M. Járó - L. Költő szerk.: Archaeometrical research in Hungary (Budapest, 1988)

Analysis - TIMÁR-BALÁZSY Ágnes: Investigation of dyes on textiles from the collections of Hungarian museums

The analysis of dyestuffs was also useful for studying the problem whether the strap and the patches had originally belonged together. Having found the same dye on the crimson embroidery on the mantle, on the strap and on the patches (madder + Polish cochineal) it seemed likely that the patches did originate from the originally bell shaped chasuble. However the fact that there is a difference between the dye of the brown embroidery thread of the mantle and 5 patches (indigo + weld) and that of the strap and 6 other patches (indigo + madder + Polish cochineal) throws doubt on the above assumption. From the results of the art historian's and restorer's examination it subsequently turned out that 5 patches originate from the chasuble and 6 others and the strap from another source. The results of analyses concerning the various textile layers, the strap and the collar merely demonstrated the use of dyes that were widely applied in the historical periods of the different linings [63]. (Photo 1) 4.2. Results of dye investigation on King Matthias' throne tapestry, chasubles from the 15th-16th century, and fabric fragments from the 14th-16th century The design for King Matthias' (1443—1490) throne tapestry is attributed to Antonio Pollaiuo and it was made in Italy (Photo 2). The fabrics of the chasubles and fragments from the 14th-16th century in the Hungarian church and museum collections were almost exclusively produced in Italian workshops [64]. On the yellow warps and wefts of the throne tapestry, and on 9 chasubles and 7 fabric fragments, weld was identified - except for the so-called "Matthias chasuble" from the 15th century. Its weft was dyed with young fustic. Kermes was found on a fragment and a velvet from Florence from the 15th century. Polish cochineal was determined on the red velvet of the Matthias' throne tapestry, on a velvet from Venice from the 15th century and on the warp and velvet of 3 chasubles. Other red yams were dyed with cochineal. On the violet coloured yams, indigo and cochineal were identified. On the beige yams, Brazil wood could be traced. Interesting conclusions could be drawn from the results of dye analysis in the case of fabrics having 2 different warps (usually red), one weft (usually yellow) and a golden yellow silk filling weft. Brazil wood was identified on the last of these from 8 samples. While dyed yams of good or rather good lightfastness were chosen for warp and weft, the question of the quality of the dye seemed not to play an important role when using the filling weft which was not to be seen on the surface. The finding of cochineal on the red warp of the "Bakócz chasuble" from the 15th century confirmed that the fabric did not originate from the 15th century (Photo 3). Cochineal could have been applied in Italian workshops just since the 16th century, after* the discovery of America. It turned out during restoration that the cross shaped embroidery was sewn onto the new fabric in the 16th century. When the restorer unstitched the embroidered cross at the bottom she found a folded fragment with the same colour scheme and weaving technique of the present fabric. The violet warp of the fragment was dyed with orchil and indigo, the yellow weft with weld and the golden yellow filling weft with Brazil wood. Probably this fragment belonged to the original fabric from the 15th century. 43. Results of dye investigation on Queen Mary's robe The robe of Mary, the Queen Consort of the Habsburg royal family is said to have been worn by Queen Mary for her marriage to Louis II in 1522. The art historic survey