Alba Regia. Annales Musei Stephani Regis. – Alba Regia. Az István Király Múzeum Évkönyve. 22. 1982-1983 – Szent István Király Múzeum közleményei: C sorozat (1985)
Die Anjovinen in Mitteleuropa - Śnieżińska-Stolot, E.: Artistic patronage of the Hungarian Angevins in Poland. p. 21–28. t. I–V.
on the Cross with the Virgin Mary and St. John, bearing escutcheons of Poland, Lithuania and Hungary (Bochnak 1979, 33). The latter must have been painted after Hedwig's wedding with Jagiello (1386) and may have been a joint donation of the royal couple. Goldsmith's decoration of those paintings, adorned with gilt silver sheets and enamel (Our Lady), or precious stones (Crucified Christ) indicates that, similarly to the paintings from Our Lady's Church, they resembled paintings offered to the church at Mariazell and the Aachen cathedral by Louis the Great and Elizabeth Lokietek in 1367. (Sniezynska—Stolot 1975, 22—24). It is conceivable that the Madonna from the Cracow cathedral may have been founded by King Louis or his mother, since its decoration consisting of gilt sheets, enamel and 14 coats of arms of Poland and Hungary resembled particularly the afore-said paintings, whose frames were decorated with 15—18 escutcheons of both kingdoms. The painting at Mariazell is an Italian work, like the original Aachen pictures, replaced with copies after destruction. Hence, it can be presumed that the discussed paintings may have been executed by Italians and later brought to Poland from Hungary by Hedwig. The goldsmith's decoration of Our Lady's painting from the Cracow cathedral might have also originated in Hungary, as a work of a local artist influenced by Italian art. A somewhat different (adorned with precious stones) decorations of Our Lady's and Crucified Christ's paintings from Our Lady's Church and the Cracow cathedral, respectively were probably executed in Cracow. The Italian painting of Our Lady of Czçstochowa most probably reached Poland also from Hungary, perhaps through Hedwig's mediation (Sniezynska—Stolot 1973, 41). The largest part of the queen's foundation were lithurgical vessels and canonicals. Hedwig brought to Poland a number of valuable objects, among which may have been: a Crinale, i. e. a precious hairnet, with the head-band decorated with lilies, and a fibula, or a necklace set with gems and precious stones) those jewels had been bequeathed to Hedwig in Elizabeth Lokietek's will (ániezynska— Stolot 1981, 245). We know from Dlugosz that Hedwig bequeathed in turn all her jewels, together with her regalia, for the restoration of the University of Cracow. Weight of gold objects in her legacy was 42 grzywnas and 1 faron (ca 10 kg), which testifies to richness of the queen's trousseau (GEBAROWICZ 1965, 77). Dlugosz mentions that already in 1387 Hedwig offered to the new Vilnius cathedral chalices, monstrances, crosses and various decorations made of precious stones (DLUGOSZ 1876, 469). He also states that the queen offered to the Cracow cathedral a chalice and a cross, neither of them preservad, but described in the cathedral inventory of 1563 (Bochnak 1979, 4, 22). The cross, pointed out as Hedwig's foundation, was small, made of mountain crystal, in a gilt silver mount set with precious stones and pearles, and bearing the effigy of the Crucified Christ. Use of mountain crystal might indicate that this was a considerably older (11th —13th c.) cross, mounted later on. The chalice can also be found among descriptions of the above-mentioned inventory, due to a reference to Polish and Hungarian coats of arms. From its nodus there rose 6 lilies, and so it might have resembled the chalice of Kalisz, founded by Casimir the Great. The inventory also mentions other, not preserved, Hedwig's donations: 2 gilt candlesticks with the coats of arms, of Poland, maybe resembling the ones offered to Aachen by Louis the Great in 1367, and small, gilt bells (ibid., 28, 30; Grimme 1973, 103). The curate's annals ascribe to Hedwig foundation of the original reliquary of St. Stanislas the Bishop, yet —in fact —it had been offered by Blessed Kinga and Hedwig may only have had it gilded anew (Sniezynska—Stolot 1972, 1976). We also know the exact date of execution (1394) of the chalice founded for the pilgrimage church at Wilsnack in Brandenburg, executed by Jakusz Brenner, a goldsmith of Cracow working for Hedwig (Przezdziecki 1854, 53; Piekosinski 1869, 200; Przybyszewski 1968, 18). The only preserved goldsmith's work connected with the queen is a cyphos (or rummer), now in Grünes Gewölbe in Dresden, a crystal spherical vessel in a gilt silver mounting, supported by a hexagonal stem, provided with a cover, and with a handle in the shape of the volute (Sztuka Krakowie 1964, 181; GEBAROWICZ 1965, 127—147; Przybyszewski 1968, 18; Halècki 1971, 58). The foot and the handle are decorated with engraved ornaments representing acanthus leaves, and the cover —with heraldic lilies combined with traceries. The foot bears three escutcheons of the Hungarian Angevins and the cover —two identical escutcheons and two plaitings made of letters mm, with the Polish eagle inside. The coats of arms are made of colourful enamel, whereas the letters are plastically forged. The vessel is supplemented with an inscription whose contents has not been univocally deciphered yet. However, it mentions the quee's name, which in combination with the escutcheons and the sign mm on the rummer proves it to be her foundation. On the other hand, the name of St. Vaclav, mentioned in the inscription, need not indicate that this was the offering for the Wawel cathedral (under the invocation of St. Vaclav), as has been conjectured so far. Just as well the rummer might have been destined for the Prague cathedral as an offering for St. Vaclav's tomb. Yet, it should be added that the rummer is noted neither by the oldest inventory of the Cracow cathedral, nor by the 14th с inventories of the Prague cathedral. The rummer was a secular vessel, sometimes donated to churches, where it was used as a ciborium or a reliquary. (PODLACHA — MITTLER 1903, XXXIV: cyphus. .. donauit ecclesie pro communicantibus; GEBAROWICZ 1965, 122). Such vessel, filled with gold florins, was offered to St. Peter's basilica in Rome by Elizabeth Lokietek during her journey to Italy in 1343—44. (Sniezynska —Stolot 1981, 235). Against the earlier opinions, the cyphos of Dresden should be treated as a homogeneous work, and only its crystal bowl may be earlier, as mountain crystal had been mined in Southern Italy mainly from the 11th to the 13th с Acanthus ornamentations on the foot have their counterparts in decoration of goldsmith's works founded by Louis and Elizabeth and offered to Aachen (1367) and Mariazell, especially on the foot of St. Stephen's reliquary and on frames of paintings of Madonnas. Application of the technique of metal engraving and of enamel makes the rummer close to objects executed in the second half of the 14th c. by Hungarian goldsmiths undef 23
