[1] Vásári's origin is confirmed by a letter of Pope John XXII on 2 July 1320, when called him "Nicolao nato dilecti filii nobilis viri Nicolai Comitis Viceducis Transsilvani".
[2] When his uncle functioned as provost of Várad (present-day Oradea Mare, Romania), Vásári had an opportunity to study in the local collegiate school.
[3] Upon Telegdi's request, Vásári was appointed a canon of the cathedral chapter of Várad by Pope John XXII, issuing the aforementioned papal document on 2 July 1320.
[4] It is possible that Vásári attended a foreign (presumably Italian) universitas thereafter, as Pope Clement VI referred to him as iuris peritus ("learned in the law").
Pope Benedict XII appointed him grand provost of Esztergom on 18 January 1339, becoming effectively his uncle's deputy in the archdiocese, despite his order of subdeacon.
Vásári cooperated with Hungarian lord Nicholas Kont in the upcoming months, they successfully persuaded several nobles in the countryside around L'Aquila to support Louis' efforts against his sister-in-law.
Returning home for a brief time, Vásári reported on the new allies and joined the Hungarian royal army, which entered the Kingdom of Naples on 24 December at the city, which had yielded to Louis.
[7] After Louis adopted the traditional titles of the kings of Naples, Vásári again traveled to the papal court in February 1349, alongside George Bebek, to gain the support and confirmation of Pope Clement.
[11] 19th-century historiographical works, including Antal Pór's studies, claimed that Vásári simultaneously held the office of chancellor in the royal court during his archiepiscopate.
[7] He participated in Louis' military campaign against Serbia in the next year, when Hungarian troops invaded the empire, forcing Stefan Dušan to withdraw from the region along the river Sava.
[7] He was one of the key draftsmen of the Treaty of Zadar, which was signed on 18 February 1358, in which the Republic of Venice renounced all Dalmatian towns and islands between the Gulf of Kvarner and Durazzo in favor of Louis.
Liber sextus Decretalium and Clemens papa V. Constitutiones), which represent the same art style of Bolognese trecento as the Anjou Legendarium, were preserved in the Capitulary Library of the Padua Cathedral.
The second codex, Clemens papa V. Constitutiones is less remarkable from the point of view of art history, it depicts the legend of Catherine of Alexandria in the usual contemporary way.