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ARS
|
2014
|
vol. 47
|
issue 1
62 – 69
EN
The author analyses the texts (source material) in relation to the contemporary reception of baroque wall paintings in the historic Hungarian Kingdom. At present there are known only a few relevant sources, especially theological interpretations and texts presenting aesthetic perception of the image in the liturgical space. One of these works is a chronicle of the Hungarian province of the Pauline order. This manuscript (kept in Országos Levéltár Budapest) includes the aesthetic and theological reflection from 1754 on the chancel vault frescoes of the Pauline pilgrimage church in Šaštín. The author combines three essential elements of ancient, trident and mannerist art theory: the concept of the Divine origin of artistic ideas; the idea of an art work, able to visualize God's majesty and initiation of piety.
EN
The County of Bratislava had its castle district (vármegye) and castle shire (várispanság). The castle župa was the castle property, where the castle people and castle jobagioni lived. The territory of Bratislava castle district had three districts: Podhorie, Medzivodie and Čalov (Ostrov – the Island). Three small counties were also subject to the Sheriff of Bratislava: The County of Stupava consisted of the southern tip of Záhorie. It broke up when the king granted Stupava, Devín and the rest of the County of Stupava to the Austrian Count Ruger of Tallesbrunn, probably in 1296. The County of Šaštín or later Holíč included the greater part of Záhorie. In 1296, King Andrew III granted the County of Holíč, or to be more exact its shire to the deputy sheriff (podžupan) of Bratislava Abraham Ryšavý. The County of Šintava did not have a castle district, but only a small and very scattered shire. The Sheriff of Šintava Truslef died in 1261 and the king gave Šintava Castle and its whole county to Truslef’s brother Leopold.
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