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Chronicon Pictum
Chronicon Pictum
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The Chronicon Pictum or Illuminated Chronicle (Hungarian: Képes Krónika, Slovak: Obrázková kronika, German: Ungarische Bilderchronik, also referred to as the Illustrated Chronicle, Chronica Hungarorum, Chronicon Hungarie Pictum, Chronica Picta or Chronica de Gestis Hungarorum) is a medieval illustrated chronicle from the Kingdom of Hungary from the 14th century. It represents the artistic style of the royal court of King Louis I of Hungary. The codex is a unique source of art, medieval and cultural history.

Key Information

The chronicle's full name is: Chronicon Pictum – Marci de Kalt Chronica de Gestis Hungarorum (Illustrated Chronicle – Mark of Kalt's Chronicle About the Deeds of the Hungarians).

History of the chronicle

[edit]
King Louis I of Hungary, crown, shield, Anjou coat of arms, secpter, Hungarian, medieval, book, illumination, illustration, history
King Louis the Great as depicted in the Secretum Secretorum (Secret of Secrets)

King Louis I of Hungary commissioned the Chronicon Pictum and the Secretum Secretorum, which were both produced in a Hungarian workshop. Miklόs Meggyesi, son of Hertul the court painter of Louis, has traditionally been identified as the illuminator, though there is no real evidence for this.[1] The Illuminated Chronicle was written by Mark of Kalt (Latin: Marci de Kalt, Hungarian: Kálti Márk) in 1358 in Latin, with the last of the illuminations being finished between 1370 and 1373.

According to historian Bálint Hóman, the original source of all extant Hungarian chronicles was the lost Gesta Ungarorum, which was written in the time of King Saint Ladislaus.[2] The basic premise of the Hungarian medieval chronicle tradition states that the Huns, i.e. the Hungarians, came out twice from the regions of Scythia, the guiding principle being the Hun-Hungarian continuity.[3]

The chronicle was given by the Hungarian king Louis I to the French king Charles V, when the daughter of Louis, Catherine, was engaged to Charles's son Louis I, Duke of Orléans in 1374.[4] The chronicle was later given to Serbian despot Đurađ Branković as a gift from the French king Charles VII. The chronicle was then copied in 1462. Between 1458 and 1490, it was kept in Hungary, in the court of King Matthias Corvinus.[5] It was later lost, possibly spending some time in the possession of the Ottomans.[4] There is evidence to suggest that in the second half of the 15th century the chronicle was again in Hungary, as it contains several handwritten Hungarian and Latin entries from the period. In three places researchers also found Turkish writing which make various comments regarding Hungary. Because of this, the researchers concluded that sometime between the 15th and 17th century the manuscript was owned by a Hungarian who knew Turkish very well. The chronicle may have been present in Vienna during the infamous Ottoman siege of the 16th century as from at least the 17th century, it belonged to the royal archives in Vienna. Sebastian Tengnagel mentions it in the manuscript catalog of the court library from 1608 to 1636, which is why it is sometimes referred to as the Vienna Illuminated Chronicle. As a result of the Venice Cultural Convention, the chronicle was returned to Hungary in 1934. The manuscript is now kept in the National Széchényi Library in Budapest, Hungary.[1][4]

Illuminations

[edit]

The 147 pictures of the chronicle represent a large source of information on medieval Hungarian cultural history, costume and court life, they're also the most important records extent of Hungarian painting practices in the 14th century. The artistic value is quite high, and the characters are drawn with detail and by artists with a knowledge of anatomy.[6] The chronicle contains 147 miniatures: 10 larger images, 29 images in columns, smaller images painted in medallion shapes at the bottom of 4 pages, 99 images enclosed in initials, and 5 initials without images. In addition, there are 82 pieces of ornamental art painted in the margins.

The images are listed in the same order as their appearance in the chronicle.

Page Illumination Description
Page 1
Chronicon Pictum, King Louis I of Hungary, knights, throne, canopy, orb, secpter, Hungarian, Saint Catherine of Alexandria, medieval, chronicle, book, illumination, illustration, history
King Louis on the Throne

King Louis on the Throne
  • King Louis I sits on a mosaic-decorated canopy throne with turrets in the middle in a leaf-decorated frame. His crowned head leans slightly to the right, his face around the mouth and chin is worn on the miniature. He holds a scepter in his right hand and an orb in his left hand. He wears white gloves. His reddish-brown striped dress is covered with an ermine lining and cloak. On his right are armored knights in western costumes with swords and shields, on his left is a group of oriental, long-dressed figures with bows, arrows, and sabers. The weapons of those standing to the left of the king are royal insignia according to Eastern custom.[7]

Saint Catherine of Alexandria

Page 2
Chronicon Pictum, Mark of Kalt, Kálti Márk, author, writing, Hungarian, medieval, chronicle, book, illumination, illustration, history
The Historiographer

The Historiographer
  • Mark of Kalt, the author of the Chronicon Pictum. The dress that the storyteller wears in the picture is not exactly monastic, but more ornate, as it has a gold border. A bearded man sitting in front of a mosaic-decorated pulpit is writing in a codex. There is a writing instrument in his right hand, and he holds down the sheet of parchment with a scratch knife in his left hand. His inkstands are attached to the edge of the pulpit.[7]

In the year of the Lord 1358 on the Tuesday of the week of the same Lord’s Ascension was begun this chronicle of the deeds of the Hungarians in ancient and most recent times, whence they came and how they fared, their victories and their boldness...

— Mark of Kalt: Chronicon Pictum[8]

Page 5
Chronicon Pictum, Hungarian, Hun, miraculous deer, hunting, Scythian, Hunor, Magor, scepter, medieval, chronicle, book, illumination, illustration, history
The Miraculous Deer

The Miraculous Deer
  • The hunt of the miracle stag. A group of dogs hunting, in the foreground a leading figure: Hunor or Magor. In the left background is a forest towards which a deer is heading.[7]

The beginning of the spreading of the Hungarians in the eastern parts of Scythia: It happened that one day they had gone out hunting, and in a deserted place there appeared before them a hind, which they followed into the Maeotian marshes as it fled before them...

— Mark of Kalt: Chronicon Pictum[8]

Page 7
Chronicon Pictum, Huns, Hungarians, Turul bird, flag, eagle, falcon, hawk, arriving, Pannonia, castles, medieval, chronicle, book, illumination, illustration, history
The First Arrival of the Hungarians in Pannonia

The First Arrival of the Hungarians in Pannonia
  • Initial "A" with floral and leaf ornamentation. Below it, a heavily worn miniature is occupying the entire width of the text in a simple frame. In the background there are castles on tops with residential towers. The Huns, considered by the chronicle to be the ancestors of the Hungarians, enter from the right in the foreground: armored knights on horseback, a chief in costume among them. One of the knights carries a flag protruding from the frame of the picture, the Turul, the legendary bird of the Hungarians is on the flag, which the illustrator here depicts as a falcon or eagle-like black bird on a red background. In the middle, there are men and women carrying children, and baggy packages on their backs, then there are women and children on wagons covered with tarpaulins, behind them, there are warriors riding on camels.[7]

In the year 373 of the incarnation of the Lord, in the time of the Emperor Valens and Celestine I, pope of the Roman Church, in the sixth age of the world, the Huns, having multiplied in numbers while they stayed in Scythia, assembled together and having chosen among themselves as captains Béla, the son of Csele of the kindred of Szemény, and Keve and Kadocsa, his brothers, and Etele, Keve and Buda, sons of Bendegúz of the kindred of Kádár, they determined to invade the western regions. Having chosen from their hundred and eight tribes ten times a hundred thousand armed men, that is to say from each tribe ten thousand, they left the rest of the Huns behind them in Scythia to protect their places of abode and their kingdom against enemies. They chose from their number one judge, Kádár by name, of the kindred of Torda, who should settle quarrels between those in dispute and punish thieves, robbers and wrongdoers, yet under the condition that if this judge should hand down an inordinate sentence, the community could cancel [it] as invalid, and have the errant judge or the captains depose whenever it wanted. This custom was the law and continued to be observed among the Huns, that is Hungarians, until the time of Duke Géza, the son of Taksony. For before the baptism of the Hungarians, the crier’s voice summoned them to arms in their encampments thus: "The word of God and of the whole community is that every man shall punctually appear at such-and-such a place, armed or as he is, to hear the command and decision of the community." On any man who should disregard the order without being able to offer an excuse, the Scythian law imposed the penalty that he should be cut in two by the sword or exposed to hopeless situations or given over without mercy into communal slavery.

— Mark of Kalt: Chronicon Pictum[8]

Page 9
Chronicon Pictum, Huns, Hungarians, Attila, Romans, battle, Zeiselmauer, Turul bird, flag, eagle, falcon, hawk, horse army, Árpád stripe, Pannonia, medieval, chronicle, book, illumination, illustration, history
Attila's Battle With the Romans at Zeiselmauer

Attila's Battle With the Romans at Zeiselmauer
  • The depicted battle is the legendary Battle of Zeiselmauer when the Huns conquered Pannonia from the Romans. Two horse armies fighting each other, the corpses of the fallen lie on the ground, their blood stains the ground red. On the right side, one soldier's shield is striped with red and white, while another in the middle of the picture carries a golden flag decorated with a Turul which stands out from the picture.[7]

While Detre and Macrinus had settled down and discussed and debated in this way, the Huns crossed the Danube on hoses at Sicambria in the silence of the night and cruelly killed the army of Macrinus and Detre, which was encamped in the field, because the city of Potentiana could not receive them. This attack infuriated Detre, and he went to fight the Huns on the field of Tárnok Valley, he clashed with them, and is said to have defeated the Huns at the great danger and ruin of his people. The remnants of the Huns crossed the Tisza. 125,000 Huns were killed that day, among them, Captain Keve also fell in the battle. 210,000 men from the army of Detre and Macrinus perished there, not counting those who were killed under the tents. Detre saw the great loss his people had suffered in the battle, on the second day after the battle, he marched with Macrinus towards the city of Tulln, which was then a Latin seat and counted among the cities of Pannonia. The city of Tulln locates in Austria, three stations away from Vienna. When the Huns understood that their enemies had withdrawn, they returned to the battlefield and buried the corpses of their comrades and Captain Keve according to Scythian custom, – we think – by the side of the highway, an ornate stone idol was erected there, that place, that region was named Keveháza. In the battle, the Huns thoroughly recognized both the spirit and the armed equipment of the Romans, so having organized their army, they headed towards Tulln, where their enemies gathered. They say that Detre and Macrinus went before them as far as Zeiselmauer, they fought from dawn until the ninth hour, and the Romans were defeated. Macrinus also fell there, Detre was wounded in the forehead by an arrow, the entire Roman army was destroyed and fled. 40,000 Huns were lost in this battle, Béla, Keve and Kadocsa also fell, their bodies were taken from there and buried in the mentioned place, at the stone idol with the other Huns. After the army of Romans was dispersed at Zeiselmauer, they could not gather for war against the Huns for many years.

— Mark of Kalt: Chronicon Pictum[9]

Page 10
Chronicon Pictum, Attila, Hun, Hungarian, King, crown, cloak, throne, scepter, medieval, chronicle, book, illumination, illustration, history
King Attila on the Throne

King Attila on the Throne
  • Attila as the first Hungarian king. Attila is sitting on a throne with a cloak, crown, orb, scepter in a royal ornament.[7]

In the 401st year of Our Lord's birth, in the 28th year since the arrival of the Hungarians in Pannonia, according to the custom of the Romans, the Huns, namely the Hungarians unanimously exalted Attila as king above themselves, the son of Bendegúz, who was before among the captains. And he ordained his brother Buda as prince and judge from the River Tisza to the River Don. He himself was called the King of the Hungarians, the Dread of the World, the Scourge of God: Attila, by the grace of God, the son of Bendegúz, the great-grandson of Magor, who was raised in Engadi, King of the Huns, Medes, Goths and Danes, the Dread of the World, the Scourge of God…

— Mark of Kalt: Chronicon Pictum[9]

Page 11
Chronicon Pictum, Attila, Hun, Hungarian, King, crown, orb, beard, medieval, chronicle, book, illumination, illustration, history
King Attila

King Attila
Page 13
Chronicon Pictum, Attila, Hun, Hungarian, King, sword, saber, crown, orb, beard, medieval, chronicle, book, illumination, illustration, history
King Attila

King Attila
  • Attila, the warrior king has a crown on his head, a saber on his right hand, and an orb on his left hand.[7]
Page 14
Chronicon Pictum, Attila, Hun, King, Roman, siege, battle, Aquileia, medieval, chronicle, book, illumination, illustration, history
Attila is Besieging Aquileia

Attila is Besieging Aquileia

Seeing this, King Attila called his soldiers together and said: "Look this, my fellows! This stork has already felt what the future will bring: we will destroy the city, she is already fleeing so as not to be lost there with the citizens. So be more valiant in the battle tomorrow and you will see that the city is lost!" After he could not take the city by any war machine, he now gave orders with Scythian insight and asked one-one saddle from one million of his valiant warriors, he stacked them under a huge pile under the wall, and commanded that the saddles be set on fire: their flames and heat cracked, demolished the walls and towers. Seeing this, all the citizens left the city and fled to an island in the sea, near Aquileia, and determined to stay there forever, and it is called Venice to this day.

— Mark of Kalt: Chronicon Pictum[9]

Page 14
Chronicon Pictum, Attila, Hun, Hungarian, King, Turul, Turul bird, sword, shield, medieval, chronicle, book, illumination, illustration, history
King Attila with the Turul bird in his shield

King Attila
Page 15
Chronicon Pictum, Italians, Aquileia, Venice, city, refugees, boat, sea, medieval, chronicle, book, illumination, illustration, history
Foundation of Venice

Foundation of Venice
  • In the foreground, the fleeing inhabitants of Aquileia are rowing in a boat in Italian costume. The city depicted in the background could be Aquileia, or rather Venice built on lagoons near the sea shore. According to the text, the inhabitants of Aquileia first fled to a sea island and then founded Venice on the island of Rialto.[7]
Page 16
Chronicon Pictum, Attila, Hun, Hungarian, King, Pope Leo, Rome, meeting, medieval, chronicle, book, illumination, illustration, history
King Attila and Pope Leo

King Attila and Pope Leo
  • Attila is meeting with Pope Leo. The armored Attila is on a white horse with his soldiers, he looks at the figure floating above his head.[7]
Page 21
Chronicon Pictum, Hungarian, conquest, Carpathian Basin, Scythian, Árpád, Álmos, medieval, chronicle, book, illumination, illustration, history
The Arrival of the Hungarians in Pannonia

The Arrival of the Hungarians in Pannonia
  • The image shows several scenes at the same time. In the middle, Árpád tastes the water of the Danube from a drinking horn, the Hungarians are shouting the name of God three times, Kusid stands on his left with a drinking pot in his hand. On the left, Svatopluk is sitting on a throne, he receives Kusid, the ambassador of the Hungarians. The kneeling stableman of Kusid holds a white horse with a golden saddle. In the middle from the right, Árpád rides on a white horse with six captains and armored spear fighters. On the right in the foreground, a group of women and children comes from a road. The background of the whole picture is a rocky mountain landscape with castles, shepherds are driving cattles on the rocks.[7]

Előd, Hungarian Chieftain

  • Below the main illustration, in the initial "D", Előd, father of Álmos, holds a spear, relies on a Turul shield. (It is not clear from the text whether the leader depicted is Előd or Árpád.)[7]

Álmos, Hungarian Chieftain

  • Below the main illustration, in the initial "A", Álmos, Grand Prince of the Hungarians holds a sword, and a Turul shield in his hand. (It is not entirely clear whether Álmos or Árpád is the leader depicted.)[7]
Page 21
Chronicon Pictum, Hungarian, conquest, Carpathian Basin, Scythian, Árpád, Álmos, medieval, chronicle, book, illumination, illustration, history
The Arrival of the Hungarians in Pannonia

The Arrival of the Hungarians in Pannonia
  • The image shows several scenes at the same time. In the middle, Árpád tastes the water of the Danube from a drinking horn, the Hungarians are shouting the name of God three times, Kusid stands on his left with a drinking pot in his hand. On the left, Svatopluk is sitting on a throne, he receives Kusid, the ambassador of the Hungarians. The kneeling stableman of Kusid holds a white horse with a golden saddle. In the middle from the right, Árpád rides on a white horse with six captains and armored spear fighters. On the right in the foreground, a group of women and children comes from a road. The background of the whole picture is a rocky mountain landscape with castles, shepherds are driving cattles on the rocks.

In the year of 677 after the incarnation of the Lord, 104 years after the death of King Attila of Hungary, in the time of Emperor Constantine III and Pope Zachary - as it is written in the Roman chronicle - the Hungarians came out the second time from Scythia.

— Mark of Kalt: Chronicon Pictum[9]

Page 21
Chronicon Pictum, Hungarian, conquest, Carpathian Basin, Scythian, Árpád, Álmos, medieval, chronicle, book, illumination, illustration, history
The Arrival of the Hungarians in Pannonia (Detail)

The Arrival of the Hungarians in Pannonia (Detail)
  • Árpád tastes the water of the Danube from a drinking horn, the Hungarians are shouting the name of God three times, Kusid stands on his left with a drinking pot in his hand.
Page 21
Chronicon Pictum, Hungarian, Előd, chieftain, spear, shield, Turul, bird, medieval, chronicle, book, illumination, illustration, history
Előd, Hungarian Chieftain

Előd, Hungarian Chieftain
  • Below the main illustration, in the initial "D", Előd, father of Álmos, holds a spear, relies on a Turul shield. (It is not clear from the text whether the leader depicted is Előd or Árpád.)
Page 21
Chronicon Pictum, Hungarian, Álmos, chieftain, grand prince, sword, red armor, shield, Turul, bird, medieval, chronicle, book, illumination, illustration, history
Álmos, Hungarian Chieftain

Álmos, Hungarian Chieftain
  • Álmos, Grand Prince of the Hungarians holds a sword, and a Turul shield in his hand. (It is not entirely clear whether Álmos or Árpád is the leader depicted.)

Ügyek's son Előd, fathered a son by the daughter of Eunodubilia in Scythian land, whose name was Álmos, because a bird in the shape of a falcon appeared in his mother's dream when she was pregnant, a rushing stream sprang from her womb, it grew, but not in its own land, and from this it was prophesied that glorious kings would come from her loins. Because dream is "álom" in our language, and the birth of that boy was prophesied by a dream, that's why he was called Álmos.

— Mark of Kalt: Chronicon Pictum[9]

Page 23
Chronicon Pictum, Hungarian, Seven Chieftains, Álmos, Árpád, shield, Turul, bird, medieval, chronicle, book, illumination, illustration, history
The Seven Captains

The Seven Captains
Page 23
Chronicon Pictum, Hungarian, Árpád, Grand Prince of the Hungarians, shield, Turul, bird, sword, medieval, chronicle, book, illumination, illustration, history
Árpád, the First Captain

Árpád, the First Captain
  • Árpád, Grand Prince of the Hungarians stands with a sword and Turul shield.

And this Captain Árpád had a special dignity in Scythia, it was the custom of his clan, according to the Scythian law and tradition, that he went alone before those who went to war and those who retreated, saying, therefore he was the first to enter this land before the other captains going to Pannonia.

— Mark of Kalt: Chronicon Pictum[9]

Page 25
Chronicon Pictum, Hungarian, Szabolcs, chieftain, shield, spear, armor, red, medieval, chronicle, book, illumination, illustration, history
Szabolcs, the Second Captain

Szabolcs, the Second Captain
Page 25
Chronicon Pictum, Hungarian, Gyula, chieftain, spear, armor, helmet, medieval, chronicle, book, illumination, illustration, history
Gyula, the Third Captain

Gyula, the Third Captain
Page 26
Chronicon Pictum, Hungarian, Kund, chieftain, spear, shield, armor, medieval, chronicle, book, illumination, illustration, history
Kund, the Fourth Captain

Kund, the Fourth Captain
Page 26
Chronicon Pictum, Hungarian, Lehel, Bulcsú, Örs, chieftain, captain, shield, sword, saber, spear, medieval, chronicle, book, illumination, illustration, history
Chieftain Lehel, Bulcsú and Örs

Lehel, the Fifth Captain

Bulcsú, the Sixth Captain

Örs, the Seventh Captain

Page 28
Chronicon Pictum, Hungary, Count Deodatus, knight, sword, helmet, shield, medieval, chronicle, book, illumination, illustration, history
Count Deodatus

Count Deodatus
  • Count Deodatus opens the line of the guest clans, he is in an open helmet with a sword and with his shield turned away.
Page 28
Chronicon Pictum, Hungary, Hungarian nobility, Héder, knight, helmet, flag, shield, ancestor, forefather, Héder family, medieval, chronicle, book, illumination, illustration, history
Héder

Héder
  • Héder, the ancestor of the Héder clan is depicted with false coat of arms. There is a six-pointed golden star with a crescent moon on his clothes, shield, and flag. In fact, this coat of arms belongs to the Hont clan. The illustrator was obviously not familiar with the coat of arms of the Héder clan and used the coat of arms of the Hont clan. Therefore, on the next page, he incorrectly painted a dog's head in the coat of arms of the Hont family. Probably his own idea, perhaps based on the identification of the word Hunt-Hund, because "Hund" means dog in German.
Page 29
Chronicon Pictum, Hungary, Hungarian nobility, Vencellin, knight, flag, shield, ancestor, forefather, Ják family, medieval, chronicle, book, illumination, illustration, history
Vencellin

Vencellin
Page 29
Chronicon Pictum, Hungary, Hungarian nobility, Hont, knight, flag with dog, shield with dog, ancestor, forefather, Hont Pázmány clan, family, medieval, chronicle, book, illumination, illustration, history
Hont

Hont
  • Hont, the forefather of the Hont-Pázmány clan. The illustrator incorrectly painted a dog's head on his coat of arms and flag.
Page 29
Chronicon Pictum, Hungary, Hungarian nobility, Poth, knight, flag with bird, flag with shield, ancestor, forefather, Bót clan, medieval, chronicle, book, illumination, illustration, history
Poth

Poth
  • Poth, according to the text, he is the ancestor of the Bót clan, a bird with white legs on its shield and flag.
Page 30
Chronicon Pictum, Hungary, Hungarian nobility, Oliver, Rátold, knight, shield, helmet, golden linden leaf coat of arms, ancestor, forefather, Rátót clan, medieval, chronicle, book, illumination, illustration, history
Oliver and Rátold

Oliver and Rátold
  • Oliver és Rátold, a golden linden leaf in their coat of arms.
Page 30
Chronicon Pictum, Hungary, Hungarian nobility, Herman, German, knight, shield, sword, helmet, golden dragon coat of arms, ancestor, forefather, Herman clan, medieval, chronicle, book, illumination, illustration, history
Herman

Herman
  • Half figure of German Herman, a golden dragon on his shield.
Page 30
Chronicon Pictum, Hungary, Hungarian nobility, Buzád, knight, shield, sword, helmet, horn coat of arms, ancestor, forefather, medieval, chronicle, book, illumination, illustration, history
Buzád

Buzád
  • The ancestor of the Buzád family, with red frontal bone horns on his shield. The coat of arms of the Buzád family should correctly have an ox head. The depiction in the chronicle is more reminiscent of a chamois.
Page 31
Chronicon Pictum, Hungary, Hungarian nobility, Keled, knight, shield, sword, helmet, ancestor, forefather, medieval, chronicle, book, illumination, illustration, history
Keled

Keled
Page 31
Chronicon Pictum, Hungary, Hungarian nobility, Simon and Michael, knight, shield, sword, helmet, ancestor, forefather, Nagymartoni family, Bojót family, medieval, chronicle, book, illumination, illustration, history
Simon and Michael

Simon and Michael
  • Simon and Michael, the ancestors of the Nagymartoni family. The family that immigrated from Spain was first called Martonfalvi then Bojót. Melinda, Bánk's wife, belonged to this family.
Page 32
Chronicon Pictum, Hungary, white horse, arrival, castle, medieval, chronicle, book, illumination, illustration, history
The Arrival of Different Clans to Hungary

The Arrival of Different Clans to Hungary
  • Pointed, wooded countryside with castles in the background. In the foreground, figures in different garments march to denote different ethnic groups.
Page 32
Chronicon Pictum, Hungary, knights, armor, shield, sword, helmet, medieval, chronicle, book, illumination, illustration, history
Three Knights

Three Knights
  • Three knights are in full armor.
Page 33
Chronicon Pictum, Hungary, Taksony, Hungarian, Grand Prince, Turul bird, shield, spear, armor, helmet, medieval, chronicle, book, illumination, illustration, history
Grand Prince Taksony

Grand Prince Taksony
  • Grand Prince Taksony, a Turul bird is on his shield, a spear is in his hand.
Page 33
Chronicon Pictum, Hungary, horse, Hungarian warriors, Bulgaria, castle, mountain, medieval, chronicle, book, illumination, illustration, history
The Hungarians Are Destroying Bulgaria

The Hungarians Are Destroying Bulgaria
  • On the left there is a group of Hungarian riders with their leader, on the right there is a mountain landscape with two castles and a walled area.
Page 34
Chronicon Pictum, Hungarian, Hungary, Lehel, horn, Conrad, emperor, German, Battle of Lechfeld, medieval, chronicle, book, illumination, illustration, history
Captain Lehel and Bulcsu Front of the German Emperor

Captain Lehel and Bulcsú Front of the German Emperor
  • The story of Lehel's Horn. On the left, the emperor is sitting on a bench. In front of him, Lehel is on the right, behind him there are Bulcsú and German soldiers. Lehel strikes the emperor's head with a long golden horn, so its blood drips down his face. According to the chronicle, Lehel was captured after the Battle of Lechfeld in 955, Lehel asked his horn at his last wish, striking the German emperor to death. According to the chronicle, he was Emperor Conrad.

At that place the famous captains, Lehel and Bulcsú were also captured, and taken in front of the emperor. When the emperor asked, why they are so cruel against the Christians, they replied: "We are the revenge of the highest God, sent to you as a scourge. You shall imprison us and kill us when we cease to chase you." Then the emperor called them: "Choose the type of death you wish." Then Lehel replied: "Bring me my horn, which I will blow, then I will reply." The horn was handed to him, and during the preparation to blow it, he stepped forward of the emperor, and hit the forehead of the emperor so strongly that the horn is broken and the emperor died instantly from this one strike. Then Lehel said to him: "You will walk before me and you will be my servant in the other world!", as it is a common belief within the Scythians, that whoever they killed in their lives will serve them in the other world.

— Mark of Kalt: Chronicon Pictum[9]

Page 36
Chronicon Pictum, Hungarian, Apor, Botond, Byzantine, Constantinople, duel, medieval, chronicle, book, illumination, illustration, history
Duel of Botond and the Greek Warrior in Front of the Gates of Constantinople

Duel of Botond and the Greek Warrior in Front of the Gates of Constantinople
  • On the left, a group of Hungarian cavalry soldiers, led by leader Apor on a white horse. In the middle, a duel between Botond and a Greek warrior is in front of the walls of Constantinople. Botond and his horse are blurred. Botond, getting off his horse stabs his sword in the chest of the declining Greek. Emperor Constantine VII and his wife, Helena Lekapene watch mourning the events. In front of the city gate is a fragment of the wall overturned by Botond.
Page 36
Chronicon Pictum, Hungarian, Apor, captain, Turul, bird, coat of arm, flag, shield, edieval, chronicle, book, illumination, illustration, history
Captain Apor

Captain Apor
  • Captain Apor, the leader of the Hungarian army wears a Turul bird as a crest on his flag, shield and chest.
Page 37
Chronicon Pictum, Hungarian, Hungary, King Stephen, martyr Saint Stephen, Sarolt, mother, baby in the lap, crown, halo, crown, bed, building, arch, palace, castle, medieval, chronicle, book, illumination, illustration, history
Birth of King Stephen

Birth of King Stephen
  • On the right, we can see into a room of a palace, in the background of the room is a curtain woven with gold. In the foreground, Sarolt, Stephen's mother holds the naked baby in her lap, the baby Stephen has a halo around his head. Sarolt has a crown on her head, she accepts a golden crown from the martyr Saint Stephen with her right hand. According to legend, the Saint Stephen prophesied to Sarolt that a son would be born who would become king. The illustrator obviously deliberately depicted the two scenes far apart in time in one picture. A group of noble women stand in the background on the right. On the left, in the hall connected to the room, men and women are waiting in groups.
Page 38
Chronicon Pictum, Hungarian, Hungary, Géza, Prince, throne, scepter, orb, medieval, chronicle, book, illumination, illustration, history
Grand Prince Géza

Grand Prince Géza
  • Géza, Grand Prince of the Hungarians is sitting on a green marble throne, he holds an orb and scepter in the hands. He has the red hat of the leaders on his head.
Page 38
Chronicon Pictum, Hungarian, Hungary, King Stephen, Koppány, decapitation, execution, medieval, chronicle, book, illumination, illustration, history
The Decapitation of Koppány

The Decapitation of Koppány
  • On the left, King Saint Stephen is riding on a white horse with a halo, he is accompanied by knights. On the right, a group of soldiers, Vencellin had just beheaded Koppány, Duke of Somogy who revolted against Stephen.
Page 39
Chronicon Pictum, Hungarian, Hungary, King Stephen, double cross, Hungarian coat of arms, Árpád stripes, medieval, chronicle, book, illumination, illustration, history
King Saint Stephen in military ornament

King Saint Stephen in Military Ornament
  • King Saint Stephen, the young warrior king stands on rocky ground. His armor is covered with Árpád stripes, a red and white striped dress. He holds a royal crown on his head, and around the halo. Saint Stephen holds a flag on his right and a shield on his left, both have the trimount with the double cross coat of arms symbolizing the apostolic king.
Page 40
Chronicon Pictum, Hungarian, Hungary, King Stephen, Gyula, Transylvania, capturing, white horse, knights, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
King Saint Stephen captures Gyula

King Saint Stephen Captures Gyula
  • King Saint Stephen captures his uncle, Gyula, the ruler of Transylvania. On the right, front of the rocky-forested mountains, King Saint Stephen is sitting on a white horse with the double cross coat of arms on his chest, and a royal crown and halo on his head. He points with a warning and commanding gesture to the captured and handcuffed Gyula, whose hand is bound by a knight. On the left, knights of Stephen are chasing Gyula's warriors.

After when Saint Stephen had been deemed worthy, and won the crown of the royal majesty by divine order, he waged a famous and profitable war against his maternal uncle named Gyula, who at that time ruled the entire Transylvanian country with his own power.

— Mark of Kalt: Chronicon Pictum[9]

Page 40
Chronicon Pictum, Hungarian, Hungary, King Stephen, golden, halo, glory, throne, orb, scepter, crown, Holy Crown of Hungary, medieval, chronicle, book, illumination, illustration, history
King Stephen on the Throne

King Saint Stephen on the Throne
  • King Saint Stephen is sitting on a green marble throne with a halo around his head, he holds an orb and scepter in the hands.
Page 41
Chronicon Pictum, Hungarian, Hungary, King Stephen, battle, Kean, Bulgarian, golden, halo, glory, crown, white horse, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
The Victory of King Stephen over Kean, Duke of the Bulgarians and Slavs

The Victory of King Stephen over Kean, Duke of the Bulgarians and Slavs
  • King Saint Stephen defeats Duke Kean. He has a halo around his head. His hauberk was decorated with the double cross coat of arms. In the background, Hungarians are chasing fleeing Bulgarian warriors who are wearing oriental clothing.

Then, He sent his army against Kean, the leader of the Bulgarians and Slavs. These peoples live in places that are very strong according to their natural location, therefore it cost him to much trouble and battle sweat until he finally defeated and killed the named leader. He acquired an inestimable amount of treasure, especially gold, pearls and precious stones. He placed one of his great-grandfathers here, Zoltán by name, who later held those parts of Transylvania as a hereditary province, therefore, he was colloquially called Zoltán of Transylvania. He lived to the time of the holy king and was a very old man, that is why the king made him above the rich nations.

— Mark of Kalt: Chronicon Pictum[9]

Page 41
Chronicon Pictum, Hungarian, Hungary, King Stephen, royal, regalia, halo, glory, orb, scepter, crown, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
King Stephen in Royal Regalia

King Stephen in Royal Regalia
  • King Saint Stephen is in royal regalia. On the king's chest is the Hungarian double cross coat of arms, on his head is a crown and halo, in his right hand is a scepter, and in his left hand is an orb.
Page 42
Chronicon Pictum, Hungarian, Hungary, King Stephen, Gisela, king, queen, crown, church, foundation, Óbuda, medieval, chronicle, book, illumination, illustration, history
The Foundation of Saints Peter and Paul Church of Óbuda

The Foundation of Saints Peter and Paul Church of Óbuda
  • The kneeling King Saint Stephen and Queen Gisela hold the scaled-down copy of the church of Peter and Paul of Óbuda as a symbol of the founding of the church. The rocky soil adorned with trees and flowers.
Page 44
Chronicon Pictum, Hungarian, Hungary, King Saint Stephen, Prince Saint Emeric, Queen Gisela, funeral, Vazul, blinding, king, queen, crown, coffin, medieval, chronicle, book, illumination, illustration, history
Prince Emeric's Funeral and the Blinding of Vazul

Prince Emeric's Funeral and the Blinding of Vazul
  • In the foreground, two men place the body of Prince Saint Emeric, dressed as a prince, in a marble coffin. King Saint Stephen standing in front of the coffin rests his right hand on his face, he expresses his pain with this regretful gesture. While Queen Gisela watches the scene unfolding in the background, where the bound Vazul lies in the mountains, on a rocky terrain decorated with a castle in the background. Vazul's hand is held by a soldier sitting on his leg, and Sebös, Queen Gisela's emissary, pushes out his eyes. On the left, three hooded figures are riding: the emissaries of King Stephen, who are coming to free Vazul.
Page 44
Chronicon Pictum, Hungarian, Hungary, King Saint Stephen, Prince Andrew, Prince Béla, Prince Levente, bed, sick, flee, medieval, chronicle, book, illumination, illustration, history
King Stephen Encourages Prince Andrew, Béla and Levente to Flee

King Stephen Encourages Prince Andrew, Béla and Levente to Flee
  • King Saint Stephen lies sick in bed with his upper body naked, raising his right hand in warning towards the three princes standing next to the bed: Andrew, Béla and Levente.
Page 46
Chronicon Pictum, Hungarian, Hungary, King Saint Stephen, funeral, Queen Gisela, praying, priests, coffin, medieval, chronicle, book, illumination, illustration, history
King Stephen's Funeral

King Stephen's Funeral
  • The funeral of King Saint Stephen. Two young men place the king's body in a marble coffin. Four bishops perform the ceremony. The praying Queen Gisela stands at the foot of the coffin. From the right, some mourners.
Page 47
Chronicon Pictum, Hungarian, Hungary, King Peter Orseolo, sword, armor, crown, medieval, chronicle, book, illumination, illustration, history
King Peter

King Peter
  • King Peter Orseolo is in armor, holding a sword in his right hand and a royal crown in his left.
Page 47
Chronicon Pictum, Hungarian, Hungary, King Peter Orseolo, Samuel Aba, chasing, horsemen, forest, sword, armor, crown, medieval, chronicle, book, illumination, illustration, history
King Peter Is Driven Away by Samuel Aba and His Soldiers

King Peter Is Driven Away by Samuel Aba and His Soldiers
  • In a rocky, forested area, on flowery ground, Hungarian horsemen led by Samuel Aba are chasing King Peter Orseolo, who is holding a crown in one hand.
Page 48
Chronicon Pictum, Hungarian, Hungary, King Samuel Aba, sword, armor, crown, medieval, chronicle, book, illumination, illustration, history
King Samuel Aba

King Samuel Aba
  • King Samuel Aba is in armor, holds a sword in his right and a royal crown in his left hand.
Page 50
Chronicon Pictum, Hungarian, Hungary, King Samuel Aba, Emperor Henry III, German, battle, battle of Ménfő, knights, white horse, Árpád stripes, medieval, chronicle, book, illumination, illustration, history
Battle of Ménfő: Victory of Emperor Henry III Over King Samuel Aba

Battle of Ménfő: Victory of Emperor Henry III Over King Samuel Aba
  • Battle of Ménfő in 1044, the Germans are on the right side led by Emperor Henry III, the Hungarians on the left side led by King Samuel Aba. A group of Hungarian warriors, the supporters of King Peter leave him. The Hungarian flag with Árpád stripes falls to the ground with the broken rod, while the winning German flag flies high decorated with the German eagle. On the right side of the picture Emperor Henry III, gives thanks for victory, on the left a soldier executes King Samuel Aba.
Page 50
Chronicon Pictum, Hungarian, Hungary, King Samuel Aba, killing, battle of Ménfő, knight, medieval, chronicle, book, illumination, illustration, history
Battle of Ménfő: Killing of King Samuel Aba

Battle of Ménfő: Victory of Emperor Henry III Over King Samuel Aba (Detail)
  • King Samuel Aba reaches towards the crown, while a soldier stabs his heart.
Page 50
Chronicon Pictum, Hungarian, Hungary, King Samuel Aba, Holy Roman Emperor Heny III, German king, envoy, peace, letter, battle of Ménfő, medieval, chronicle, book, illumination, illustration, history
King Aba's Envoy Delivers a Letter Written in Favor of Peace to the German Emperor

King Aba's Envoy Delivers a Letter Written in Favor of Peace to the German Emperor
Page 53
Chronicon Pictum, Hungarian, Hungary, King Peter, Holy Roman Emperor Heny III, German king, vassal, overlord, spear, medieval, chronicle, book, illumination, illustration, history
King Peter Gives Hungary as a Vassal to the German Emperor

King Peter Gives Hungary as a Vassal to the German Emperor
  • On the right, King Peter Orseolo gives a gilded spear to Emperor Henry III who sit on the throne, acknowledging him as his overlord. Five noble youths bring gifts.
Page 54
Chronicon Pictum, Hungarian, Hungary, Prince Béla, King Béla of Hungary, Pomeranian duke, Polish, duel, fight, horse, lance, shield, medieval, chronicle, book, illumination, illustration, history
Prince BéLa's Duel With the Pomeranian

Prince Béla's Duel With the Pomeranian
  • Prince Béla pushes his opponent, the Pomeranian off the horse which is about to collapse with his lance. Among the princes Andrew, Béla and Levente who fled first to Bohemia and then to Poland, Béla fights instead of the Polish prince and his sons. He fights a duel against the duke of the Pomeranians, who refused to pay their annual tax, and Béla wins.
Page 59
Chronicon Pictum, Hungarian, Hungary, King Peter Orseolo, King Andrew, crown, priest, bishop, blinding, medieval, chronicle, book, illumination, illustration, history
King Peter's Blinding, Prince Andrew Takes the Crown

King Peter's Blinding, Prince Andrew Takes the Crown
  • In a wooded area, a soldier in full armor kneels on the body of King Peter Orseolo lying on the ground and gouges out his eyes. Next to Peter's head is the fallen crown. Bishop Beneta is standing on the left and holds out the crown to Prince Andrew.
Page 60
Chronicon Pictum, Hungarian, Hungary, King Andrew, crown, coronation, sword, scepter, throne, priest, bishop, medieval, chronicle, book, illumination, illustration, history
Coronation of King Andrew

Coronation of King Andrew
  • In the center, King Andrew is enthroned in an ornate dress, holding a scepter in his left hand. Two bishops place the royal crown on his head, while a third bishop kneeling on the left gives him a sword. (The picture shows three bishops perhaps because, according to the text, only three bishops survived the Vata pagan uprising in 1046.)
Page 61
Chronicon Pictum, Hungarian, Hungary, Pozsony, Pressburg, Bratislava, castle, Danube, Holy Roman Emperor Henry III, Zotmund, ships, sinking, knights, armor, medieval, chronicle, book, illumination, illustration, history
The Destruction of Emperor Henry's Ships at Pozsony

The Destruction of Emperor Henry's Ships at Pozsony
  • Under the castle of Pozsony, Emperor Henry III stands with two knights on a scuttled boat on the Danube, which fills with water. Two desperate men are in another drilled and sinking boat.
  • In 1052, German Emperor Henry III undertook a fifth campaign against the Kingdom of Hungary, and besieged Pozsony without success, as the Hungarians sank his supply ships on the Danube river.
Page 64
Chronicon Pictum, Hungarian, Hungary, King Andrew, Prince Béla, sword, crown, choose, life or death, crown or sword, medieval, chronicle, book, illumination, illustration, history
The Scene of Várkony: The Crown and Sword

The Scene of Várkony: The Crown and Sword
  • King Andrew crowned his son, the five-year-old Solomon. King Andrew calls on his brother, Béla, who is entitled to the succession, to choose between the crown and the sword. The picture depicts two scenes: in the right, Prince Béla is standing in front of the door, to whom Ispán Miklós advises him to choose the sword. In the same picture, Prince Béla is standing in the room at the foot of the bed in which King Andrew is lying sick. Andrew's two main men stand behind the bed and his son, Solomon, with a crown on his head. On the step of the bed lies the sword, which represents dukedom, and the crown, which represents royalty.
Page 67
Chronicon Pictum, Hungarian, Hungary, King Béla, King Solomon, crowing, sword, nobelman, medieval, chronicle, book, illumination, illustration, history
Prince Béla Wins the Crown

Prince Béla Wins the Crown
  • On the left, two lords remove the crown from the head of the young Solomon. King Béla is standing from the right, with an orb in his left, a gray nobleman (the text says bishop) hands him the sword, while another places the crown on his head.
Page 69
Chronicon Pictum, Hungarian, Hungary, King Solomon, Holy Roman German Emperor Henry IV, cathedral, church, basilica, flag, German eagle flag, Hungarian double cross flag, armored, knights, army, soldiers, medieval, chronicle, book, illumination, illustration, history
German Emperor Henry IV Brings Solomon Back to Hungary

German Emperor Henry IV Brings Solomon Back to Hungary
Page 71
Chronicon Pictum, Hungarian, Hungary, King Solomon, Prince David, brothers, royal siblings, crown, scepter, orb, shield, sword, medieval, chronicle, book, illumination, illustration, history
King Solomon and His Younger Brother Prince David

King Solomon and His Younger Brother Prince David
  • On the left, King Solomon is with a crown, scepter, and an orb. On the right, Prince David is with a princely hat, shield and sword.
Page 72
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, Cuman, battle, duel, fight, kidnapping, girl, medieval, chronicle, book, illumination, illustration, history
Prince Ladislaus Is Fighting a Duel With a Cuman Warrior Who Kidnapped a Girl

Prince Ladislaus Is Fighting a Duel With a Cuman Warrior Who Kidnapped a Girl
  • Battle of Kerlés in 1068, Prince Ladislaus is fighting a duel with a Cuman warrior. He has a halo around his head. The kidnapped girl has a crown on her head and stands behind the Cuman warrior. In the background, the Hungarians, King Solomon, and Prince Géza are chasing the fleeing Cumans in a rocky mountain landscape.
Page 72
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, Cuman, battle, duel, fight, kidnapping, girl, medieval, chronicle, book, illumination, illustration, history
Prince Ladislaus Is Fighting a Duel With a Cuman Warrior Who Kidnapped a Girl

Prince Ladislaus Is Fighting a Duel With a Cuman Warrior Who Kidnapped a Girl
  • Battle of Kerlés in 1068, Prince Ladislaus is fighting a duel with a Cuman warrior. He has a halo around his head. The kidnapped girl has a crown on her head and stands behind the Cuman warrior. In the background, the Hungarians, King Solomon, and Prince Géza are chasing the fleeing Cumans in a rocky mountain landscape.
Page 74
Chronicon Pictum, Hungarian, Hungary, King Solomon, Prince Géza, Prince Ladislaus, Vid, Belgrade, booty, spoils of war, soldiers, capture, girl with torch, flaming city, medieval, chronicle, book, illumination, illustration, history
The Capture of Belgrade and the Distribution of the Spoils of War

The Capture of Belgrade and the Distribution of the Spoils of War
  • In the background, the castle of Belgrade besieged by the Hungarians rises on rocks, which is set on fire by a Hungarian prisoner girl with a torch. On the left, soldiers look up at the burning castle. In the foreground, they are dividing the spoils of war: Count Vid, King Solomon's favorite sits at a table and divides the booty into four parts. Standing next to the table are: King Solomon, Prince Géza and Ladislaus, the latter with a halo.
Page 78
Chronicon Pictum, Hungarian, Hungary, King Solomon, Prince Géza, Count Vid, sword, throne, ambassadors, stir up strife, castle, medieval, chronicle, book, illumination, illustration, history
The Feud Between King Solomon and Prince Géza

The Feud Between King Solomon and Prince Géza
  • King Solomon is enthroned with a crown and scepter in a room closed with a brown carpet hung in front of a pedimental of a building. To his right stands Count Vid, who stirs up strife. He holds two swords in a scabbard. On the right, Prince Géza stands in the background, to whom three ambassadors hand over the Greek emperor's sealed letter. This also increases Solomon's envy.

He encouraged him not to delay, but rather to hasten the matter, and excited the king with this proverb: "Just as two sharp swords cannot fit in one scabbard, so you two cannot rule the same country." Count Vid's angry words seduced the king, causing hatred and strife to boil within him.

— Mark of Kalt: Chronicon Pictum[9]

Page 78
Chronicon Pictum, Hungarian, Hungary, King Solomon, Prince Géza, Niš, Byzantine Empire, occupation, medieval, chronicle, book, illumination, illustration, history
The People of Niš Pay Homage to King Solomon and Prince Géza

The People of Niš Pay Homage to King Solomon and Prince Géza
Page 81
Chronicon Pictum, Hungarian, Hungary, Prince Géza, Abbot Villermus, horse, disguise, Petrud, Bikas, betrayal, flee, sleeping, lying, medieval, chronicle, book, illumination, illustration, history
Prince Géza and Abbot Villermus

Prince Géza and Abbot Villermus
  • Abbot Villermus of Szekszárd's monastery puts on a knight's disguise on his naked upper body, and leading a horse equipped in the same image, he stands in front of Prince Géza to wake him up from his sleep and encourage him to flee. Behind the lying prince, at his head, stand the two traitors, Petrud and Bikas.
Page 81
Chronicon Pictum, Hungarian, Hungary, King Solomon, Prince Géza, escape, flee, horse, knights, betrayal, shield, killing, Petrud, Bikas, medieval, chronicle, book, illumination, illustration, history
Escape of Prince Géza

Escape of Prince Géza
  • Battle of Kemej in 1074: Prince Géza flees with his soldiers, followed a little further by his two disloyal knights, Petrud and Bikas, who raise their shields as a sign of betrayal, but Solomon's soldiers, not knowing this sign, cut them down.
Page 83
Chronicon Pictum, Hungarian, Hungary, Saint Ladislaus, Prince Géza, vision, descending angel, crown, white horse, medieval, chronicle, book, illumination, illustration, history
The Vision of Prince Ladislaus

The Vision of Prince Ladislaus
  • On the left is Prince Géza on a white horse, on whose head a descending angel places a crown. On the right, also on a white horse, is Prince Ladislaus, who amazed at the celestial phenomenon, looks up with outstretched arms. According to the text, only Ladislaus sees the vision, and he tells it to Géza, who vows that if the vision is fulfilled, he will build a church in that place.
Page 85
Chronicon Pictum, Hungarian, Hungary, Battle of Mogyoród, King Solomon, Prince Géza, Saint Ladislaus, battle, fight, knights, white horse, double cross, Hungarian coat of arms, Árpád stripes, medieval, chronicle, book, illumination, illustration, history
The Battle of Mogyoród

The Battle of Mogyoród
Page 87
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, King Géza of Hungary, orb, battleaxe, deer, vision, bow, Danube, medieval, chronicle, book, illumination, illustration, history
The Vision of King Géza and Prince Ladislaus

The Vision of King Géza and Prince Ladislaus
  • King Géza and Prince Ladislaus are embracing each other, they stand next to the Danube at Vác. King Géza holds an orb in his hand, Prince Ladislaus has a battleaxe. According to the text, they are talking about where to build the church vowed for victory. On the right, a deer is standing among the trees with candles burning at the end of his antlers. On the left, in the background, knights are standing, who aim at the deer with an arrow. According to the text, at the place where the deer gained a foothold, King Géza founded the church.
Page 89
Chronicon Pictum, Hungarian, Hungary, King Solomon, Holy Roman German Emperor Henry IV, throne, kneeling, help, medieval, chronicle, book, illumination, illustration, history
King Solomon Again Asks for Help From the German Emperor

King Solomon Again Asks for Help From the German Emperor
  • Emperor Henry IV is enthroned on the left, with a crown on his head and a scepter in his left hand, Solomon kneeling in front of him grasps the emperor's right hand with both hands. In the foreground is the royal crown on the ground. Three courtiers stand behind Solomon.
Page 91
Chronicon Pictum, Hungarian, Hungary, King Solomon, Prince Géza, Saint Ladislaus, angel, halo, castle, Pozsony, Pressburg, Bratislava, escape, flee, knights, white horse, double cross, Hungarian coat of arms, Árpád stripes, medieval, chronicle, book, illumination, illustration, history
The Escape of King Solomon

The Escape of King Solomon
  • In the background on the right is the castle of Pozsony, from whose walls warriors look down. In the foreground on the left is King Géza, Prince Ladislaus is on a white horse at the head of his knights, a shield with double cross on his left, a sword on his right. There is halo around his head, above him an angel (the text says two angels) floats with a fiery sword. On the right, the half-visible figure of King Solomon fleeing on horseback, looking back at his pursuers, holding a sword in his right hand and a shield with red and white stripes (Árpád stripes) in his left.
Page 92
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, coronation, crown, orb, sword, angels, priests, bishops, Holy Crown of Hungary, medieval, chronicle, book, illumination, illustration, history
The Coronation of Ladislaus the First

The Coronation of Ladislaus the First
  • King Saint Ladislaus is standing in an ermine-lined cloak, with a sword in his right hand, and an orb in his left hand. Two angels place the crown on his head, which is held by two bishops. The coronation of King Saint Ladislaus was in 1077.
Page 93
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, knight king, crown, orb, halo, axe, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
King Saint Ladislaus, the Knight King

King Saint Ladislaus, the Knight King
  • King Saint Ladislaus is in a full knightly armament, the double cross coat of arms on his chest, and a royal crown and halo on his head. He holds an axe in his right hand, and an orb in his left hand.
Page 98
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, knights, soldiers, crown, halo, throne, Ruthenians, pledg allegiance, kneeling, medieval, chronicle, book, illumination, illustration, history
The Ruthenians Pledge Allegiance to King Ladislaus

The Ruthenians Pledge Allegiance to King Ladislaus
  • King Saint Ladislaus sits on the throne surrounded by his knights. On the right, some Ruthenians in hats is kneeling in supplication, led by their prince, who placed his hat at the king's feet.
Page 98
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, knights, soldiers, orb, halo, sword, Árpád stripe, Hungarian coat of arms, Kraków, siege, castle, hill, rocks, leg armor, flour, medieval, chronicle, book, illumination, illustration, history
Siege of Kraków

Siege of Kraków
  • In the background, the Kraków castle rising on the banks of the Vistula, from the walls of which a soldier looks down. In the foreground, on the left, King Saint Ladislaus leans on a shield with the Árpád-striped coat of arms with his left, and holds a sword in his right. In the foreground, on the right, a soldier sprinkles flour from his leg armor on the piled ground, and the one behind him also sprinkles flour. According to the narration of the chronicle, the inhabitants of the castle, seeing that the besiegers still have plenty of food, voluntarily surrendered the castle.
Page 99
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, Nagyvárad, Oradea, church, construction, pulley, mortar, building, medieval, chronicle, book, illumination, illustration, history
Construction of the Nagyvárad's Church

Construction of the Nagyvárad's Church
  • In the background, the Nagyvárad's church under construction rises next to trees, on which a mason is working with a trowel, the stones are lifted up to it with the help of a pulley, and in front of him is mortar in a round bowl. In the foreground, on the banks of the Körös, another construction worker is mixing mortar. On the right, in the foreground, King Ladislaus stands with a raised hand and a haloed head.
Page 99
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, halo, ambassadors, letter, First Crusade, medieval, chronicle, book, illumination, illustration, history
King Ladislaus Receives Ambassadors

King Ladislaus Receives Ambassadors
  • Blurred illustration in the initial "P", King Ladislaus is with two attendants on the left. On the right is four attendants, the first of whom hands the king a letter with a bowing gesture. According to the chronicle, the foreign envoys wanted to ask Ladislaus to be the leader of the First Crusade.
Page 101
Chronicon Pictum, Hungarian, Hungary, King Saint Ladislaus, halo, crown, scepter, orb, funeral, legend, carriage, cart, admirers, Nagyvárad, church, Oradea, medieval, chronicle, book, illumination, illustration, history
Funeral of King Saint Ladislaus

Funeral of King Saint Ladislaus
  • The picture depicts a scene not mentioned in the text of the chronicle, but present in all known versions of the legend of King Ladislaus, when the carriage carries the king's body without horses towards the burial place he desired, the church of Nagyvárad. The body of King Saint Ladislaus lies in a four-wheeled cart, with a crown and halo on his head, a scepter and an orb in his hands. The carriage pole protruding from the picture clearly shows that there are no horses tied in front of the carriage. On the right is a group of admirers, in the background is the Nagyvárad church built by Ladislaus.
Page 101
Chronicon Pictum, Hungarian, Hungary, King Coloman, crown, coronation, bishop, Holy Crown of Hungary, medieval, chronicle, book, illumination, illustration, history
The Coronation of Coloman

The Coronation of Coloman
  • Bishop places the crown on the head of King Coloman, who is depicted as a hunchback in accordance with the tradition preserved in medieval chronicles. The coronation of King Coloman was in 1095.
Page 105
Chronicon Pictum, Hungarian, Hungary, King Coloman, Prince Álmos, reconciliation, Dömös, monastery, church, priest, medieval, chronicle, book, illumination, illustration, history
King Coloman and Prince Álmos in Front of the Church of Dömös

King Coloman and Prince Álmos in Front of the Church of Dömös
  • In front of the Dömös monastery founded by the prince, the hunchback King Coloman and his younger brother Prince Álmos extend their hands to each other as a sign of reconciliation, and a priest places his two hands in blessing on their arms.
Page 105
Chronicon Pictum, Hungarian, Hungary, Prince Álmos, King Coloman, horse, crow, hawk, hunting, forest, medieval, chronicle, book, illumination, illustration, history
The Hunt in Csór

The Hunt in Csór
  • In a rocky landscape, in a forest, Prince Álmos is riding with two attendants who are followers of King Coloman. At his horse's feet, a hawk is holding a crow by the neck, and a barking dog is running towards them.

The king let the prince go in peace to hunt in the Bakony. He sent two of his serfs with him under the pretext of honoring him, but he secretly trained them to carefully probe the prince's soul: to report to the king if the prince was intrigued against him. The prince arrived in Csór, released his falcon, and it caught a crow. The prince then said to the serfs with a simple spirit: "What if the crow swore to the hawk that it would not caw again if the hawk let it go?" But they answered thus: "Even if the crow were to swear, the hawk wouldn't let him go, but the crow couldn't swear either, because he's a foolish animal." The prince's words were reported to the king that night. The prince went to Bakony to hunt, but immediately left them and ran to Passau again to ask for help from the German king.

— Mark of Kalt: Chronicon Pictum[9]

Page 106
Chronicon Pictum, Hungarian, Hungary, King Coloman, Prince Álmos, Béla the Blind, Béla II of Hungary, soldiers, blinding, boy, dog castration, medieval, chronicle, book, illumination, illustration, history
The Blinding of Prince Álmos and His Little Son Béla

The Blinding of Prince Álmos and His Little Son Béla
  • On the left in the rocky landscape, King Coloman is sitting on the throne, he orders two soldiers to blind Prince Álmos and his son Béla, and to castrate the boy. On the right in the background, Prince Álmos is lying on the ground, a soldier gouging out his eyes. The blinded child Béla is in front of Prince Álmos, the soldier kneeling next to Béla castrates a dog instead of him.
Page 106
Chronicon Pictum, Hungarian, Hungary, King Coloman, sick, ill, Prince Álmos, blind, capture, Dömös, church, soldiers, monks with sword, medieval, chronicle, book, illumination, illustration, history
King Coloman Wants to Capture Prince Álmos

King Coloman Wants to Capture Prince Álmos
  • In the foreground, the seriously ill King Coloman orders Benedek to capture Prince Álmos. In the background, Prince Álmos seeks refuge at the altar of the church in Dömös, from where Benedek still wants to drag him away. On the side, three monks stand with swords in their hands to prevent Prince Álmos from being taken away.
Page 108
Chronicon Pictum, Hungarian, Hungary, King Stephen II, son of King Coloman, coronation, crown, orb, scepter, bishops, medieval, chronicle, book, illumination, illustration, history
The Coronation of Stephen II, Coloman's Son

The Coronation of Stephen II, Coloman's Son
  • Two bishops crown the young Stephen, who holds an orb in one hand and a scepter in the other. Two courtiers are standing in the background on the right. The coronation of King Stephen II was in 1116.
Page 113
Chronicon Pictum, Hungarian, Hungary, Béla II of Hungary, Béla the Blind, Queen Helena, throne, Arad, assembly, beheading, decapitation, execution, sword, medieval, chronicle, book, illumination, illustration, history
The Assembly of the Realm of Arad

The Assembly of the Realm of Arad
  • King Béla II and his wife Queen Helena are sitting on the throne at the assembly of Arad in 1131. The Queen orders the execution of the magnates who advised the blinding of child Béla II during the rule of King Coloman. On the right, a group of executed and to be executed, behind them a soldier raises his huge sword.
Page 114
Chronicon Pictum, Hungarian, Hungary, King Béla II, Béla the Blind, king, crown, orb, scepter, royal ornament, medieval, chronicle, book, illumination, illustration, history
King Béla II

King Béla II
  • King Béla the Blind in a royal ornament with a crown, an orb, and a scepter.
Page 117
Chronicon Pictum, Hungarian, Hungary, King Géza II, Prince Ladislaus, throne, coronation, crown, sword, bishop, white horse, medieval, chronicle, book, illumination, illustration, history
Coronation of King Géza II

Coronation of King Géza II
  • King Géza II is enthroned on the left, two bishops are placing the crown on his head. Meanwhile a young man, most likely Géza's eldest brother, the later usurper Prince Ladislaus with a princely hat leads a white horse by the reins and hands Géza the royal sword.
Page 117
Chronicon Pictum, Hungarian, Hungary, King Géza II, crown, hauberk, scepter, shield, royal regalia, medieval, chronicle, book, illumination, illustration, history
King Géza II in Royal Regalia

King Géza II in Royal Regalia
  • The standing figure of King Géza II is with a hauberk, with a crown on his head, a scepter in his left hand, and a shield with his right hand.
Page 119
Chronicon Pictum, Hungarian, Hungary, riding, Emperor Conrad III of Germany, King Louis VII of France, knights, Second Crusade, crusaders, crusader army, eagle, shield, German coat of arms, archer, white horse, church, medieval, chronicle, book, illumination, illustration, history
German Emperor Konrad III and French King Louis VII March through Hungary with Their Crusader Army

German Emperor Konrad III and French King Louis VII March through Hungary with Their Crusader Army
  • The route of the Second Crusade through the Kingdom of Hungary. There are rocky mountains, in the background there is a forest on the left, a church surrounded by a wall on the right. In the foreground, Emperor Conrad III of Germany is marching on horseback with an imperial crown, he holds a shield with a single-headed eagle coat of arms in his left hand. King Louis VII of France is riding behind him with a crown at the head of his crusaders. On the right, there are Hungarian warriors on horseback on a deep road, led by an archer who is ready to shoot.
Page 120
Chronicon Pictum, Hungarian, Hungary, King Géza II of Hungary, King Louis VII of France, good relationship, meeting, crown, royal regalia, Second Crusade, crusaders, medieval, chronicle, book, illumination, illustration, history
King Géza II of Hungary and King Louis VII of France

King Géza II of Hungary and King Louis VII of France
  • King Géza II of Hungary is in royal regalia on the right and King Louis VII of France stands on the left. The featuring of the two kings together is a sign of the good relationship that the chronicle emphasizes in contrast to the truculent behavior of the German crusaders.
Page 121
Chronicon Pictum, Hungarian, Hungary, King Stephen III, crown, coronation, bishop, orb, sword, pyramid, Holy Crown of Hungary, medieval, chronicle, book, illumination, illustration, history
The Coronation of Stephen III

The Coronation of Stephen III
  • King Stephen III is sitting on the throne with the orb, a bishop places the crown on the head of the king. On the right, a Hungarian magnate with a pointed hat gives the sword of the country to the king. There is a pyramid-shaped mountain in the background. King Stephen III is depicted as an adult man in the chronicle, however he was only 15 years old when he was crowned. The coronation of King Stephen III was in 1162.
Page 121
Chronicon Pictum, Hungarian, Hungary, King Ladislaus II, crown, stealing, white horse, Holy Crown of Hungary, medieval, chronicle, book, illumination, illustration, history
Prince Ladislaus, the Usurper of the Throne and the Stealing of the Crown

Prince Ladislaus, the Usurper of the Throne and the Stealing of the Crown
  • On the left, Prince Ladislaus, son of King Béla II is sitting, a courtier whispers something in his ear. Two bishops are standing in the middle, one of them holds a royal crown in his hand. In the background, a figure is riding also holding a crown in his hand.
Page 122
Chronicon Pictum, Hungarian, Hungary, King Stephen IV, medieval, chronicle, book, illumination, illustration, history
The Usurper Prince Stephen

The Usurper Prince Stephen
Page 122
Chronicon Pictum, Hungarian, Hungary, King Béla III, royal crown, hauberk, orb, Árpád stripes, red and white striped flag, medieval, chronicle, book, illumination, illustration, history
King Béla III

King Béla III
Page 122
Chronicon Pictum, Hungarian, Hungary, King Emeric, crown, coronation, scepter, bishops, throne, medieval, chronicle, book, illumination, illustration, history
Coronation of King Emeric

Coronation of King Emeric
  • King Emeric is enthroned with a scepter and a crown, two bishops place the crown on his head. The coronation of King Emeric was in 1196.
Page 123
Chronicon Pictum, Hungarian, Hungary, King Emeric, crown, scepter, orb, medieval, chronicle, book, illumination, illustration, history
King Emeric

King Emeric
  • King Emeric is with a crown, scepter and an orb.
Page 123
Chronicon Pictum, Hungarian, Hungary, King Ladislaus III, crown, coronation, bishops, throne, medieval, chronicle, book, illumination, illustration, history
Coronation of King Ladislaus III

Coronation of King Ladislaus III
  • On the left, a bishop places the crown on the head of King Ladislaus III, who is standing in front of the throne, with clasped hands and slightly bowed. A bishop is standing on the right, a courtier is standing between them. Ladislaus was five years old when he was crowned, and the illustrator depicts him as an adult man. Because the author of the chronicle did not name the counterking Ladislaus to Ladislaus II, that is why he lists this Ladislaus as second, even though he was third in the list of kings.
Page 123
Chronicon Pictum, Hungarian, Hungary, King Ladislaus III, crown, orb, scepter, medieval, chronicle, book, illumination, illustration, history
King Ladislaus III

King Ladislaus III
Page 123
Chronicon Pictum, Hungarian, Hungary, King Andrew II, crown, coronation, throne, bishop, Saint Elizabeth, King Béla IV of Hungary, medieval, chronicle, book, illumination, illustration, history
Coronation of King Andrew II

Coronation of King Andrew II
  • On the left, King Andrew II sits on the throne, a bishop places the crown on his head, and another bishop stands next to him. On the right, the king's daughter, Saint Elizabeth stands with a halo, and two of his sons, certainly the later King Béla IV and Prince Coloman.
Page 124
Chronicon Pictum, Hungarian, Hungary, King Andrew II, crown, royal, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
King Andrew II

King Andrew II
Page 124
Chronicon Pictum, Hungarian, Hungary, King Andrew II, knights, Fifth Crusade, crusaders, crusader army, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
King Andrew II at the Head of His Crusader Army

King Andrew II at the Head of His Crusader Army
  • King Andrew II rides on the rocky river bank at the head of his knights, one of whom carries a red flag with the Hungarian double cross coat of arms.
Page 125
Chronicon Pictum, Hungarian, Hungary, King Béla IV, king, crown, coronation, orb, scepter, throne, royal, bishop, Prince Coloman, sword, medieval, chronicle, book, illumination, illustration, history
Coronation of King Béla IV

Coronation of King Béla IV
  • King Béla IV is crowned by a bishop on the throne. The king's younger brother, Prince Coloman hands him the sword of the country.
Page 125
Chronicon Pictum, Hungarian, Hungary, King Béla IV, First Mongol invasion, Tatars, 1241, 1242, escape, medieval, chronicle, book, illumination, illustration, history
The First Arrival of the Mongols

The First Arrival of the Mongols
  • In a rocky landscape, six Tatars on horseback chase King Béla IV, who is fleeing with his men. The Tatars are dressed Cuman clothes with sabers.
Page 126
Chronicon Pictum, Hungarian, Hungary, King Béla IV, King Ottokar II of Bohemia, Hainburg, cavalry battle, fight, sword, armor, horse, horsemen, medieval, chronicle, book, illumination, illustration, history
The Fight of King Béla IV of Hungary with King Ottokar II of Bohemia

The Fight of King Béla IV of Hungary with King Ottokar II of Bohemia
Page 126
Chronicon Pictum, Hungarian, Hungary, King Béla IV, king, crown, orb, scepter, royal ornament, royal regalia, medieval, chronicle, book, illumination, illustration, history
King Béla IV

King Béla IV
Page 126
Chronicon Pictum, Hungarian, Hungary, flagellants, flog, whip, churches, medieval, chronicle, book, illumination, illustration, history
Flagellants

Flagellants
  • There is a rocky background landscape with churches, in the foreground, four flagellants moving from left to right, two of them have naked torso and two of them flog themselves bloody.

At the same time, in the year 1263rd of the Lord, the people were running everywhere whipping themselves.

— Mark of Kalt: Chronicon Pictum[9]

Page 127
Chronicon Pictum, Hungarian, Hungary, King Stephen V, King Béla IV, king, Queen Maria Laskarina, crown, coronation, royal, medieval, chronicle, book, illumination, illustration, history
Coronation of King Stephen V

Coronation of King Stephen V
  • King Stephen V stands on the right, the elderly King Béla IV places the crown on his son's head, Queen Maria is behind him on the left. The illumination reflects the tense relationship between father and son. (According to this, it can only be about the crowning of Stephen as a junior king, which, however, is not remembered in the chronicle.)
Page 128
Chronicon Pictum, Hungarian, Hungary, King Ladislaus IV, Cuman, Cuman hat, red Cuman dress, orb, scepter, medieval, chronicle, book, illumination, illustration, history
King Ladislaus IV

King Ladislaus IV
Page 128
Chronicon Pictum, Hungarian, Hungary, battle, fight, Second Mongol invasion, Tatars, arrow, golden, medieval, chronicle, book, illumination, illustration, history
The Second Mongol Invasion

The Second Mongol Invasion
  • Second Mongol invasion of Hungary, battle between Tatars and Hungarians on a gold background. On the left, there are two female figures among the Cumans, and on the right, a third one is seeking protection from a Hungarian knight.
Page 129
Chronicon Pictum, Hungarian, Hungary, Bishop Philip of Fermo, Papal Legate, cardinal dress, white horse, medieval, chronicle, book, illumination, illustration, history
Bishop Philip of Fermo, the Papal Legate Is Coming to Hungary

Bishop Philip of Fermo, the Papal Legate Is Coming to Hungary
  • Bishop Philip of Fermo is coming to Hungary. The papal legate wears a cardinal's dress, is on a white horse, accompanied by a mounted soldier.
Page 129
Chronicon Pictum, Hungarian, Hungary, King Ladislaus IV, Ladislaus the Cuman, murders, dead body, bloody, tent, Cumans, Cuman hat, red Cuman dress, double cross, Hungarian coat of arms, medieval, chronicle, book, illumination, illustration, history
The Murdered King Ladislaus the Cuman and His Murderers

The Murdered King Ladislaus the Cuman and His Murderers
Page 130
Chronicon Pictum, Hungarian, Hungary, King Andrew III, riding, horse, medieval, chronicle, book, illumination, illustration, history
Prince Andrew Is Brought to Hungary

Prince Andrew Is Brought to Hungary
  • Prince Andrew, the later crowned King Andrew III is riding in front of a rocky background. He wears a princely hat and he is accompanied by two men.
Page 131
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, riding, horse, nobleman, medieval, chronicle, book, illumination, illustration, history
The Child Charles Robert Is Brought to Hungary

The Child Charles Robert Is Brought to Hungary
  • Charles Robert with a princerly hat is riding on a white horse accompanied by two noblemen.
Page 132
Chronicon Pictum, Hungarian, Hungary, King Wenceslaus, Wenceslaus III of Bohemia, riding, horse, nobleman, medieval, chronicle, book, illumination, illustration, history
Prince Wenceslaus Arrives in Hungary

Prince Wenceslaus Arrives in Hungary
Page 133
Chronicon Pictum, Hungarian, Hungary, King Wenceslaus, Wenceslaus II of Bohemia, Wenceslaus III of Bohemia, riding, horse, medieval, chronicle, book, illumination, illustration, history
King Wenceslaus returns to Bohemia

King Wenceslaus returns to Bohemia
  • On the left, King Wenceslaus II of Bohemia is on a white horse, next to him his son King Wenceslaus of Hungary wears a princerly hat. (Since the name Wenceslaus is not common among Hungarians, King Wenceslaus was called Ladislaus. He signed his charters under the name Ladislaus in Hungary.)
Page 134
Chronicon Pictum, Hungarian, Hungary, Buda, King Charles Robert, church, Nicola Boccasini, Pope Benedict XI, interdict, Buda priests, curse, medieval, chronicle, book, illumination, illustration, history
The Priests of Buda Curse the Pope

The Priests of Buda Curse the Pope
  • Two "false" priests are standing in front of a church with a bell tower. One of them holds a burning candle in his right hand and rings a bell with his left. The other priest holds a book in his right hand and points to the bishop sitting on the ground with his left hand: the Dominican Cardinal Nicola, the later Pope Benedict XI. According to the chronicle, the cardinal came to Hungary to support Charles Robert, however, he was unable to enforce his commission. Upon his departure, he placed the citizens of the city of Buda under an interdict. Some priests from Buda cursed the Pope in protest. The setting of the image, contrary to the text, speaks in favor of the "false" priests.
Page 135
Chronicon Pictum, Hungarian, Hungary, Bavarian King Otto of Hungary, Holy Crown of Hungary, wooden drinking vessel, white horse, medieval, chronicle, book, illumination, illustration, history
Recovery of the Lost Crown

Recovery of the Lost Crown
  • The Bavarian King Otto of Hungary sits on a white horse on the right. One of his man picks up from the road a wooden drinking vessel with right hand, in which the crown was hidden, and he already hands the crown to the king with his left hand. According to the chronicle, Prince Otto of Bavaria asked the Hungarian crown from Wenceslaus, who hid it in a wooden drinking vessel in fear of his enemies. On the way, the drinking vessel got lost, but finally it was found.
Page 136
Chronicon Pictum, Hungarian, Hungary, Cardinal Gentile, Gentile Portino da Montefiore, papal legate, priest, Franciscan, riding, white horse, medieval, chronicle, book, illumination, illustration, history
Cardinal Gentile Arrives in Hungary

Cardinal Gentile Arrives in Hungary
  • Cardinal Gentile, the papal legate rides on a white horse, dressed in Franciscan clothing and wearing a cardinal's hat. He is accompanied by a priest and two men in secular clothes.
Page 137
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, Battle of Rozgony, Kassa, Košice, Matthew Csák, Amadeus Aba, medieval, chronicle, book, illumination, illustration, history
Battle of Rozgony

Battle of Rozgony
  • Battle of Rozgony in 1312. The battle is taking place in a valley in front of two rocky heights decorated with a castle and a small forest, symbolizing Kassa (present-day Košice). On the right, on a white horse is King Charles Robert in full armor, in a helmet with a closed grill with the Hungarian Anjou helmet decoration, with a crown and a double cross coat of arms on his breastplate. His similarly decorated flag lies on the ground in the hand one of his fallen soldier. The king holds a shield in his left hand with the Anjou coat of arms with lilies. On the left, the opponent, their leader, also with a closed helmet, probably one of Amadeus Aba's sons fights a duel with the king. In the foreground are the bleeding corpses of the fallen, and in the background, the help of the king arrives under the flag with the Anjou coat of arms.
Page 138
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, shield, Hungarian Anjou coat of arms, orb, crown, medieval, chronicle, book, illumination, illustration, history
King Charles Robert

King Charles Robert
  • King Charles Robert is a standing figure in military regalia, he has a royal crown on iron cap. In his right hand is an orb, in his left a lowered shield with the royal Hungarian Anjou coat of arms.
Page 139
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, Queen Mary of Hungary, royal funeral, coffin, medieval, chronicle, book, illumination, illustration, history
The First Wife of King Charles Robert, Mary Is Placed in a Coffin

The First Wife of King Charles Robert, Mary Is Placed in a Coffin
  • The royal funeral, the first wife of King Charles Robert, Mary is placed in a coffin. One person places the queen's body in a coffin, two bishops perform the ceremony.
Page 139
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, Elizabeth of Poland, Queen of Hungary, royal wedding, crown, Hungarian Anjou coat of arms and flag, blowing horns, medieval, chronicle, book, illumination, illustration, histor
The Wedding of King Charles Robert With Elizabeth, the Daughter of the Polish King Władysław

The Wedding of King Charles Robert With Elizabeth, the Daughter of the Polish King Władysław
  • On the left there are two elderly people, one of them holding a golden staff, leads the ornately dressed Queen Elizabeth with a golden crown. On the right, King Charles Robert holds the queen's crown towards her. (Elizabeth, the daughter of the Polish King Władysław was the king's third wife.) On the far right, two heralds are blowing horns, the horns poking out the frame of the illustration, together with the flags with the royal Hungarian Anjou coat of arms hung on them.
Page 140
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, Elizabeth of Poland, Queen of Hungary, royal, Hungarian Anjou family, King Louis I of Hungary, Andrew, Duke of Calabria, medieval, chronicle, book, illumination, illustration, history
Queen Elizabeth With Her Children

Queen Elizabeth With Her Children
Page 140
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, Elizabeth of Poland, Queen of Hungary, church, foundation, Lippa, Lipova, medieval, chronicle, book, illumination, illustration, history
The Founding of the Monastery in Lippa

The Founding of the Monastery in Lippa
  • King Charles Robert and Queen Elizabeth, kneeling facing each other, hold a scaled-down copy of the church as a symbol of the foundation of the church in Lippa (present-day Lipova).
Page 140
Chronicon Pictum, Hungarian, Hungary, Saint Louis of Toulouse, Louis of Anjou, Bishop of Toulouse, House of Árpád, medieval, chronicle, book, illumination, illustration, history
Saint Louis of Toulouse

Saint Louis of Toulouse
Page 140
Chronicon Pictum, Hungarian, Hungary, King Louis I of Hungary, birth, Queen Elizabeth, royal, medieval, chronicle, book, illumination, illustration, history
Birth of King Louis

Birth of King Louis
  • The son of King Charles Robert, Louis born in 1326. The paternal uncle of King Charles Robert was Saint Louis of Toulouse who was canonized in 1317, Louis was named after him. There are rocky mountains with a castle in the background, Queen Elizabeth is lying in bed with a crown on her head, and one of the three female figures standing on the right is handing the crowned boy to her mother.

In the year 1326th of the Lord, the king's son was born on 7 of March, whom he happily named Louis after his holy confessor brother.

— Mark of Kalt: Chronicon Pictum[9]

Page 141
Chronicon Pictum, Hungarian, Székesfehérvár, church, Romanesque cathedral, flames, burn, medieval, chronicle, book, illumination, illustration, history
Birth of King Louis

The Burning of the Church in Székesfehérvár
  • Flames erupt from the three towers and lead-covered roof of the four-towered Romanesque cathedral in Székesfehérvár. According to the text, the fourth tower, which was above the sacristy, did not burn down because the holy relics were kept there.
Page 141
Chronicon Pictum, Hungarian, Hungary, King Charles Robert, Elizabeth of Poland, Queen of Hungary, royal family, Felician Záh, sword, assassination, medieval, chronicle, book, illumination, illustration, history
Felician Záh's Assassination Against the Royal Family

Felician Záh's Assassination Against the Royal Family
  • King Charles Robert and Queen Elizabeth are sitting at a table richly laden with dishes in a room of the Visegrád palace, with an olive green carpet hanging in the background. The old Felician wounds the right hand of the Queen protecting the King with his sword, but John, the servant who rushes in, stabs the assassin from behind. On the left, another servant enters the room with a plate of food.
Page 143
Chronicon Pictum, Hungarian, Hungary, battle, fight, Battle of Posada, King Charles I of Hungary, Basarab, Cumans, Vlachs, fur cloths, arrows, stone throwing, knights, rocks, medieval, chronicle, book, illumination, illustration, history
The Defeat of King Charles in the Campaign Against Basarab

The Defeat of King Charles in the Campaign Against Basarab
  • Battle of Posada in 1330. From above, the Vlachs, who are wearing sheep fur cloth and fur caps, roll rocks and shoot arrows at the Hungarian army marching in a rock gorge between high mountains, so part of the Hungarian army dies with Dezső Hédervári, who wore the king's armor and a crowned, ostrich-headed helmet to cover his escape. King Charles I escapes with two faithful men in the foreground. The painter depicts the fleeing king on a white horse with a crown on his head and a shield with a crest.
Page 144
Chronicon Pictum, Hungarian, Hungary, King Charles I of Hungary, Basarab, Cuman, envoy, medieval, chronicle, book, illumination, illustration, history
King Charles Receives the Envoy of Voivode Basarab

King Charles Receives the Envoy of Voivode Basarab
  • On the left, the envoy hands over a letter from Voivode Basarab to King Charles Robert. The King is in armor, the envoy has a long hair, is in a long dress, with a helmet in his left hand. (The event depicted in this illustration precedes the battle depicted in the previous image.)
Page 146
Chronicon Pictum, Hungarian, Hungary, battle, fight, Battle of Posada, King Charles I of Hungary, Basarab, Cumans, Vlachs, sheep fur cloths, arrows, stone throwing, knights, rocks, medieval, chronicle, book, illumination, illustration, history
Victory of Basarab Over the Royal Army

Victory of Basarab Over the Royal Army
  • Battle of Posada in 1330. The repetition of the theme is shown on page 143. The Vlachs are dressed in sheep fur, roll rocks and shoot arrows at the Hungarian army marching in a rock gorge between high mountains. On the right in the foreground, King Charles I escapes on horseback with his soldiers.

See also

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References

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from Grokipedia
The Chronicon Pictum, also known as the Illuminated Chronicle or Képes krónika, is a richly illustrated Latin manuscript chronicle compiled around 1358 in the Kingdom of Hungary during the reign of . Attributed to Márk Kálti, a canon of Basilica, it narrates the history of the from mythical and Hun origins—linking them through figures like —to the Magyar conquest of the Carpathian Basin under and subsequent dynastic rulers up to the contemporary Angevin period. The text draws on earlier sources like Simon of Kéza's while integrating legendary elements to construct a continuous national genealogy emphasizing royal legitimacy and martial prowess. Accompanying the narrative are approximately 147 vivid illuminations executed in the style prevalent at royal courts, depicting kings, chieftains, battles, and mythical events such as the miraculous deer guiding the proto-Hungarians or Attila's encounters with Romans. These images, completed into the 1360s or 1370s, offer unparalleled visual evidence of late medieval Hungarian costume, heraldry (including early Árpád stripes), courtly life, and artistic influences blending Italian, French, and local traditions. Housed today in the in (as the Wiener Bilderchronik), the codex served propagandistic purposes under Angevin patronage, glorifying the dynasty's continuity from pagan conquerors to Christian monarchs, though its legendary content reflects historiographical conventions rather than empirical veracity. As a primary artifact of 14th-century Hungarian book culture, it remains a key source for understanding the synthesis of myth, history, and in Central European medieval statecraft.

Manuscript and Production

Commission and Context

The Chronicon Pictum, also known as the Illuminated Chronicle, was produced circa 1358 under the patronage of King Louis I of Hungary (reigned 1342–1382) at his royal court, likely in Buda. This manuscript emerged during a period of Angevin consolidation in Hungary, following the dynasty's establishment after the Árpád line's extinction in 1301, with Louis I inheriting the throne from his father, Charles I Robert. The work reflects the court's international Gothic artistic influences, aligning with Louis's broader cultural initiatives amid his expansions into Dalmatia, southern Italy, and Poland. As part of Hungary's chronicle tradition, the Chronicon Pictum aimed to document the nation's history from mythical Scythian-Hun origins through the Magyar conquest of the Carpathian Basin in 895 to Louis I's contemporary reign, thereby legitimizing the Angevin rulers' continuity with native Hungarian heritage. This narrative emphasis on ancestral lineages and royal deeds served propagandistic purposes, reinforcing monarchical authority in a kingdom integrating foreign dynastic elements with local traditions. The manuscript's lavish illuminations, numbering over 140, underscore its status as a prestige object, possibly intended for diplomatic presentation, as evidenced by its later gifting to French King Charles V in connection with Louis's daughter Catherine's betrothal. The commissioning context highlights Louis I's era of relative stability and patronage, following internal strife and preceding Ottoman threats, with the chronicle capturing a self-image of Hungary as a civilized Christian realm rooted in ancient prowess. Produced in Latin, the lingua franca of medieval scholarship, it drew from earlier sources like the Gesta Hungarorum while extending the historical record to affirm the Angevins' place in a providential national story. Scholarly consensus attributes its creation to court scribes and artists, though direct commissioning evidence remains inferential from colophons and stylistic ties to royal commissions.

Authorship and Textual Composition

The text of the Chronicon Pictum, also known as the Illuminated Chronicle, was composed by Mark of Kalt (Marci de Kalt), a Hungarian cleric, who completed the core manuscript in 1358 at the court of King Louis I of . The work is written in Latin and spans 147 folios, integrating with planned spaces for illuminations that were added subsequently between 1370 and 1373. Textually, the chronicle synthesizes earlier Hungarian historiographical sources, drawing extensively from Simon of Kéza's Gesta Hungarorum (c. 1282–1285), which provided foundational accounts of the Hungarian conquest and early Árpád dynasty rulers, while incorporating elements from anonymous 13th-century chronicles and possibly lost royal annals predating Kéza. This compilation extends the narrative from mythical Hunnic and Scythian origins—echoing classical and biblical motifs—to the death of King Charles I in 1342, emphasizing dynastic continuity and legitimacy for the Anjou rulers. The composition reflects a deliberate editorial effort to harmonize disparate traditions into a cohesive royal chronicle, with Mark of Kalt's colophon affirming his role in assembling "various old chronicles" under royal commission. Scholars note the text's fidelity to source materials, though with interpolations that align with 14th-century Anjou perspectives, such as enhanced portrayals of saint-kings like Stephen I and Ladislaus I, without fabricating events but selectively emphasizing causal sequences of conquest and . The resulting textual structure prioritizes chronological progression, blending legendary prehistory with verifiable medieval events documented in charters and papal records up to the .

Illumination and Artistic Execution

The Chronicon Pictum contains over 140 miniatures that illustrate scenes from Hungarian legendary origins to contemporary 14th-century events, executed with vivid colors and intricate details to reinforce the chronicle's narrative and ideological emphases. These illuminations reflect the international Gothic style at the Angevin royal court under King Louis I, produced circa 1358, blending Western European influences—such as those seen in the Grands Chroniques de France—with Byzantine elements evident in costume depictions and compositional motifs. Artistically, the miniatures demonstrate high craftsmanship, with figures rendered in detailed proportions showing anatomical awareness, dynamic battle scenes, and symbolic regalia that highlight the splendor of the Angevin dynasty and Hungarian historical continuity. Oriental-style attire in early historical depictions links mythical and Hun ancestors to Trojan origins, serving as a visual assertion of ethnic prestige amid 14th-century court ideology. The illuminator actively engaged with the text, correcting errors, adding unrecorded events, and integrating images to frame the chronicle's pages, enhancing its utility as a source for contemporary including armor, , and . No definitive artist is identified, though traditional attributions to court figures like Miklós Meggyesi lack supporting evidence; the execution aligns with professional workshop practices of the period, prioritizing narrative clarity over individualism. The interplay between text and image underscores a deliberate design where miniatures not only decorate but interpret history, positioning within a broader European tradition while emphasizing royal legitimacy.

Physical Description and Preservation

The Chronicon Pictum is a comprising 75 folios, including one flyleaf and 74 text folios, executed in a compact format suitable for courtly use. The text is inscribed in Latin using a Gothic bookhand in a single column per page, with extensive marginal and interlinear illuminations depicting historical scenes, figures, and motifs. The sheets exhibit high-quality preparation, supporting vibrant pigments in the miniatures, which feature accents and intricate detailing characteristic of 14th-century Central European production. The original binding, likely contemporary or early post-production, consists of wooden boards covered in , though subsequent rebinding efforts have occurred to maintain structural . No significant losses or major damages are recorded in its history, attributing its survival to continuous custody within Hungarian institutional collections since the late medieval period. Currently preserved at the National Széchényi Library in under shelfmark Cod. Lat. 404, the benefits from controlled environmental conditions, conservation protocols, and initiatives that facilitate scholarly access without direct handling. editions produced in the 20th and 21st centuries, such as those reproducing its illuminations at actual size, underscore its stable condition and enduring material integrity.

Narrative Content

Structural Overview

The narrative of the Chronicon Pictum, also known as the Chronica de gestis Hungarorum, follows a linear chronological structure typical of medieval , spanning from legendary to the mid-14th century. It commences with mythical accounts of the ' origins, portraying them as descendants of the through figures like , incorporating elements such as the miraculous deer guiding , and early migrations. This foundational section establishes a heroic lineage, blending with purported to emphasize ethnic continuity and divine favor. The chronicle then transitions to the historical Hungarian , detailing the seven chieftains led by and their conquest of the Carpathian Basin around 895–896 CE, including the principality's formation and early raids. From there, it proceeds through the reigns of successive rulers, structured around the gesta (deeds) of kings from the —beginning with and King Stephen I (crowned 1000 CE)—to the Árpáds' decline and the rise of the Angevin dynasty. Key events include , royal coronations, battles against neighboring powers like the and , and internal conflicts such as the Mongol invasion of 1241–1242. The text culminates in the contemporary reign of (r. 1342–1382), with the manuscript completed around 1358, incorporating recent campaigns to affirm dynastic legitimacy. Throughout, the narrative divides implicitly by ruler or major epoch rather than formal chapters, with over 140 illuminations mirroring textual episodes to reinforce themes of heroic kingship, providential destiny, and territorial sovereignty. This integration serves propagandistic ends, portraying Hungarian history as an unbroken chain of triumphs under God's guidance, while drawing on earlier sources like the for pre-Árpádian material but augmenting them with Angevin-era emphases.

Mythical Origins and Early Hungarian History

The Chronicon Pictum opens its narrative with the mythical origins of the , tracing their ancestry to roots through the twin brothers , depicted as sons of the biblical or descendants of . According to the chronicle's account, while hunting near the Maeotian Marshes, pursue a miraculous that leads them to a lush territory inhabited by the people; there, they seize two beautiful maidens—daughters of their leader—as wives, establishing the lineages from which the (from ) and the (from ) descend. This foundational legend serves to link the Magyars to ancient nomadic warriors, emphasizing themes of divine guidance and expansion. The chronicle then transitions to the Hunnic Empire, portraying as a direct descendant of Hunor and a pivotal figure in Hungarian proto-history, reigning circa 434–453 AD with conquests across . It details 's military campaigns against the Romans, including the siege of Aquileia—which prompts refugees to flee and found —and a dramatic encounter with near in 452 AD, where intervention persuades to withdraw without sacking the city. These episodes elevate as a formidable yet restrained , reinforcing the chronicle's theme of Hungarian martial prowess inherited from Hunnic forebears, though the text draws on earlier legends rather than contemporary records. Following the Huns' decline after Attila's death in 453 AD, the narrative shifts to the , descendants of Magor, who reside in Eastern territories before migrating westward under the leadership of Grand Prince and his son around 895 AD. Guided by the mythical Turul bird—a falcon-like emblem of the —the seven chieftains (, Előd, Ond, Kond, Tas, Huba, and Töhötöm) cross the Carpathians into the , defeating local Slavic and Bulgar forces to establish dominion. The chronicle dates this conquest precisely to the year 895, framing it as a providential return to ancestral lands once held by the , complete with oaths of loyalty among the leaders to solidify tribal unity.

Medieval Kings and Events up to the 14th Century

The Chronicon Pictum transitions from the tribal confederation under to the establishment of the Hungarian kingdom with the reign of Stephen I (c. 975–1038), depicted as the first Christian king crowned by on 25 December 1000, symbolizing the integration into Western Christendom and the founding of a stable monarchy. The narrative emphasizes Stephen's efforts to consolidate power, including the suppression of pagan revolts led by chieftains like Koppány in 998–1000, the organization of dioceses and counties for administrative control, and military campaigns against neighboring and Germans to secure borders. Succession crises followed, with brief reigns of Emeric (1038–1041) and foreign rulers Peter Orseolo (1041–1044, 1046–1047) and , marked by civil unrest and German interventions, culminating in Andrew I's (1046–1060) victory over pagan insurgents at the Battle of Tiszavárkony in 1046. Subsequent Árpádian rulers, such as Béla I (1060–1063), (1063–1081), and Ladislaus I (1077–1095), are portrayed focusing on dynastic struggles, adoption, and expansions into and , with Ladislaus credited for military successes and later sainted for his role in Christianizing the realm. The chronicle details the prosperous era under Coloman the Learned (1095–1116), who subdued , annexed , and fostered legal reforms, followed by Stephen II (1116–1131) and Béla II (1131–1141), highlighting internal stability and Balkan campaigns. Géza II (1141–1162) and Stephen III (1162–1172) faced Byzantine and German pressures, but the narrative glorifies Béla III (1172–1196) for economic growth, fortification building, and diplomatic marriages aligning Hungary with Western powers. ![Chronicon Pictum, King Louis I of Hungary, knights, throne, canopy, orb, secpter, Hungarian, Saint Catherine of Alexandria, medieval, chronicle, book, illumination, illustration, history](./assets/K%C3%A9pes_kr%C3%B3nika_-1.oldal-Lajos_kir%C3%A1ly_a_tr%C3%B3non(2) Emeric (1196–1204) and Andrew II (1205–1235) are chronicled with the (1217–1221), where Andrew's participation and the —limiting royal power akin to —are noted as pivotal for noble privileges and national defense organization. Béla IV (1235–1270) dominates the mid-13th century account, detailing the devastating Mongol invasion of 1241–1242, which killed up to half the population, and his subsequent reconstruction with royal free towns, stone castles (over 100 built), and invitation of for repopulation, enhancing defensive capabilities. The chronicle's annalistic style from here records Stephen V (1270–1272), Ladislaus IV the Cuman (1272–1290), and Andrew III (1290–1301), portraying increasing noble factionalism and foreign influences leading to the dynasty's extinction in 1301. The transition to the Angevin dynasty features Charles Robert (1308–1342), elected amid anarchy but facing oligarchic resistance until victories like the Battle of Rozgony in 1311 centralized power, alongside economic reforms and conflicts with Bohemia and Venice. His son Louis I (1342–1382), for whom the chronicle was commissioned, is lauded for conquests including Wallachia in 1330 (Battle of Posada), Naples inheritance claims, and Bulgarian campaigns, plus domestic acts like the canonization of Gunther and Elizabeth of Hungary in 1343, reflecting a narrative of pious expansion and royal prestige up to the mid-14th century. While drawing on verifiable charters and earlier annals for later events, the chronicle incorporates legendary embellishments in earlier reigns to affirm Árpád-Angevin continuity and divine favor, though archaeological and contemporary Byzantine sources corroborate core military and dynastic facts.

Artistic and Illustrative Elements

Stylistic Influences and Techniques

The illuminations in the Chronicon Pictum reflect the international Gothic style dominant in 14th-century European royal courts, particularly under the Angevin dynasty's patronage. Produced around 1358–1362 during the reign of King Louis I (r. 1342–1382), the manuscript draws heavily on Italian artistic traditions, with evident influences from Sienese and Neapolitan painting, facilitated by the king's familial and political connections to southern Italy. This is apparent in the graceful, elongated figures, decorative patterns, and vibrant color palettes that prioritize narrative clarity and symbolic grandeur over strict historical accuracy, often depicting ancient Hungarian leaders in contemporary 14th-century attire and armor. Artistic techniques employed include the application of tempera paints on high-quality , enhanced by extensive use of for backgrounds, halos, and accents to convey divine authority and royal prestige. The illuminators utilized fine brushwork for intricate details in textiles, , and architectural elements, creating a cohesive visual that integrates full- and half-page miniatures with the Latin text. Compositional strategies emphasize hierarchical scaling, where kings and central figures dominate the frame, while battle scenes and processions employ dynamic groupings to evoke movement and drama, blending Central European courtly realism with Italianate elegance. Local Hungarian elements, such as motifs from Árpádian-era legends and the bird emblem, are stylized through this Western lens, resulting in a hybrid aesthetic that served propagandistic aims by legitimizing the Angevin rule through visual continuity with mythical origins. The absence of overt Byzantine rigidity in favor of more fluid, humanistic proportions underscores the manuscript's alignment with evolving Gothic trends, though scholars note potential contributions from Bohemian workshops given Louis I's diplomatic ties to IV.

Notable Illuminations and Their Themes

![FeherSzarvas-ChroniconPictum.jpg][float-right] The illumination depicting pursuing a miraculous represents the foundational myth of Hungarian ethnogenesis, portraying the brothers—progenitors of the and Magyars—as guided by divine intervention from toward their destined lands. This scene, rendered in vibrant colors with the stag leading hunters across a stylized , underscores themes of predestined migration and ancestral heroism, linking pagan to the chronicle's narrative of national origins. A series of illuminations centered on Attila the Hun, including his enthronement, battles against Romans at Zeiselmauer and the siege of Aquileia, and encounter with near , emphasize the Hunnic Empire's military dominance and cultural interactions. These depictions, featuring crowned and wielding symbols of authority amid dynamic combat scenes with Hungarian-style heraldry on Hunnic banners, serve to equate Hunnic achievements with later Hungarian valor, promoting a continuity of martial prowess and imperial ambition under Christian overlay. ![HetVezer-ChroniconPictum.jpg][center] Illustrations of the Hungarian conquest of the Carpathian Basin, particularly those showing Árpád and the seven chieftains—Álmos, Előd, Ond, Kond, Tas, Huba, and Töhötöm—advancing with Turul-bird emblazoned shields, highlight tribal unity and territorial foundation around 895 AD. These miniatures, portraying armored leaders on horseback entering , convey themes of organized migration, leadership hierarchy, and symbolic totems like the falcon, reinforcing the Árpád dynasty's legitimacy as heirs to ancient steppe traditions. The integration of Eastern nomadic attire with Gothic artistic conventions in these scenes reflects the chronicle's aim to blend historical memory with contemporary royal ideology.

Integration of Text and Images

The Chronicon Pictum employs a structured layout in which illuminations occupy the upper register of most folios, with the Latin text arranged in two columns beneath or adjacent to them, creating a that prioritizes illustrative content before the verbal narrative. This arrangement, spanning 183 folios completed around 1360, facilitates direct correspondence between images and text, where the 147 miniatures depict sequential scenes—such as the mythical deer hunt of or the Hungarian conquest under Árpád—that mirror and precede the descriptive passages. The integration extends beyond mere illustration, as the miniatures often amplify ideological elements of the text, such as royal legitimacy and dynastic continuity, through propagandistic motifs like heraldic symbols and triumphant battle scenes that align with but occasionally embellish the chronicle's Angevin-era perspective. For instance, depictions of King Louis I enthroned or Attila's encounters with Romans visually reinforce textual claims of Hungarian exceptionalism and divine favor, blending narrative reinforcement with symbolic commentary. Scholarly analysis notes that this interplay can introduce modifications to the written account, where images convey subtleties—like and details—not fully articulated in the text, enhancing the manuscript's as a historical artifact. In bas-de-page and marginal elements, smaller vignettes further intertwine with the main columns, providing contextual expansions such as heraldic emblems or ancillary events, which collectively form illustrative cycles governed more by visual continuity than strict textual fidelity. This dual-medium approach, atypical for purely textual chronicles of the period, underscores the manuscript's function as a tool for royal propaganda and , where images actively shape interpretation of the historical record.

Historical Significance and Analysis

Contributions to Hungarian Historiography

The Chronicon Pictum, compiled around 1358–1360 under the patronage of King , synthesized disparate earlier Hungarian chronicle traditions into a unified spanning mythical origins to contemporary Angevin rule, thereby preserving fragmented pre-13th-century texts that included the attributed to Anonymus (c. 1200–1210) and Simon of Kéza's Gesta Hunnorum et Hungarorum (c. 1282–1285). This compilation incorporated redactions of events like the Battle of (c. 1074) and the Kerlés campaign (1068), drawing on authentic 11th-century sources alongside foreign annals such as the Annals of Altaich and Regino of Prüm's Chronicon, which provided external validation for Hungarian expansions into the Carpathian Basin. By reworking these materials, the chronicle established a continuous dynastic lineage linking Scythian-Hun forebears to the Árpádians and Angevins, emphasizing figures like as proto-Hungarian rulers to bolster royal legitimacy amid 14th-century political consolidations. A key historiographical innovation lay in its 147 full-page illuminations, which visually rendered textual accounts in a manner unprecedented in Hungarian chronicle production, offering interpretive depth through depictions of battles, coronations, and migrations that aligned with late medieval courtly aesthetics influenced by Italian and French models. These images not only preserved oral and legendary traditions—such as the Hunor-Magor of dual deer hunts symbolizing Magyar-Scythian duality—but also served didactic purposes, making historical accessible beyond clerical elites by embedding causal sequences of and in vivid, sequential . This textual-pictorial fusion anticipated later Central European historiographical trends, influencing 15th-century works like János Thuróczy's Chronica Hungarorum (1488), which echoed its structure and Hunnic-Magyar continuity. In terms of long-term impact, the Chronicon Pictum shaped Hungarian self-perception by privileging a teleological of resilience and divine election, from the bird to Saint Ladislaus as an idealized crusading , thereby embedding biases toward Árpádian that persisted in national despite the chronicle's exclusion of critical foreign perspectives on Magyar raids (895–955). Its preservation of pre-1200 redactions offers modern scholars empirical anchors for verifying early medieval events against archaeological data, such as fortified settlements in , though legendary accretions like Attila's Roman sieges require cross-referencing with Byzantine sources like for causal accuracy. Overall, it advanced by transitioning from monastic to royal propaganda, prioritizing evidentiary synthesis over pure chronology while highlighting the role of visual media in historical legitimation.

Reliability, Biases, and Propaganda Elements

The Chronicon Pictum, compiled around 1358–1360 during the reign of (r. 1342–1382), demonstrates limited reliability for pre-conquest events, relying on legendary motifs such as the mythical descent from via , who follow a divine stag in a foundational echoing biblical and classical migration tales. These elements, illustrated vividly in the , lack corroboration from archaeological or non-Hungarian contemporary records and stem from interpolated traditions in prior chronicles like Simon of Kéza's (c. 1280), prioritizing symbolic continuity over verifiable genealogy. Scholars assess such sections as historiographical fiction designed to invoke ancient prestige, with no empirical basis for equating Magyars directly to Huns beyond shared nomadic traits. Accounts of the 9th–10th-century conquest and incorporate semi-legendary episodes, including the seven chieftains' oaths and conflicts with locals, which blend oral traditions with selective anachronisms; cross-referencing with Byzantine sources like Constantine Porphyrogenitus's (c. 950) reveals distortions, such as minimized defeats, to emphasize triumphant settlement. Later narratives, covering 11th–14th-century kingship up to Charles I (r. 1308–1342), achieve greater fidelity to evidence and foreign , yet exhibit biases through amplified royal virtues and elided internal strife, as in the sanitized portrayal of Angevin accessions. limitations—its courtly origin under Angevin patronage—necessitate caution, as medieval chronicles universally favored patrons' agendas over detached reportage, unlike modern historiography's empirical standards. Propaganda permeates the codex's structure and visuals, functioning to legitimize Angevin rule by retrojecting continuity from Hunnic glory (e.g., Attila's enthronement) to Árpádian foundations and Neapolitan imports, portraying kings as sacred warriors akin to biblical figures. Illustrations of Louis I's predecessors, such as the heroic cycles of Saint Ladislas (r. 1077–1095), idealize chivalric triumphs to model Angevin piety and martial prowess, a deliberate ideological tool amid dynastic transitions post-Árpád extinction in 1301. This sacralizing bias, evident in motifs like the Turul bird as a dynastic emblem, aligns with 14th-century royal iconography across Europe, where chronicles served as visual manifestos rather than neutral records, subordinating causality to teleological destiny.

Comparisons with Contemporary Sources

The Chronicon Pictum textual narrative closely follows the structure and content of Simon of Kéza's Gesta Hunnorum et Hungarorum (c. 1282–1285), the primary antecedent in historiography, particularly in its ethnogenetic myths equating with and via the twin progenitors , derived from a miraculous deer hunt. Both chronicles describe the Hungarian conquest of the Carpathian Basin under Árpád circa 895–896 CE, including the seven chieftains' alliance and conflicts with local and , with the Pictum borrowing extensively from Kéza's phrasing on battles and settlements while omitting some of Kéza's classical digressions from sources like Jordanes' . This alignment underscores a shared bias favoring Árpád dynasty legitimacy, though Kéza's work, composed under Ladislaus IV, emphasizes feudal privileges more explicitly than the Pictum's Angevin-era revisions. Discrepancies emerge in legendary embellishments: the Pictum amplifies Hunnic parallels, such as Attila's campaigns against Romans (e.g., the siege of Aquileia dated to 452 CE), aligning with Kéza but adding vivid details like divine interventions absent in Kéza's more restrained classical synthesis. Compared to the anonymous (early ), an earlier source influencing both, the Pictum rejects its portrayal of pre-conquest land inhabited solely by and , instead adopting Kéza's multicultural occupancy including and Kabars for broader ethnic inclusivity. These variations reflect evolving propaganda, with the Pictum—completed circa 1358 under Louis I—integrating Angevin expansions like Louis's Dalmatian campaigns (1340s), corroborated by contemporary papal registers but framed with hagiographic praise differing from drier entries in Cracovian or Viennese annals. For 14th-century events, the Pictum aligns with foreign chronicles like Jan of Czarnków's Polish Chronicon (c. 1380s) on conflicts post-Árpád (e.g., Robert's 1308 ), but diverges in downplaying noble factions to exalt monarchical continuity, a propagandistic choice evident when contrasted with German annalists' emphasis on Teutonic influences. Reliability assessments note consistencies in verifiable facts—such as dated coronations and battles—across these sources, supporting authenticity for post-1000 CE events, while mythical prehistory remains unsubstantiated shared across traditions. The Pictum's court-commissioned nature introduces selective omissions, like minimizing internal revolts, unlike more fragmented contemporary Hungarian annals preserved in Buda codices.

Reception and Modern Scholarship

Transmission and Early Influence

The Chronicon Pictum, completed in 1358 at the court of King Louis I of Hungary (r. 1342–1382), represents the primary surviving codex of the 14th-century Hungarian chronicle tradition, with its Latin text compiled by the notary Mark of Kalt and illuminations executed in phases extending into the 1370s in an international Gothic style influenced by Italian and French models. The manuscript, designated as Codex Vindobonensis 2614 in the Austrian National Library, initially circulated within royal and ecclesiastical circles in Hungary, where it functioned as an official historiographical tool to legitimize the Angevin dynasty's rule by tracing Hungarian origins to biblical and ancient lineages. Transmission of the codex itself remained confined to elite Hungarian contexts through the late 14th and early 15th centuries, with limited evidence of widespread dissemination until the Jagiellonian era; marginal annotations and repairs indicate consultation by scholars or scribes, but no contemporary inventories precisely track its location until the mid-15th century, when it likely resided in Buda amid King Matthias Corvinus's (r. 1458–1490) library-building efforts. By the late 15th century, the manuscript had departed Hungary—possibly via diplomatic exchanges or Habsburg acquisitions—eventually entering Viennese collections by the 16th century, preserving it amid the Ottoman occupation of Buda after 1541. Textually, the chronicle's narrative exerted early influence on 15th-century Hungarian historiography, serving as a core source for compilations like the Budai Krónika (Buda Chronicle, printed 1473) and Johannes de Thuróczy's Chronica Hungarorum (1488), which adapted its structure and legendary elements—such as the Hunnic-Magyar continuity and the miraculous deer myth—to reinforce noble identity and royal claims during periods of dynastic instability. This textual lineage standardized a providential view of Hungarian history in vernacular and Latin works, though the illustrated codex's visual program had negligible direct artistic transmission until later imitations in printed editions.

19th-20th Century Rediscovery

The Chronicon Pictum, preserved in the Habsburg Imperial Court Library in since at least the early , experienced renewed scholarly attention in the amid Hungary's national revival and Romantic interest in medieval heritage. Hungarian intellectuals, facing political restrictions under Habsburg rule, accessed the for historical research, viewing it as a key source for reconstructing the nation's origins and royal lineage during the reform era and post-1848 suppression of national aspirations. This period's emphasis on empirical recovery of pre-Ottoman cultural artifacts aligned with broader European trends in , though Hungarian efforts were tinted by nostalgic reconstruction of a lost golden age. In the early 20th century, following the in 1920—which stripped of two-thirds of its territory and significant cultural institutions—nationalist campaigns intensified to reclaim dispersed artifacts, including manuscripts held abroad. The Chronicon Pictum, long regarded as a cornerstone of Hungarian despite its Viennese custody, became a focal point for advocacy. Under the 1932 Venice Cultural Agreement, negotiated to address post-World War I cultural displacements, the manuscript was transferred from to in 1934, where it entered the collection of the National Széchényi Library. This symbolized Hungary's assertion of cultural amid interwar revisionism, enabling direct access for domestic scholars and facilitating modern editions, such as the 1969 Corvina Press facsimile, which disseminated its illuminations and text more widely. Subsequent analyses in the late scrutinized its , confirming continuous transmission from the 14th-century court through monastic and imperial libraries, without evidence of significant loss or .

Recent Studies and Editions

A critical edition and English of the Chronicon Pictum, titled The Illuminated Chronicle: Chronicle of the Deeds of the from the Fourteenth-Century Illuminated , was published in 2018 by Central European University Press, edited by János M. Bak and László Veszprémy. This volume presents the full Latin text of the chronicle's 218 chapters, derived from the codex, accompanied by a facing-page , reproductions of all 147 illuminations, and scholarly apparatus including an introduction on its composition under and essays analyzing its place in Central European historiography. The editors emphasize the manuscript's reliance on earlier sources like the while highlighting interpolations that reflect Angevin royal ideology, such as enhanced depictions of Hungarian origins tracing to biblical figures like and . In , a modern annotated edition in Hungarian, Képes krónika, translated by János Bollók with annotations by Kornél Szovák and László Veszprémy, appeared in 2004, incorporating textual variants and historical commentary to facilitate access for domestic scholars. This edition underscores the chronicle's narrative structure, which blends factual regnal annals from the Árpád dynasty onward with mythic prehistories, cautioning against over-reliance on its unverified etymologies and battle accounts due to evident propagandistic aims glorifying the Angevins. Recent studies have increasingly focused on the chronicle's visual elements through interdisciplinary lenses. A 2019 analysis by scholars examining the Corona Angelica Pannoniae motif interprets the illuminations' angelic and divine imagery—such as the bird and heavenly interventions—as symbolic assertions of Hungary's sacral kingship, drawing on iconographic parallels with Italian and Byzantine manuscripts while critiquing the work's courtly biases that amplify Louis I's conquests. Similarly, a 2020 heraldic study of the Árpád stripes in the miniatures traces their evolution from Scythian-Hun depictions to 14th-century royal emblems, using the to reconstruct Angevin visual propaganda against its anachronistic applications to earlier eras. These works prioritize empirical with archaeological evidence and contemporary coins, revealing how the chronicle's artists adapted Western Gothic styles to propagate a unified Hungarian ethnogenesis narrative, though its factual distortions—evident in inflated military triumphs—limit its use as a without corroboration from charters or foreign .

References

  1. https://commons.wikimedia.org/wiki/File:HetVezer-ChroniconPictum.jpg
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