the chapel were conducted during 1873 – 1874. Distinctive neo Gothic changes in the interior of the
choir and the nave, as well as in the western façade of the Cathedral, were conducted during the episcopate of the next bishop, Georgius Császka (1874 – 1891). The phase ended with building of the neo Gothic altar of Sacred Heart of Jesus on the northern wall of the middle floor, and the altar of St. Valentine at the pillar of the southern aisle in 1902. The altar of The Holy Cross was restored and placed on the southern wall of the middle floor. Adaptations to the Cathedral´s interior in the 19th century resulted into its present condition. Works of art, preserved in situ in the Cathedral, represent just a fragment of spiritual and cultural treasury, which had been originating in the spiritual centre of Spiš County – in Spišská Kapitula – during the last 800 years. In a certain manner, it has also been representing a kind of a model for other parishes, belonging to the jurisdiction of this centre. Spiš provosts, including Spiš bishops ordained after 1776, one after another sustained the tradition of transformation and adaptation of the medieval shape of Spišská Kapitula. All of them imprinted into the history of the Spiš County, as well as in into its spiritual centre, Spišská Kapitula. Authentic values, representing 800 years of the Cathedral development, together
with unforgettable atmosphere of the little church town of Spišská Kapitula, rank the Cathedral among the most uniquely preserved examples of sacral masonry. Furthermore, this has been supported also by the fact that Spišská Kapitula, as well as the Cathedral of St. Martin, belong to the “Levoča, Spišský hrad a pamiatky okolia” inscription on the UNESCO World Heritage List.