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to the Tabán relief especially regarding the folds of the tunic, the beardless face of Christ and other discernible elements of the Late
Antique sculptural tradition. He dated the sculpture to the last decades of the 12th century, and suggested that it was part of a tympanum relief located above the carved lintel of a church portal. The structure might have been similar to the Romanesque portal of the
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inscription on its rim. Only smaller fragments survived from the other elements of the composition: the upper part of a circular frame, which was significantly larger than the central medallion, and heavily damaged traces of decorative carvings around the medallion. A feathered wing is discernible with long quills and coverts on the upper right corner.
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the relief in the Church of Saint
Catherine where it was set in a recess of the wall, preserved as a historical relic. The fragmentary inscription was reconstructed by Éber as "Orbis terrarum tollitur, pauci cum eo gradiuntur". Nonetheless the reading of the inscription is disputed, and its meaning remains enigmatic.
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in 1901. At the time it was set in the wall under the organ loft in the Church of Saint
Catherine in an obviously secondary position because the church was only built in the 18th century. In a passing reference Divald presumed the fragment came from the early medieval predecessor of the church which
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jr. connected the fragment to the decorated
Romanesque church facades of France and Italy in a detailed art historical analysis noting the obvious similarities in style, iconography and spirit. Csemegi claimed that the Romanesque art of Southern France and Central Italy offered very close analogies
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gave a detailed description, and called the relief "probably the oldest surviving sculptural work" in the territory of
Budapest. He identified it as part of a tympanum relief depicting the Last Judgement from the 12th century, belonging to an unknown church. Éber published a photograph that shows
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The sculpture was removed from the Church of Saint
Catherine after the building had been seriously damaged in the siege of Budapest. In 1946 the relief was first exhibited at a representative exhibition about the history of Budapest among other medieval artefacts in the Károlyi Palace. Two years
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The youthful, beardless Christ is depicted seated on a throne, wearing a tunic, with a cruciform halo around his head. In his left he holds a small object which has been interpreted as a scroll, the object in his right hand is unrecognizable. The figure is set in a round medallion that bears an
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dated to around 1150. The fragments of this ensemble were scattered in the territory in Buda and even further. Marosi suggested that the Tabán Christ was probably part of a sculpture relief that decorated the chancel screen, and criticised the
Budapest History Museum which still presented the
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cast doubt on the traditional interpretation that the sculpture originally belonged to a tympanum relief, and claimed that size of the fragment was too small. He observed that the central medallion might have been surrounded by the symbols of the
Evangelists. Three years later
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sculpture as a portal relief on its new permanent exhibition in 1993. The hypothesis was accepted by a number of art historians, and later it was proposed that the relief might have belonged to a smaller portal together with another figural fragment.
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dated the relief to around 1130, and claimed that it might have been created by a
Hungarian sculptor, trained in the French and Italian Romanesque sculptural tradition. He compared the sculpture to the Christ medallion on the south side portal of the
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after the reconstruction of the former Royal Palace where the
Budapest History Museum opened a representative exhibition about the history of Budapest in 1968. The Tabán Christ has been part of the permanent exhibition of the museum ever since.
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The relief is interpreted as Christ in Majesty (Maiestas Domini), and it was supposedly part of the tympanum carving of a Romanesque church portal. The feathered wing may have belonged to an angel, the symbol of
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proposed a wholly new explanation about the origin of the fragment based on technical and stylistic analysis. He claimed that the relief belongs to a group of high quality sculptural works originating from the
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later the relief became part of the permanent exhibition of medieval Hungarian sculpture in the Középkori Kőemléktár, a municipal lapidary museum which was reopened in 1948 in the northern tower of
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The Tabán Christ (Maiestas Domini) relief in 1904. At the time it was still located in the Church of Saint Catherine of Alexandria, set in the wall under the organ loft.
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and established after 1083. The exact location of this church, which served the town of Kispest, a medieval settlement in the Tabán area, remains unknown.
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but noted that the folds of the tunic are more similar to the stylized sculptural style inspired by the reliefs of the
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Tibor Gerevich: Magyarország románkori emlékei - Magyarország művészeti emlékei 1. (Budapest, 1938), pp. 170-171
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Kornél Divald: A régi Buda és Pest művészete Zsigmond és Mátyás király s a Jagellók korában,
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Bognár polgármester felavatta a középkori Buda és Óbuda múzeumát a Halászbástyán,
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Ernő Marosi: Esztergom középkori Szent Adalbert-székesegyháza – Tíz év múltán,
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Tímea Papp: Az óbudai Szent Péter prépostság románkori kőfaragványai, in:
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Horváth Henrik: A középkori Pest-Budának helyszínen maradt emlékei I.,
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was carved on the other side according to the traditional iconography.
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38 cm × 37 cm (15 in × 15 in)
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László Éber: Középkori és renaissance emlékek Budapest területéről,
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In 1978 the most influential expert on medieval Hungarian art,
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373:Dezső Dercsényi: A kétezeréves Budapest emlékei,
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171:The relief was first described by art historian
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353:A Magyar Mérnök- és Építész-Egylet Közlönye
301:A Magyar Mérnök- és Építész-Egylet Közlönye
148:on the rim of the central medallion reads:
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279:BTM Vármúzeum - Középkori kőtár no. 660
260:Provostry Church of Saint Peter in Óbuda
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144:The fragmentary Latin inscription with
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151:ORBITA TOLLITVR .... O GRADIVNTVR
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423:Limes - Tudományos Szemle
118:Church of Saint Catherine
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235:Basilica of Saint-Sernin
480:12th-century sculptures
399:A tanító kövek városa,
176:was dedicated to Saint
130:Budapest History Museum
81:Budapest History Museum
54:Stone relief (fragment)
438:XXXVIII (2004), p. 172
325:Béla Zsolt Szakács in
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475:Sculptures in Hungary
465:Romanesque sculptures
412:Marosi 1978, op. cit.
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146:Roman square capitals
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227:San Michele Maggiore
104:) is a 12th-century
455:History of Budapest
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243:Fisherman's Bastion
220:In a new analysis,
161:John the Evangelist
157:Matthew the Apostle
436:Budapest Régiségei
314:Budapest Régiségei
191:A few years later
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114:Kingdom of Hungary
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201:Henrik Horváth
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108:relief from
94:Tabán Christ
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46:12th century
19:Tabán Christ
255:Ernő Marosi
247:Buda Castle
193:László Éber
136:Description
449:Categories
267:References
69:Dimensions
388:Kis Ujság
215:Cavagnolo
98:Hungarian
63:limestone
37:Anonymous
401:Új Ember
375:Budapest
199:In 1932
110:Budapest
85:Budapest
77:Location
470:Reliefs
167:History
59:Medium
33:Artist
460:Tabán
231:Pavia
122:Tabán
126:Buda
92:The
51:Type
43:Year
229:in
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