The modern cathedral is the fourth in this place; the first archbishop was Astrik who brought the crown for our first king, St. Stephen. A typical Baroque church unfolds before our eyes. The interior is dominated by light colours: white, pink, and gold.
The altarpiece was painted by the Viennese painter Leopold Kuppelwieser depicting the Assumption of Virgin Mary. The painting won a prize at the World’s Fair in Paris. The monumental organ was built in the famous Angster workshop in Pécs and was inaugurated by Franz Liszt. Since then, it was rebuilt
several times (it has 4668 pipes, 64 registers, three manuals and one pedal), and to this day, its unmatched sound provides unforgettable experience to thousands of visitors.
There is a rose window above the arched doorway, flanked by two support pillars at the sides of the façade. The rose window is the symbol of the Blessed Virgin, the “rose with a secret meaning”. The tower rises from the bulk of the church at only about the fifth of the church’s roof. Its side facades are divided into equal parts by two-stage buttresses. The nave’s windows are semi-circular. The sanctuary has a straight closure; the church is covered by a gable roof.
were returned to their original places.
The still functioning library was established by Adam Patachich, since he was the archbishop who bequeathed his collection estimated to consist of 19 thousand volumes to the diocese. So the Cathedral Library was founded. Our archbishops were keen on expanding the collection, so now the library proudly houses about 130,000 volumes. They include scriptures, psalms, ecclesiastic speech collections, medical, legal and astronomical works.
Symmetrical baroque gardens are found in front of the U-shaped mansion and in the courtyard. The low-lying park developed in the rear area was probably a French garden first, as showed on a French garden’s drawing made by Gáspár Oswald, the Piarist construction director of the Vác bishop’s estate
(the drawing is stored in the Archdiocesan Archives), then it was gradually transformed into an English garden.
The garden was a favourite of Cardinal Lajos Haynald, Archbishop of Kalocsa (1867-1891), who as a botanist was also the head of the Committee of Sciences in the Hungarian Academy of Sciences. Around 1930, the rear park was separated by a two-meter-high fence and opened up to the city’s population, which is a great place to relax and have a stroll.
In the Archbishop’s Garden of Kalocsa – thanks to the modernization – the natural environment is transformed and shown from a new perspective.
By today, the building was demolished. The “Platan” Programme Centre was built in its place, which provides cultured entertainment for the residents and visitors of Kalocsa town in a natural setting. Due to the multifunctional nature of the spaces formed therein, the building provides a wide range of
opportunities for different programs, including exhibitions, lectures, conferences, author’s nights and other events.
In the interior structure, two multifunctional spaces, a café, a reception and social blocks were built, while outdoors an open terrace and an outdoor exhibition space are connected to the indoor functions.
urban planner, a video artist, a computer graphic, a university professor, an art theorist and an experimental artist who always treated the role of the art in society with responsibility and with an intention of innovation. His constructions using scientific results deservedly made him well-known
throughout the world. His works can be found in several cities of Europe and America today.
He claimed that the greatest impact on his life was not another artist, but Norbert Wiener, the inventor of cybernetics. The moving, lighting, sounding sculptures and installations where created together with engineers, architects, composers, and dancers. He said that in today’s society the individuals are
becoming more and more passive, whether it is theatre, cinema, or television. Therefore, he created a large-scale stage production in which the audience can be active and creative, where the audience forms the program itself.
In 1968, Miklós Schöffer was awarded the Venice Biennale Grand Prize and he became world-famous, known as Nicolas Schöffer.
Nicolas Schöffer donated a material presenting his complete life’s work to his native town Kalocsa in 1979. The city has purchased the family’s former residential house, transformed and expanded it to create a museum, and the Schöffer Museum was opened here in November, 1980. The material of the permanent exhibition was selected by Schöffer and his Hungarian student and colleague, sculptor Lajos Dargay.
He died in his Montmartre atelier in Paris on 8th January 1992.
For more information: http://www.schoffergyujtemeny.hu/
The frame of the light tower consists of four 23 m high steel columns of 127 mm cross-section, with 5 large headlights on the circular and raised pedestals of the columns, and 23 coloured, smaller headlights on the four frontal planes of the tower, which convey their light to 49 rotating mirrors of 60 to 80 cm diameter. From among the rotating mirrors, 40 mirrors are engine-powered, and 9 mirrors are free-running.
The on and off switching of the headlights, and the rotating of the mirrors are controlled by the noise of the vehicle traffic on the road next to the tower using audio sensors and a computer. The light tower was inaugurated on the 26th November, 1982.
proper standard in the early 1920’s. The planned new hospital could only be built if the Calvary was relocated, therefore it was decided to move the Calvary to the cemetery. The city council of Kalocsa, which financially supported the building of the hospital, invited a tender for the relocation jobs on 21st August, 1924. The Calvary was moved between the autumn of 1924 and the spring of 1925. The Calvary set up in cemetery was consecrated on 7th April, 1925. The stations of the Calvary begin at the cemetery’s side gate in Béke Street and end at the high priests’ crypt. The reliefs of the stations are
held by tin roofed brick “buildings” with an inverted U-shaped design and approx. 270 cm cornice height. In the buildings, with their smooth sides inwards, the reliefs were placed into niches, and are protected by iron bars. At the end of stations, three stone crosses with corpuses are standing on the
roof of the high priests’ crypt covered with top soil. On either side of the cross in the middle, a roughly human-sized, half-kneeling and praying, carved stone figure of a woman is found.
Lajos Gábor bequeathed the today’s museum building to the city in 1952. The house is an about 200 year-old so-called “farmer’s house”, where the first three rooms show the peasantry’s former life in its original form, while the old chamber was converted into a small exhibition showing the development of
the folk art in Kalocsa. The residential building was built on a hill, so it was protected from potential flooding from the nearby river Danube. The house was built from adobe, which kept it warm in the winter and cool in the summer. The roof is a thatched roof and the cross on the chimney proclaimed the power of the Church.