Monthly Archives: May 2018

Bookshops in Budapest

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As bookshops continue to close down in cities across the world, the pleasure of browsing becomes ever more difficult to indulge. Shopping online is undeniably convenient, if you know precisely which title you want to buy. But how do you find out about those books you never knew you wanted? Thankfully in Budapest there are still plenty of places where you can give yourself over to the serendipity of the shelves. Here we list our favourites, not in preferential order, but adding them one at a time, as we revisit (and making sure always to leave with a purchase or—in the case of bookshops with cafés attached—to stop for a drink and snack).

1. MASSOLIT

Massolit is a very special place, an old-fashioned bookshop, enticingly and scruffily crammed floor to ceiling with titles on diverse subjects from Archaeology to Zoroastrianism, mainly (but not only) in English. It takes its name from the Soviet literary clique of Bulgakov’s Master and Margarita. A warren of interconnected rooms leads through to a garden courtyard at the back, where you can sit with your book and a drink. There is a bar in the main room where you place your orders (simple food is also available). Although right in the heart of Budapest’s ‘Party District’, well known for its rowdy ruin pubs, Massolit preserves an air of wonderfully nerdy calm, possibly because it serves no alcohol. A chalkboard notice kindly asks co-workers to remember to order something from time to time if they intend to spend all day there on their laptops.

Last visited: 28th May

Book: Selected Poems of Endre Ady

Drink: Cherry juice and soda.

Massolit Books & Café

Budapest VII. Nagy Diófa u. 30

Open until 7.30pm.

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2. ATLANTISZ KÖNYVSZIGET

The Könyvsziget or ‘Book Island’ is a split-level bookstore belonging to the Atlantisz publishing house, whose list is strong on philosophy, history, art, classics and other Humanities subjects. Most of the ground floor is devoted to books in English and other languages. The location is extremely central, right behind Deák tér where three of the city’s four metro lines intersect and the terminus of the 100E airport buses. Visitors to Pest’s city centre and to the Jewish District will find this bookshop very handily placed. Service is friendly and there are one or two chairs for you sit down while you browse.

Last visited: 29th May

Book: Promote, Tolerate, Ban: Art and Culture in Cold War Hungary

(For a review of the recent exhibition at the Hungarian National Gallery dealing with Communist-era art censorship, see here.)

Atlantisz Könyvsziget

Budapest VI. Anker köz 1–3

Closed Sat from 2pm and all day Sun.

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3. BEERS AND BOOKS

This is an eccentric and deeply delightful second-hand bookshop in Ujlipótváros, Budapest’s 13th District. You go down a few steps into a cool space lined on two sides with bookshelves, and on a third with an array of beers. You can buy either beer, or books, or both. It is also possible to drink a beer while you browse. I chose a bottle from the cool cabinet and it was poured out for me by the taciturnly friendly proprietor and served in a handsome long-stemmed glass. Beer in hand, you can pull up the high-backed faux-leather chair to a shelf of your choice and begin browsing. The offering is mainly in Hungarian but there is a small section of books in English as well. Not a chain, not a franchise, not an imitation of anyone else’s commercial prototype; this is a true Budapest original. The left-field choice of background music adds to the charm: on a scorching hot day in late May we were regaled with ‘Santa Claus is coming to Town’.

Last visited: 30th May

Book: Lajos Hatvany: Urak és emberek. A novel trilogy on the history of Budapest Jewry, from their arrival, through assimilation to persecution (for more on Lajos Hatvany, his family story and his brother’s celebrated art collection, see Blue Guide Budapest)

Drink: Monyó Flying Rabbit craft beer (for more on the Monyó brewery see Blue Guide Budapest)

Beers and Books

Budapest XIII. Pannónia u. 46/b

Open until 9pm.

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4. BESTSELLERS

Opened in 1992 by accomplished bookseller Tony Láng and still going from strength to strength after over a quarter of a century. Bestsellers has firmly established itself as the go-to destination for people looking for English-language books in Budapest. They have an excellent range of stock over many genres, including children’s books, newpapers and magazines. The section on Hungary and its history is particularly strong. Staff are well-informed and helpful. Browsing here is a delight. The location, slap bang in the heart of downtown Pest, could not be bettered.

Last visited: 31st May

Book: District VIII by Adam LeBor.

Bestsellers

Budapest V. Október 6. u. 11

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5. FUGA

The Hermes Udvar or Hermes Court, was built in 1905 for a company specialising in safe deposits. Operated as such until the First World War, after which the building was converted into flats. The architects, Géza Kármán and Gyula Ullmann, are known for a number of early 20th-century buildings in Pest, in a recognisably thickset, Seccessionist style. Today the Hermes Court is home to FUGA, the Budapest Center of Architecture, with a bookshop, café and exhibition spaces. The bookshop is excellently stocked, with a huge array of titles on fine art, applied art, architecture, urban planning etc in Hungarian and English, all enticingly spread out on the enormous central table. There are cosy nooks to sit and have a drink and at the back and upstairs there are exhibition rooms. The shows here are usually free and—naturally enough—take architecture as their subject matter.

Last Visited: 1st June

Book: Budapest Atlantisza by Emőke Tomsics, a study of the development of inner Pest in the late 19th century

Drink: Tomato juice

FUGA

Budapest V. Petőfi Sándor u. 5

Closed Tues.

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6. RÓZSAVÖLGYI

The Rózsavölgyi building is landmark example of Hungarian Modernism, built in 1910–11 by Béla Lajta. Part of the building is occupied by a chemist’s, the other by a bookshop. Historically Rózsavölgyi began life as a music publisher and shop, run by the son of a popular composer, and there is still a wide range of instruments, scores, sheet music and CDs on sale on the ground floor. At the front is a section of souvenir books and guides. Upstairs there are books on art and architecture, and further up still, the Rózsavölgyi Salon, which hosts muisc and theatre events and has a café (opens an hour and a half before performances).

Last Visited: 4th June

Book: Schirmer Performance Editions, The Classical Era (piano music)

Rózsavölgyi

Budapest V. Szervita tér 5.

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7. LÍRA

As the name, ‘Lyre’, suggests, this chain of bookstores specialises in music as well as in the printed word. They have shops well distributed across Budapest, in busy downtown areas of Pest as well as in residential districts of Buda (typically in shopping centres). The offering is wide, with a selection covering fiction and non-fiction, arts and sciences, adults and children and usually with a good range of titles in English and other languages. A link to the list of stores is given below. The illustration above was taken in the Múzeum körút bookshop opposite the Hungarian National Museum.

Last visited: 5th June

Book: Ignác Romsics: A Short History of Hungary

Líra (at many addresses across town; for a list, see here).

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8. HUNGARIAN NATIONAL MUSEUM

The bookshop of the Hungarian National Museum is in the building’s lofty Neoclassical lobby, to the left of the ticket desk. You can visit the shop without entering the museum. Its stock ranges from books to souvenir replicas, maps, posters and postcards. The books are often a motley bunch and it is always worth popping in to browse and to see what new titles have cropped up. There is always a selection in English and other languages. Titles held here are on history, art history and the museum collections themselves.

Last visited: 6th June

Book: The Dowry of Beatrice. Exhibition catalogue on Italian majolica and the court of King Matthias Corvinus

Drink: Sparkling mineral water. The museum has a café in the basement which you can only visit with a ticket. When the weather is fine, you can sit outside in the courtyard.

Hungarian National Museum

Budapest VIII. Múzeum krt. 14–16

Closed Mon.

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9. ÍRÓK BOLTJA

The ‘Writers’ Bookshop’ is not only famous for inhabiting the premises of the celebrated Japán Coffeehouse, haunt of artists and poets at the turn of the 20th century. It is also well known as the finest highbrow bookshop in the city. The shelves reach floor to ceiling (the topmost volumes are accessed by ladder) and the titles in stock cover poetry, fiction, philosophy, architecture, history, economics, law, sociology, theatre, gastronomy, design (and more). Books in English and other languages are on the upper gallery. The offering includes books on Budapest and a good choice of Hungarian literature in translation. There are also tables where you can sit and browse. Írók boltja often holds afternoon readings, discussions and other presentations: it is at the centre of a lively literary scene.

Last visited: 7th June

Book: Budapest Írókönyv (Liber ad scribendum). A beautifully presented anthology of archive photographs and extracts from prose and poetry thickly interspersed with blank pages, so you can write your travel journal. (The trouble is, the book is too beautiful to write in.)

Írók boltja

Budapest VI. Andrássy út 45

Open until 7pm, daily except Sun.

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10. HUNGARIAN NATIONAL GALLERY

The bookshop attached to the Hungarian National Gallery, in the Danube-facing wing of the former royal palace on Buda’s Castle Hill, has an excellent selection of books and souvenirs. The books on offer include publications on Budapest and Hungary, exhibition catalogues, artist monographs and numerous works on art history, including a wide choice of titles in English. The shop is separated from the museum: you can visit the shop without an entrance ticket. The same is true of the café, which is in the opposite wing of the same building.

Last visited: 8th June

Book: Painting the Town Red by Bob Dent

Drink: Iced coffee

Hungarian National Gallery

Budapest I. Castle Hill

Closed Mon.

Living with Leonardo

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Martin Kemp, Living with Leonardo, Fifty Years of Sanity and Insanity in the Art World and Beyond. Thames and Hudson, London 2018. 

Some time ago I was sitting next to a retired surgeon at a dinner party. I asked him how he filled his time. He told me that he had discovered the anatomical drawings of Leonardo da Vinci and was so astonished by their accuracy that he had taken to lecturing about them. Leonardo was a pioneer in relating thought to observation; in the words of the celebrated art historian Ernst Gombrich, quoted here by Kemp, establishing that ‘the correct representation of nature rests on intellectual understanding as much as on good eyesight’. It is not only the sheer quality of Leonardo’s art and drawing that impresses, it is the endlessly inventive nature of his mind: ‘no one covered the surface of pages with such an impetuous cascade of observations, visualized thoughts, brainstormed alternatives, theories, polemics and debates, covering virtually every branch of knowledge about the visible world known in his time’.  

This last quotation is from Martin Kemp’s study of Leonardo’s drawings for an exhibition held at London’s Victoria and Albert Museum in 2006. For fifty years he has been immersed in the works and the book under review is an account of the many adventures that have come his way in what is often a weird world of charlatans, code-breakers, ‘devious dealers and unctuous auctioneers’, as well as honest and committed scholars. As Kemp notes, Leonardo has never finished with him and as late as 2008 he was alerted to a new find, what turned out to be the Christ as Salvator Mundi, now accepted by many—if not all—experts as an original and sold for the Louvre Abu Dhabi for a staggering $450 million.  

Kemp’s chapter on ‘The Saviour’ is one of the most absorbing, partly because the subject is so topical. Almost as soon as he had first seen it in the conservation studio of London’s National Gallery, Kemp knew it was special and that it showed many of the characteristics of Leonardo. Originally it was thought to be one of twenty known copies of an original recorded in the collection of Charles I, but once cleaned of accretions and restorations it emerged as clearly superior to its competitors. There were telltale signs such as a pentimento (an alteration made as the artist worked) in Christ’s fingers that was typical of the way Leonardo painted and would not have been found in a copy. Researches of the draperies in Leonardo’s drawings and studies of rock crystal, probably the mineral of the orb that Christ is holding, gradually consolidated the attribution, at least so far as Kemp and other acknowledged experts were concerned. Others disagreed, sometimes without even having examined the painting itself. In the end, solid scientific and archival research have to marry with instinctive reactions to reach a final judgement and Kemp stands firm on the ‘Saviour’s’ authenticity. 

Kemp was first drawn to Leonardo when asked to advise on a study of the motion of fluids in his drawings. He gradually became aware of the principles that underpinned the depictions, with Leonardo relating the flow of water to the way that hair curls naturally. In fact, he was later to use this to confirm that the hair of Jesus in one of the versions of the Madonna of the Yarnwinder (see below) was by Leonardo. From there he moved on to the anatomical drawings in the Windsor Castle collection, and he was hooked.  

In Living with Leonardo, Kemp takes us through some of the great paintings. There is the famous Last Supper in Milan and the controversy over its restoration. He has been able to see the Mona Lisa ‘out of its prison’ twice, and recent technical work on the underpainting has provided a model for the way Leonardo worked, revising as he went along. This immediately shows up copies and Kemp is thus able to reject the so-called ‘Isleworth Mona Lisa’, which was heavily backed by its owners as the original of the Mona Lisa with a sumptuous volume of ‘research’, without even seeing it. Kemp adds to his appreciation of the Mona Lisa through becoming immersed in the literature of the period, especially the Renaissance idealisation of women, and by making use of discoveries in the Florentine archives to recognise a certain Caterina Lippi as Leonardo’s mother. Caterina married elsewhere soon afterwards but Leonardo’s father, a successful Florentine notary, took Leonardo into his household without shame. 

There is a good chapter comparing the two versions of the Madonna of the Yarnwinder, one the property of the Duke of Buccleugh, the other known as the ‘Lansdowne Madonna’. Both appear to be by Leonardo and the relationship between them is complex. The former was spectacularly stolen in 2003 from the ducal castle but Kemp is on hand to confirm its authenticity when it is recovered by police. Then we are on to La Bella Principessa, a haunting study of a girl in Renaissance dress, once believed to be a 19th-century German copy on vellum. Again, simply by looking at it, Kemp and others suspect it is something more than this and studies of the eye link it back to drawings by Leonardo. This is, of course, not enough to confirm an attribution, especially as it is unusual for Leonardo to paint on vellum. However, a breakthrough moment comes with the discovery of a missing page in a vellum book in the National Library in Warsaw. This was a presentation volume to Duke Ludovico of Milan to celebrate the marriage of his legitimised daughter Bianca Sforza in 1496. Leonardo was working for the Duke at the time and so his contribution is possible. It seems that the quality, if not the attribution, of the painting was recognised and the page was cut out in the 19th century. This chapter is notable for the abuse Kemp receives when he goes public that the Principessa is indeed a Leonardo likeness of Bianca Sforza. 

As with the medieval Turin Shroud, Leonardo attracts cranks. In a final chapter, ‘Codes and Codswallop’, Kemp deals with Leonardo as a Master of the Priory of Sion, with supposedly heretical additions to the Louvre version of the Virgin of the Rocks, with hidden messages in landscapes, secret letters in the eyes of the Mona Lisa, divine proportions and so on. He appears amazingly generous to purveyors of such nonsense—or perhaps he is simply intrigued with the absurdities that Leonardo provokes. (I have to sympathise: during the course of my own studies of the undoubtedly medieval Shroud of Turin, I found that the more bizarre the arguments by Shroudies were, the more fascinating the Shroud became.) 

Living with Leonardo is an excellent introduction to the cut-throat world of attributions and scholarship, here related to a formidable genius. The pressures to find a genuine Leonardo are immense. Yet in the end, it is the instinct that matters, and Kemp’s many years of study enable him to spot the lineaments of a Leonardo among the hundreds of hopefuls that reach him every year.  

Reviewed by Charles Freeman, Historical Consultant to the Blue Guides.

Budapest at the Biennale

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When the Szabadság híd (Freedom Bridge) that spans the Danube in Budapest had to be closed to traffic for essential repairs and maintenance in 2016, the city seized the opportunity to turn the traffic-free road- and tramway into a public space, a floating park above the water, where people young and old could disport and recreate themselves while the bridge was being made safe for traffic again. The initiative proved so popular that the bridge was closed to traffic on four weekends in 2017-and once again this year, between mid-July and early August, the ‘Freedom Bridge Picnic’ has been promised. The phenomenon has also made it to this year’s Venice Architecture Biennale. For details, see here. The bridge, which was built in 1896, was originally named Franz Joseph Bridge after the reigning king and emperor. Badly damaged by the retreating Nazis at the end of WWII, it was given the name Freedom Bridge on its reopening in 1946.

The Zeugma Mosaics Saga

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Visitors to southeast Turkey will be familiar with the ‘Gipsy Girl’, the portrait of a young lady (actually a maenad, one of the frenzied followers of Dionysus) exhibited amid tight security at the Gaziantep Museum. The image—featured on the cover of Blue Guide Southeastern Turkey—is now so ubiquitous (second only to the Nemrut Dağ) that it has become the logo for ‘Archaeology in Turkey’; unfortunately in the process the archaeological context of the find has been overlooked. The image was uncovered in 1998–9 during the tail end of rescue excavations when work on the dam was completed and water levels were rising. We know that it came from a villa, one of the many in Zeugma, and on stylistic grounds it is dated to the 2nd century AD. Soon, however, visitors will be able to admire the piece in a context of sorts.

Back in the early 1960s, the villa floor had been unofficially excavated, at which time the mosaic floor was hacked into twelve convenient, portable sections and sold on the international art market. The items found a new home at Bowling Green State University in Ohio, which paid $35,000 for them. Fifty years on, an agreement has been reached and the pieces will be repatriated.

Included among them is another female figure, a young lady with a frightening—or firghtened—look on her plump face and a lot of foliage in her hair. In this case the mosaicist did not reach the heights of the haunted look that has made the ‘Gipsy Girl’ so famous. On the other hand the birds are delightful and the theatre masks (if they are theatre masks) may offer a clue to understanding the composition.

In due course the pieces will be displayed at the Gaziantep Museum and one hopes that all 13 of them will be exhibited together on the floor, not hanging incongruously on the wall, in an atmosphere of less intrusive security and together with a plan of the villa.

By Paola Pugsley. Paola is the author of Blue Guide Southeastern Turkey. Her latest volume, Blue Guide Aegean Turkey: Troy to Bodrum, was published earlier this year.

News from Syracuse

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Blue Guide Sicily author Ellen Grady has some updates from Syracuse, where, on the island of Ortygia, the old city, there’s a useful new Tourist Infopoint just behind the cathedral, at Via Minerva 4. It has up-to-date information on opening hours of the museums and the archaeological sites in Syracuse and the area of Noto. There is also a shop offering local crafts.

While visiting Syracuse, don’t miss the Paolo Orsi Archaeological Museum. On the upper floor, a look at the Greek and Roman statuary in Section D is always worth your time. In Section F, the interesting Late Antique section is now complete, with a permanent and beautifully displayed exhibition of early Christian frescoes, epigraphs, reliefs and artefacts from the local catacombs. This surprisingly extensive system of underground tunnels and caves served as a place for burials, but also for practising the forbidden cult of Christianity.

If you’re in a car, head south from Syracuse to the charming fishing village of Marzamemi (an hour’s drive) for lunch or dinner at La Cialoma. Our recommended restaurant is now listed in the Michelin Guide for Italy. You can eat either in the square, or on the terrace overlooking the sea and the old tuna fishery. The fish dishes are always good, especially if accompanied by Lina’s organic house wine, which is cloudy, white and slightly fizzy. Local strawberries are perfect when in season, or you could try sheep’s milk ricotta with a sauce of vino cotto, reduced wine. La Cialoma is open daily for lunch and dinner from April to October; in winter for lunch only, except at weekends.

Fresco of a saint from Pantalica / Fried Mediterranean cod

Titian in Brescia

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Tiziano e la pittura del cinquecento tra Venezia e Brescia is an exhibition curently running (until 1 July) in the Museo di Santa Giulia in the Lombard town of Brescia. The centrepiece is Titian’s Averoldi polyptych—although it is in fact only present in a dramatic video show as the curators wisely decided to leave it in situ the church of Santi Nazaro e Celso, for which it was painted and where it has been ever since the great artist delivered it there in 1522 (it is not far away from the exhibition venue). It is a magnificent work, unusual in the fact that it is divided into the form of a polyptych with smaller scenes around the central Resurrection which include a particularly beautiful Annunciation (the Angel and the Madonna in two separate panels), as well as a St Sebastian, which is a remarkable study of human anatomy: it has been recognised that the intrinsic drama of the nude figure shows the influence of Michelangelo’s Slaves as well as the Hellenistic statue of the Laocoön, which was discovered in Rome at just about this time.

Titian’s portrait of the doctor
Gian Giacomo Bartolotti

Titian is again documented in Brescia as an old man in his 80s, when he accepted a commission to paint three large canvases for the upper floor of the famous building known as the Loggia. The subject of the central panel was the Apotheosis of Brescia, represented by a matronly lady magnificently dressed, and the other panels personified the age-old activity of the production of arms in the town with Vulcan in his forge, as well as the agricultural activity in the countryside around Brescia, symbolised by the goddess Ceres. Palladio, when on a visit to the town to advise on the architecture of the Loggia,recorded his admiration for these works, which were unfortunately lost in a fire which devastated the building only six years after they had been installed. For the exhibition they have been reconstructed as far as possible in a video, based on an engraving made in the 18th century.

Another connection the great artist has with Brescia is the Triumph of Christ woodcut owned by the Musei Civici. This is one of five versions, produced in five blocks, of a drawing by the artist based on the theme of a Classical ‘Triumph’. Rather bizarrely it shows Christ seated on a chariot pulled by the four symbols of the Evangelists and accompanied by the four Doctors of the Church (resembling the bodyguards who run beside the Pope’s car today). The procession which precedes and follows the chariot is made up of crowds of figures from the Old and New Testaments. The version preserved in Brescia has been recognised as a first edition (and dated 1517).

However the exhibition is perhaps especially interesting for its study of the three principal artists born in Brescia who were contemporaries of Titian: Moretto, Giovan Girolamo Savoldo and Girolamo Romanino. Their works demonstrate not only how closely they must have looked at Titian’s work, as well as that of Lorenzo Lotto (the Venetian artist who was least influenced by Titian), but who at the same time clearly managed to create a school of their own. We are shown a wide range of their production, which underlines their ability to produce paintings of religious subjects which often concentrate on naturalistic details, and intimate, almost cosy, settings, and even include night scenes, as well as portraits of great ingenuity. The curators have suggested that there is little doubt that the young Michelangelo Merisi, thought to have been born at Caravaggio in the Bergamasco in 1571, must have studied their work before leaving for Rome, where he was to became Italy’s most famous painter of the 17th century.

This exhibition is in many ways a revelation of the skill of the local painters but also an opportunity to admire great works by Titian, and in particular two of his male portraits (c. 1515–20): the famous Mosti Portrait (from the Pitti) and the much less well-known portrait of a man identified as the painter’s doctor Gian Giacomo Bartolotti da Parma, today preserved in the Kunsthistorisches Museum in Vienna. It is the most memorable work in the show.

Reviewed by Alta Macadam. Alta has recently spent two weeks in and around Brescia preparing text for the forthcoming Blue Guide Lombardy, Milan and the Italian Lakes.

Raphael in Bergamo

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There are two exhibitions in the two neighbouring Lombard towns of Bergamo and Brescia in northern Italy which are drawing crowds of visitors, especially from Italy itself. Bergamo has chosen Raphael since the town’s art gallery, the Accademia Carrara, owns one of his early masterpieces (St Sebastian), just restored. Brescia has chosen Titian in order to celebrate his beautiful polyptych of the Resurrection painted for the high altar of a church in the town and the exhibition illustrates the work of an important group of contemporary local painters (including Moretto, Savoldo and Romanino) whose production is seen in the context of the Venetian school. Brescia’s Pinacoteca Tosio Martinengo reopened this year (on 17th March), after eleven years of closure.

Raphael’s ‘St Sebastian’

Since the towns are so close together, both have advertised each other’s exhibitions and visitors to both are given a reduced-price ticket.

The exhibition in Bergamo, Raffaello e l’eco del mito (scheduled to close on 6th May but hopefully may be kept open for longer) is in the newly restored rooms on three floors of a former convent directly opposite the Accademia Carrara, which makes this an opportunity to visit the town’s picture gallery too, which was excellently rehung a few years ago.

The exhibition is particularly interesting in the sections which illustrate works by painters which Raphael must have seen as a young man. These include two panels by his cultivated father Giovanni Santi, loaned by the Galleria Corsini in Florence. Santi died when Raphael was only 11 years old but scholars agree that he must have started Raphael out on his career. Perugino, a decisive figure in the young Raphael’s development as a painter (although Raphael is not actually documented in his bottega) is represented with three masterpieces: his own St Sebastian (signed on the arrow!) from the Hermitage, his Mary Magdalene from the Uffizi (the pose very similar to Raphael’s St Sebastian, and also just restored) and his Madonna and Saints from a church in nearby Cremona. The first and last are works little-known to the general public and so this provides an opportunity to see them. The two painters from Umbria, Pinturicchio (whom Raphael knew in both Siena and Perugia) and Luca Signorelli (whose wonderful Crucifixion has been lent by the Galleria Nazionale in Urbino) are present to underline Raphael’s pride in his Umbrian origins (he signed his paintings “Raphael Urbinas”).

The comparison of Raphael’s St Sebastian with two works of the same subject by Leonardesque painters from Milan, Boltraffio and De Predis, is particularly interesting as they both portray the young saint with long golden curls, but holding an arrow as identification (instead of the more usual iconography of the nude figure of the saint at his martyrdom, pierced with arrows): they are thought to predate Raphael’s work of the same subject by a few years. They come all the way from the Pushkin Museum in Moscow and the Cleveland Museum of Art.

The autograph works by Raphael on exhibition, all of them chosen to illustrate his production between 1500 and 1505, include his famous portrait of Elisabetta Gonzaga from the Uffizi. The sitter, with her heavy eyelids, is not flattered by the artist, but the brown and gold tones of her dress and jewels provide a magnificent contrast to the countryside in the background, lit up by the sunset.

His exquisite tiny St Michael Archangel from the Louvre has extraordinary monstrous creatures accompanying the dragon. The scene, with a building in flames in the background, is derived from the Apocalypse. But the light, graceful figure of St Michael, who has just landed, seems unaware of any hindrances to his plan to banish the Devil. Still in what looks like its original frame, this is surely one of Raphael’s highest achievements in a painting of this size (31 x 27 cm). The small Prayer in the Garden from the Metropolitan in New York, is one of the most memorable of his works on show, since Raphael demonstrates how he can take a familiar subject and raise its significance to a level perhaps never reached by another artist.

But his very beautiful St Sebastian is certainly the most important work in the show and it has been specially restored at the Brera for the exhibition, with later accretions of yellow varnish now removed.

The exhibition is accompanied by an excellent catalogue, as well as a smaller version for just a few euro. For the Titian exhibition in Brescia, see here.

Reviewed by Alta Macadam. Alta is currently at work on a new volume, Blue Guide Lombardy, Milan and the Italian Lakes, to be published later this year.

Comments and updates on Blue Guide Budapest

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Blue Guides celebrate their centenary year with this new edition of Blue Guide Budapest, an in-depth companion to the history, art, architecture, food, wine and thermal baths of this exceptional city.

View the book’s contents, index and some sample pages, and buy securely from blueguides.com here »

Budapest is a city in constant renewal, with important renovation and reconstruction taking place all the time. For updates, as well as reader comments on the new edition, see below.