Conservation around the Millennium (Hungarian National Museum, 2001)
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engraved patterns were formed. In these engravings and channels a decorative mass was inlayed created from the composition of different proportions of copper, tin, zinc and lead with wax resin. Thus, depending on the alloy’s composition of the inlayed material, green, turquoise and blackish decorations could be created. Reviewing the table summarising the results of investigations aimed at proving the observations and assumptions it can be stated that the inlay composition in the wedge-shaped engravings and granulated channels of line ornaments is different from the basic metal and its cover - consequently, it speaks of consciousness. In the inner part of the strap ends, besides the usual small wooden plate inlayed, a waxy and resinous surface is also visible to the naked eye, that I have already experienced several times, which conserved then the inner part of strap ends extremely well. The inlay of the bluish-greenish wedge-shaped engraving could also be made with this material. It was proved by the organic chemical test. The tests were performed by dr. Zoltán Dinya using the gas chromatographic process. The result of ion flow chromatogram showed terpene which indicates plant resin (e.g. pine-resin) and additionally, presence of wax could also be revealed. In the lack of funds there is no possibility to determine the exact type of these materials. The goldsmiths creating the metal objects found in the Avar cemetery of Zamárdi made the ornaments of everyday clothes with admirable technical skills and aesthetic sense. On the silver strap end found in grave 468 (picture 4) ornaments are emphasised with scratched, engraved patterns, wedge-shaped engraved decoration and in the wedge-shaped engravings with plasticity and gilding. The master of the decorative technique mentioned by me did the same in green and bluish colour. It can be imagined that the colourful wax inlays discovered by me could have not only aesthetic but some kind of symbolic meaning as well because different kinds of colours and symbolism were characteristic of the decoration method of the different ages. Perhaps we can also receive an answer to the meaning of these by means of later research works. 4. The strap end from grave 468 By playing on words a bit: Did already the Avar do the “Spanish” or the Spanish do the Avar? Were the Avar also familiar with the so called “Spanish" technique, also in use up to the present, with scratched wedge-shaped engravings and colourful wax inlay used for the decoration of ethnographic objects? It seems they were and this ancient technique was nicely hidden besides and under the products of corrosion. The active corrosion of metals was developed from the basic material of strap ends, due to the technique of preparation, and deriving from the difference 76
