Vadas József (szerk.): Ars Decorativa 10. (Budapest, 1991)
TOMPOS Lilla: A dolmányszabás módosulása a 16. századtól a 18. századig
kompt Kairasa 5 Ein, / und ein Halbe 3 Ein und ein Achtl, / Damask zum Erbel zum fürdern, anderthalb Ein" 20 (Plate 5). In these pattern-books, there are three ways of showing Hungarian garments : the front and the back on the same diagram, one front together with one sleeve, or the left fronts of two different costumes drawn one on top of the other. The master tailors have not displayed how the patterns should be placed on the fabric, nor have they indicated the unfolded shape of the sleeves. In two cases even the diagram of the back is missing. With such scanty guidance, how could the tailor or the apprentice preparing or his examination make these garments? We found the answer when we tried to draw patterns for those seventeenth-century dolmans which have reached our collection via the Esterházy Treasury. The black dolman has faded by now; the symmetrical design of its relief velvet is known to us from old photographs only. 21 The front features knitted golden-thread buttons, the passementerie is woven of golden thread. The dolman is lined with a crimson-silk fabric (Plate 6). The brown dolman, made of shortnapped velvet, was probably brick-brown originally. 22 It is embroidered with gold and silver thread, and is adorned with a profusion of harmoniously-arranged flowers in relief. The centre of each flower is decorated with pearls. The lining is made of a pale green flower-patterned silk fabric from the second half of the seventeenth century. 23 The front is fastened with nine pairs of hooks decorated with diamonds: the silver hooks on the sleeves form heraldic lilies (Plate 7). The silk fabric of the third dolman is greenish yellow, and laced with gold and silver thread. Its pattern is formed of silver palmettes on symmetrical branches. 24 Its lining is of a sand-colour silk fabric with large flowers and gold-thread decorations. On the front, the buttons are missing, the slit of the sleeves are ornamented with gold thread (Plate 8). The greenish-blue, short-napped velvet dolman-which used to be dark purple-is covered with two strips of bone-lace-gold and silver. The front is fastened with seventeen egg-shaped enamel buttons of light green colour. The buttons on the sleeves are knitted from metal thread. The lining used to be crimson, but today is tan 25 (Plate 9). 26 The crimson, short-napped velvet dolman, like the previous one, is covered with bone-lace strips. The front is fastened with nine pairs of heart-shaped "Transylvanian" enamel buttons, decorated with flowers. The buttons on the sleeves are knitted from metal thread. The material of its lining is also similar to the one described before (Plate 10). 27 Its Baroque magnificence makes the crimson satin dolman superior to all. It is ornamented with a lavish guipure in relief made of gold and silver thread and strips. The lining is the same as of the two dolmans discussed before (Plate 11). The front is fastened with eight pairs of "Transylvanian" enamel hooks. The hooks consist of two matching halves: white hands reach out from a heart ornamented with flowers, each holding one half of a heart. On the heart and on the hand a white dove is sitting, its wings spread out. When one engages the hook, the two demi-hearts join and the two doves kiss. The slits on the sleeves are fastened with matching hooks, which consist of similar hands and doves. (According to tradition, the palatine, Count Miklós Esterházy [1582-1645], wore this dolman for his wedding.) (Plate 12.) 28 When the restoration of the crimson satin dolman was undertaken, the sides had to be unstitched-enabling the method of cutting to be observed clearly and exact measurements to be taken. The crimson dolman's pattern turned out to match one of the dolmans found in the Sopron PatternBook. Our growing familiarity with the
