Iconostasis of the Cathedral of Hajdúdorog

Miklós Jankovits was hired by the Greek Catholic parish of Hajdúdorog in 1799 to carve the wooden framework, including the doors and the icon frames of the iconostasis.

Instead of the traditional Byzantine iconographic depiction, the painters used the deep, rich colors, the intense light and dark shadows, and the eventful and realistic portrayal of late Baroque painting.

Rich, gilded ornaments, Zopf shapes of rose heads, tulips and Acanthus leaves characterize his work.

Györgyi Károlyi and Csongor Bedő completed the latest renovation in 2002, restoring the original colors and compositions as far as they possibly could.

At the same time, in cooperation with the restorers, a thorough investigation was initiated in ecclesiastical and diocesan archives and libraries to settle some of the controversial details relating to the history of the icon screen.

[1] In 1808, following the erection of the carved frameworks of the iconostasis, Mátyás Hittner and János Szűts started marbling and gilding the frames, and painting the icons themselves.

Hittner and Szűts, both from the town of Miskolc, planned the work over a period of three years and estimated the cost would reach 12,000 guilders.

The decisions of the synod forbade a number of Eastern traditions, including the erection of an iconostasis in Greek Catholic churches.

[9] On completing their renovation work, the restorers returned the icons to the Feasts tier but did not respect the Biblical chronology, with the result that they were sequenced in the wrong order.

Révész's team put the icon of the Flight into Egypt in the first position, and immediately after the scene of the Death of Mary.

Károlyi and Bedő revealed the original colors of the wooden elements, they marbleized the frames and the pilasters, gilded the ornaments and removed unauthentic additions.

Among others the stems of the plants, the veins of the leaves, the flower heads and the plane surfaces of the icon frames were gilt with burnished gilding.

[42] The Royal Doors or "Beautiful Gates" are definitely among the most emphasized parts of the iconostasis, as they lead directly to the main altar in the sanctuary.

In the town of Eger, Jankovits added a double-headed eagle to the top of the Royal Doors, in Budapest two doves decorate the gates, and in Hajdúdorog it is two ravens.

It disappointed Noah, but ravens fed many saints, like Elijah,[46] Benedict of Nursia or Paul of Thebes on God's demand.

The Meeting of Abram and Melchizedek is depicted in the top icon on the right wing, and the fourth picture shows the scene of binding Isaac.

The two icons on either side of the Royal Doors are rather similar: Jesus was painted with an orb in his left hand, and he makes the same gesture with his right in both pictures.

The scene of Jacob's Ladder is above the northern Deacons' Door, while the burning bush was painted above the southern one with Moses and God's angel on it.

An angel holds a wreath of glory above them, and the Holy Spirit shines in the shape of the Eye of Providence on the top of the composition.

Joseph leaves Bethlehem with Mary and Jesus after learning that King Herod wants to massacre all the newborns in Judea.

Originally he was a peasant, and according to the Christian legend, he died in Armenia, flayed alive and crucified, head downward.

The last icon on the left side of the Apostles tier, the closest to Jesus' central image, portrays Peter.

He was not one of the twelve disciples of Jesus; Paul, a Roman citizen, was arrested in Jerusalem because he was accused of preaching against the Jewish law and traditions.

John asked for a cup of poisoned wine that he blessed and then drank; the strength of his faith protected him and he remained unharmed.

He lived and spread Jesus' teachings in today's Turkey, and according to Christian traditions he was crucified upside-down.

[61] Old Testament prophets and patriarchs are portrayed on the fourth tier of the iconostasis, in accordance with the traditional Slavic structure.

According to the iconographical traditions the angel fills Isaiah's lips with fire to preach his prophecies without fear.

At the start of the latest restoration this icon was in rather poor condition: the oil paint was peeling off and it was heavily infested by woodworm.

He makes the teaching gesture with his right hand, and he holds the Bible in his left, opened at the New Testament: "Come, you who are blessed by my Father; take your inheritance, the kingdom prepared for you since the creation of the world" (Matthew 25:34).

The restorers added the letters JKZsK (abbreviation of Jesus Christ, King of the Jews, in Hungarian: Jézus Krisztus a Zsidók Királya) to the upper arm of the cross-shaped icon during the renovation works in the 1870s.