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

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

for educational purpose only

please do not use without permission

The construction of the church in Kyjatice dates back to the end of the 13th or the beginning of the 14th century. Like the surrounding villages, Kyjatice adopted ideas of the Reformation: we know the names of evangelical pastors working here since the 1620s. With a short break during the re-Catholicization, the Kyjatice Church has always been and still is Lutheran. This originally fortified Romanesque-Gothic single-nave church with a square chancel, an eastern tower and a northern sacristy, hides rare murals. The fresco decoration of the church comes from two stages – from the end of the 14th (chancel, triumphal arch) and the first half of the 15th century (north wall of the nave).

After the adoption of the Reformation, the murals were whitewashed, but discovered in 1894 (by István Groh) and repainted. Their discovery and restoration took place in the 1980s, when a comprehensive research of the church took place. We find scenes of apostles, several saints and prophets in medallions, the figures of wise and obscure virgins on the triumphal arch lining. On the triumphal arch, we find scenes from the life of Christ – the kiss of Judas, Christ before Pilate, Carrying the Cross, the Crucifixion and Lamentation of Christ (Pietà). The nave is dominated on the northern wall by a unique depiction of the Last Judgment in the form of a large circle, centered on Jesus in the almond tree. On the fresco, Jesus judges the living and the dead, rising from the graves, and dividing them into righteous and condemned. The nine fields of the circle represent the onset of nine distinctive angelic choirs and crowds of the victorious church. The painting is reminiscent of illustrations in the manuscripts of St. Hildegard of Bingen. The painting is dated to the year 1486. In addition to frescoes, the Gothic is also represented by a southern late Gothic portal and doors and a simple portal to the sacristy. The wooden coffered ceiling with Renaissance floral ornaments dates from 1637, from the times when the church was used by the Lutherans (similar to other wooden furniture – the western tribune or the so called patronage bench). On the ceiling, there are also the names of the masters: Lazar Galko and Jakub Stephanik, the mayor. The simple stone baptismal font is probably from the 13th century. The Renaissance altar from 1678 fills the entire façade of the chancel. The sculptures of the three apostles have a central position, with Jesus Christ and two angels in the extension. The richly carved wooden baroque pulpit dates from the first third of the 18th century.

property of the Slovak National Gallery Bratislava, Slovakia

height 150 cm

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

author: Master Paul of Levoča

dating: c 1520

height: 71 cm

location: parish church of St Nicholas, Prešov, Šariš county, Slovakia

for educational purpose only

please do not use without permission

AMDG

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

dating: c 1720s

(please do not use without permission)

Franciscan church in Bratislava, Slovakia

for educational purpose only

please do not use without permission

AMDG

Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

location: Central Slovak Museum, Banská Bystrica, Slovakia

provenance: Selce pri Banskej Bystrici

for educational purpose only

please do not use without permission

photographed against two sources of light

property of the Archdiocesan Museum in Krakow, Poland

provenance: Ludzmierz, Lesser Poland

for educational purpose only

please do not use without permission

AMDG

location: Nativity altarpiece, parish church in Levoča

(please do not use without permission)

Sacral monument at entrance to St. Anastasia Church in Samobor, Croatia.

location: Spiš Museum Levoča

for educational purpose only

please do not use without permission

The church of St. Imre dates from the 13th century but the present building was built by the Franciscans between 1720 and 1743. In 1833, the tower next to the sanctuary was demolished and in 1866 a modern 52-metre-high bell tower was built, which currently has four bells.

The Monastery at Lébény was established between 1199 and 1203, by a nobleman, for private worship. The complex was dedicated to the Apostle Saint James the Great. Though the existing charter for approving the donations and construction was signed by Andreas II (1208), one of the walls of the church had “1206” engraved in them, which may indicate that the church was already built at that time. It is also mentioned in the RegestrumVaradiense (an important language memorial), which was made in the late cathedral chapter of the present Oradea (Nagyvárad) in the 13th century. The monastery of Lébény was attacked and burnt down several times; the first by Mongols, then the second by King Ottokar I of Bohemia; and thereafter by the Turks, which was probably in 1529 and definitely in 1683. The monastery was taken back from the Turks by the arch-abbot of Pannonhalma in 1540. He named a new abbot, though the title only existed on paper for a little bit longer than two decades. In 1563 the monastery was burnt down again for the third time and was left devoured. Presently, the only part of the complex that is still standing is the iconic three-nave Romanesque church in the middle of Lébény village. This church is one of the most important Romanesque style buildings of Hungary, which was most probably restored in the 17th century by the Jesuits, and it was the first ever Hungarian monument that was restored in the second half of the 19th century. In addition, the Romanesque church is also operating as a parish of the village.

www.viabenedictina.eu/sk/monastery-p43

property of the Archdiocesan Museum in Krakow, Poland

for educational purpose only

please do not use without permission

AMDG

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

dating: c 1720s

(please do not use without permission)

provenance: Danišovce, Spiš county

location: Spiš Museum in Levoča

height: 120 cm

for educational use only

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

author: Master Paul of Levoča

dating: c 1520

height: 71 cm

location: parish church of St Nicholas, Prešov, Šariš county, Slovakia

for educational purpose only

please do not use without permission

AMDG

Altar of the Doctors of the Church, 1510-1520

author of the statues: Master Paul of Levoča

author of the paintings: Master Petrus

location: Šariš, eastern Slovakia

for educational purpose only

please do not use without permission

AMDG

In the vicinity of Jelšava, an old mining village Rákoš hides a quiet church with unique Gothic paintings. The church was built on an elevated site in the northern part of the village under the slope of Železník Hill on top of which a castle of the Bubek Family was once standing.

The Roman Catholic Church of the Holy Trinity is an early Gothic single-nave building from the mid-13th century. It has still a Romanesque horseshoe-shaped apse and slotted Romanesque windows, but the entrance portal is already formed by a Gothic arch. The nave has a flat wooden painted ceiling from the end of the 17th century. In front of the church stands a Baroque brick belfry with a wooden superstructure.

Wall paintings from the last third of the 15th century cover the walls and the vault of the chancel and almost the entire northern wall of the nave. High-quality Italian fresco paintings can be seen, a piece of art ordered by the wealthy noblemen from the House of Bubek. Travelling through northern Italy in the service of King Louis the Great, they had an opportunity to acquaint themselves with the best works of Italian masters whom they brought to the Kingdom of Hungary to decorate churches in Plešivec, Štítnik, and Rákoš. The vault of the sanctuary depicts the Christ Pantocrator with angels, the four church fathers and the symbols of the Evangelists (Matthew – angel, Mark – lion, Luke – bull, and John – eagle). On the walls of the sanctuary, we can find prophets, apostles and three saint kings: Ladislaus, Stephen, and Emeric. In the window lining, there are figures of women saints: Catherine, Barbara, Elisabeth and Margaret of Hungary. One of the most interesting parts is the unconventional depiction of Christ standing in a grave held by Mother Mary. The scene is complemented with the figures of an angel and of St. John the Baptist. Figures of saints, prophets, a depiction of the ten virgins, a partially damaged figure of the Virgin Mary Protector and a very well-preserved sitting figure of God with three faces giving blessings are on the walls of the triumphal arch. This unusual way of portraying the Holy Trinity which has been later banned by the Trident Council for its striking resemblance to the pagan god Triglav, still appears in two other locations in Slovakia – Ochtiná (logo of the Gothic Route) and Žehra.

The northern wall of the nave is almost entirely covered with murals in three horizontal bands. The upper band depicts scenes from the St. Ladislaus legend, it shows lancer horse riders of the St. Ladislaus’s royal entourage at the forefront, in a dynamic moment of fight with the Cumans. The second and the third band below portray the Last Judgment with the central figure of Christ the Redeemer with angels and a number of saints on the sides. Right below them we can see open graves from which dead are rising. Archangel Michael divides them into two groups, the saved ones, who walk to the left towards the heaven‘s gate, and the damned ones, whose chains are bound by the devils to the gate of hell. The most recent of the paintings date back to the first half of the 15th century; they depict the Assumption of the Virgin, individual figures of saints and the Stigmatization of St. Francis. We have chosen the hand of St. Francis with a stigma as the logo of the church. On the outer southern wall of the church, fragments of the painting of Madonna and Child have been preserved. Since 1992, there have been intermittent renewal activities of the church taking place, during which the restoration of murals was included. Furniture is stored and it would be returned into the church, once the restoration works are finished.

gotickacesta.sk/en/rakos/

provenance: St Ann´s church, Bardejov, north-east Slovakia

location: Šariš Museum Bardejov

IMHO the statue comes from 1480s

for educational purpose only

please do not use without permission

Baptism of Christ on the other side of the panel

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

for educational purpose only

please do not use without permission

author: Master Paul of Levoča

dating: c 1520

height: 71 cm

location: parish church of St Nicholas, Prešov, Šariš county, Slovakia

for educational purpose only

please do not use without permission

AMDG

provenance: Richvald, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

Merlin Színház Budapest 2007

Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

2007 // 80 x 40 cm // crucifix, lc-display, microcontroller, java application, Internet connection // shows actual stock exchange prices of the shares, the Vatican owns // for more information about this work see: www.markuskison.de/Ticker_Cross/

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

for educational purpose only

please do not use without permission

AMDG

This complex of sacral buildings set in a beatiful scenery is a superb demonstration of human art intertwined with nature´s charms. The corner-stone for the Calvary was set on September 14 th, 1744 and in almost exactly seven years, the complex was finished. The whole project was initiated by the Jesuit priest František Perger. The Calvary consists of 23 objects, representing a true gallery of sacral art, depicting the last moments in the life of Christ.

www.banskastiavnica.sk/

Famous sacral building from Kutna Hora which is by the way near Munchen or Bratislava as well.

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.

for educational purpose only

please do not use without permission

AMDG

Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

Budaörs

Kálvária / Calvary

1821

"A 174 méter magas dombon 1821-ben kezdte el a római katolikus egyházközség a keresztút megépítését, melynek teljes befejezése 1851-ben történt meg. Kezdetben mindössze nyolc stációból állt a keresztút, a Kálvária domb tetejére pedig állítottak egy fakeresztet Szűz Mária, János és Mária Magdolna szobraival. 1945-től a második világháború és a németek elűzése után a kápolna köveit széthordták és csupán a fakereszt menekült meg, amely darabjai most a 2002-ben újjáépített Kálvária kápolnában láthatóak.

A Jézus Krisztus kínszenvedését és kereszthalálát megörökítő stációk fülkéiben egy-egy relief volt elhelyezve. Korábban minden év Nagypéntekén – Húsvét ünnepe előtt két nappal, Jézus kereszthalálára emlékezve – a templomból körmenet indult a Kálváriához, és innen járták végig a hívők a Keresztutat.

2000-ben széles városi összefogás eredményeként újra felszentelték a stációkat és a domb tetején álló keresztet. A stációk fülkéiben a keresztút egyes állomásait Molnár Göb Zoltán budaörsi művész ólomüvegképei díszítik, amelyek este kivilágítva is csodálatosan mutatnak. A helyreállítást követően ismét itt zajlik a nagypénteki keresztúti ájtatosság, valamint Húsvéthétfőn innen indul az úgynevezett Öröm útja is."

budaors.varosom.hu/latnivalok/vallasi-epuletek/Kalvaria-5...