Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)

TOMPOS Lilla: Legenda és valóság; Esterházy László „páncélinge"

lined with red material on top of his coat of mail. (111.4). The shirt is slashed on both sides, its sleeves are elbow-high. The garment is blue and white diagonally striped and-despite the heraldic error-it probably refers to the country's coat-of-arms.

17 The armoured knights fighting against each other on the nielloed representation on the belt-buckle found at Kígyóspuszta, also wear loose, sleeveless jupons.

18 By the fifteenth century military technology had changed, and with the invention of the fire-arm, this kind of garment lost its meaning, and became a mere representational means of knightly tournaments. By the seventeenth century the original aim-to wear the colours of the coat-of-arms-became totally forgotten. The tight garment to be seen in fourteenth anf fifteenth century representations can also be found, for example on Gábor Bethlen's valets: a pelisse of red velvet with floral decoration.

19 The loose shirts and jupon sewn of a light, colourful material were popular. Such a piece of clothing was probably worn by György Thurzó (1593) who, in a letter to his wife, wrote that he had escaped, it was but his tafetta jupon that was cut with a sabre. Inventories of estate also back up the above: jupons were mostly sewn of red tafetta, but also of damask, embroidered with gold, and silver yarns, decorated with beads, laces and strings. A seventeenth-century inventory from Köpcsény lists it among Turkish acquisitions.

20 Péter Apor mentions it as a gala dress of the young, and gives a seventeenthcentury definition: Young lads wore a shirt of some light material (although underneath there was another shirt of linen), the sleeves, front and collar of which was richly embroidered, with a fringed trimming, otherwise it was just the same as the shirt, but looser, which was called a jupon.

21 Pál Esterházy's troops had similar fleshand red coloured shirts. According to an eye-witness, this is what they wore on December 5, 1666, when the bride of Leopold I marched into Vienna: And thus the troops marched in flesh-coloured shirts, holding a pike in their hands... In front of the second troop there went three young noblemen in red jupons, decorated with silver and gold stars.

22 In the court of Miklós Esterházy, these shirts were made by court tailor Péter Madarász, for the soldiers. According to his receipt of the year 1620, Item zalt ich andern Schneider wegen 48 Pantzer H embêter zumachen vor einem 28d p f 13.44.

23 The popularity of this garment is also shown by the inventory of estate from the year 1645, of the Palatine Miklós Esterházy, which contained twenty-six shirts of a good quality tafetta dotted in gold, sixty-two ordinary tafetta and eleven red jupons.

24 The inventory of the year 1654 enlists but two, and the later ones just one, sewn of red satin, attributed to László Esterházy by both the inventories and tradition. This piece, together with several other women's and men's garments from the Esterházy treasury, is now in the collection of the Museum of Applied Art, with no pendant or analogous piece in any of the Hungarian collections (111.5). The material is red silk satin. It is of a hip length, both the front and the back are sewn from the total width of the material. To obtain a widening form, on both sides there are triangle-shaped inserts. The shoulders are cut even, the sleeves come down to the elbow. The collar is a trapezoid standup one, lined with cotton-wool and blue tafetta, quilted. The one-time blue lining has by now been almost totally worn off. The front is split open up to the chest. The front and back sides of the sleeves are embroidered in satin stitch with silver and gilt silver yarn; a floral motif of carnations, acanthuses, tulips and leaves both lobular and lance-shaped. The middle of the flowers is enriched by an embroidery of a gilt silver ribbon bent into a pentagonal shape, called bouillon. (111. 6.) From the one-time orient pearl-decoration, it is but some single beads that have remained. The type and composition of the flowers attest to a Turkish influence. The edge and sleeves of the shirt are rimmed by two parallel, nar-