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. "Fine Art of Costume," October 15, 1954–February 28, 1955.