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

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

NOTES 1. MOL (Hungarian National Archives) Signature: P 125. B 116. Nr. 1185. p. 82-85. (The childhood diary of Pál Esterházy) Szabó P.: A végtisztesség. A főúri gyászszertartás mint látvány. (Obsequies. The aristocrates' funeral rites as a sight) Budapest, 1989. pp. 84-92. 2. Galavics G.: Kössünk kardot az pogány ellen. Török háborúk és képzőművészet. (Let's buckle on our swords against the pagans. Turkish wars and contemporary fine arts) Budapest, 1986. pp. 57-80. 3. Berzsenyi D.: Herceg Eszterházy Miklóshoz, midőn a szombathelyi táborban commandírozá a nemességet. (To count Miklós Esterházy, as the commander of the gentry in the Szombathely camp) Poems of Dániel Berzsenyi, complete edition by Merényi O. Budapest, 1982. pp. 9-11. 4. Ernyey J.: Tótnyelvű krónikás énekek és kuruc dalok. (Historical songs in the Slovak language and Kuruts songs) in: Ethnographia XXXI-XXXIII. Budapest, 1920-22. pp. 9-10. 5. Lengyel D.: Magyar mondák a török világból és a kuruc korból. (Hungarian legends from the Turkish times and the Kuruts era) On the basis of Mednyánszky A.: A páncéling (The jupon) Budapest, 1992. pp. 162164. 6. „This series of paintings is completed by the iron mail in the family's Armoury which had been worn by László Esterházy at Vezekény... The through-shot dolman and the bloody jupon of an other member of the family fallen in the battle at Belgrade have also been survived and presented at Fraknó." Szádeczky L.: A fraknóvári bizottság jelentése. (Report of the committee at Fraknó castle) in: Századok XVII. Budapest, 1883. p. 78. 7. Tropheum Domus inclitae Estoras. Viennae, 1700. 111. 82. LXXXII-LXXXIII. 8. Bedingfeld, H. - Gwynn-Jones, P.: Heraldry. Hongkong, 1993. p. 19. 9. Huizinga, J.: A középkor alkonya. (The Fall of the Middle Ages) Budapest, 1976. p. 63. According to the story the young and poor knight gets seriously wounded and the lady gives him her heart. The knight can ask something from her. He sends the torn, bloodstained shirt back to her, saying that she should wear it on top of her dress on the gala evening. The lady kisses the shirt and wears it. The guests and especially her husband are astonished. The song end with a poetic question: which of the two lovers made a greater sacrifice? 10. Walter von Klingen: Manesse Codex. Zürich (?), around 1330. Heidelberg, Universitätsbibliothek, Cod. Pal. Ger. 848. Cf. Wappenfiebel. Handbuch der Heraldik. In the edition of Herold Verein für Heraldik, Genealogie und verwandte Wissenschaften. Neustadt an der Aisch, 1967. p. 30. Plate 30 and titlepage. 11. Prokopp M.: Olasz festészet a XIV. században. (Italian Painting in the fourteenth century) Budapest, 1986. p. 16 and illustration. 12. The garment hung above the grave until around 1845. A drawing from the turn of the sixteenth and seventeenth centuries illustrates the sight. Arnold, J.: The jupon or coat-armour of the Black Prince in Canterbury Cathedral, in: Church Monuments, Vol. VIII. London, 1993. p. 13. and ill., p. 14. and ill., p. 17: pattern-design. 13. Képes Krónika (Illuminated Chronicle), a facsimile edition. Budapest, 1988. p. 39. 14. Zichy L: A Képes Krónika miniatűrjei viselettörténeti szempontból. (The Illuminated Chronicle from the Aspect of Costume History) Offprint from the book published in honour of Elek Petrovics, Budapest, 1934. pp. 1-19. 15. Represented on Folio 20/a: in the illuminated initial letter ,,S" in a red-and-silver striped garment. Folio 20/b: in the scene defeating Koppány, on his chest with a cross on a trimount. Folio 21/a: In the initial letter „P" with a double cross on a trimount. Cf. Bertényi I.: A magyarországi Anjouk heraldikájának néhány kérdése. (Some Aspects to the Heraldry of the Angevins in Hungary) in: Művészettörténeti Értesítő XXXV. 1986. p. 59. 16. László Gy.: A Szent László-legenda középkori falképei. (Medieval Frescoes of the Legend of Saint Ladislas) Budapest, 1993. A great number of the frescoes, being in a bed condition, can be seen on copies only. Bögöz (end of the thirteenth or beginning of the fourteenth century): on the painting by József Huszka we can clearly see the sleeveless garment sewn up of small pieces of leather, p. 57, ill. 23-26. Gelence (early fourteenth century): the lower rim of the short-sleeved garment sewn of small pieces of leather is hemmed in arcs, p. 63. ill. 37-38. Maksa (mid-fourteenth century): a similar garment can be seen in a copy, ill. 45-47. Homoródszentmárton (fifteenth century): In a sketch of József Huszka, the king wears a loose jupon, bust one of his escorts a tight-fitting, short one, p. 77, ill. 5758. Kakaslomnic (around 1317): he wears a striped jupon, p. 109, ill. 106. Zsegra (around 1380): the garment with arches sleeves and lower rim is of a brownish colour, p. 115. ill. 116. Karaszkó (mid-fourteenth century): a sleeveless brown garment with a belt on the hip, p. 145. ill. 174. Rimabánya (last third of the fourteenth century): similar to the preceding one, p. 151. ill. 187. 17. László Gy. op. cit. p. 113. Both in the abovementioned Illuminated Chronicle and the frescoes we meet with several erroneous heraldic references. This is due to the fact that heraldic practice was introduced in Hungary at a rather late date. 18. In the possession of the Hungarian National Museum. Cf. Magyar Művelődéstörténet (History of Hungarian Culture) Ed.: Domanovszky S. Vol. I. Budapest, 1940. p. 310. and ill. 19. Cf. the detailed description, in Hungarian, about a gala dress of Gábor Bethlen' s valets from 1623.