Enter at an edge rather than the image in the centre. Exit with a distinction between how the textile was made, used, altered and preserved.
- N1
Read the structure.
Identify warp and weft if visible, thread density, edge treatment and changes in weave. Fibre identification requires analysis; appearance alone may not distinguish linen, wool and later additions.
COMMAND: find one edge. Is it a woven selvedge, cut edge, tear, seam or modern mount boundary? - N2
Find the constructed object.
Seams, shaping, hems, loops and fastenings can turn a rectangular cloth into garment, furnishing, wrapping or container. A decorated fragment displayed flat may once have curved around a body or object.
Look for wear at folds, edges and attachment points. Use alters cloth differently from burial or excavation.
- N3
Test colour and image.
Dye, painted decoration and tapestry-woven areas require different techniques. Fading means present colour is not a neutral record of original appearance.
ROUTE WARNING: a motif does not identify the wearer by itself. Date, find context, garment construction and social setting must support identity claims. - N4
Map repair and survival.
Patches, darning and reused cloth show value after damage. Dry burial conditions favour survival, so museum textiles represent exceptional preservation rather than the normal abundance of ancient fabric.
Where is the original edge?Which direction carried tension?What evidence shows wear?Is the mount adding shape?
Verification route
Use fibre analysis, weave diagrams, dye studies, garment reconstruction, conservation reports and find context. Low display light often protects sensitive colour.