Evelin WetterPlease ask the editor of the journal.

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The now known medieval paraments are due to their conservation in parament collections of the Protestants and to their constant liturgical use. The paraments, copes and chasubles of the Kronstadt collection are originating mainly from the Parish Church of the town, and of other surrounding churches (e.g. of Tartlau/Prejmer/Prázsmár). They show a series of reparations during the 17thand 18thcenturies and they were also recut for the protestant liturgical use, which is also proved by written sources, such as liturgical instructions, which correspond in their rather tolerant spirit to the Nuremberg “Ordnung”of 1533. An attempt of the art geographical localization of late medieval embroideries is given by the author. The first group of the early 15thcentury is going back to Bohemia and was perhaps spread over by migrating craftsmen in Central Europe. Another series of embroidered textiles (identified as that “cum cruce veneciana”) can be grouped around Venice and can be dated in the period between cca. 1470–1550. A source of Hermannstadt/Sibiu/Nagyszeben of 1507 shows that this kind of textiles was imported by Italian merchants to Buda. A third group of plastically modelled embroideries has a rather Franconic character and seems to be imported to Central Europe. The character of the Kronstadt collection shows many common treats with other parament treasures from medieval Hungary and it seems to represent a Central European taste, even in its differences to church treasures of Northern Germany. The introductory essay is followed by a catalogue of the Kronstadt treasure, in collaboration of the Author with Jana Knejfl-Fajt.

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  • Lővei Pál (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
  • Beke László (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
  • Bodnár Szilvia (Szépművészeti Múzeum)
  • Galavics Géza (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
  • Marosi Ernő (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
  • Sisa József (Bölcsészettudományi Kutatóközpont, Művészettörténeti Intézet)
  • Takács Imre (ELTE BTK Művészettörténeti Intézet)
  • Evelin Wetter (Abegg-Stiftung)

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