Veres Gábor szerk.: Agria 46. (Az Egri Múzeum Évkönyve - Annales Musei Agriensis, 2010)

H. Szilasi Ágota: „…Magyar Országnak óltalmazójának…” Szent István korona-felajánlása és a magyar három királyok egri s környékbeli festményeken a XVII-XIX. században

Beyond the history of the subject-matter picture referred to by art historians as the most Hungarian iconographical type, the revelation of its social embedding is also essential to understand: Why did the number of these representations increase in an ecclesiastic, but it could also be said, in an enlightened ecclesiastic centre in Eger from the second half of the 1700s? This ideology connects individuals through its symbolic sense, as well as states of existence, connects and intensifies thoughts, emotion, connects historic situations, enhances events important for the community, while it joins the past to the all-time present. It records and preserves decisive experiences and on the horizon of the passing present it forms memories by enclosing the pictures and stories of another time. It creates identity and makes it possible for the individual to dissolve solitude, so that many individuals could have a collective knowledge. Modern research, Jan Assmann (1999) for example talks about recollection

, or to be more precise about cultural recollection. The accessories of cultural recollection - be it ritual, event, narration, object or picture representation - are not only the perpetuator, the carrier of group identity but at the same time the revealer and observer of group identity features. Not with the intention of separation, but with a search for self-identity shot with experience of togetherness that can be shown as a kind of portrait to the communities around us. These works of art are also the carriers of this ideology that this essay talks about. 396