Levoča

Miroslav LACKO: Levoča a levočské elity v storočí kameralistickej hospodárskej politiky (1690-1790) [Leutschau und Leutschauer Eliten im Jahrhundert der kameralistischen Wirtschaftspolitik], in: Z minulosti Spiša 28 (2020), pp. 95-144. ISBN 978-80-971553-7-7.

The purpose of this study is to demonstrate that organists of the Zips region of Slovakia relied on German letter notation for a multitude of purposes, perhaps most importantly, to intabulate works for practical reasons. It is clear from an evaluation of the contents of these manuscripts that the organists were playing works by internationally known, contemporary composers, that they were composing their own works, and that they had the personnel to mount large-scale, Venetian-style polychoral performances involving the use of a variety of instrumentalists and singers. And finally, it shows that, although they had the know-how to play from a thoroughbass line or a reduced set of parts, they apparently preferred to play—and direct—from intabulations that served as conductors' scores.

The chief personality of Slovakia’s Late Gothic wooden sculpture, Paul of Levoča, has been researched for many decades by art historians. At the very end of his life, Anton Cyril Glatz (1945–2001) dealt with the masterful work of Paul, the high altar of St Jacob, constructed and sculpted until 1508. In a precious analysis Glatz searched for the roots of sculptures, reliefs and tabular paintings; the first are combinations of various prints by Master E. S., Martin Schongauer and others. Paul’s origin from Spiš speaks to his close relation to the older artistic traditions in Levoča. The next possible sources Glatz searched for in the œuvre of Tilman Riemenschneider. Glatz devoted special attention to the “constructing” of various adjuncts and followers of Paul. Such intentions lead his practice as a museum curator and an expert on questions of style. Finally, the method helped to categorize a number of anonymous works in collections, but does not give access to a more global view of art history. Glatz planned such a synthesis on the base of a detailed analysis of the whole fund of Slovakia’s Gothic Art. Such a finale was unfortunately left unfinished due to his premature death.

Lute's music in time of Renaissance and Baroque era was an important part of European culture. It has contributed substantially to number of factors shaping the development of musical culture, contributing to the expansion of many musical forms and a repertoire of various character across the whole of Europe. The compositions of the famous Lutnists circled across many manuscripts and printings. In a similar case, the compositions of important Polish or in Poland acting lutnists-composers such Jacob Reys Polac and Albert Dlugoray are found in the extensive lute anthology of the French lutnist and composer Jean-Baptiste Besard: Thesaurus harmonicus (Köln 1603). One of the preserved specimens of this print is part of the Levočsa´s collection of musics in Slovakia. We assume that their works were known in the territory of present-day Slovakia through the Besard's anthology. In the paper we present analyzes of their compositions, and historical facts.

The article gives an overview of the existence of six selected grammar schools in three towns of eastern Slovakia 1948. It focused on problems of these grammar schools after World War II (not only material problems, but also problems of teacher qualification). Annual reports were used to provide the information about number of students, their nationalities, religions, etc. The author also discusses out-of-school activities of these schools.

U tekstu u će biti riječi o plemićkoj obitelji Csáky i valpovačkim vlastelinima Normann-Ehrenfels, koji su bili povezani dvostrukom ženidbenom vezom. Dio baštine obitelji Csáky relevantan je za istraživanje povijesti Valpova i valpovačkih vlastelina, a nalazi se u Levoči, gradu u Republici Slovačkoj. Izborom likovnog materijala, pretežno fotografija iz ostavštine plemićke obitelji ukazat će se na ovaj manje poznat, ali važan izvor informacija za povijest valpovačkih vlastelina.

Master Paul from Levoča was the most important Spiš wood-carver at the turn of the 16th century. The outstanding achievement of his workshop is the main altar of the Parish Church of St James in Levoča, created between the years 1508 and ca. 1514. Master Paul, however, was active in other towns and regions also: in Kežmarok, Banská Bystrica, Spišské Vlachy, Prešov and Sabinov. His co-workers, who brought his characteristic idealising style (close to that of the Nuremberg sculptor Veit Stoss) even further afield, created still more altars, crucifixes, and free-standing statues.
The paper is dedicated to one of the most monumental Crucifixions that can be attributed directly to Master Paul, situated today in the shrine of the Highaltar of the Parish Church of the Holy Cross in Kežmarok, Slovakia (Germ.: Käsmark; Hung.: Késmárk). It discusses the place of the artefact in a context of the sculptor´s oeuvre as well as its possible original use as reconstructed from the younger sources concerning the church furnishings.