Mikó Árpád – Verő Mária - Jávor Anna szerk.: Mátyás király öröksége, Késő reneszánsz művészet Magyarországon (16–17. század) 2. kötet (A Magyar Nemzeti Galéria kiadványai 2008/4)
The English Summary of Volumes I—II
areas by the Protestant and Franciscan schools, and in all three parts of the country by larger Hungarian and Saxon cities (Bártfa, Eperjes, Nagyszombat, Pozsony, Kassa [Kosice], Nagyszeben [Sibiu), Brassó [Bra§ov], Kolozsvár, Gyulafehérvár, Várad and Debrecen). It was in these town and aristocratic courts that the principal printing presses of the Carpathian Basin operated in the 16 th and 17 th centuries. Overall, regardless of political and denominational affinities, these places of scholarship were crucial in preventing a large part of the territory and population of the late medieval Hungarian state, after being divided into three parts, from being left out of the circulation of European Christian culture. The role of Buda Renaissance royal court in radiating culture and setting models was, within the new political boundaries, taken over by other regions of Central Europe and their towns. Whereas in the Kingdom of Hungary, ruled from Vienna and Pozsony, contacts with Austrian (Vienna), German (Nuremberg, Augsburg, Ulm etc.) and Bohemian (Prague) areas strengthened, the Principality increasingly developed its contacts with Poland (particularly Cracow and Gdansk). This is borne out by the tombs which Hungarian aristocrats had erected for themselves in Augsburg, the works of jewellery ordered by Hungarian nobles, Catholic prelates and Protestant institutions in Augsburg, Nuremberg and Ulm, and the predilection of Transylvania princes for being buried in Poland. In the Croatian and Slavonian areas which gradually united in the face of the Ottoman advance, late Renaissance artistic contacts principally involved the Habsburg Styrian archducal residence in Graz, and Laibach (Ljubliana), capital of Krajina.
