The tapestry with the Hungarian–Angevin coat-of-arms


Archeological excavations conducted at the former Teleki Palace provide important information about the medieval layout of the area. In the Middle Ages it was probably divided up into three plots, each extending to the city wall. The deep-cellar of the Modern Age building is located on the northernmost plot. A square shaped well with a depth of 13.70 ms (measured from the floor of the cellar) has been excavated here. It had been cut into the rock and had not been lined. While in use it was regularly cleaned and maintained. At the bottom of the well a 5 meters thick layer of mud was espesially rich in finds. These objects could have got in the well as a result of cleaning and tidying up of the house standing on the medieval plot, on the occcasion when the house changed its owners. The lack of air and a steady supply of water resulted in fortunate circumstances essential in preserving various organic materials: leather, wood, textile and plant seeds. The end of using the well is dated by the coins of King Sigismund of Luxemburg found in the mud from the bottom part of the well. The coins were minted between 1390 and 1427.




The ta pestry with the Hungarian–Angevin coat-of-arms was found in the form of a mud ball at a depth of about 10 m in the well together with a number of other silk finds. The mud has conserved the material although the pigments of the dyes have deteriorated. The tapestry illustrates the red-silver (white) per fess coat-of-arms of the Árpád dynasty and the Angevin coat-of-arms of golden lilies on a blue field in lozenge shields. The traces of stitches suggest that the tapestry was backed. A three-forked floating label depicting a letter ‘E’ lying flat can be seen above the lilies in the Angevin shield. This depiction, called abatement in heraldry, links our find with the Angevin royal house of Naples. Its manufacturing technology was in the form of appliqué embroidery sewn together from individual elements. The original size is not known. In its present form, it was coarsely cut on some edges and turned, something possibly explained by attempts to mend the damaged material. The depiction suggests that the owner of the find must have been a ruler of the Angevin dynasty or someone from his close environment. A similar tapestry covers the back of the throne on the 3rd great double seal of King Robert Charles who came from the Angevins of Naples.



B. Nyékhelyi Dorottya archeologist