Ceremonial caparison

The large blanket covering the horse’s body is trapezium shaped at the back, by the horse’s rump; in the middle, on both sides of the saddle, it is cut in a semicircle; at the front, two long, pointed extensions embrace the horse’s neck, tied with cord with tasselled ends. Composed of two fabric edges along its length, the trapezium shaped section is pieced on both sides; the join of the fabric edges is covered by a row of embroidered hearts in the middle. The two semicircular openings cut for the saddle pommels in the centre are edged with silver braided cord. The back one of these, presumably for a saddle with a wide backboard such as on the saddle with Cat. number 37, was later cut further without any edging. The back, trapezium shaped section, as well as the two front extensions, is covered with metal plate applications made from gilded silver and enriched with gemstones. The applications are as follows, in accordance with their shapes: at the back, in each of four rows one above the other, eight hand-sized leafy palmettes with articulated edges, known as plane-leaf motifs, with four in each row on the extensions at the front, the surfaces of which are covered with engraved spear leaves, framed around with embossed motifs adorned with rubies in the form of three little leaves. In the centres of the palmettes, six-petaled rosettes inlaid with rubies alternate with nephrite applications decorated with rubies set in gold encrusted mounts. Between the series of leaf palmettes, spinning roses and rosettes framed with embroidered petals; along the edges, there is a row of characteristic Turkish pattern elements known as lily palmettes. The metal applications are framed by gold skófium embroidery, and in addition along the edges, the reciprocal palmettes alternate with embroidered leafy plants. The pattern of the lining fabric for the fringe produced with button-maker’s work, composed of narrow, diagonal strips (the complete pattern-repeat cannot be discerned) comprises leafy plants of typically Persian design, in alternating orientation and leaning only to one side. Without exaggeration, the Esterházy treasury caparison may be categorised as a unique rarity of luxurious workmanship. It was presumably produced in the Sultan’s palace workshop, although it bears no hallmark. Dating is made difficult by the fact that a total of only two late 16th, early 17th century pieces of identical cut woven from patterned velvet are known, from the collections in the Benaki Museum in Athens and the Museum of Islamic Art in Cairo. Of its decorations, the leaf palmette with lobate edges, otherwise known as the plane leaf, was a favourite motif especially in the first half of the 17th century; use of the embossed metal plate applications ornamented with gemstones mounted from the rear became fashionable from the second quarter of the 17th century.