In this paper researches were carried out on fragments of textiles from the 18[sup]th[/sup] century from Dubrovnik, for which, based on the design and art-historical analysis, it was determined that it was a part of an object (pluvial, cope) from liturgical vestments (ecclesiastical textiles) of the Dubrovnik diocese. Using modern non-destructive and micro-destructive methods we conducted the identification of green, blue and red as the dominant tones on the artefacts of historical textiles from Dubrovnik. The identification was based on the application of modern complementary techniques: UV / VIS, HPLC, SEM-EDX and FTIR-ATR. We analysed samples of coloured fiber, as well as ones obtained by the extraction of dyes from the dyed fibers. Archival data on natural dyes used in the Dubrovnik region in the period 14-19th century was taken into account in the identification of the historical textile dyes.

Cultural heritage textile artifacts that have been preserved only in their smaller fragmented remains represent a very interesting and complex matter, very rarely analyzed and studied individually as a separate entity. This case study covers multidisciplinary research conducted on two 18th century silk fragments with a seemingly identical pattern. Demonstrating the possibilities and challenges which arise when analyzing and interpreting incomplete cultural heritage textile materials, this study can serve as a stimulus for creating a large-scale database of historical fabrics which would allow comparison based on their differences or common characteristics. By applying only non-destructive and micro-analytical methods it has been determined that the fragments were made of the same material and using the same manufacturing techniques. It has been proven that fragments were not part of the same historical fabric, but most likely originated from different parts of the same liturgical vestment. The reverse engineering process applied to preserved fragments has resulted in a detailed technical documentation and a complete reconstruction of the lost original pattern.

This paper presents the analysis carried out during the textile conservation–restoration process with the goal to reveal the secrets of textile fragments hidden inside the 19th century chasuble from Dubrovnik. The discovered textile fragments were investigated by modern instrumental methods and compared with the original textile from the 19th century set of liturgical vestments, which the chasuble belongs to. In addition, all other old repairs and treatments on the chasuble that had significant impact on the historic textile over time were investigated and assessed. The polymer type of the fibres was established by microscopic examination and infrared (ATR FT-IR) spectroscopy. A comparison of type of fibres and textile construction parameters, both from fragments and from the original textile, was carried out in order to determine their possible associations. Based on UV-Vis and HPLC identification of chemical composition of dyes in extracts from textile fibres, both from textile fragments, old repairs and authentic historic textile, it was possible to designate some common characteristics of dyes as important factors in determining its authenticity.

Zbog jedinstvenog zemljopisnog položaja Dubrovnik je bio spona između Istoka i Zapada, te vrlo važno trgovačko središte na putu razgranate trgovinske mreže tkanina i prirodnih bojila, koja se održala sve do druge polovice XIX. st. Utvrđivanjem svih činjenica i razvojnih tijekova koji su utjecali na proizvodnju, tehnologiju bojenja i trgovinu tekstilom u povijesnom Dubrovniku, moguće je razumjeti vrijednost i značaj sačuvanih tekstilnih artefakata, kao jedinstvenih primjeraka naše kulturne baštine. Identifikacija bojila u sklopu doktorske disertacije (Jemo, 2014.) provedena je na povijesnom tekstilu XVIII. i XIX. stoljeća iz Dubrovnika, na odabranim reprezentativnim arhivskim primjercima. Dobiveni rezultati fizikalno-kemijskim metodama istraživanja uspoređeni su s podatcima prikupljenim na osnovu povijesnih i arhivskih istraživanja proizvodnje, tehnologije bojenja i trgovine tekstilom u povijesnom Dubrovniku.

The Ethnographic Museum in Dubrovnik holds an extensive textile collection which includes a number of dresses and costumes from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms made of terracotta, fibreglass, wood, metal, acrylic paint and other materials chosen for their visual appeal. Due to their importance, the museum considered the mannequins to be protected works of art in the permanent exhibition; however, they had a harmful effect on the costumes displayed. In 2018, after completing a series of conservation–restoration projects within the collection, it was decided to replace the existing mounts with new, museum-quality mannequins. Two project-based learning workshops were organised, led by a team of textile conservators from the University of Dubrovnik and the Croatian Conservation Institute, in collaboration with the curator of the Ethnographic Museum. This case study highlights the challenges of exhibiting ethnographic costumes by discussing past presentation methods and how new solutions have been implemented in line with the modern conservation–restoration profession. The new solutions take into consideration ethics, decision-making processes, and an understanding of contemporary materials and methodology.

This article focuses on the model of a sailing ship from the collection of the Maritime Museum in Orebić, Croatia, whose sails conceal material, visual, and symbolic enigmas that have raised a number of new research questions. Particular attention was paid to the analysis of the sail substrate material, which was previously incorrectly catalogued as leather, while research has revealed that it is, in fact, impregnated canvas. Prolonged exposure to inadequate storage conditions led to material deterioration and visible changes that severely compromised the visual integrity of the model. A synthesis of laboratory analyses, conservation, and restoration studies, as well as historical and archival research in an interdisciplinary framework, made it possible to identify materials and manufacturing techniques in detail. The painted decorations on the sails and flags become clearly legible after cleaning, providing new information about the ship’s name and royal affiliation and opening up new avenues for investigating the symbolism behind the motifs of this model.