f Hungary, decorated by his queen,
Gisela,[514] which is preserved in the Imperial Treasury at Ofen
(plate 65).

Of this authentic historical work we have the whole story. The
original design,[515] drawn on linen, carefully coloured, is to be
seen at the Benedictine convent abbey of Martinsburg, near Raab in
Hungary. The care with which the work was carried out shows the value
then placed on such undertakings considered as art, and it has been
justified by its survival of 800 years; time having spared it owing to
its perfect materials and manipulation, till it received cruel
injuries by being carried off and thrown into the bog of Orsava during
the revolution under Kossuth. It was, however, recovered and restored,
and was worn by the present emperor at the splendid and picturesque
ceremonial of his coronation at Pesth. The design reminds us of the
mosaics in the apse of Santa Maria Maggiore and other churches at
Rome, and it is extremely beautiful. It consists of an arrangement of
medallions and inscriptions, with "metal-work" ornaments in bands
alternated with smaller medallions. Yet the figures are not so finely
drawn as those of the Durham relics of the beginning of the tenth
century. The drawing of the figures of the Gisela mantle resembles
those on the garments of Walter de Cantilupe (plate 62), which, from
their design and stitches, seem to be of this period. The
architectural parts are very like in design to those of the Bayeux
tapestry, though they are infinitely better, and they have Lombardic
characteristics.

[Illustration: Pl. 66.
Portion of the Coronation Mantle of Henry II. of Germany,
embroidered by the Empress Kunigunda. From Bock's
"Kleinodien."]

It appears that Queen Gisela had personally embroidered this
many-figured, richly-embroidered representation of the "Ibi et
Ubi"--The Saviour in His glory as Victor over death and hell, seated
on the bow of heaven, surrounded by choirs of angels and saints, and
prophets of the Old Testament; below on thrones, are the twelve
Apostles. The figures are worked in Oriental gold thread on Byzantine
crimson silk.

In contrast to the Ubi, the heavenly hereafter, the queen, in the
lowest broad hem (border) has represented the Present, the then "Ibi,"
by the leaders of the Hungarian magnates and the half-figures of the
royal givers in large gold-embroidered medallions.

The next finest specimen of eleventh century needlework was the gift
o