Pillowcase

Three sides of both surfaces of the cushion cover are embroidered. Perpendicularly to the sides and in the corners there are flowery bushes connected by tendrils interlaced with ribbons. At the end of the symmetrically arranged flower stems there are large stylized pomegranates and tulips. The rhythmic floral pattern of the embroidery derives from Western European Renaissance ornamentation combined here with Ottoman-Turkish and Hungarian motifs. The prototypes can be found in Italian and German lace and embroidery pattern-books with the difference that there the bushes are lined up without connection. The undulating vine connecting the flower bunches first appears in the ornaments of charters painted on parchment from where it was transferred to embroidery. The lacy edge of the pomegranates and the serrated leaves display Turkish influence, while the thick tulips with fleshy petals and the hearts under the flower stems are in Hungarian taste. Joining the bouquets of flowers with a ring or two is a typical motif of Transylvanian textiles with “aristocratic embroidery”. The mature and subtle design of the cushion cover and the sectioned shading of the embroidery allude to an aristocrat’s needlework workshop. On the basis of the style it compares well with a similarly embroidered cushion cover in Orphan Kata Bethlen’s (1700–1759) trousseau.