Kálmáncsehi-Liechtenstein Codex‏ Facsimile Edition

The Kálmáncsehi-Lichtenstein Codex stands as a significant testament to the cultural heritage of the Hungarian Middle Ages. Originating from the codex of Domonkos Kálmáncsehi, the provost of the coronation church in Székesfehérvár, this intricately ornamental manuscript is now housed in New York, far removed from its historical context.

Crafted on parchment, the codex served to assist the prelate in fulfilling his liturgical and devotional responsibilities, with the first half functioning as a breviary—a priest’s prayer book—and the latter half serving as a mass book. At the outset of the codex, a calendar was included, delineating the sequence of the church year’s feasts. The compact size and the inclusion of two distinct liturgical texts within a single volume suggest that Domonkos Kálmáncsehi may have primarily utilized this codex during his travels.

This manuscript embodies the vibrant spirit of an extraordinary era. The 1480s represented a pivotal decade in late 15th-century Hungary, marked by the convergence of historical legacies and future aspirations. By this time, centuries of influence and the ambitions of generations had coalesced into the resounding overture of the Hungarian Renaissance. During this period, among other notable developments, King Matthias Hunyadi (1458-1490) occupied Vienna, giving way to the construction of royal residences, and the renowned Bibliotheca Corvina was established. The prevailing cultural paradigm was heavily informed by the Italian Renaissance, drawing architects, sculptors, carpenters, manuscript illustrators, bookbinders, musicians, astronomers, jurists, historians, and other humanists to Hungary. The initiatives that began during this time would profoundly shape the trajectory of Hungarian culture for subsequent centuries.

The book-producing workshop in Buda not only catered to the needs of the royal library but also served high-ranking prelates. The codex attributed to Domonkos Kálmáncsehi was produced in this royal workshop, and its decorative elements are particularly significant, as many motifs derive from the manuscripts of the Royal Library, which boasted the artistry of esteemed Italian book painters. A closer examination of the ornamental pages reveals a harmonious blend of Italian Renaissance decoration and Central European Gothic book painting, characterized by elongated, pointed leaves adorned with graceful tendrils, as well as the predominantly Gothic initials found throughout the breviary. This unique fusion exemplifies the interplay between Italian Renaissance influences and local artistic traditions.