Szilágyi András (szerk.): Ars Decorativa 27. (Budapest, 2009)

Enikő SIPOS: Hungarian-Related Textile Works in Switzerland

17. Leaf from the sketchbook ofjacquemart de Hesdin (New York, Pierpont Morgan Library, M 364) made and donated by Agnes is based on her relationship with Engelberg, her customary generous donations and the fact that she had been a member of the sisterhood since 1307. Emil Delmár has noted that also, the name of the donor, together with the text referring to her, were removed from the texts on the pluvial; her Habsburg background having latterly made her an object of hatred in the eyes of the Swiss.

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5 Lacking the evidence to support the claims that these objects originate from Agnes, we do not wish to discuss them in further detail. Embroidery patterns, materials, techniques Fourteenth-century craftsmen in Europe's cities worked in confraternities or guilds. On the basis of the accounts and inventories of royal courts, it is also certain that embroidery - a job that required a high level of organisation - was also produced in palaces and church centres. With large-size commissions (pluvials, antependia), clients would seek help from a practiced artist or used his designs, and employ specialised embroiderers. Such items could probably only be made in large workshops, given the large space and substantial costs involved. The different workshops and artists closely co-operated and worked in the environment of their clients.

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6 In the guilds the embroiderers worked together with blazoners, painters, draughtsmen and goldsmiths. The few "specialists" - such as the embroiderers - were classified as painters by the Vienna regulations of 28 June 1446, and as goldsmiths by the Salzburg reg18. Pemale saintsfrom a leaf of the Brunswick Sketchbook (Braunschweig, Herzog Anton Ulrich-Museum) 145