to execute a triptych for the 1911 International Exhibition of Art in Rome, but this remained undone due to a heart attack. He was expected to continue working at Sibiu Cathedral, but church authorities began looking elsewhere after hearing news of his affliction. In August 1911, he was attested at living in Rome; his paintings were noticeably absent from the ASTRA Jubilee exhibit at Blaj, which took place that month. In 1912, with his disease worsening, he left for treatment at Bad Nauheim. Smigelschi then traveled to Budapest, where he took part in a contest for painting a chapel in Košice. He died in Budapest in November 1912. His brother Victor claimed the remains and had them buried in Blaj. Iorga, in his obituary piece, claimed that both Catholics and Orthodox Transylvanians felt "undying sorrow, [sensing] that a century may pass and another painter like him [...] may still not be born." The deceased, he argued, had instilled a "new vision of the world". Likewise, Octavian Codru Tăslăuanu of Luceafărul writes that Smigelschi's "innovation created a school", although withholding judgment on "whether the innovation was for the better". However, as asserted by Ispir, Smigelschi's neo-Byzantine approach was a "perishable tear into the threads of tradition". It replaced the "post-Byzantine customs" of traditional church art with a more academic and "historicist" school. Among Smigelschi's imitators in the 1910s was Antonino Zeiler. An Italian immigrant from the Austrian Littoral who had worked with him at Caciova and Uifalǎu, Zeiler was in turn the art teacher of Mărioara Maior—both of them showcased at the ASTRA Jubilee. Another disciple was Virgil Simionescu, who completed murals for the Orthodox Church of Orșova in 1926. Retrospective exhibitions before World War I include an October 1913 show at the Budapest Kunsthalle, also honoring Coulin and Bertalan Bartolomaus Papp; his paintings and drawings were arranged by his widow, who answered repeated pleas from the Hungarian Art Society. A review in Vasárnapi Ujság expressed regret that Smigelschi's large-scale decorative art had been doomed from the start by the popularity of Impressionism and the declining interest of public art bodies: "his individuality remained fluctuating, hesitant, because he was not given the space where he could have blossomed." The following month, Victor Smigelschi published a Românul article critical of Romanian authorities, noting that his brother had been bypassed in the contest for decorating Galați Orthodox Cathedral. In early 1914, however, Romanian