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Tunic I. In a simple form, without decorations. Made of hand-woven cotton with a strong weave, hand-spun thread dyed in a large amount of natural indigo. Fully sewn by hand. Fastening in form of a copper button (see description below).

As a model for the simplified cut and trim of the neckline a few iconography (A) was used, as well as historic monuments such as silk tunic/dalmatic from workshops in Palermo (B) - probably 2nd half of 12th century currently, stored at the Museum of Art History in Vienna.



Reconstruction photo.





Photo of the monument (B).

I. Codex Vatopedinus 602, end of 12th century, Monastery of Vatopedi, Mount Athos
II. Asinou Church, Cyprus, 1105-06 A.D. (A)



Copper button – reconstruction based on most findings from Thessaloniki and surrounding areas1 as well as from Bulgaria. The button is empty inside due to the used production technique. It is not a cast, as it was consisting of two hemispherical pieces joined together.


copper button

Reconstruction photo.
(Copper button made by Noire)



Photo of the finding.




 Tunic II. Made of hand-woven silk, dyed in a large amount of natural indigo. Sewn entirely by hand with a raw cotton thread also dyed in indigo. The cut taken from a shirt/tunic from the Museum of Ontario and dated to the 8-12th century. (C)

Neckline binding and sleeve finishing made of a two-tone silk fabric, hand-woven in a diamond pattern. This kind of weave can be seen on numerous iconography and archaeological monuments.


 Reconstruction photo.



Photo of the finding. (C)

 Part of a Byzantine silk fabric dated 1000-1300 A.D.



1  B. Böhlendorf-Arslan – A. Ricci (eds.), Byzantine Small Finds in Archaeological Contexts, BYZAS 15 (2012), p.117-126.

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