Oval bust with Latin inscription in cartouche. György Szelepcsényi was Archbishop of Esztergom and became an outstanding amateur artist, one of the best engravers of the 17th century. He often used well-known compositions as models, like in the case of his best known work, the engraved portrait of Péter Pázmány. He was Bishop of Veszprém and then that of Nyitra, Archbishop of Kalocsa from 1657 and that of Esztergom from 1666.
 
 
 

55 x 38 cm, pelure booklet bound in red velvet. The diameter of the red wax seal hanging on golden silk string is 14.2 cm, together with the wooden case preserving the seal 18.5 cm. In the field of the seal there is a quartered shield sorrounded by the Order of the Golden Fleece below a crown. The shield is held by a double-headed eagle with spread wings holding the sceptre, sword and orb.
Inscription: CAROL(US) . VI . D(EI) . GRATIA . ROM(ANORUM) . IMP(ERATOR) . S(EMPER) . A(GUSTUS) . GER(MANIAE) . HISP(ANIAE) . HUN(GARIAE) . BOH(EMIAE) . IT(E)R(UM) . SIC(ILIAE) . HIER(USALEM) . ET . INDIARU(M) . R(E)X . ARC(HI)D(UX) . AUS(TRIAE) . D(UX) . BURG(UNDIAE . BRA(BANTI)E . MEDIOL(ANI) . PR(INCEPS) . SUEV(IAE) . CATAL(ONIAE) . MAR(CHIO) . S(ACRI) . R(OMANI) I(MPERII) . COM(ES) . HABSBURGI) . FL(ANDRIAE) TYR(OLIS).
Charles III, King of Hungary – as Charles VI, the Holy Roman Emperor – granted the title of imperial duke to the Primates of Hungary at the request of Cardinal Christian August, Duke of Saxony. This rank of the Archbishop of Esztergom was codified by the parliament in 1715. Christian August could use the title by birth. After him fourteen Archbishops, for the last time Cardinal József Mindszenty, could use the ducal crown in his coat of arms, until Pope Pius XII forbade all high priests of the church to use secular titles and ranks in 1951.

The icon was originally placed in the first row of the iconostasion, according to the canon on the left side of the central liturgical ‘Royal gate’. It is the representation of the Hodigitria, or the Guiding Mother, where the Virgin is pointing to the Child held in her left arm, to Christ, that is, to the only Way to salvation. This is one of the most prevalent among the iconographic types representing the Virgin, its prototype was traditionally considered to have been painted by St Lucas. The provincial master of the icon was true to the traditions of the centuries. Corresponding to the practice of post-Byzantine icon painting of the Carpathian region the representation appears in front of a gilded ornamental background resembling metal covering.

The Serbian orthodox monastery in Grábóc dedicated to the Archangel Michael was founded by Dalmatian monks during the Ottoman rule in 1585. As the only Orthodox convent of the Transdanubia during the 17th century, it had become an important spiritual centre. Its golden age was the 18th century, in the period past the end of the Ottoman rule, when a one-aisle Baroque church with cupola and tower was built on the base of the earlier temple. After the construction, the monstrance was made around 1760, imitating the architectural forms of the church. The church-shaped monstrance was created of silver and gilt applications and is held by four angels. Following the structure of the church reflecting certain late Byzantine reminiscences, the sides of the monstrance are decorated with elements resembling doors and windows framed by filigree work bands. These are connected with simple architectural motifs on the facade part, emphasising the form of the monstrance. The bell tower and two cupola towers slightly differ from the original church building, but give dynamism to the work. At the time of its making the Serbian religious art of the Danube region was getting away from the late Byzantine characteristics, was turning to Baroque, which is well represented by the monstrance of Grábóc monastery.