crisis, Mathilde is depicted standing upright in the costume of a member of the high nobility, contrary to the usual depiction of the donor as a humble worshipper in monastic costume. Therefore, it has been concluded that Mathilde maintained a pronounced self-confidence and was not willing to stay out of secular matters. Mathilde was also guardian of Otto III's sister Matilda at this time. What exactly Mathilde did in this crisis, in which Otto II's widow Theophanu along with Otto I's widow Adelaide of Italy contested the regency with Henry, is not documented. However, the Golden Madonna came to Essen at this time and it could be interpreted as symbolic of Theophanu's right to care for her son Otto III as Mary cared for her own royal son. In 993, when Otto III visited Essen Abbey, he donated the crown with which he was crowned king as a small child in 983. Otto III also donated a battle-worn sword of Damascus steel with a golden sheath, which served as the ceremonial sword of the Abbesses of Essen and in later tradition was claimed to be the execution sword of the martyred Saints Cosmas and Damian. These gifts of royal insignia, for which there are no contemporary parallels at all at other abbeys, encourage the conclusion that Otto was offering his thanks for Mathilde's help in securing his rule. Mathilde had already met the king in 990. On 20 January of that year in Heilingstadt, Otto renewed a donation of Mathilde's mother at her request and with the advice of the Archchancellor Willigis: Visits to Essen by Otto III are assumed in 984 and 986, since in both years, there is a gap of some time between attestations of Otto in Dortmund and Duisburg. In April 997 Mathilde travelled to a Hoftag of Otto at Dortmund, where Otto transferred royal property on the Upper Leine to Essen Abbey. It is possible that she spent some time in Otto's court in this year, since she is mentioned as a witness in a document from Thorr in September. Otto also facilitated the donation of relics, especially those of Marsus, to Essen Abbey which became the centre of commemoration of his father in Saxony. Patron of the arts Hints of Mathilde's personality emerge only from the surviving remains of her artistic patronage. Taking over the management of the assets of her family, particularly the