Lengyel László (szerk.): Devóció és dekoráció - 18. és 19. századi korolstormunkák Magyarországon - Studia Agriensia 7. (Eger, 1987)

Summary

One of the typical representations of frames with floral ornament is that nun work which illustrates St. Margaret of the House of Árpád (111. 10.). Here, the decoration appears in full force: relies, gems, velvet flowers (marigolds, which, perhaps refer to Margaret!) golden and silver threads with formal accomplishments which remind us of goldsmitsh' filigree work, and subtitled vellum ribbons encircle the saint placed in the centre.

The relationship between pofion work and silver filigree work is well illustrated by a framed goldsmith work, an Agnus Dei wax medal. On one side of the medallion, in a silver frame made from stylised lillies, the name of Pope Innocent XII and the date 1700 can be read. On the other side, a typically Arcadian scene is shown which in its theme is connected to the was mould. The small picture painted on vellum shows St. John the Baptist as a child embracing the lamb which symbolises Jesus, in a landscape environment (111. IT).

The nun works of the Baroque period were mostly found in the homes of the noble and well-to-do citizens and according to a contemporary account they gained many benefactors. Convent art was handed down in a devalued form to the poor people at the end of the 19th century, when hand work which demanded personal invention had already degenerated into a stereotyped mass industry. In middle-class homes the works from the Baroque period were replaced by devotional pictures which were made in the Biedermaier age with fashionable cross stitch embroidery and on which the limbs were mostly cut out of prints, the clothes and background were decorated with chenille and beadwork besides diamond stitch.

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