Szilágyi András (szerk.): Ars Decorativa 22. (Budapest, 2003)

Márta JÁRÓ: On the History of a 17th Century Noblemans' Dolman and Mantle, based on the Manufacturing Techniques of the Ornamental Metal Threads. Or de Milan, Or de Lyon and Silver of Clay Ornamentations on a ceremonial Costume from the Esterházy Treasury

rative Metallic Yarns, Book of Papers, ATC 1979, National Technical Conference, Delaware, 1979, 137-140. 59 Karmasch und Heeren's Technisches Wörterbuch, (hereafter: Karmasch und Heeren), Prague, Band II, 1877, 651. 60 Petraschek-Heim, I.: Die Metallborte und Textilien aus den Gräbern in der Stiftspfarrkirche Mattsee, Fundberichte aus Österreich, 18, 1979, Vienna, 1980 (hereafter: Petraschek-Heim, 1980), 165-177. 61 Rawitzer, B.: Leonische Drahtwaren und Gespinste. Studien zu einem Spezialgewerbe in Mittelfranken anhand der Archive des 19. Jahrhunderts, Würzburg, 1988, 12-13. 62 For example, a collection of "recipes" dated before 1478 describes the gilding of silver wire in the same way as that given by Biringuccio for the silver-coating of copper wire. See: Anon (15th c.?): Sur la très précieuse et très célèbre orfèvrerie, in: Berthelot, M.E.: Collection des Anciens Alchimistes Grecs, ed.: Georges Steinheil, Paris, 1883, 309. 63 In the German translation of O. Johannsen: "Wenn aber einer einen noch ärgeren Betrug anstrebt, macht er die Seele nicht aus Feinsilber sondern aus Kupfer..." in: Pirotechnia, 1925,449. 64 For example, on a woven ribbon used to decorate an association's banner of 1934, manufactured in Hungary. But in this case the method of precious-metal coating was already different: electroplating was used. Unpublished data. 65 M. Járó, A.L. Tóth: Mode de fabrication des fils métalliques provenant des fouilles en Hongrie, in: La conservation des textiles anciens, Volume des contributions des Journées d'Études de la SFIIC, Angers, 1994, 157-167. 66 Savary des Bruslons, 1750, tome 2, 1596. 67 Ordnung von 1754 in Codex Austriaca, Anm. 4, 914, in: Petraschek-Heim, 1980, 166. (165-177.) 68 Inv. no.: 52.2370, for a description, see: Az európai iparművészet stíluskorszakai - Reneszánsz és manierizmus [Periods in European Decorative Arts: Renaissance and Mannerism], Iparművészeti Múzeum, Budapest, 1988, eds.: Péter, M. and Bardoly, I., Budapest 1988 (hereafter: Renaissance-cat. 1988), cat. no.: 429 (description by László, E.). Also: Tompos, L.: Legend and reality. The jupon or coatarmour of László Esterházy. Ars Decorativa 14., 1994,19-26. 69 Inv. nos.: 52.2377, 52.2804,52.2803; for descriptions, see: Baroque-cat. 1990, cat. nos.: 5.14, 5.15, 5.17 (Tompos, L.) 70 Inv. no.: 52.2853; for a description, see: Renaissancecat. 1988, cat. no.: 394. (László, E.) 71 Unpublished data. 72

1 thank Anikó Pataki, textile restorer at the Museum of Applied Arts, for calling my attention to the repair. 73 Balázs, L.: A kémia története [The history of chemistry], Nemzeti Tankönyvkiadó, Budapest, 1996, (hereafter: Balázs, 1996), vol. II, 585-586. 74 Karmasch und Heeren, Band I, 1876, 114-125. 75 Balázs 1996, vol. II, 587-588. 76 Járó et al., 2000, 100-101. 77 Heinz, Dora: Meisterwerke barockes Textilkunst, Österreichisches Museum für angewandte Kunst, Vienna, 1972, 6. (hereafter: Heinz, 1972). 78 E.g. Jacob Frenckhl and Jakob Salamon "Hofhandelsjuden", see in: Heinz, 1972, 6. 79 Trade-bills survive from 1613 which mention large quantities of copper lace, bought for use in fancy-dress costumes. The costumes were worn at a masked ball held to celebrate the wedding of Elisabeth, daughter of King James I of England. Further trade-receipts survive from the period 1593-1602 in which mention is made of theatrical performers in London buying copper lace. See: Despierres, G.: Histoire du Point d'Alençon, Paris, 1866, 37-44., 77., in: Levey, S. M.: Lace: a history, London, 1983, refs. 47 and 48. 80 In his painting of ca. 1660 for instance, Jan Thomas depicts him as a shepherd wearing a garment richly-decorated with lace. See: Eamshaw, Lace in fashion from the sixtieth to the twentieth centuries, London, 1985, 46. 81 Priorato describes the costume worn by the Emperor on the occasion of a performance held during the carnival season of 1667. See: Priorato, G.G.: História di Leopoldo Cesare, III., Vienna, 1674, 96. 82 Katalin E. Nagy of the Museum of Applied Arts is of the opinion that this repair was carried out subsequent to the Second World War.