Working in tandem, curators and conservators combine theory and science to produce a more complete understanding of historical artifacts. Testing on this sixteenth century jerkin by Conservator Christine Paulocik has shown that all of the applied adornment - including the padding at the shoulders, silk tufts, and metallic bobbin lace - is original to the garment. Decorative buttons made of boxwood at center front give the illusion of a closure, when in reality the wearer would have required help getting dressed due to the laced closure located at the center back. The use of boxwood buttons turned on a lathe is consistent with technology and materials of the period. The loss of velvet pile is likely a result of an iron mordant used in the dying process.
The Metropolitan Museum of Art. "Curios and Treasures," August 15, 2000–April 29, 2001.
The Metropolitan Museum of Art. "Extreme Beauty: The Body Transformed," December 4, 2001–March 17, 2002.
The Metropolitan Museum of Art. "Adam in the Looking Glass," January 13, 1950–July 1950.
The Metropolitan Museum of Art. "Fine Art of Costume," October 15, 1954–February 28, 1955.
The Metropolitan Museum of Art. "Costumes - 18th and 19th Century," March 1955–August 1955.