Ladislas – which were depicted as a collective in the fourteenth and fifteenth centuries. This research analyzes from an iconographic perspective the mural representations of the three holy kings of Hungary – St. The western origins of the scenes and the entire narrative – especially mid-13th century models created in a Crusader spirit – are also demonstrated, and the role of the Neapolitan Angevin dynasty in the creation and spread of the cycle are proposed. The paper analyzes the narrative structure of the painted cycles, focusing on the murals we can identify as the earliest surviving examples, from the first third of the 14th century. Some other examples from the end of the 14th century present yet another type: a cycle more clearly divided into scenes with the introduction of frames. The cycle is a continuous narrative, which is either reduced to the three central scenes of the story, or is presented in a fuller version of six or more scenes.
The quick spread of the cycle throughout Hungary is likely due to the influence of the royal court, where the original painted story was most likely formed. As a result, some of our previous assumptions about the distribution of the cycle in Hungary as well as the date of key monuments have to be revised. Ladislas, especially from the first half of the 14th century. Recent research has brought to light a considerable number of previously unknown examples of wall paintings depicting the story of St. Ladislas (1077-1095) appeared in many parts of the Kingdom of Hungary. During the reign of Charles Robert, the first Angevin king of Hungary, the painted cycle of St.
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