Horváth M. Ferenc (szerk.): Vác The heart of the Danube Bend. A historical guide for residents and globetrotters (Vác, 2009)
Tartalom
209 with some other pictures JKm by Schmidt, it can now ä / *£1 be seen on the wall of i jyM one of the side altars on ■fffiH the right opposite the 1 IE «. entrance. _ %;*• ,» The subject of the ‘ fresco of the dome is the triumph of the Holy Trinity depicting the inhabitants of Heaven, including the Hungarian saints. The painter was not on best terms with the foreman Gáspár Oswald. At the bottom of this picture he portrayed him too. Oswald is standing in a brown monk's habit while a little angel is just taking away the much sought-after bishop's /Jfli mitre from him. At the top, at the intersection of the nave and the transept the four evangelists are portrayed surrounded with their ' emblems and some human figures. Below there are jjSkv\ the portraits of four influenv tia^ bishops: the two Althanns and Forgách, and H an exceptional mosaic picture of Migazzi. The Renaissance balustrade of the chancel is a special element in this late Baroque setting. The original balusters came from the ruins of the 15th century church built by Bishop Báthori in the castle. Their characteristic motifs were repeated by the builders on the parapet of the nearby pulpit and the oriel as well. The side-altars of the transept were dedicated to the patron saints of the church. The altar on the left housing the tabernacle has the replica of % Carlo Maratta's painting i/L of the Assumption. On W the right is St Michael f the Archangel's altar with the replica of Guido Reni's painting. The paintings on the The fresco of the dome The fresco of the semi-dome Frigyes M. Althann Károly M. Althann Pál Forgách Kristóf Migazzi side-altars at the back are Johann Schmidt's works depicting St Nicholas and St John of Nepomuk, but they have got discoloured and darkened over time. The church equipment was re■ijSSSf newed in 1829 when carved pews, stalls for the chancel and a bishopric Mm throne were made. The original shingles were also changed at that time: m they were replaced with a roof made of red copper and iron-plate. Half a century later chandeliers were brought fr°m Venice, and the furniture was fur-Maulbertsch's initials on the painting The uncovered Maulbertsch painting
