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One of the guest artists who came to Hungary from Austrian in the eighteenth century, Cimbal was always welcome, especially in the Transdanubian region. He was employed to paint altarpieces as well as frescoes and, influenced first by Troger and later by Maulbertsch, he endeavoured to complete his varied tasks to the satisfaction of his patrons. The composition he devised for the violin-shaped canvas of this altarpiece tends to inspire laughter rather than religious fervour. The Saint is depicted in the baroque period costume favoured by the Hungarian nobility - the style Hungarian nobles appreciated in pictures of medieval saints and kings. He wears a sword but his eyes are turned heavenward, the lily in his hand being the symbol of his virginity. Standing with his belly thrust forward, he tramples on blind Cupid - symbol of love. The powerful God of love is embracing the globe. This exemplary stance is witnessed by two Hungarian noblemen in high "kuruc" fur-caps who stand in the background. St. Emeric was traditionally referred to as "dux" (duke), and could not therefore be depicted wearing a Hungarian or any other royal crown. With guileless anachronism the painter has placed an Austrian archducal hat on the saint's head.
The painting is believed to originate from Nagyszombat where it adorned the altar of a chapel. A counterpart shows the Baptism of Christ.
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