Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)

LÁSZLÓ Emőke: Magyar hímzett és selyemkárpitok a 16-17. századból

filled with birds and flowers.XlóVO)

64 or the belongings of the Rákóczi orphans in Munkács: "Öt könyv, kibe formák vadnak" (rough translation: five books full of shapes and forms) (1688)

65 Only few of the pattern drawings have survived, among which die most significant are the Embroidery Patterns by Julia Ródei, the wife of Chancellor Miklós Bethlen (the end of the 17tii century)

66 The books were probably Italian or German. The makers of the beautiful pieces were professional bead-threaders and embroiderers, employed by principal and aristocratic courts. According to the 1634 inventory of György Rákóczi I in Munkács, there was a "Gcöngh füzeö ház" "Geönghfwzcő Bástia" (a house for beadthreading or a bastion of bcad-thrcadcrs)

67

. In the courts of Princess Anna Bornemissza, there were four embroiderers, with a certain János Murányi among them.

68 In the Uzdiszentpóter mansion of Mihály Teleki (1679), a chest without cover and several tools for buttonmakers were registered.

69 György Lippay, the Archbishop of Esztergom, settled a gold embroiderer from Nuremberg in Pozsony (1654)

70

, while the Esterházy

's employed bead-tiireaders from Sopron. Among them, was a German, working in Kismarton - as it is apparent from die letter of Pál Esterházy -, who was resposnsible for making flowers and birds after stencilled models.

71 There are plenty of other examples and names - yet the most important fact is that embroiderers in Hungary were not working in guilds but were employed or contracted to a certain work, tiius the various patterns could spread all over the country. NOTES 1. A register of the treasures of Gábor Bethlen in his Gyulafehérvár Palace, 1629. VIII. Sources published by the Art History Research Group of the Hungary Academy of Sciences, XIX, Urbaria et Conscriptiones. Ill booklet, Bp., 1984. pp. 124—14S. 2. "Bethlen Miklós élete" (A Biography of Miklós Bethlen). In: Erdély öröksége. Erdélyi emlékírók Erdélyről (The Lcgary of Transylvania. Transylvanian Biographers On Transylvania). Bp., 1941. p. 189. 3. Radvánszky, Ii.: Magyar családélet és háztartás a XVI. és XVII. században (Family Life and Household In 16th and 17th Century Hungary) Vols I—UI, Bp., 1896 (reprint: 1986) 4. Jakó, Zs.: "'Az otthon és művészete a reneszánsz Kolozsváron" (Home and home art in Renaissance Kolozsvár). In: Emlékkönyv' Kelemen Lajos születésének nyolcvanadik évfordulójára (A Presentation Volume on the Both Birth Anniversary of Lajos Kelemen). Kolozsvár—Bukarest, 1957, pp. 361—393. 5. B. Nagy, M.: Várak, kastélyok, udvarliázak ahogy a régiek látták (Castles, Palaces and Mansions As Seen by Contemporaries). Bukarest, 1973. 6. Radvánszky, see above, Vol. II. p. 75. 7. Radvánszky, sec above, Vol. II. p. 236. 8. Tápay-Szabó, G.: Magyar úrihímzés (Hungarian Secular Embroidery). Hp., 1941, p- 19. 9. Radvánszky, see above, Vol. II. p. 86. 10. Budapest Museum of Applied Arts, Inv.Nos 52.2798.2 and 61.508.1 The surface is brocatelle widi silver wire weft, the border is velvet Bedcover I: There is a braid on the edge of the bedcover, woven of violet silk and silvergilt thread; closer to the surface, there is another, sewn braid of violet silk and silvergilt thread. Lining: cotton fabric, sewn between unpainted linen and blue bagasse. Size: 207 x 175 cm, pattern unit: 45 x 14 cm Bedcover IT: without braids and lining. Size: 203 x 186 cm The technical examination and analysis of the bedcovers in the studv were made by Katalin E. Nagy.