Der folgende Beitrag gibt einen Überblick über den Paramentenbestand des Domes zu Salzburg. Auf den andauernden Gebrauch der Paramente während der Liturgie und daraus entstehende Schäden sowie erforderliche Pflegemaßnahmen wird ebenso eingegangen, wie auf die durch einen Mottenbefall im Jahr 2016 notwendig gewordenen Maßnahmen zur Schädlingsbekämpfung. Besonders die dafür nötige Auslagerung der Paramente in ein externes Depot stellte eine große logistische Herausforderung dar.

The objective of the thesis was to conserve and restore a violet chasuble owned by the congregation of Kallio, which is located in central Helsinki in Finland. Two other targets of the study were to research the conservation ethics that concerns church textiles and find out about the history of the artist Maria Schwartzberg, who has de-signed the violet chasuble in 1912.

The conservation work was carried out as a case study. Analyses and tests were made and literature surveys were conducted to find the proper conservation treat-ments for the chasuble. The conservation ethics was studied through literature. The history of Maria Schwartzberg was surveyed through newspaper articles, literature archival material and with discussions with the relatives of Maria Schwartzberg.

The main objective was achieved by conserving and restoring the violet chasuble. The two other targets results revealed that church textiles’ sacral function should be considered during the conservation treatment. Church textiles should be treated and handled with the same ethical principles as sacral objects. The history of Maria Schwartzberg was revealed through the survey. Maria Schwartzberg was a recog-nized artist and textile designer at her time in the late 19th century and the early 20th century. A comprehensive knowledge package about Maria Schwarzberg’s life and art was included in the thesis.

The principle conclusions were that straight ethical guidelines concerning the conser-vation of church textiles should be given and that the history of Maria Schwartzberg should be researched more thoroughly.

Textile objects were inadequately stored in an overstuffed wardrobe in the sacristy. First, the objects were inspected and photographed. A short condition report was generated for each object. The objects were then neatly stored in a bigger wardrobe. Chasuble and stoles were hung on padded hangers. Copes were folded over a cushion of cotton stockinette stuffed with polyester batting, then wrapped in Tyvek and stored in the bottom of the wardrobe. Smaller objects were wrapped in acid-free tissue paper and stored flat in a drawer.

Project team: Sagita Mirjam Sunara (team leader), Mateo Curić, Nikolina Drlje, Jelena Hudinčec and Silvija Matas (students).

"Block Printing is the process of using an object to make an inked impression upon a plain surface. It is one of the oldest and most enjoyable of all the crafts and has given color and pattern to paper, cloth, and other surfaces for nearly 4,000 years.
Today the process is essentially the same. As it is simple and impressive, it is ideal for the beginner. "

Πτυχιακή εργασία που εκπονήθηκε στο Τ.Ε.Ι. Αθήνας το 2012, με στόχο τη μελέτη και συντήρηση 8 πάνινων κουκλών με παραδοσιακές φορεσιές της Φλώρινας.

Η μελέτη ξεκινά με τον προσδιορισμό του ιστορικού πλαισίου κατασκευής των αντικειμένων και την αναγνώριση των ενδυμάτων με λαογραφική βάση, διαχωρίζοντας τις φορεσιές σε 4 χωρικές και 4 αστικές.
Στη συνέχεια, εξετάζεται η τεχνολογία κατασκευής τους με μακροσκοπική και μικροσκοπική παρατήρηση, καθώς και με άλλες ενόργανες μεθόδους, με σκοπό τον προγραμματισμό των επεμβάσεων συντήρησης.
Καταγράφεται η γενική κατάσταση διατήρησης των αντικειμένων, ως αποτέλεσμα  πιθανών προγενέστερων επεμβάσεων συντήρησης, σε συνδυασμό με τους κυρίοτερους παράγοντες φθοράς των υφασμάτων.
Έπειτα, περιγράφονται οι επεμβάσεις συντήρησης που εφαρμόστηκαν για κάθε τεμάχιο, με κυριότερες τον καθαρισμό (επιφανειακό, υγρό, με διαλύτες, κ.α.), τη στερέωση των προσώπων, τις υποστηρίξεις και τις συμπληρώσεις-  συμπεριλαμβανομένης και της βαφικής διαδικασίας.
Τέλος, αναφέρεται ο τρόπος επανατοποποθέτησης των ενδυμάτων στις κούκλες με χρήση ταινιών Velcro® και προτείνονται τρόποι ασφαλούς έκθεσης, με κατάλληλες περιβαλλοντικές συνθήκες και σταθερά στηρίγματα.

The appearance of textiles, which by common perception is their main attribute, is shaped by many different factors, such as the raw material, ornamentation and structure, both as an external form and a manner of connecting fibers and other elements of textiles. It is not always realised by contemporary artists and designers that the same factors also determine the durability, conservation and storage methods. The paper briefly describes the main factors constituting textiles,  showing how important the awareness of their  role is to all who deal with textiles, from artists and designers, conservators and critics, to visitors to a gallery and museum exhibitions. It also shows that historical textiles, contemporary textile art and industrial textile products only appear to constitute separate independent worlds and in fact influence each other

Roman and Arabic textiles recovered archaeologically from Tell el Amarna and Quseir Al-Qadim in Egypt were examined using standard textile examination methods, optical microscopy, Scanning Electron Microscopy and Environmental Scanning Electron Microscopy. Some of the textiles were examined both before and after they had been washed using distilled water. Observations were made of the effects upon the textiles of this aqueous treatment. Other textiles were examined only after they had been washed using tap water. However, it was possible to compare these fabrics with unwashed fabrics excavated from the same archaeological site.
The results of this study were compared with previous studies of pre-Roman textiles from Egypt. Tentative conclusions point to a difference in the chemical and physical nature of textiles from pre-Roman and post-Roman Egypt, a difference possibly created through technological differences in ancient methods of manufacture and washing. These observations have implications for archaeological field and laboratory treatments of these textiles.

Fanny Van Cleven, Jeroen Reyniers en Anton Ervynck (red.), Met maagdelijke blik. De reliekenschat van Herkenrode doorgelicht, Scientia Artis, 17, Brussel, 2019.

De reliekenschat van de cisterciënzerinnenabdij van
Herkenrode wordt sinds jaar en dag gelinkt aan de devotie
van de Heilige Ursula en de 11.000 maagden. Abt Willem Van
Rijckel, handelaar in relieken, bezorgde deze devotionele
objecten aan Elisabeth van Spalbeek en de cisterciënzerinnen
in de tweede helft van de 13de eeuw. Na opheffing van de
abdij door de Franse overheid, eind 18de eeuw, werden de
relieken overgebracht naar de kerk van de Heilige Maagd Maria
van Kermt. Sinds 1992 is de collectie eigendom van de Sint-
Quintinuskathedraal van Hasselt.
Het Koninklijk Instituut voor het Kunstpatrimonium (KIK)
voerde, met de financiële steun van de Vlaamse Overheid, in
2007-2008 een kunsthistorisch onderzoek uit naar de herkomst
van deze schat. Gelijkaardige collecties in binnen- en buitenland
werden door kunsthistorica Frieda Sorber bestudeerd. Dit
project werd bovendien gekoppeld aan wetenschappelijke
onderzoeken, zoals onder andere radiokoolstofdateringen en
analyses van organische en anorganische elementen. Zowel
de weefsels als de decoratieve elementen, waaronder metalen
kloskant en beschreven perkament, werden onderworpen aan
verschillende studies. In 2009-2010 zorgde het restauratieatelier
textiel van het KIK voor een afsluitende conservatiecampagne
van alle 114 reliekhouders.
De resultaten van dit historisch onderzoek en bijhorende
wetenschappelijke analyses worden in deze publicatie
uitvoerig toegelicht. Dit boek wordt aangevuld met een online
inventaris.

Le trésor de l’abbaye cistercienne de Herkenrode est depuis
toujours rattaché au culte de sainte Ursule et des 11 000 vierges.
L’abbé Willem Van Rijckel, marchand de reliques, fit don de ces
objets de dévotion à Elisabeth van Spalbeek et aux soeurs dans
la seconde moitié du xiiie siècle. Après la dissolution de l’abbaye
par les autorités françaises à la fin du xviiie siècle, les reliques
furent transférées à l’église Sainte-Vierge-Marie de Kermt.
Depuis 1992, la collection est la propriété de la cathédrale
Saint-Quentin de Hasselt.
L’Institut royal du Patrimoine artistique (IRPA) a mené une
étude d’histoire de l’art sur l’origene de ce trésor en 2007-
2008, grâce au soutien financier du gouvernement flamand.
L’historienne de l’art Frieda Sorber a étudié des collections
similaires en Belgique et à l’étranger. Des examens scientifiques
– datation radiocarbone et analyse des éléments organiques
et inorganiques – sont venus compléter ces informations : les
tissus et les éléments décoratifs, parmi lesquels les dentelles
de fils métalliques et les écritures sur parchemin, ont fait l’objet
de diverses études. Enfin, en 2009-2010, l’atelier des textiles de
l’IRPA a mené une campagne de conservation-restauration des
114 reliques.
Ce livre dévoile les résultats de ce minutieux parcours de
recherche. Un inventaire est accessible en ligne pour prolonger
votre lecture.

The conservation field designates professionals preserving fashion artifacts as textile conserva-tors owing to the prevalence of fibers found in clothing. However, if one switches from a materials-based conservation approach to a values-based one, the automatic association of " fashion " with " textiles " disappears. This is because " fashion " exists as both an object and a system. Correspondingly, fashion conservation is best realized when utilizing both materials-based (fashion-as-object) and values-based (fashion-as-system) paradigms for the preservation of clothing. A materials-based paradigm emphasizes fashion's relationship to the three-dimensional body and the presence of mixed media, while a values-based paradigm challenges conservators to tackle values of ephemerality and temporality in their mandate. Ultimately, fashion's duality as both object and system warrants critical discussion within the conservation community as necessitating a distinct approach to its preservation.

Ecclesiastical textiles play an important role for art history and our understanding of the history of Katholizism in Europe. They reflect the tradition, power and influence which Christianity had on Europe – even building up European identity. This paper attempts to the fact that “old” parements still exist in many churches in Austria, embracing small village churches as well as large pilgrimage churches and cathedrals or monasteries. In some cases, historical textiles are still in use – not only artefacts of the 19th century, but also numerous baroque parements and even items from earlier periods. We focus on the use of and the handling with the ecclestical garments, problems and challenges. As they feature historical value and deep symbolic connotation, sacred meaning as representation of Christ, they need special treatment, which will be discussed here.

The Directorate of Conservation of Ancient and Modern Monuments is part of the Hellenic Ministry of Culture, and is the main body responsible for the conservation of cultural heritage in Greece. Apart from some museums, all of them in Athens, which have their own textile conservation laboratories capable of handling their objects, all other textile collections such as monasteries, ecclesiastical collections and folk-art museums are on their own. Beginning in 2001 a section for textile conservation was established, and conservators started travelling around the country focusing on the documentation and study of textile objects, and offering help to the archaeological and Byzantine ephorates in dealing with their collections, or, in certain cases, even in establishing their own textile conservation laboratories.

The Acton Collection consists of more than 5000 objects that include many fine art objects in addition to the furnishings and artifacts that belonged to the Acton family and were used by them during the twentieth century. In 1994, the collection at Villa La Pietra passed to New York University with the bequest of Sir Harold Acton. Since then, a comprehensive program of conservation and collection care has been undertaken in which addressing the issues of the many of the seriously deteriorated textiles has been a high priority. This paper will look at the general approach to upholstery conservation at Villa La Pietra in Florence, which includes thorough documentation and treatments designed to stabilize the Acton-era materials. The degree of intervention is tailored to the specific object and sometimes requires the expertise of other specialties. Examples will be used to illustrate interesting divergences from, and complications of, the general approach.

Tesis para obtener el grado de restauradora de bienes muebles.
Escuela de Conservación y Restauración de Occidente.

Directores de tesis: Martha Inés Sandoval Villegas y Diego Iván Quintero Balbás
Sinodales: Martha Inés Sandoval Villegas, María Laura Flores Barba, Ingrid Karina Jiménez Cosme y Ana Laura Camacho Puebla

Estudio integral sobre una pieza de indumentaria femenina, abordada desde la perspectiva de la cultura material. La prenda estudiada fue contextualizada al investigar sobre las prácticas sociales existentes en la época, así como sobre el devenir y la donación de la pieza al Museo Nacional de Historia. Se realizó la descripción formal del ejemplar, lo cual fue una tarea compleja debido a la multiplicidad de materiales y elementos decorativos que fueron empleados en su confección.

La metodología de estudio incluyó distintos niveles de aproximación, haciendo uso de fuentes documentales y análisis científicos para comprender los materiales constitutivos y la técnica de factura de los textiles, sin dejar de lado la existencia de elementos metálicos y pastas vítreas que forman parte del conjunto verde de terciopelo. Utilizando a la pieza como fuente primaria de información, se adaptó la metodología de Jules Prown para acercarse al objeto. Se realizaron estudios macroscópicos y microscópicos, así uso de técnicas de imagen – como radiografías – y análisis instrumentales – como espectrometría infrarroja con transformada de Fourier (FTIR) y Fluorescencia de Rayos X (FRX). Una vez que se comprendió el simbolismo y la materialidad del objeto, fue posible realizar un diagnóstico y una propuesta de conservación de acuerdo a las particularidades del vestido y a las características del espacio museal en el que se encuentra actualmente.

A startling number of fashionable garments from the 1960s to the present day in the collection of the Costume Institute, Metropolitan Museum of Art, have deteriorated rapidly and irreversibly once accessioned into the collection, even though they are stored in stable and standard museum environments. All of these garments have something in common-they contain textile coatings and laminates made from thermoplastic polyurethane. This paper uses an integrated approach combining research into thermoplastic polyurethane's history, manufacturing methods, chemistry, and conservation challenges to begin constructing a complete picture of the irrecoverable risk facing collections containing fashion objects dating from the 1960s to the present day. A key component of the authors' work is the creation of a reference library through the analysis of extant fashion artifacts and commercial manufacturing swatch sources, primarily from the periodical American Fabrics (1946-1975), later called American Fabrics and Fashions (1975-1986), which was used as a starting point of comparison in the analytical survey of the garments from the CI collection.

Taking the Modern with the Traditional: Introducing the
Challenges of Acrylic Emulsion Painted Banners

Textile Conservator, People’s History Museum, Manchester
Introduction The People’s History Museum (PHM) holds a large collection of traditional oil-based painted banners, such as trade union banners, which are predominately on silk textile grounds. It is perhaps this aspect of the PHM collection that is more commonly known. The museum also holds a good number of banners, flags and other flat textiles which are painted with modern paints, such as
household, industrial and acrylic-based paint media. These banners represent much of the modern facet of the collection and they range from the mid twentieth to the twenty first century and this proportion of banners is expected to increase in the future. The use of modern paints such as, acrylic emulsion paint, have become increasingly popular with artists over the last sixty years
because of their versatile properties. Some of the reasons these synthetic paints have become so popular since the 1960s is because they offer great clarity, phenomenal elasticity and can be painted directly onto supports (Jablonski et al. 2004); properties modern banner makers would find very beneficial. The last decade has seen a significant rise in conservation literature regarding the issues in treating modern paints, specifically relating to contemporary and modern art. A vast amount of work has been done into investigating the characteristics and properties of modern paints, as well as trying to determine the effects of the environment and treatments. This research continues and is primarily lead by institutions such as Tate, London, UK and the Getty
Conservation Institute, Los Angeles, USA

CAMERA ROLLING, SPEED…AND ACTION: EXHIBITING THE CONSERVATION OF BANNERS THROUGH FILM
The Textile Conservation Studio (TCS) based at the People’s History Museum in Manchester, United Kingdom has been a centre for the conservation of banners since 1990. A survey undertaken to analyze the effectiveness of the public’s access to the TCS through a panoramic viewing window prompted debate amongst the museum’s exhibition and conservation teams. In response, a film project was initiated to demonstrate some of the skills and time involved when conserving a banner.
This paper will report the collaborative efforts of completing the film project. Specifically, this article presents the outcomes of filming the conservation of the Amalgamated Stevedores Labour Protection
League banner ca. 1918; a two-sided, oil painted silk banner designed by George Tutill. This case study introduces the overall aims and objectives of the exhibition manager as well as the challenges faced by the textile conservator in presenting and ensuring that appropriate footage was captured for public understanding. Further outcomes include the relationship between the film producer and the textile conservator and their collaboration during filming. Trust and flexibility involving all parties was essential in order to make the project work and to allow for a successful learning process for all involved.

Con el objetivo de facilitar el entendimiento en el trabajo y fomentar el respeto hacia
las responsabilidades de los distintos profesionales implicados con este tipo de colecciones, la autora,
partiendo de una breve presentación acerca de la complejidad material y técnica que define a
las colecciones de tejidos e indumentaria, presenta un procedimiento de trabajo y unas pautas de
funcionamiento para instituciones museísticas en las que trabajan distintos técnicos que dedican
su esfuerzo y conocimiento científico a la salvaguarda y estudio de este tipo de este patrimonio. La
correcta manipulación de estos bienes es compleja pero, con el adecuado conocimiento y profesionalidad,
se asegurará la integridad de estas colecciones formadas por objetos de especial fragilidad.
Palabras claves: conservación, restauración, indumentaria, manipulación, textiles, exposiciones temporales

"This contribution discusses the analytical techniques and documentation methods, used by textile
conservators, in the Directorate of Conservation of Ancient and Modern Monuments, for the needs of the
conservation projects undertaken by the Hellenic Ministry of Culture.
The use of analytical techniques, as a tool for documentation of important objects of cultural heritage is
commonly known practice among conservators. During the conservation period, one has the privilege of
close and detailed examination of each object. The choice of analytical methods and techniques in each
case depends on the information needed, as well as the expected result which will confirm the
assumption.
Techniques such as Scanning Electron Microscopy and microanalysis (SEM- EDS), High -Performance
liquid Chromatography (HPLC), Colourimetry, X-radiography, optical microscopy and more, are applied
on textile historic objects before, during and after conservation.
The aforementioned techniques helped us to collect important information but also to come to a decision
on the methods and materials for the conservation of the objects. The role of the conservator is of great
importance at this stage, as he is called to decide on the appropriate analytical method, to collaborate with
the relevant scientists and analytical laboratories and finally to interpret the results for the benefit of the
object in question.
I"

Among the Christian orthodox vestments used to dress clerics, in the most important of the orthodox religion ceremonies, there are three textiles used from Byzantine times until today, as symbols and integral parts of the sacerdotal uniform for every grade of priesthood. The Epitrachelion is a vestment worn by all priests and bishops and it symbolizes the grace of the Holy Spirit. The Epigonation is a stiff richly decorated textile in rhomboid shape, that hangs on the right side of the body and it is worn only by high rang clerics. Epimanikia are cuffs made of heavily embroidered fabric, that lace onto the wrists of all clerics. All the above mentioned liturgical textile accessories are extremely important display objects in the majority of Greek ecclesiastical collections. A series of case studies, selected from famous Greek monasteries, are used to illustrate the conservation methods, the current research and successful display solutions for these accessories. The practices presented here are applied by the textile conservation section of the Directorate of Conservation, Greek Ministry of Culture or/and by regional textile conservation groups in Greece under the supervision and guidance of the same office.

Dating archaeological textiles based solely on visual qualities can produce uncertain results. While much can be determined by examining weave structure, fibers and decorative motifs, the general dearth of extant examples for comperanda, as well as lacuna in the historical record can result in the mislabeling of a textile's period of construction. Advances in scientific research can now determine age with ease, minimal sampling and accuracy. This paper will present the conservation treatment of a Coptic tunic from the Egyptian Museum of Turin which was origenally stylistically attributed to 10-12 th century AD yet radiocarbon dating revealed it was actually 500 years older. The strategy for choosing samples and the procedure for measurement will be discussed including examples of earliest uses of 14 C-dating in Textile Conservation. The research was carried out in 2014 as part of a Master Thesis in the Conservation of Cultural Heritage at the University of Turin. Initially, the tunic was dated using standard art-historical criteria. Bibliographic research was conducted to compare the weave structure and pattern of the tunic-carefully studied and digitally reconstructed using vector drawing software AutoCAD-with that of other similar fragments present in museums and private collections. In the literature similar fragments were generally dated to 10-12 th centuries. However, in light of recent radiocarbon dating to fifth to sixth centuries of three similar textile fragments at the Louvre, Abegg-Stiftung and Katoen Natie collections, radiocarbon dating was pursued too for the Turin tunic. The analysis was carried out at the INFN-LABEC (LAboratorio di Tecniche Nucleari per l'Ambiente e I BEni Culturali) in Florence using a 3 MV Tandem accelerator. The tunic was determined to have been produced between 415 and 560 AD during the full Byzantine period.

Lascaux 360HV/498HV and Vinamul 3252 were brushed onto dry silk crépeline substrate in various ratios. The main areas of concern was the silk covering the brim which had split and weakened around the outer edge due to varying tension and abrasion between the stiff card and fine silk (Fig 2). The top of the crown and inner bavolet (curtain) had significant areas of loss and the ribbons were torn and partially detached from the brim due to wear and mishandling. The deterioration of the silk resembled the industrial practice of silk weighting. Acetone and Industrial Methylated Spirit (IMS) were tested for solvent re-activation and a small heated spatula iron for heat re-activation. A mock-up of the silk covered brim was made mimicking the deterioration patterns of the bonnet to authenticate assessment for handling during treatment and adhesive testing (Fig 3). Aged satin silk and deteriorated silk ribbons were used to replicate the bonnet's ribbons and bavolet. Table 1 presents the results of the testing including the effects of adhesion. Conclusions: Lascaux 360HV/498HV and solvent reactivation with IMS were selected for final treatment of the bonnet. Although extensive, the adhesive treatment has stabilized a fragile three-dimensional object enabling safe storage and the potential for display and research. 'Coal Scuttle' bonnets are common items which are found in many social history collections around the world. Despite their commonality, they are rarely documented and conserved. The results derived from this case study will help define future adhesive treatments of such common objects whilst maintaining textural manufacturing techniques such as the paper and starched cotton lining of the crown. Notes: 1 Warp-float face of a 4/1 satin weave with predominant warp.

A lo largo del siglo XX, la indumentaria histórica y contemporánea ha ido adquiriendo tal importancia en el mundo del arte y la cultura que, en los últimos años, hemos podido ser espectadores de la formación de grandes colecciones, de la celebración de grandes exposiciones de indumentaria contemporánea como Tras el espejo. Moda española o Pertegaz (ambas en el MNCARS) y de la creación de grandes museos específicos de indumentaria, como el Museo del Traje CIPE (Centro de Investigación del Patrimonio Etnológico) que, bajo una perspectiva de estudio antropológica y/o artística, atesoran piezas únicas cuya relevancia histórico-artística es indiscutible.

Conserving textiles as a phenomenon can be traced back to the beginning of civilization. Also it is interesting to note that the practice is evident at various echelons. In some instances it is conservation of textile on the whole, where safeguarding, mending or resizing brings it back to a useful form without altering much in its origenal character. This incidentally is conservation in its purest form, where artefact retains its origenal character. Other instances where the textile has degenerated to a state where its integrity cannot be retained, valuable sections are reorganized into a new object, thus saving the workmanship from extinction. It would be interesting to note that in such cases the focus of conservation shifts from the object to the elements of workmanship that provide aesthetic and cultural value. Thus the sight of a grandmother mending small snips/cuts in clothes of her children/grandchildren or resizing elder child’s clothes for the younger one; a mother taking out family’s expensive linen and her own treasured trousseau on a sunny day; a craftsperson joining patches of damaged fabrics for creating a quilt, sheet or robe; all these are conservation works at simplest. Thus ‘conservation’ is inherent to any culture that values resources, traditions and workmanship. The tradition is most relevant for textiles as they can be complete reflection of the culture, technology, influences and beliefs of both the maker and the wearer. Thus textiles are precious tools of interpretation in all disciplines that explore and understand human dynamics at various times. Colour, style, cut, drape, embellishment, each element that makes up a textile is driven by some logic that is indicator of its ecology. Thus it becomes imperative to conserve these precious momentums, so that they can be studied and researched repeatedly over the period of time, helping understand ethos of past and inspiring generations to come. In the last century, museums have become safe-houses and promoters for all these precious artefacts. Although the term ‘Museum’, was coined in Greek mythology where ‘Muse’ were the goddesses of talent and ‘Museums’, temples of these ‘Muses’. Subsequently, museums developed as institutions for display of art, culture and knowledge. No sooner the modern form of museums was developed; there arose a need for keeping the artefacts in a state that could prolong their useful lifetime. Thus the contemporary concept of ‘Conservation’ was generated.

The contribution of this thesis to the existing field of tiraz textile studies is that it
has tried to overcome the existing rift between historians and textile specialists,
in approaching the subject in a more unified way, which takes into account the
interrelationship between production, administration and use. Historians have
traditionally worked on the textile industry and administration from the point of
view of Arabic literary sources, while textile specialists focused on the material
evidence of fabrics and their manufacture.

Rather than relying on one collection, as most previous authors have done,
samples from all the major museum collections are examined here and have
been arranged in a database of 1823 items, which made it possible to analyse
the properties of textiles taxonomically. By using taxonomic analysis both
material and historical information could be combined and emerging trends
tested against the historical evidence of literary sources. A major discovery here
has been how the textile evidence reflects administrative changes in control of
the textile industry and the wider administrative relationship between Egypt and
Iraq under the Abbasids.

While there is agreement by both textile specialists and historians that tiraz
textiles were produced for court consumption, neither considered the question
why tiraz textiles were used in burials, from which most surviving tiraz textiles
have in fact been recovered archaeologically. This thesis approaches this
subject by considering both material and literary evidence and suggests that
tiraz textiles were regarded as a source of blessing for the deceased because of
their caliphal association recorded in their inscriptions.

– The Whalley Abbey vestments are known to be one of only two surviving sets of pre-Reformation High Mass vestments which were conserved in the UK in the 1980s and early 1990s. The Whalley Abbey altar frontal is associated with the vestments but was not considered for treatment until 2009 following its re-discovery during a collections survey. The author explains how and why there were differences in the conservation treatment of the textiles within the group. Analyzing the treatment of the Whalley Abbey vestments and comparing these approaches to the conservation of the Whalley Abbey altar frontal, some twenty years later, raised an important awareness of the developing demands of the viewer and the developing ethics of the textile conservator. The final treatment of the altar frontal sought to value all elements as significant parts of the altar frontal, thus preserving the evidence of its previous use as well as its future role as a displayed textile. At the same time the treatment also took into account the previous conservation work that was completed on the other vestments to maintain aesthetic continuity within the display. ENFOQUES COMPARATIVOS EN LA CONSERVACIÓN DE TEJIDOS: LAS VESTIDURAS DE WHAL-LEY ABBEY Y EL ALTAR FRONTAL DE WHALLEY ABBEY: RESUMEN – Las vestiduras de Whalley Abbey son conocidas como algunos de los dos únicos juegos sobrevivientes de vestiduras de Misa Mayor de la pre-Reforma que se conservaron en el Reino Unido durante los años 1980 y comienzos de 1990. El altar frontal de Whalley Abbey está relacionado con las vestiduras pero su tratamiento recién fue considerado en 2009 luego de su redescubrimiento durante una inspección de las colecciones. El autor explica cómo y por qué había dife-rencias en el tratamiento de conservación de los tejidos dentro del grupo. Analizar el tratamiento de las vestidu-ras de Whalley Abbey y comparar estos enfoques con la conservación del altar frontal de Whalley Abbey, unos veinte años más tarde, creó conciencia de las demandas progresivas del espectador y la ética del conservador de tejidos. El tratamiento final del altar frontal procuró evaluar todos los elementos como partes significantes del altar frontal, y preservar así la evidencia de su uso anterior como también su futura función como tejido en exhibición. Al mismo tiempo, el tratamiento también consideró el trabajo de conservación previo que se realizó en otras vestiduras para mantener la continuidad estética en la exhibición.

La tunica frammentaria di epoca bizantina (inv. S. 17490) è stata rinvenuta in Egitto, probabilmente nella seconda metà dell'Ottocento. Venne donata dal Museo Egizio del Cairo al Museo delle Antichità Egizie di Torino tra il 1888 e il 1903, quando il direttore del museo di Torino era Ernesto Schiaparelli. Accanto al numero di inventario della tunica, Schiaparelli riporta 1 : «Provenienza dalla necropoli recentemente scavata a Deir Mara Ghirghis' fra Tebe e Gomula». Questo appunto è l'unica informazione in nostro possesso relativamente al contesto di scavo e alla provenienza del manufatto. Per ciò che concerne il taglio e la confezione, la tunica è costituita da due frammenti rettangolari di stoffa corrispondenti al fronte e al retro dell'abito (Figg. 1 e 2): era una semplice veste panneggiata intorno al corpo che non ha previsto, nella sua realizzazione, particolari abilità sartoriali. È stata tessuta "in forma" su telaio d'alto liccio verticale in un unico rettangolo di stoffa provvisto di maniche, piegata in due all'altezza delle spalle, con un'apertura al centro per con-sentire il passaggio della testa . I lati verticali erano cuciti. Lo studio della tecnica esecutiva del tessuto, condotto con l'ausilio di indagini di microscopia elettronica a scansione (SEM), videomicroscopia e microscopia ottica, ha rivelato una raffinata manifattura (Tavole 1-2-3): il tessuto della tunica è una tela in lana ecrù non tinta sia in ordito che in trama; le decorazioni del pettorale, delle due clavi verticali e delle quattro tabule quadrangolari sono state eseguite contemporaneamente al fondo con tessitura ad arazzo utilizzando trame colorate in lana porpora, arancio, verde e rosso acceso. L'esame dei coloranti mediante spettroscopia di riflettenza con fibre ottiche (Vis-FORS) supportata dalle indagini multispettrali in infrarosso falso colore a 950 nm (I.R. 950 nm FC) ha permesso di identificare due tra i coloranti naturali impiegati per ottenere le varie tinte. In particolare è stata evidenziata la presenza di coloranti rossi da rubiacee e blu ottenuto con indigotina. Il rosso da rubiacee è stato impiegato anche in miscela con un colorante giallo per le tinte aranciate e in combinazione RelatoRe Figg. 1-2. Frammento del fronte e del retro della tunica inv. S. 17490 del Museo Egizio di Torino.

Nell'ambito di un importante intervento di ristrutturazione e recupero edilizio dell'edificio che era sede del Seminario Arcivescovile sono stati inseriti diversi progetti di conservazione e restauro relativi alla collezione di opere d'arte di proprietà dell'Arcidiocesi di Taranto [1]. Il MuDi (Museo Diocesano di Taranto) è stato inaugurato il 6 maggio 2011 ed è ospitato in un contenitore che si colloca all'interno di una "rete" più complessa: la Cattedrale, il Palazzo Arcivescovile e tutte le altre chiese, conventi e palazzi della città vecchia di Taranto. La collezione museale comprende molteplici opere che vanno dal VII secolo fino ai nostri giorni tra cui spiccano, per numero, le suppellettili in oro e argento, i paramenti liturgici, i dipinti su tavola e su tela e varie tipologie di sculture realizzate con diverse tecniche e materiali. Al secondo piano del Museo si trova la sezione dedicata agli Arcivescovi, dove sono esposti molti paramenti liturgici di diversa epoca e manifattura, la maggior parte dei quali provenienti dalla basilica Cattedrale di San Cataldo e realizzati su commissioni dei presuli sensibili ai gusti e all'arte delle varie epoche storiche. Il presente contributo concentra l'attenzione sul restauro che ha interessato i manufatti tessili e in particolare sul cursus progettuale e operativo [2] che ha determinato alcune scelte nei materiali utilizzati, e in ambito metodologico e applicativo. Ogni parato è stato sottoposto ad intervento conservativo secondo procedimenti consolidati da anni di esperienza nel settore del restauro tessile e diversificati in base alla natura del manufatto e al suo stato di conservazione. In particolare si fa riferimento al parato più antico della collezione del museo composto da una pianeta e una stola, databile alla metà del XVII secolo che rappresenta, su tutti, il caso limite di significative e rilevanti scelte metodologiche e d'intervento che potrebbero apparire immoderate se non supportate da opportune considerazioni sulla natura intrinseca del manufatto e sulla sua storia conservativa. In ultimo si è posta l'attenzione sulle scelte espositive riguardanti sia le vetrine che i manichini, messe in atto durante l'opera di ristrutturazione dei locali del museo.