Exhibition of textiles in the Hermitage. “Hermitage Encyclopedia of Textiles

From 29 July in the Winter Palace at the exhibition “The Hermitage Encyclopedia of Textiles. History” presents for the first time the textile collections of the Hermitage in all their diversity, from primitive samples to fabrics of the 20th century, from Antiquity and the East to modern Europe.

Ceremonial court dress of Empress Maria Feodorovna (1847-1928): bodice, skirt, train
1880s
Workshop "Izambard Chanceau"
Saint-Petersburg, Russia
Velvet, satin, lace, silver, gilded thread, gilded thread, gimp, sequins, whalebone, bronze; gold embroidery, casting, stamping, gilding, handmade

Medallion with the image of the earth goddess Gaia
IV-V centuries
Egypt
Trellis weaving, linen, wool.

Fabric with peacocks and ducks on a yellow background
1786-1794
Lazarev Factory, Fryanovo village, weaver Sergey Strelnikov, (Moscow province), Russia
Silk, chenille; brooch, satin background

Green fabric, woven with gilded threads, with a pattern of palmettes and fantastic animals
End of the 14th century
Italy. Lucca (?), Venice (?)
Silk, "Cypriot gold"

The Hermitage houses one of the world's richest collections of fabrics, carpets, costumes, embroidery and lace. In terms of its diversity, the museum's textile collection can claim to be encyclopedic in its coverage of both historical periods and geographic areas where textile production has ever existed.

The Georgievsky Hall of the Winter Palace presents best samples from the textile collections of the State Hermitage: tapestries, carpets, embroideries, lace, fabrics and costumes of countries Western Europe, Russia and the East. Here you can see the tapestry “Goddaughter of the Fairies”, which never left the walls of the Winter Palace, which was presented to Nicholas II personally by the French President Félix Faure. Among other valuable gifts to the Russian Imperial House are tapestries brought from Paris by Peter I exactly three hundred years ago. full suit Knight of the English Order of the Garter, presented to Alexander II by Queen Victoria of Great Britain. Unique exhibits include the costume of Eugene Beauharnais, stepson of Emperor Napoleon, brought to Russia in 1839 after the wedding of his son Maximilian and daughter of Nicholas I Maria.

The exhibition also shows samples of ceremonial costume, military and court uniforms: dresses of Catherine II, Maria Feodorovna, wife of Alexander III and the last Empress Alexandra Feodorovna, created by the hands of talented Russian and foreign craftsmen and leading fashion houses in Europe and Russia in the 18th – early 20th centuries. In addition to military uniforms, the exhibition shows bright examples from a wonderful collection of banners.

The Hermitage collection, along with objects from the Winter Palace and other royal and grand ducal residences, contains works from the collections of Russian aristocrats. The collections of the Yusupov princes were especially rich, which included first-class tapestries, lace costumes, among them a luxurious wedding bedspread with the coats of arms of the Yusupov family and Count Sumarokov-Elston.

The collection of oriental textiles in the Hermitage includes rare and interesting monuments. The Russian tsars kept in their treasury a large number of Chinese silks and embroideries. Many items were presented as diplomatic gifts. For example, a woven silk trellis with an image of a crane was presented by the Chinese Emperor Peter I.

Persian and Turkish velvets from the 16th century can be seen in Russian church vestments, the mantles of which were embroidered in the 17th century by Russian craftsmen. Viewers also have a rare opportunity to get acquainted with luxurious oriental carpets woven in workshops in India, Iran and the Caucasus.

The Picket Hall displays textile collections from the Neolithic to the Renaissance. The collection, numbering thousands of items, is distributed across scientific departments Hermitage. The earliest samples of textiles are kept in the Department of Archeology of Eastern Europe and Siberia, the Department of the Ancient World and the Department of the East.

The textile collection of the Archeology Department includes more than a thousand items belonging to various historical eras– from the Neolithic to the Middle Ages. The oldest textiles in the exhibition date back to the Neolithic era (3rd millennium BC) and were created by the builders of pile settlements in northwestern Russia.

The Hermitage houses numerous and varied collections of monuments from the Scythian era (9th–3rd centuries BC), including textile finds. The burials of nomadic “leaders” on the territory of Sayano-Altai are especially rich in them: the Early Scythian complexes Arzhan-1 and Arzhan-2 in Tuva and, of course, the famous “ice” mounds of Altai, primarily the Pazyryk ones.

The geography of finds from later times is much wider. Rare examples of textile products of the early Byzantine period - gold-woven borders - come from a collection collected in a destroyed crypt of the 6th-7th centuries on Hospital Street in Kerch.

During the archaeological study of Staraya Ladoga, a famous monument of the Viking Age and Ancient Rus'– a significant collection of textiles from the 8th–10th centuries was obtained. The study of medieval monuments in the Baltic region yielded many fragments of wool and linen fabrics that belonged to the Latgalian tribes of the 9th–12th centuries.

Finds from the burial mounds of medieval nomads of the 12th–13th centuries on the Dnieper constitute a collection of patterned silk fabrics and embroideries, including, probably, Byzantine production. Patterned fabrics and embroideries made of Chinese silk come from a noble burial of the Mongol era in Southern Siberia.

The Department of the Ancient World houses a collection of textiles from ancient necropolises of the Northern Black Sea region. The fabrics date back to different periods of the ancient era - from the 5th century BC. e. until the 4th century AD e. The earliest woolen fabrics are covered with patterned and narrative paintings with the names of the characters depicted.

The collection of the Hermitage's Oriental Department includes about ten thousand items of various textiles (costumes, cuts of fabric, archaeological finds), including about five hundred carpets from Turkey, Azerbaijan, Iran, China and India. The largest collection of clothing and carpets, Chinese silk fabrics and embroideries comes from the burials of the Xiongnu nomadic elite in the Noin Ula Mountains in northern Mongolia. Unique textile items from the Alan burial ground Moshchevaya Balka (North Caucasus, Adygea) were preserved in the highlands, along which one of the sections of the so-called Silk Road passed in the 8th–9th centuries (the main part of the collection is exhibited in Hall 57 of the Winter Palace). At the other end of the Silk Road - near the city of Dunhuang in northwestern China - fragments of Chinese silks from the 8th to 10th centuries were found in the cave Buddhist monastery of Mogao. The most important collection of textiles and Buddhist banners of the 12th–14th centuries was brought to St. Petersburg from the ruins of the city of Khara-Khoto of the Western Xia state, which existed in northwestern China in the 10th–14th centuries.

In Egypt, thanks to the dry and hot climate, textiles are perfectly preserved different eras. Colorful fabrics from early Christian (Coptic) burials of the 4th–12th centuries are one of the brilliant pages of Christian artistic culture in Egypt. Patterned curtains, shawls, tunics, bedspreads, and napkins are woven from wool and linen using the tapestry (trellis) technique. IN late XIX centuries they were purchased from local residents and traders.

In 1885, the Imperial Hermitage acquired a collection of works from the Middle Ages and the Renaissance in Paris, which included fabrics, embroideries and tapestries, which today constitute the pride of the Hermitage collection. The exhibition displays for the first time Italian medieval textiles and embroideries from the Netherlands alongside contemporary textiles from China and Egypt, illustrating the mutual influences and exchanges of weaving technologies, as well as artistic connections between different countries.

A significant part of the Hermitage collection of fabrics, embroideries, tapestries of the 13th–16th centuries, which illustrates all stages of production, comes from the collection of the Museum of the School of Technical Drawing of Baron A. L. Stieglitz in St. Petersburg. In the Picket Hall of the Winter Palace, the viewer can see Italian figurative fabrics of the 15th century, intended for church needs, as well as Italian velvets woven with gold and embroidery from the Renaissance. Examples of Persian and Turkish fabrics from the same period, shown together with Italian fabrics, demonstrate mutual borrowings in patterns.

Exhibition “The Hermitage Encyclopedia of Textiles. History” allows you to not only see objects from the museum’s storage facilities that are not on display permanent exhibitions, but also learn about the relationship between textile technologies and ornaments of different countries.

The State Hermitage Publishing House has prepared an illustrated booklet for the exhibition. The author of the text and curator of the exhibition is Tatyana Nikolaevna Lekhovich, senior researcher at the Department of Western European Studies applied arts State Hermitage, candidate of art history.

The exhibition was organized with the support of the company

Two exhibitions have opened in the state rooms of the Winter Palace, one of which is dedicated to the history of textiles, the second to their restoration. The State Hermitage houses one of the world's richest collections of fabrics, carpets, banners, tapestries, costumes, embroidery and lace - a real encyclopedia textiles from the Neolithic era to the present day, geographically representing all human-inhabited territories of the planet, whose inhabitants were engaged in weaving.

For the first time in the Winter Palace, the Hermitage’s textile collections are presented in all their diversity, from primitive samples to fabrics of the 20th century, from Antiquity and the East to modern Europe.

The Picket Hall displays textile collections from the Neolithic to the Renaissance. Here you can see colorful fabrics from early Christian (Coptic) burials of the 4th–12th centuries, Italian figurative fabrics of the 15th century intended for church purposes, gold-woven velvets and embroideries from the Renaissance. On display are the rarest Chinese fabrics and early Byzantine gold-woven borders of the 6th–7th centuries, unique items, including children's toys, clothing and even silk shoes, from the Alan burial ground Moshchevaya Balka (the bypass trails of the Great Silk Road passed through the territory of Adygea).

Medallion with the image of the earth goddess Gaia. Egypt. IV-V centuries Linen, wool, trellis weaving

The fabric is green, woven with gilded threads, with patterns of palmettes and fantastic animals. Italy. Lucca(?), Venice(?). XIV century Silk, "Cypriot gold"

In the Armorial Hall, at the exhibition “The Hermitage Encyclopedia of Textiles. Restoration" shows objects whose life was significantly extended thanks to restoration: banners and standards, the restoration of which began the history of textile restoration in the Hermitage, tapestries and decorative embroidery, items of church vestments, secular and military costume, as well as a memorial costume Russian emperors.

Big interest presents the history of restoration and conservation of archaeological fabrics. The choice of exhibits for the exhibition was determined not so much by their uniqueness and high artistic level, but by the opportunity to clearly show how complex restoration tasks are solved and how the approach to the restoration of monuments has gradually changed over eighty years.

Banner with the image of St. George the Victorious. XVI century Italy. Before and after restoration

Among the particularly interesting exhibits are a woven silk trellis with the image of a crane, presented by the Chinese Emperor Peter I, the ceremonial suit of Peter I, sewn for the coronation of Catherine I, worn after his death by the Wax Person, a caftan and trousers recovered from the ship "Archangel" that sank in 1724 Raphael", the ceremonial dress of Empress Maria Feodorovna, wife of Alexander III, the tapestry "Narcissus at the Source", a woven portrait of Grand Duke Nikolai Pavlovich, etc. Not all of these items can be seen in permanent exhibition Hermitage.

Ceremonial costume of Peter I, made for the coronation of Catherine I. 1724 Russia, St. Petersburg

Ceremonial court dress of Empress Maria Feodorovna (1847-1928). Workshop "Izambard Chanceau". 1880s Russia, Saint-Petersburg

The exhibition project, timed to coincide with the General Assembly of the International Society for the Study of Ancient Textiles opening in the Hermitage in September, is organized with the support of LVMH. An illustrated booklet and a scientific catalog have been prepared for the current exhibition.

From 29 July the exhibition “The Hermitage Encyclopaedia of Textiles. Conservation” in the Armorial Hall of the Winter Palace presents museum objects whose life has been repeatedly extended thanks to restoration.

There are banners and standards, tapestries and decorative embroideries, church vestments, civilian and military clothing, and also memorial articles once worn by Russian rulers. Worthy of separate attention is the history of the conservation of archaeological fabrics. The choice of exhibits for display was determined not so much by their uniqueness and high artistic quality, as by the opportunity to demonstrate clearly how difficult restoration tasks are tackled and how the approach to the conservation of articles itself gradually changed, which methods remain relevant and which new trends dominate today.

Some of the exhibits have their own unique restoration history. Peter the Great's ceremonial costume, made for the coronation of his wife Catherine as empress-consort and put on the wax figure of the Emperor after his death, and the uniform that Peter wore at the Battle of Poltava are Russian national relics that became museum exhibits as far back as the 18th century. The coat and breeches raised by archaeologists from the merchant vessel Erzengel Raphael that sank in the Baltic in 1724 are ordinary articles of Western European dress from the early 18th century, but the story of their restoration is unique and of interest not only to specialists.

The history of textile restoration in the Hermitage began with work on banners. The task of preserving as far back as the late 19th century was resolved by pasting the worn-out pieces of cloth onto a new backing. At present, a widely-used method for reinforcing museum fabrics is to attach them to a new backing by sewing, as well as by employing modern adhesives. Today restorers have the opportunity if necessary to remove aged glue and carry out a repeat restoration, applying new methodologies. An example of such work is provided by the restoration of several 18th-century Turkish silk banners that had previously not been renovated, and also for the repeat restoration of two Bavarian banners from 1812 and an 18th-century Swedish banner. After cleaning and reinforcement Russian 18th- and 19th-century banners backed using glue or silk threads retain their historical appearance. The restoration of the banner of the Life Guards Preobrazhensky Regiment preserved not only the silk base and embroidery, but also the various darnings and painstakingly fine sewing up of tears done by different hands that prolonged the life of the object and its body history.

The Hermitage possesses an extensive collection of Western European and Russian tapestries. The tapestry depiction of Narcissus at the Pool and the tapestry portrait of Grand Duke Nikolai Pavlovich included in the exhibition demonstrates the method of making good losses in the wool and silk weft following the original weaving technique to reconstruct the original appearance of the composition. Another approach to restoration is exemplified by the tapestry of A Lady at Her Toilet that was previously back with tulle using flour paste. This method made it possible to keep the tapestry in a stable condition for a time, but it is distorted and in places completely destroyed the depiction. In a repeat restoration, the tapestry was attached to a new backing using restoration stitching imitating the tapestry weaving technique.

A special place within restoration work is taken by the conservation of archaeological artefacts. The Hermitage has Greco-Roman, Coptic and Byzantine fabrics, fragments of clothing, hangings and saddle cloths from the kurgans of the Altai mountains and northern Mongolia that were discovered during archaeological excavations. Among the unique exhibits preserved by restoration using flour paste are articles from the Pazyryk burial mounds of the Altai from the 5th–3rd centuries BC: a large felt carpet and the world’s oldest woollen pile carpet from the Fifth Kurgan. It has been part of the permanent display since the restoration carried out in 1949–50. The restoration of the felt stockings from the Second Pazyryk Kurgan that was carried out in 2016 after preliminary analytical and practical work made it possible to reunite a host of separate, badly distorted fragments, to come close to an understanding of the true shape and to better determine the dimensions of the archaeological artefacts.

The display includes Chinese scrolls carrying portraits of military commanders and painted silk wallpapers. Some of the latter were used in the decoration of the rooms of the Menshikov Palace. Unique experience in the restoration of Chinese pictorial wallpapers and extremely high professional skills enabled the artist-restaurants in 2007 to embark on the restoration of 18th-century Chinese scrolls depicting outstanding generals that were in a perilous condition. The five portraits in the form of vertical scrolls were created in China in 1760 on the orders of Emperor Qianlong.

The exhibition includes items of formal, festive, ceremonial and military dress, as well as church vestments. Of particular interest are the memorial items from the “Wardrobe of Peter I”, the uniforms of emperors and dresses of empresses that have come down to the present day. The restoration of clothing entails not only cleaning and strengthening the fabrics, but also reconstructing the shape and cut of an article. Conservation of outfits requires an individual approach with a specific method of restoration being developed for each fabric.
Weapons, armor and elements of horse tack are often combinations of metal, wood and leather, finished with a variety of fabrics – wool and silk, plain and patterned, satiny and velvety, often embellished with gold embroidery. The elimination of deformations in three-dimensional, multi-layer materials, cleaning and strengthening of the fabrics and the restoration of the gold needlework makes it possible to present such museum exhibits as cuirasses, saddles and horsecloths in their proper form, giving them back the original appearance often distorted by time. Exhibition visitors will be able to appreciate the historical and artistic value of a saddle and bridle set that belonged to Empress Catherine II, to view the gold embroidery on velvet saddles and to wonder at the armor of an 18th-century Indian warrior belonging to a type called a “coat of a thousand nails”.

An example of complex restoration is provided by works of gold embroidery – Early Russian needlework and Western European embroideries. After cleaning and reinforcement of the fabrics the attachment of the metallic threads is carried out with extreme precision, returning the pattern of the image and giving the precious threads back their original coloring. The panel depicting St George, made in Western Europe in the first quarter of the 17th century, the Russian needlework shrouds of The Presentation in the Temple and Three Saints from the 1600s and the icon St Mikhail of Chernigov from the second half of the 16th century have recovered their richness of color thanks to the recreation of the artistic stumpwork and embroidery. The restoration of a Chinese hanging depicting a dancing crane required the making of composite threads from peacock feathers and silk that were twisted from analogous materials. The restoration of a lace bedspread made from extremely fine linen that is a masterpiece of French applied art from the last third of the 18th century was performed with virtuoso skill and tremendous delicacy.

Headwear and footwear, a bugle-work fire screen and a lace fan, dolls and an embroidered velvet cushion – each of the pieces of applied art has its own characteristics. The use to which articles were put often determines their state of preservation. Bugle-work embroidery incorporated into a fire screen was subject to strong shifts of temperature and humidity. Silk and velvet slippers were a popular wardrobe item and their owners wore them frequently. Folk headdresses with gold embroidered decoration were carefully treasured, not simply handed down from generation to generation, but also used only as intended. A Dutchwoman doll was presented to Emperor Alexander I in the summer of 1814, when he visited the town of Zaandam (or Saardam), where Peter the Great had lived while learning to build ships. The “Landlady of the Little House at Saardam” has a large wardrobe and a host of accessories. Work to conserve the doll’s clothing has been performed several times – in 1912, 1948 and 1997–98, thanks to which this unique item now features in the exhibition.

The State Hermitage Publishing House has produced a scholarly illustrated catalog for the exhibition with an introduction by Svetlana Borisovna Adaksina, Deputy General Director and Chief Curator of the State Hermitage. The exhibition curator is Marina Vladimirovna Denisova, head of the Laboratory for the Scientific Restoration of Fabrics and Water-Based Paintings in the State Hermitage’s Department of Scientific Restoration and Conservation.

The exhibition has been organized with the support of the company

The St. George Hall of the Winter Palace presents the best examples from the textile collections of the State Hermitage: tapestries, carpets, embroidery, lace, fabrics and costumes from Western Europe, Russia and the East. Here you can see the tapestry “Goddaughter of the Fairies”, which never left the walls of the Winter Palace, which was presented to Nicholas II personally by the French President Félix Faure. Among other valuable gifts to the Russian Imperial House are tapestries brought from Paris by Peter I exactly three hundred years ago. A rarity is the full suit of a Knight of the English Order of the Garter, presented to Alexander II by Queen Victoria of Great Britain. Unique exhibits include the costume of Eugene Beauharnais, stepson of Emperor Napoleon, brought to Russia in 1839 after the wedding of his son Maximilian and daughter of Nicholas I Maria.

The exhibition also shows samples of ceremonial costume, military and court uniforms: dresses of Catherine II, Maria Feodorovna, wife of Alexander III and the last Empress Alexandra Feodorovna, created by the hands of talented Russian and foreign craftsmen and leading fashion houses in Europe and Russia in the 18th - early 20th centuries. In addition to military uniforms, the exhibition shows bright examples from a wonderful collection of banners.

The collection of oriental textiles in the Hermitage includes rare and interesting monuments. The Russian tsars kept a large amount of Chinese silks and embroideries in their treasury. Many items were presented as diplomatic gifts. For example, a woven silk trellis with an image of a crane was presented by the Chinese Emperor Peter I.

The Picket Hall displays textile collections from the Neolithic to the Renaissance. The collection, numbering thousands of items, is distributed among the scientific departments of the Hermitage. The earliest samples of textiles are kept in the Department of Archeology of Eastern Europe and Siberia, the Department of the Ancient World and the Department of the East.

The textile collection of the Archeology Department includes more than a thousand items belonging to various historical eras - from the Neolithic to the Middle Ages. The oldest textiles in the exhibition date back to the Neolithic era (3rd millennium BC) and were created by the builders of pile settlements in northwestern Russia.

The Hermitage houses numerous and varied collections of monuments of the Scythian era (IX-III centuries BC), including textile finds. The burials of nomadic “leaders” on the territory of Sayano-Altai are especially rich in them: the Early Scythian complexes Arzhan-1 and Arzhan-2 in Tuva and, of course, the famous “ice” mounds of Altai, primarily the Pazyryk ones.

During the archaeological study of Staraya Ladoga - a famous monument of the Viking Age and Ancient Rus' - a significant collection of textiles from the 8th-10th centuries was obtained. The study of medieval monuments in the Baltic region yielded many fragments of wool and linen fabrics that belonged to the Latgalian tribes of the 9th-12th centuries.

Finds from the burial mounds of medieval nomads of the 12th-13th centuries on the Dnieper constitute a collection of patterned silk fabrics and embroideries, including, probably, Byzantine production. Patterned fabrics and embroideries made of Chinese silk come from a noble burial of the Mongol era in Southern Siberia.

The collection of the Hermitage's Oriental Department includes about ten thousand items of various textiles (costumes, cuts of fabric, archaeological finds), including about five hundred carpets from Turkey, Azerbaijan, Iran, China and India. The largest collection of clothing and carpets, Chinese silk fabrics and embroideries comes from the burials of the Xiongnu nomadic elite in the Noin Ula Mountains in northern Mongolia. Unique textile items from the Alan burial ground Moshchevaya Balka (North Caucasus, Adygea) were preserved in the highlands, along which one of the sections of the so-called Silk Road passed in the 8th-9th centuries (the main part of the collection is exhibited in room 57 of the Winter Palace). At the other end of the Silk Road - near the city of Dunhuang in northwestern China - fragments of Chinese silks from the 8th-10th centuries were found in the cave Buddhist monastery of Mogao. The most important collection of textiles and Buddhist banners of the 12th-14th centuries was brought to St. Petersburg from the ruins of the city of Khara-Khoto of the Western Xia state, which existed in northwestern China in the 10th-14th centuries.

In Egypt, thanks to the dry and hot climate, textiles from different eras are perfectly preserved. Colorful fabrics from early Christian (Coptic) burials of the 4th-12th centuries are one of the brilliant pages of Christian artistic culture in Egypt. Patterned curtains, shawls, tunics, bedspreads, and napkins are woven from wool and linen using the tapestry (trellis) technique. At the end of the 19th century, they were purchased from local residents and traders.

A significant part of the Hermitage collection of fabrics, embroideries, tapestries of the 13th-16th centuries, which illustrates all stages of production, comes from the collection of the Museum of the School of Technical Drawing of Baron A. L. Stieglitz in St. Petersburg. In the Picket Hall of the Winter Palace, the viewer can see Italian figurative fabrics of the 15th century, intended for church needs, as well as Italian velvets woven with gold and embroidery from the Renaissance. Examples of Persian and Turkish fabrics from the same period, shown together with Italian fabrics, demonstrate mutual borrowings in patterns.

Exhibition “The Hermitage Encyclopedia of Textiles. History” allows you not only to see objects from the museum’s storage facilities that are not exhibited at permanent exhibitions, but also to learn about the relationship between textile technologies and ornamentation in different countries.

The lights in the halls are dimmed so as not to damage the fabrics.

At one time, the Hermitage released a pdf for free download about the restoration. So, some of the suits, which seem a little shabby in the display case, were in such an original condition that... well, in general, they are now brand new - a neat needle and a thread corresponding to the original, like this uniform of Peter I.

It is very good that they were not left in their original shreds and rags, but it was once believed that museum textiles should not be touched at all. Thanks to restorers, you can look with pleasure at objects to which patterns and most of the paint have been returned, and experience the pleasure of combining textures, almost the same as one hundred and two hundred, or even four hundred years ago.

Using the example of tapestries, tapestries and decorative embroideries, this is especially clearly understood.

Textiles are not only dresses, but also banners, shoes and even parts of armor. This saddle and harness belonged to Catherine II:

The shoes, of course, are very pretty, and even have a stable heel, but they are clearly from the period when the left and right pieces of shoes were made the same. It’s scary to even think about how to wear something like this:

There are also just fabrics as fabric samples, each Venetian cut brings to mind. It is clear why the technique of embossing on velvet fascinated him so much.

Some of the exhibits were recognizable (although it took place in 2014, such luxury is difficult to forget). Business card At that exhibition there were magnificent court “uniform” dresses:

Well, and the famous masquerade costumes from the “Russian Ball” of 1903, the outfits of which are familiar to everyone who had such a deck of cards at home:

And some beautiful Art Nouveau dresses in the “ballroom” display:

Considering the number of sequins, beads and small details, many required the attention of restorers.

The most interesting exhibits are not always embroidered with silver or gold or lace. It’s easy to pass by the brown formal frock coat in the restoration hall, and by the way, it was raised from a sunken ship and brought into decent shape. Photo from the museum website:

Not to mention felt stockings from an ancient burial mound and similar curiosities.

Well, since we started talking about curiosities - a French dress of the 18th century (1730-1750). It’s one thing when you read about figurines and other frame things, and another thing is the ability to evaluate the dimensions with your own eyes. Most likely the figurines are folding. And on the back there is a fashionable Watteau fold. An interesting contrast - this fold adds ease due to the loose lines, but "ease" will be the last word that comes to mind when looking at this skirt.

But to the oriental fabric with images illustrating the romantic story of Leila and Medjun (well, as a romantic,
everyone died there), a little later they added a mantle and it turned out to be a rich church vestment. Somewhat ambiguous, but only for museum workers(and people reading signs carefully).

Even about the vestments of the Order of the Garter a separate video was streamed, so many interesting things remained under the cloak. The video shows a hat and stockings (which simply did not fit on the stand), and how the silver eye of the camisole and panties shimmers.

Look at this dandy coat (1790) - even the headless mannequin looks like a dandy.