THE development of art in Hungary reached its highest point in the fifteenth century. The influence of the Italian renaissance made itself felt in this country sooner than anywhere else, for Mathias Corvinus gathered round him at his Court a great many Italian artists and humanists, and acquired numerous finely painted books and manuscripts. The few remaining treasures of his library, called corvinas, are wonderful examples of renaissance book-illustrations, mostly the work of Italian miniaturists, for it would seem that Hungarian artists were not employed by the King. Political conflicts and wars put an end to the progress of art, and then came the domination of the Turks, who destroyed, or allowed to perish, the existing monuments of art.

There are many reasons to account for the long period of depression in book-production and illustrative art which followed. Up to as late as the middle of the nineteenth century the educated classes in Hungary adopted Latin for conversation, and it was also the official and legal language of the country. Students went to Italy and Germany to acquire culture. Consequently foreign influences were paramount, and only the cheapest books were produced at home. The native typography could not compete with that of other countries, the art of the book fell into decay, and Hungarian artists were only employed in work of lesser importance.

The books which have been published in Hungary during the last few years show a distinct advance when compared with those previously produced. TITLE-PAGE WRITTEN IN CORK. BY BLASIUS BUSAY TITLE-PAGE WRITTEN IN CORK. BY BLASIUS BUSAY (ARTS AND CRAFTS SCHOOL, BUDAPEST) This is in a large measure due to the training offered at the National Arts and Crafts School at Budapest, where opportunity is given for the study of typography, and characters based on the national art have been introduced and popularized. There is a special class for designing script based upon the best of the old national manuscripts which combine the most desirable qualities—legibility and artistic form. Three excellent examples of the work of the students are reproduced on pages 237 to 239.

Hungary is happy in possessing a number of really clever book decorators, though many of them have settled outside their native country, and their work has in some respects little of the HEADPIECE AND INITIAL LETTER BY ALEXANDER NAGY. HEADPIECE AND INITIAL LETTER BY ALEXANDER NAGY. PUBLISHED BY THE “JÓKAI” PRINTING OFFICE purely national characteristics. A notable example of this is to be found in the drawings of the Marquis Franz von Bayros, a Hungarian by race, Croatia being his native province, whose work bears no relation to his nationality. Delicate, refined, and eminently decorative, it possesses a grace which recalls the poetic charm of the fÊtes galantes, and is yet, in its technical dexterity and subtle comprehension of the requirements of black-and-white, modern in feeling. We reproduce some charming examples of this artist's work.

Very different in conception and treatment, but more national in character, is the decorative illustration by Charles KÓs (page 236) for his poem, “The Death of Attila” ; while other eminent book-decorators are Willy PogÁny, many of whose drawings have been published in England, Alexander Nagy and Kriesch-KÖrÖsfÖi, both leaders of the famous GÖdÖllÖ group of artists. Nagy is a master of line, endowed with a poetic imagination, and he adopts with wonderful success those forms in which the Hungarian nation is so rich. Characteristic of his art is the headpiece shown on this page. A quaintly treated frontispiece by Blasius Busay is also reproduced. The original design was executed in burnt cork.

DECORATIVE ILLUSTRATIONS BY FRANZ VON BAYROS PUBLISHED BY ARTUR WOLF, VIENNA