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.
Italian influence (Sniezynska—Stolot 1975, 27). This does not rule out B. Przybyszewski's hypothesis that the rummer may have been made in Cracow, which at that time was an international centre of goldsmithery. Among numerous goldsmiths in Cracow worked also Hungarians, e. g. Hanusz Ungir, noted in 1397 (Przybyszewski 1968, 182; Sniezynska—Stolot 1981, 249). Przybyszewski ascribed execution of the rummer to either of the court goldsmiths: John of Olkusz and Jakusz Brenne (1968, 182). Introduction of the sign mm indicates that the vessel must have originated after 1391. We know that Hedwig possessed silver vessels, described as "cyphos" in bills, which once given in gage to town councillors, were taken out of pledge at the royal couple's order in 1389 (Piekosinki 1869, 113; cyphos ipsius dne Regine argenteos). Court bills also note down the fact of paying the goldsmith Mikolaj (Nicholas) Munsterberg (Münsterberg, Monstierberg) in 1395 for having executed four rummers, {ibid., 219: item Nicolas Munsterberg aurifabro pro paracione IV dosthuchanorum). Though we do not know whether the commission was Hedwig's or Jagiello's, it is a clear indication that such objects were produced in Cracow (VOSSBERG 1854, fig. 6; ZEBRAWSKI 1865, fig. 16/41 ; GEBAROWICZ 1965, 140 fig. 27). Thus it seems more exact to connect the Dresden rummer with the last goldsmith mentioned before, active at Hedwig and Jagiello's court from 1392 to 1395. He probably mounted in silver the crystal cup that the queen might have brought from Hungary. The majesty seal of Queen Hedwig, executed probably after her coronation in 1384, is conspicuons by its high artistic quality (Schmidt 1977/78, 188; DIEDERICH 1978, 158). The queen is represented enthroned, in the middle of the four-winged reliquary with a rich architectural decoration. On both sides she is accompanied by angels, and the reliquary wings are adorned with coats of arms of Poland and the district of Kalisz. At her feet, on an enlarged shield can be seen the arms of the Kujawy district, thus emphasizing that Hedwig, through her grandmother, descended from that particular line of the Piasts. The seal differs from earlier specimens, both Angevin and Polish, being clearly modelled after Rudolf IV Habsburg's seal of 1359, based on French and English patterns (Grabski 1966, 118—166). This coincidence is not accidental, if we consider the fact that since her marriage with Wilhelm of Austria in 1378, Hedwig had been raised in Vienna and later the prince had scrambled for the Polish throne (PIEKOSINSKI 1899, 288; ZEBRAWSKI 1865, fig. 16/42—43). The type of Rudolf IV's seal was frequently repeated in Austria, so we can suppose that the queen's seal was made by a goldsmith connected with that circle, who might have arrived to Poland from Hungary with Hedwig's court. Two small seals, composed of armourial bearings placed in Gothic tre- and quatrefoils, are related to small Polish seals of Louis and Elizabeth Lokietek. Their novelty lies in introduction of an angel who supports these shields; this motif appears on French, English, and Austrian seals, including those of Rudolf IV. Hedwig and Jagiello's court bills allow us to reckon the number of goldsmith's works commissioned by the royal couple (names of 12 goldsmiths are also mentioned there (Przesdziecki 1854, 31—32, 37, 41—42, 62; Piekozinski 1869, 161, 163, 177, 179, 219, 319; Przybyszewski 1968, MM 1 ) A majority of orders was silver tableware; ornamentations of garments or of harnesses are mentioned less often. It is difficult to establish which were the queen's or the king's commissions. It only appears from the bills that John of Olkusz and Jakusz Brenner worked directly for the queen. The former repaired her silver belt and the latter executed the chalice forWilsnack (Piekosinski 1869, 161, 179, 200; Przybyszewski 1968, 18, 23, 79). Like in Hungary, the Angevin rule in Poland distinguished itself by a clear development of goldsmithery, especially in Cracow. In 1371 Louis issued the first document for the goldsmiths' guild in Cracow, but from his days we know only the name of one goldsmith Ulric (Przybyszewski 1968, 14). Besides 12 court goldsmiths known by name from Hewig's times, sources note down names of 5 guild artisans. Some of them: John of Olkusz, Kunczle, Mikolaj (Nicholas) Pach and Synaj executed commissions or gifts for the Hungarian queen Mary (ibid.) Since the number of preserved objects is minimal, it would be difficult to discuss connections between the Polish goldsmithery in Cracow and the Hungarian one at the end of the 14th с Doubtlessly, the technique of champ levé enamel and the fashion of decorating paintings in the type of Eastern basma came from Hungary. Already under Casimir the Great, there penetrated to Poland the practic of introducing to decorations of heraldic elements, especially of the Angevin lilies. The second rich collection of Hedwig's offerings were canonicals, mainly chasubles, which she donated to the Vilnius cathedral already in 1387 (DLUGOSZ 1876, 469). In 1394 the queen founded for the pilgrimage church at Wilsnack a chasuble and two dalmatics, executed by the court embroiders John and Clement. (Przezdziecki 1854, 49; Piekosinski 1869, 181, 186, 193, 207, 208). The court bills help us to determine that it was a set of white silk vestments lined with taffeta and embroidered with silver and gold (Przezdziecki 1854, 46; Piekosinski 1869, 193, 201). The inventory of Our Lady's Church of 1397 mentions a chasuble and two dalmatics from Hedwig's gift, as well as two alter cloths, one ot them made of red kamcha, i. e. an Eastern material resemhjing brocade. (Piekosinski 1882, 519—522; Sokolowski 1906, CXXIII; Kruszynski ..., 232). Dlugosz mentions a chasuble offered by the queen to the Cracow cathedral (DLUGOSZ 1876, 532). Although the inventory of 1563 does not mention it, it can be identified with the chasuble in the list of things left by the archbishop Piotr Gamrat, where it is described as "casula vetus aurofilato infills serieeis celestinis intexta cum cruce reg um Ungariae et or mis illorum" (Kruszynski . . ., 293). The preserved donation of Hedwig for the Cracow cathedral is a bishop's rational, consisting of two bands set with pearls and fastened with two circles with a represen(1) The names of the goldsmiths: Janusz Brenner, Jan from Olkusz (Ilkussar) Andrzej, Arnold Swinge, Marcin Czech, Kunczle, Mikolaj Minsterberg, Mikolaj Pach (Pachnidos), Jan Sás, Jan Swinge, Synay, Jakub Rolle. 24
