Szilágyi András (szerk.): Ars Decorativa 27. (Budapest, 2009)

Enikő SIPOS: Hungarian-Related Textile Works in Switzerland

The flowers and leaves are accentuated by means of gold foil. 14. Detail from the antependium, details of parchment and gold leafon one capital 15-16. Textile and embroidery patterns by Jacopo Bellini and Pisanello Material and technique Examination of the technique has confirmed the assumption that the figures of the Saints Agnes and Andrew and the Apostles Peter and Paul were added later to the group around the Cross in the central area of the picture (fig. 13). In terms of technique and style, the four saints differ from the other figures in three respects. Firstly, the contour and embroidery of the figures are less subtle. Secondly, the cloaks and dresses feature significantly more metal-thread embroidery. And thirdly, the attire of Saint Andrew has been complemented with an older quilted silk fabric (fig. 12). On the basis of these differences, clearly the two sets of figures were "united" in the course of a re-appliquéing procedure. The addition was very probably done at Königsfelden where an entry in the local chronicle confirms that the convent was involved in embroidering fabric for church purposes.

32 When the work of art underwent repair in 1889 and the embroidery detached, pieces of parchment lining were found. The pieces of parchments had come from a fourteenthcentury breviary and a letter from Louis of Bavaria to Agnes, dating from 1334-1335, proving that the antependium was made in the queen's lifetime.

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3 The pluvial and two antependia of the Engelberg Benedictine Monastery Tradition has it that the pluvial and two antependia of the Engelberg Benedictine Monastery were a gift from Agnes. The ecclesiastical robe and the frontal were purchased by Leopold Iklé after the "National Geneva Fair" in 1896, who donated them to the Saint Gallen Textile Museum.

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4 The assumption that they had been personally 144