‘Portrait gallery of the Hungarian Bishops under the Holy Crown invited to the Universal Holy Council in the Vatican, Rome on 8th September 1869.’
The portrait gallery of 22 pieces of the Hungarian bishops invited to the council was made by the famous lithographer of the period. The portrait of Pope Pius IX, who summoned the council, is situated high in the middle.
 

In July 1880 Munkácsy informed his wife in a letter about his working on the composition Christ before Pilate. The idea of the painting was given by the book of Ernest Renan published in 1863, which represented Christ as a suffering man who redeemed the world from sins by his sacrifice. Munkácsy himself declared the following about his concept of Christ: ‘I have never tried to paint a divine person, as no man is able to paint the divine. I wanted to represent God in human form’. (Kürti 20) The painting was exhibited in the palace of the art dealer Sedelmeyer in the spring of 1881, since the painter missed the deadline of the Salon of Paris. It had three thousand visitors by the end of October. In the spring of 1882 it was exhibited in several European cities, including Vienna and Budapest. It is probably related to this that a few of the almost thirty studies and five composition and colour sketches were made after the exhibition of the final, large-size painting. This colour sketch is a composition study as well, similar to the painting both in composition and details, emphasising moral conflicts.

The Archbishop János Simor celebrated his jubilee mass in 1886. The congregation in Budapest donated gave him this Neoromanesque crosier on this occasion. The Virgin and St Stephen are represented in a mandorla in its crook. The button is decorated with the busts of Hungarian saints: Ladislas, Elisabeth, Imre and Margaret.
 

The drawing of fine workmanship represents the Cardinal very naturally. Lühnsdorf was a popular portrayer of his age, this work is a proof of his advanced technique and high artistic level.