Martyrdom of St John Evangelist on the other side of the panel

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

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location: Lomnička, Spiš county, Slovakia

height: 138 cm

late 18th century adjustment

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AMDG

The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.

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L'infiorata è un momento magico dove la sacralità, la fede, l'arte e la natura s'incontrano piacevolmente disegnando pitture nella terra come nel cuore. L’evento si svolge ogni anno, nel mese di Giugno, dove un immenso tappeto floreale si estende articolandosi in vari quadri, per circa 2000 metri, coprendo interamente il percorso della solenne processione.

Un sentito ringraziamento a tutti di vero cuore per aver visitato la mia galleria fotografica !!!

© Tutti i diritti riservati. Si prega di non utilizzare le foto senza il mio permesso

© All rights reserved. Please don't use photos without my permission.

property of the Archdiocesan Museum in Krakow, Poland

provenance: Raclawice Olkuskie, Lesser Poland (Malopolska region)

for educational purpose only

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AMDG

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

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property of the Archdiocesan Museum in Krakow, Poland

provenance: Raclawice Olkuskie, Lesser Poland (Malopolska region)

for educational purpose only

please do not use without permission

AMDG

location: Lomnička, Spiš county, Slovakia

height: 138 cm

late 18th century adjustment

for educational purpose only

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AMDG

a.k.a:

Master of the Historia Friderici et Maximiliani

Meister des Pulkauer Tafelbilder

Master of the Pulkau Altar

Historia-Meister

Meister der Historia Friderici et Maximiliani

On the reverse of this table painting is the scene of Finding the Grave of Saint Stephen the Protomartyr.

location: Slovak National Gallery

(please do not use without permission)

vista of the original Gothic Louvre palace behind St John Baptist

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brocade, gold and silver threads

provenance: St Elizabeth Cathedral, Košice, Slovakia

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

property of the Archdiocesan Museum in Krakow, Poland

for educational purpose only

please do not use without permission

AMDG

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

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Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia

for educational purpose only

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AMDG

The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.

(please do not use without permission)

property of the Archdiocesan Museum in Krakow, Poland

for educational purpose only

please do not use without permission

AMDG

for educational purpose only

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Plešivec is an ancient seat of the Bubek family. The Ákoš family, the ancestors of the Bubeks, received it from King Belo IV. in 1243, after the battle on the Slaná River, where the ancestor of the Bubeks, Detrik, allegedly saved the king’s life. After stabilizing his position in 1320, Dominik Bubek built a water castle in Plešivec. In its vicinity, he built a monumental church, which also served as a burial place for the representatives of the family. It was constructed on the site of an older church built by his ancestors. The church, originally nearly twice as long as it is now, was a two-nave Gothic building with a polygonal ending of the chancel, originally vaulted on the central pillars.

From 1349, we have a record of the request of Juraj Bubek to the Pope for the possibility of collecting the indulgences to finance its construction. In the middle of the 14th century, the interior of the church was completed with fresco paintings of very high quality, carried out by Italian masters. In the first quarter of the 15th century, the church was completed with the north-facing funeral chapel of the Bubeks, built according to the pattern of the Spiš funeral chapels. We enter into the chapel through an impressive portal, the architecture of which is associated with the works of the Cathedral of St. Elizabeth in Košice. In its interior, we find three three-part late Gothic windows with an original tracery in the ogive arch shape and corbels of the former vaults.

In 1558, at the time of the Turkish threat, the church was severely damaged, the vault collapsed and the building remained as a ruin until its reconstruction in 1617. By that time, the church was taken over by the reformed believers who reduced its layout to its current length of 19 meters; they covered the nave with a flat ceiling and closed the entrance to the unused chapel. At that stage, the entrance to the church was established from the south and three window openings were made on the south wall. From that period comes a valuable matroneum with painted decorations from 1627. In 1807, a bell-tower was built, a beautiful example of the so-called Gemer classicism.

Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia

for educational purpose only

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AMDG

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

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provenance: Okoličné, Liptov county, central Slovakia

property of the East Slovak Museum in Košice

The master´s quality is manifested through the depiction of faces, introspective,

full of dignity and melancholic lyrism that is enhanced with a delicate sfumato.

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The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.

(please do not use without permission)

property of the Archdiocesan Museum in Krakow, Poland

provenance: Czulice, Lesser Poland (Malopolska region)

IMHO the statue is a little older

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AMDG

Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia

for educational purpose only

please do not use without permission

AMDG

brocade, gold and silver threads

provenance: St Elizabeth Cathedral, Košice, Slovakia

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

vista of the original Gothic Louvre palace behind St John Baptist

for educational purpose only

please do not use without permission

location: parish church of St Nicholas in Prešov, eastern Slovakia

dating: c 1720s

(please do not use without permission)

The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.

(please do not use without permission)

Fresco ; Wall painting sacral ; Cycle ;

by Thomas von Villach (~ 1435-~ 1529) ; Kärnten

1470 ; 1480 ; in Thörl ; Austria ; Kärnten ; Parish Church ; Choir

Image found at the "Institut für Realienkunde des Mittelalters und der frühen Neuzeit" on their Digital IMage Server via their search engine: www.imareal.oeaw.ac.at/realonline/

The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.

(please do not use without permission)

property of the Slovak National Gallery Bratislava, Slovakia

height 150 cm

for educational purpose only

please do not use without permission

The clergy followed the politicians' lead at almost every juncture, leaving transcendent morality at the footstool of a sacralized patriotism. It's true that, even more than the politicians, and certainly more than the secular Northern press, the Northern clergy trumpeted the virtues of universal emancipation and the sin of slavery, and on this count deserve praise. Some even went so far as to protest racism in the North, as Moses Smith did in a Thanksgiving sermon to his Plainville, Connecticut, Congregational church: "[A]s to the black man, he is as really, and I have sometimes believed more terribly enslaved at the North than at the South. He knows that he is a slave there, and expects a slave's reward. But here he is tantalized with the name of freedom, but denied its privileges. … Do what he will and be what he will, he is hated everywhere at the North, banished from society, denied often so much as a seat in the cars. … We talk of liberty? Of all galling bondage, this bondage to social feelings, this servitude to caste, this being a "nigger" in society, and "a nigger" at the communion table is probably the most heartless and unrelenting slavery beneath the skies. It may not shackle the body, but it crushes the mind and kills the heart."

~ from Upon the Altar of the Nation: A Moral History of the Civil War,

by Harry S. Stout

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

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property of the Slovak National Gallery, Bratislava, Slovakia

for educational purpose only

please do not use without permission

dôležitá informácia v Profile

Idyllic sacral landscape

The painting, which was found on May 2nd 1766, comes from the northern wall of the ekklesiasterion (a room dedicated to worship, where only Isiac priests could enter) of the Temple of Isis.

The fragment, pertaining to the central area of a wall in the IV Pompeian style, was originally placed on the left side of the painting depicting Io, Argos and Hermes, as demonstrated by the engraving made by Casanova on Morghen’s drawing.

Of the theatrical scene painting, in which the landscape was inserted, as if it was a real place seen through a window, remains a residue of pillar. In the middle of the composition, on a small island surrounded by dark blue water, there is a small distyle temple flanked by a sacred door.

On the left side, in the foreground, there is an arula adorned with female figurines, probably Isiac priestesses, that lift with one hand the hem of their garments, while with the other carry a tray of offerings or another attribute. The only living being of the composition, which seems to evoke places of Upper Egypt, is a kingfisher with bright deep blue and violet feathering, resting on a rock, in the foreground.

High altar of the Holy Cross: panel paintings and predella reliefs by anonymous master from 1450-1460, over life size crucifixion (one of the best in Slovakia) by Master Paul of Levoča from around 1510, Virgin Mary by an unknown Kežmarok carver from the beginning of the 16th century (headwear is a later addition), St John and Mary Magdalene are from 17th century.

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AMDG

property of the Slovak National Gallery Bratislava, Slovakia

height 150 cm

for educational purpose only

please do not use without permission