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
neither in this case, nor in later-type aluminium threads produced using a vacuum-deposition technique, nor indeed in currently-used domestic aluminium foil, could we detect any contamination component apart from iron. Thus we can assume that the aluminium foil used for the thread in question, which contains copper and zinc, was made earlier, at around the turn of the 19 th-20 th centuries. Consequently it appears likely that the repair was performed at this time; or, if it was done at a later date, then with use of a supply of old thread. Summary On the basis of the scientific examination of the metal threads of the dolman and mantle, in most cases we have been able to "reconstruct" the manufacturing technique of the thread in question. In summary, we can state that while the metal threads of the base-fabric of the two garments, as well as those of the ornamental braids of the mantle, were made of precious-metals (silver and gilt-silver), those in the lace pieces used in the alterations to the dolman were made from "baser" materials (brass and silver-plated copper). In contrast however, a repair to the dolman was made using thread made from aluminium alloy dating from the last third of the 19 th century; and this was at that period a very valuable material. Judging from the pattern and weaving technique, the base-fabric of the garments was lampas of Italian origin, from the first half or the mid 17 th century; the fabric has doubled silver wire in lancé-weft and brocade-weft using metal thread made of single-sided gilt silver strip. The latter type of high-quality metal thread, called in the contemporary written sources "or de Milan" was well-known but already rare (according to the investigation data) from the first half of the 17 th century onward. Comparing the results of our examinations with relevant published data, we conclude that the thread was probably made in Milan. Perhaps also we are not far from the truth in supposing that the rich fabrics themselves were made in one of the manufactures of this north-Italian city. Up to the mid18 th century, the Viennese court habitually imported luxury fabrics from France and Italy. 77 From the second half of the 17 th century, we even know by name the Milanese tradesmen appointed as suppliers to the court. 78 On this basis we cannot exclude the possibility that coronation-robes were tailored from the expensive Milanese "gold brocade" in the middle of that century. According to the contemporary description, at his coronation in Pressburg, Prince Leopold wore a Hungarian-style dolman made from white gold brocade. Judging from the various characteristics of the silk fabric (age, colour, pattern, weaving technique, the composition and manufacturing technique of the metal threads), the dolman preserved in the Museum of Applied Arts could have been made for this ceremonial occasion in 1655. At the same time, the two garments under consideration could equally have been worn by Prince Paul Esterházy in his youth (as suggested by the mysterious entry in the 1693 inventory), since he was in fact only five years older than Leopold. The bobbin-lace pieces added to the dolman, made from "or de Lyon" and "false" silver threads, were of a type known from the end of the 16 th century; but, according to our experience and also from the published literature, they were not used for the ornamentation of aristocratic garments. Levey, quoting Despierres, mentions that the bobbin-lace using copperbase metal threads was preferred by the less well-off customers, and was used for decoration of costumes for masked balls and theatrical performances. 79 The baroque theatre demanded a constant succession of glamorous costumes for each occasion. Instead of expensive gold and silver lace, the use of ornamentations made of cheaper materials but with similar appearance was a natural solution. In aristocratic court circles of the 17 th and 18 th centuries, numerous theatrical and operatic performances took place; employing numerous actors, and often involving the aristocrats and even the rulers themselves. Leopold himself is known to have participated in performances, as witnessed by a contemporary painting 80 and descriptions 81 . The use of "imitation" lace in the alterations to the dolman perhaps suggests that the enlarged garment served as a piece of non-formal royal
