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From the prints cabinet of the Veste Coburg Art Collec tions, hitherto hidden vedutes of the of the summer resi dence (‘Garden’) of György Lippay (1600–1666), Arch bishop of Esztergom and Primate of Hungary in Pozsony (now Bratislava, Slovakia) have been discovered. The se ries of etchings published in 1663 were made after the drawings by the Primate’s court painter Johann Jacob Khün (Khien, ? – after 1672, before 1683) and executed by the Augsburg engraver Mauritius Lang (active in Vienna, etc., 1649–1700). The cabinet comprises fourteen sheets from the 1663 series of etched views, including ten unique vedutes of the residence and garden. (For a description of the two plates previously identified by Nóra G. Etényi, see the “Discussion” section of this volume.) Four of the newly discovered sheets in Coburg are already known from earlier publications, and these (two distant views of the garden and two rainbow fountains) are kept in the Library of the Hungarian Academy of Sci ences and the Esztergom Cathedral Library. Of the previ ously published views, only the title page, which exists in two copies in the Library of the Hungarian Academy of Sciences, and the image of the hortus italicus are miss ing from the Coburg collection, the only copy of the latter being known from the Graphic Collection of the Histori cal Picture Gallery of the Hungarian National Museum, Budapest. Together with the sheets in Hungarian collections and the views found in Coburg, altogether sixteen vedu- tes of the series are now known. In addition to the title page, the eastern and western views, the two rainbow fountains (H) and the hortus italicus (L), the ten unique Coburg sheets show the richness of the garden’s onetime furnishings, which include the depictions of the ensemble of artificial ruins in the upstairs gallery with its trompe l’oeil background and with bird figurines, equipped with hydromechanical machinery imitating birdsong (C), the waterworks grotto displaying automatic figurines of singing sirens surrounding a bagpipe player in the ground floor arcades (“inferior galleria”) of the summer residence (D), the garden’s basin with its Saint George Fountain (E), the labyrinth and its arcaded gallery building (F), the grotto’s eastern façade (G), and both sculptural fountain compositions in the niches of the garden wall (K), the façade of the hermitage (M), the grotto of Parnassus (N), and the four sculptures at the crossing of the main axes. The compositions offer a systematic overview of the garden’s sights and spectacular furnishings, and seem to confirm the earlier assumption that each of the attractions lettered A to R in the western bird’s eye view was the sub- ject of a depiction, and that each of the dual elements was represented in a separate picture. This makes a total of 20 lettered vedutes, in addition to the title page and two or three unlettered overall views from a distance. Thus, seven or eight pictures are probably still missing from what could ideally be considered a complete, imaginatively re- constructed series. The memory of the garden views has been preserved until now only by the work of Mátyás Bél (1684–1749), who gave an accurate description of most of the compo- sitions belonging to the series (the title page and eleven views) in the first volume of his Notitia Hungariae Novae Geographico Historica, published in 1735. The pictures he mentioned are now complete. In his description, Bél does not include the hortus italicus from Budapest and three sheets from Coburg (the representations of both niche fountains attached to the garden walls and the view of the four statues). The series of views is a pictorial memento of the gar- den: commissioned as a separate publication, a genre unprecedented in Hungary at the time. Its compositions are complexly related to the relevant examples of garden veduta in the Italian tradition published up to 1650 (in- cluding Dominique Barrière’s Villa Aldobrandina Tuscu- lana, a series of twenty-two etchings published in 1647). According to the archival sources of building history, the earliest date on which the series could have been pro- duced is mid-1659, and it was probably printed in the first months of 1663, the last period before the Turkish offensive that led to the siege and loss of the fortress of Érsekújvár (now Nové Zámky, Slovakia). The most complete known example of the series is preserved by the Coburg Collections, but its provenance is still unknown. The only example of the series with a nearly contemporary and identifiable provenance is a fragment that has been deposited in the Library of the Hungarian Academy of Sciences (purchased by Count Ferenc Vigyázó in Munich in 1903). Based on a revised reading of the hand-written possessor’s mark on the title page, the owner of this copy can be identified as Peter Christian Franz Papius (von Pape, c. 1620–1687), from 1648 councillor and vice-chancellor of Johann Philipp von Schönborn (1605–1673), Bishop of Würzburg and Archbishop-Elector of Mainz. For many decades, György Lippay represented the rights of the Hungarian noble and ecclesiastical orders at the Viennese and papal courts as a politician of con- siderable influence, and built up a multifaceted network of contacts with prominent members of the Hungarian political elite, representing the interests of the Kingdom of Hungary in the struggle against the Ottoman Empire. In September 1664, he met personally with the Prince-Bishop of Münster, Christoph Bernhard von Galen (1606– 1678), in the Primate’s Palace in Pozsony, which shows that he was able to establish direct contact with a key member of the Rhineland Alliance. The series of etchings of György Lippay’s garden could represent the interests and values of the Kingdom of Hungary as a “diplomatic” gift, crossing linguistic, religious and cultural boundaries, and as a souvenir to be given to residents, occasional ambassadors and members of embassies at the imperial court. This function is also attested by the Budapest title page bearing P. C. F. Papius’ ownership mark. It is also assumed that the original own- er of the Coburg sheets received the rare series as a gift, which he subsequently preserved almost in its entirety, and which was later acquired as part of an early modern collection for the Coburg prints cabinet. This is evidenced by the detailed descriptions made by the contemporary witness Johann Sebastian Müller (1634–1708), secretary of the Saxon-Weimar embassy to Emperor Leopold I under Rudolf Wilhelm Krausse, dur- ing his visit in April 1660, that the series of views of the architectural attractions of the Archbishop’s Garden in the temporary capital of the Kingdom of Hungary was a ‘pictorial account’ that sought to be realistic, showing not only the political representation of the patron but also the economic and cultural values of the country and the wealth of knowledge gathered at the University of Nagyszombat.