It is a commonplace that after the release of a new monograph so-far unknown works begin to rise to the surface one after the other. In the case of Johann Lucas Kracker the first to appear were parallel research results, of which most noteworthy are PetrArijčuk's attributions based on archival sources. He discovered the fourth member of the refectory series in the Franciscan monastery of Moravská Třebová (The Feast of St Francis, 1759) and made the daring identification between the high altar picture in the hospital church of St Elizabeth in Znojmo with the Assumption of the Virgin long missing from Slavonice. On the basis of data from the Premonstratensian archives of Nova Řiše Václáv Milek offered a more exact dating for the altar pictures of the abbey: the pictures delivered in 1760 preceded by years not only Kracker's frescoes in the same church but also the similar works at Jasov. The late altar pictures from Banská Bystrica and the paintings discovered around Jasov were probably created with the participation of the workshop.
The recently discovered oil sketches associated with Kracker proved to be by a follower of Daniel Gran, Josef Stern and by Andreas Zallinger. Nor is the pair of bozzetti acquired recently by the Diözesanmuseum of Brixen by Kracker or by Paul Troger; they must be small-scale copies of Kracker's side altarpieces in Prague or of their sketches, or again, copies of the – now lost – Troger works used as their models. One of them – The Death of St Joseph – was also found in another variant in the Viennese art trade. What were put up for auction in Budapest were workshop copies of a pair of cabinet pictures in the Gallery of Eger – Adoration of the Shepherds, Adoration of the Magi, around 1764 – true to the original colours, which means that they were made after the paintings and not their engraved models.
There is less novelty in the realm of frescoes. The division of labour in the decoration of the Šaštín church of pilgrimage is gradually clarified: in addition to Joseph Chamant and Joseph Ignaz Mildorfer, Kracker's contribution can be presumed to the painted decoration of two subsidiary chapels in 1757. The shared attributon of the parish church of Japons has to be revised: the Apotheosis of St Lawrence on the ceiling is also Kracker's work dated 1767. In the former Jesuit church of Eger wall probings brought to light not only the baroque ornaments on the lateral walls of the nave but also the backdrop in the chancel described in the sources and the original painting by Kracker's workshop on the high altar adorned with statues.
Authors:Ludiková Zuzana, Árpád Mikó, and Géza Pálffy
The parish church of Turócszentmárton (Martin, Slovakia) was the main burial place of the Szklabinya and Blatnica lines of the Révay family in the 16–17th centuries. The members of the Hungarian aristocratic family who were buried here were the hereditary holders of the ispán's and chief ispán's offices in Turóc county (lat. perpetuus et supremus comes comitatus Turociensis). Few original funerary monuments survive in the church: there is a single figural tombstone (Ferenc Révay I, †1553) and a painted and gilded funeral coat of arms (Pál Révay I, †1635). The funeral arms of crown guard Péter Révay (†1622) is only known from archive photos, and the only information about the funeral banners is gleaned from collections of inscriptions especially from a collection discovered in the last time in the manuscriptcollection of the University Library in Bratislava. Ferenc Révay's effigy in relief shown in secular attire is rare in the sepulchral art of the Hungarian Kingdom (two analogies are propalatine i.e. a chief justice of the Hungarian Kingdom, Imre Czobor of Czoborszentmihály's tombstone [†1581] in Sasvár [Šaštín] and László Kubinyi's [†1598] in Galánta [Galanta]), but the funeral coats of arms fit in well with pieces found in Nagyszombat (Trnava), Lőcse (Levoča), Csetnek (Štítnik), etc.
The recently identified works by Xaver Ferenc Falkoner (Falconer, 1737–1792), a painter of Buda known so far mainly from verbal sources and works in Croatia, provide a more detailed and richer picture of his activity. After a review of the family workshop, the paper analyses his altarpieces in rural churches of historical Hungary. He delivered his altar pictures of Saint Catherine of Alexandria, Saint Elizabeth of Hungary, the Prayer of Saint Anthony of Padua and Saint Helen to the friars minor in the upper town of Szeged around 1770. The Franciscans ordered a painting (Stigmatization of Saint Francis of Assisi) for Bács (Bač, RS) in 1774; in Futak (Futog, RS) he was commissioned by András Hadik (side altar pictures of Saint Andrew, Saint Frances de Chantal, Saint Anne teaching Mary, and Crucifixion) in 1776; he probably painted the Prayer of St Francis of Assisi, St Francis Seraph, the Apotheosis of St Didacus, the Apotheosis of St Anthony the Hermit, the death of St Joseph and the picture of the votive Pieta statue at Sasvár around 1780 for Baja. His half-length pictures of saints (Ss Francis, Bonaventura, Francis Solano, James of the March, Bernardine of Siena, Anthony of Padua, John of Capestrano, and of the Mother of Good Advice, 1774–76) for praedellas and superstructures of altars in churches of the listed saints in the Franciscan province named after Saint John of Capestrano. Though repainted, his frescoes only survive in the Budakeszi parish church: Wisdom with Faith, Hope and Love, and painted altar architecture, dated 1784. The painting technique and easily recognizable language of forms and colouring typical of Ferenc Falkoner, who was trained in the academy in Vienna, are presented on the basis of restorers' researches.