* Center for Middle Eastern Studies, Faculty of Arts, University of Ljubljana, 
Aškerčeva 2, 1000 Ljubljana; jan.ciglenecki@ff.uni-lj.si.
** Heritage Science Laboratory, Faculty of Chemistry and Chemical Technology, 
University of Ljubljana, Večna pot 113, 1000 Ljubljana; abdelrazek.elnaggar@
fkkt.uni-lj.si.
*** Center for Middle Eastern Studies, Faculty of Arts, University of Ljubljana, 
Aškerčeva 2, 1000 Ljubljana; ziga.smolic@ff.uni-lj.si.
Coptic Textiles from 
the Architect Milan 
Kovač’s Private 
Collection
Jan Ciglenečki,* Abdelrazek Elnaggar,** and Žiga Smolič***
INTRODUCTION
Numerous museums and private collections worldwide hold extensive 
collections of Coptic textiles, which represent the unique artistic he-
ritage within the rich and long history of weaving in Ancient Egypt.1 
Unearthed mostly from archaeological excavations of burial mounds, 
preserved over time due to the arid conditions of Egyptian climate, 
the majority of surviving Coptic textiles were produced from late 
antiquity to the Islamic period, approximately from the 3rd to 12th 
century AD.2 These textiles bear witness to a diverse range of functional 
and ornamental uses and were commonly fashioned from linen, wool, 
silk, or cotton, employing various weaving techniques. Coptic textiles 
are renowned for their rich ornaments, motifs, and imagery, which 
mirror the fusion of indigenous Egyptian traditions and Greco-Roman 
1 The authors would like to thank Mr. Milan Kovač for his generous assistance and 
permission to work closely with his private collections and archival material; 
where not stated otherwise, the information below comes from interviewing 
him. 
2 For a general overview, see the entry on “Textiles, Coptic” in The Coptic Encyclo-
pedia, vol. 7, 2210–30.
doI: https://doi.org/10.4312/clotho.6.2.71-93
JAN CIGLENEČKI, ABDELRAZEK ELNAGGAR, AND ŽIGA SMOLIČ72
influences, intricately interwoven with the emerging symbolism and 
iconography of Christianity. 
In the wake of Napoleon’s expedition to Egypt from 1798 to 1801, 
which resulted in the landmark work Description de l’Égypte, French 
geographer and Egyptologist Edme-François Jomard undertook a 
pioneering effort to describe and classify textiles found in Saqqara, 
marking the beginning of scholarly inquiry into late antique textiles 
from Egypt.3 During this period, individual textiles were incorporated 
into European collections. Still, it was not until the latter decades of 
the 19th century that more systematic research began, prompted by 
targeted excavations unearthing vast quantities of textiles. 
The rediscovery of Coptic textiles sparked widespread interest 
among museums, private collectors, art dealers, diplomats, and 
researchers alike, leading to an unprecedented increase in demand 
and propelling a trade in textiles from Late Antiquity. Among those 
who participated in this fervor was the National Museum of Slovenia 
(then known as the Provincial Museum of Carniola), which, in 1890, 
at the peak of this period, acquired a collection of 53 Coptic textiles.4
 
MILAN KOVAČ AND HIS COLLECTION
For many years, the National Museum of Slovenia collection was 
believed to be the only Coptic textiles collection in Slovenia. However, 
except for a brief display upon its acquisition in 1890,5 the collection has 
remained stored in the museum depot and has never been presented 
to the public through an exhibition.6 For this reason, the Department 
of Applied Arts at the National Museum of Slovenia, responsible for 
safeguarding the collection, decided to conduct new research and prepare 
its debut exhibition in 2019. Throughout the process of working on the 
exhibition catalog,7 none of the team members involved were aware of 
3 Fluck, »The Most Beautiful and Original Thing Created by the Imagination of 
the Orient«, 93–94.
4 The textiles in the collection of the National Museum of Slovenia were likely 
excavated in the mid-1880s by a German archaeologist Franz Bock at the 
Akhmim necropolis in Upper Egypt. Knez, “A Record of the Collection of 
Coptic Textiles,” 17.
5 Slovenec 18/82, 11. 4. 1890, 3.
6 In 1963, curator Darinka Zelinka prepared a short description of the entire col-
lection, published under the title Koptske tkanine v Narodnem muzeju v Ljubljani. 
7 Ciglenečki et al., Coptic Textiles from the Collection. The new catalogue, orga-
nized according to typological classification, was prepared by Aurore Ciavatti, 
COPTIC TEXTILES FROM THE ARCHITECT MILAN KOVAČ’S PRIVATE COLLECTION 73
a comparable collection of Coptic textiles held in private possession 
by Slovenian architect Milan Kovač (born in 1940), who brought it to 
Ljubljana in February 1964 following his study trip to Egypt and Sudan. 
This collection only came to light in the spring of 2021 during a 
more systematic investigation of Kovač’s extensive archival material 
from 1979 to 1988, when he was involved in numerous projects to 
protect the cultural heritage of Ancient Egypt.8 Over nearly ten years 
of activities in Egypt with his architectural bureau based in Sweden, 
he developed a range of innovative approaches to safeguard some of 
Egypt’s most significant monuments. 
Among these were ambitious proposals for an underground mu-
seum for the Cheops boat beneath the Great Pyramid in Giza and the 
exhibition of restored objects belonging to Queen Hetepheres I and 
other wooden artifacts. He also prepared a study of royal mummies 
and coffins, proposing an underground mausoleum at Mokattam 
Hill on the eastern outskirts of Cairo to house them. Kovač designed 
a prototype of protective mask against wind erosion for the Great 
Sphinx in Giza and, with the team of ICOM (International Council of 
Museums), put forward a comprehensive plan for the renovation of the 
Egyptian Museum at Tahrir Square in Cairo. In Luxor, he conducted 
measurements of the royal tombs and the tombs of the nobles. He 
proposed protective strategies and solutions against tourist erosion 
for numerous monuments in Western Thebes, including those in the 
Valley of the Kings, Valley of the Queens, Sheikh Abd el-Qurna, and 
Deir el-Medina.
Kovač’s most notable accomplishment in Egypt was the restoration 
of the tomb of the scribe Nakht (TT 52), located within the Sheikh 
Abd el-Qurna region in the Theban necropolis. Despite many of his 
visionary projects remaining unrealized due to political and financial 
constraints, he received support from prominent scholars, including the 
grande dame of Egyptology Christiane Desroches Noblecourt, Torgny 
Säve-Söderbergh, Rostislav Holthoer, Kamal El-Malakh, Hassan Fathy, 
as well as from public figures such as Prince Philip, consort of Queen 
Elizabeth II, and Carl XVI Gustaf, the King of Sweden.
In December 2023, on the 60th anniversary of Kovač’s first visit 
to Egypt, an exhibition on his work titled “Architect Milan Kovač: 
Pioneer of Heritage Science in Egypt” was inaugurated at the Egyptian 
Museum at Tahrir Square in Cairo.9 On this occasion, Ali Abdelhalim, 
ibid. 185–291. See also Ciavatti and Ciglenečki, “Les textiles coptes.” 
8 Kovač, Utrinki arhitektove življenjske poti, 313–61. 
9 The authors of the exhibition were the same as the authors of this article.
Fig. 1: Portrait of Milan Kovač holding a replica 
of the scribe Nakht after completing the 
restoration works in 1988. Source: Personal 
archive of Milan Kovač.
COPTIC TEXTILES FROM THE ARCHITECT MILAN KOVAČ’S PRIVATE COLLECTION 75
the general director of the Egyptian Museum, presented Kovač with a 
Certificate of Appreciation for his long-standing efforts and services 
in protecting Egypt’s cultural heritage.
The purpose of this paper, which forms part of a systematic investi-
gation of Kovač’s vast archival material and personal collections,10 is to 
explore the circumstances surrounding the acquisition of his collection 
of Coptic textiles and the history of its preservation. While a compre-
hensive analysis of the textiles is not the focus of this discussion, the 
paper provides an initial assessment of their preservation status and 
highlights the urgent need for restoration and conservation efforts.
STUDY TRIP TO EGYPT AND SUDAN (1963–1964)
After completing his studies at the Faculty of Architecture in Ljubljana 
in Professor Edo Ravnikar’s seminar in 1963, Milan Kovač pursued 
his diploma under the mentorship of Professor Marjan Mušič. His 
thesis focused on the pressing challenges of preserving the Nubian 
temple of Abu Simbel, which has been increasingly threatened by the 
rising waters of the Aswan High Dam since its construction began 
in 1960. To delve further into the issues surrounding the endangered 
architectural heritage in Ancient Nubia, Kovač embarked on a study 
trip to Egypt and Sudan in December 1963, accompanied by his col-
league Miha Kurnik.11
They first arrived on Egyptian soil in Alexandria on 23 December, 
having traveled by ship from Naples. During a brief stopover in Cairo, 
they visited the city’s major tourist attractions, including the Citadel, 
10 The investigation and digitization of the private archives and collections of 
Milan Kovač are carried out as part of the Slovene Egyptology Database (Baza 
slovenske egiptologije) project, co-led by Mateja Ravnik and Jan Ciglenečki. This 
collaborative initiative is a partnership between the Center for Middle Eastern 
Studies (Section for Egyptology and Coptology) at the Faculty of Arts, Uni-
versity of Ljubljana, and the Institute for the Protection of Cultural Heritage of 
Slovenia. The project aims to systematically collect, archive, catalog, and digitize 
a wide range of materials – including private collections, archival documents, 
drawings, photographs, maps, and publications – related to Slovenian contribu-
tions to the study of Ancient Egypt from the 19th century to the present.
11 Kovač first described their journey to Nubia in a newspaper article under the 
title “Žrtvovana dežela” (“Sacrificed Country”), published one year after their 
return in Tedenska tribuna, 25. 3. 1965, 3. A more detailed description of their 
journey is included in his autobiography Utrinki arhitektove življenjske poti, 
54–111.
JAN CIGLENEČKI, ABDELRAZEK ELNAGGAR, AND ŽIGA SMOLIČ76
the Egyptian Museum, and the pyramids in Giza and Saqqara. Before 
heading south, they obtained permits from the Ministry of Antiquities 
to visit archaeological sites in Nubia. 
En route to Aswan, they visited Malawi, Tuna el-Gebel, and Tell 
el-Amarna and spent New Year’s Eve in Asyut. Continuing their 
journey southward and exploring archaeological sites in Abydos, 
Dendera, Luxor, Edfu, and Kom Ombo, they eventually reached 
Aswan, known in ancient times as the “Gateway to Africa.” From 
there, they traveled by river steamer to Wadi Halfa on the Sudanese 
side, where they boarded a train headed for Khartoum. After nearly 
two days of travel, they arrived in the Sudanese capital on 14 Janu-
ary 1964. As they were advised against traveling further south due 
to unrest in the region, this marked the southernmost point of their 
journey. They returned by train to Wadi Halfa, from where they set 
out to explore Nubia.
During this period, Wadi Halfa was a central hub for foreign 
archaeological expeditions in Sudan as part of UNESCO’s Internati-
onal Campaign to Save the Monuments of Nubia in response to the 
imminent flooding of the valley caused by the construction of the 
Great Aswan Dam.12 As Kovač’s thesis focused on the endangered 
heritage of Nubia, they visited several sites on the Sudanese side, 
including Faras, Buhen, Khor, Dorgonarti, Meinarti, Mirgissa, and 
Semna, all of which are now submerged. Due to financial constraints, 
they traversed a significant part of the journey on foot.
On 24 January 1964, they returned to the Egyptian-Sudanese border 
and continued toward the temple complex of Abu Simbel, still situated 
in its original location at the time. At that location, Kovač and his friend 
encountered members of a Yugoslav UNESCO expedition tasked with 
conserving and restoring medieval Coptic wall paintings.13 Spending 
several days with their compatriots, they were advised to explore the 
recently uncovered church of Abdullah Nirgi, located a few kilometers 
north of Abu Simbel, where the Yugoslav team had already completed 
its work.
After visiting Abu Simbel, they returned to Aswan by riverboat and 
took a bus to Cairo, where they spent a few days. During these final 
days of their journey, Kovač acquired his Coptic textiles collection. 
Leaving Cairo, they journeyed back to Alexandria, facing challenges 
12 For more details on the UNESCO campaign, see: Säve-Söderbergh, Temples and 
Tombs of Ancient Nubia. 
13 Medić et al., Participation de la Yougoslavie; Pirnat, “Snemanje in konserviranje 
koptskih fresk”; Smolič and Ciglenečki, “Organizacijski vidiki.”
Fig. 2: Kovač resting at the base of the 
colossal statues at the entrance to Abu 
Simbel Temple, 1964. Source: Personal 
archive of Milan Kovač.
JAN CIGLENEČKI, ABDELRAZEK ELNAGGAR, AND ŽIGA SMOLIČ78
securing transportation because of their lack of funds. The captain 
of the Yugoslav ship refused to accommodate them on board due to 
their inability to pay the fare, compelling them to board a Turkish 
ship and exhaust their last remaining money. They traveled back to 
Yugoslavia by hitchhiking from Naples. 
Upon returning home, Kovač completed his studies with a BA 
thesis titled “Urban Plan for the New Abu Simbel and Nubian Ar-
chitecture.”14 Soon after graduating, he left Yugoslavia and began 
working in Sweden, establishing his architectural firm. He returned 
to Egypt in 1979 and remained there until 1988, dedicating his efforts 
to various projects to preserve ancient Egypt’s cultural heritage.
THE ACQUISITION OF COPTIC TEXTILES IN CAIRO
Kovač’s acquisition of the collection of Coptic textiles is linked to 
both stopovers he and his friend made in Cairo on their way to Nubia 
and their return journey home. Upon their first arrival in Cairo on 
27 December 1963, they remained in the city for only a brief period, 
eager to proceed southward. According to Kovač’s recollection, while 
wandering through the city, they encountered a souvenir seller who 
led them to his shop. Among the displayed souvenirs were various 
antiques, including numerous fragments of Coptic textiles. This was 
a traditional antiques market permitted by the Egyptian heritage laws 
of the time. Kovač inquired about the price, finding it surprisingly 
low. However, as their journey had just begun, he promised the 
shopkeeper that he would return on his way back.
When Kovač returned from Nubia in late February 1964,15 he 
was penniless. Upon arriving in Cairo, he had to withdraw a small 
amount of money sent from Sweden. He once again sought out the 
souvenir seller, though he no longer remembers the shop’s location 
today. He recalls the highly disorganized shop, filled with scattered 
objects, ancient and modern.
According to the seller, the Coptic textiles had been discovered 
on an ancient rubbish dump in the Fustat area, Cairo’s oldest hi-
14 Unfortunately, the thesis is not retained in the archive of the Faculty of Archi-
tecture in Ljubljana and is considered lost. Kovač published the only surviving 
parts, which deal with traditional Nubian architecture, in his autobiography 
Utrinki arhitektove življenjske poti, 102–104.
15 The exact dates of their second stay in Cairo, as well as their return journey from 
Alexandria to Naples, are not known.
Fig. 3: Milan Kovač ascending the Great Pyramid of 
Giza, 1963. Source: Personal archive of Milan Kovač.
JAN CIGLENEČKI, ABDELRAZEK ELNAGGAR, AND ŽIGA SMOLIČ80
storic district and the first Islamic capital of Egypt, renowned for 
its archaeological significance and an important hub for textile 
production.16 The mounds in the Fustat area served as rich sources 
of natural fertilizer and extensive landfill for the nearby swamps. 
The utilization of this natural resource began in the late 19th century, 
leading to the discovery of numerous historical artifacts and valuable 
relics. The seller claimed to have acquired numerous fabrics from 
this location, enabling him to offer them at a minimal cost due to 
the general lack of interest in Coptic textiles.
While the shop owner had larger specimens available, Kovač 
lacked the funds to purchase them, so he opted for the cheapest 
pieces, which were nevertheless diverse in ornamentation, colors, 
weaving techniques, and sizes. A revealing detail regarding the 
price is that Kovač recalls sacrificing a single lunch to acquire the 
entire collection. 
At the time of purchase, Kovač regarded the textiles merely as 
souvenirs from Egypt and made no effort to verify their authenticity. 
Although he initially considered studying Coptic fabrics, he never 
had the time to pursue this interest further, nor did he ever have 
his collection examined by any textile specialist.
STORAGE HISTORY AND PRESERVATION  
OF THE COLLECTION
After acquiring the collection, Kovač folded the fabrics, placed 
them in a bag, and carried them back home in a travel backpack. 
Since his return in 1964, he has stored his collection in a cupboard 
drawer in an unheated room. The textiles, piled on one another and 
separated by paper sheets, have remained untouched in this position 
for many years. 
In the early 1990s, Milan Ropret, a photographer and Kovač’s 
friend from university, provided cardboard folders of various sizes 
to accommodate the collection. These folders, the only conserva-
tion measurements taken, have served as the provisional storage 
solution for the textiles. At that time, Ropret photographed three 
textiles, as Kovač intended to use the reproductions as Easter cards. 
These photographs, taken three decades ago, hold potential value 
for comparing the preservation status back then with the present 
condition.
16 Bacharach, Fustat Finds, VII.
Fig. 4: General view of the Fustat area, where the 
textiles from Kovač's collection were presumably 
found. Photo by Jan Ciglenečki, 2024.
Fig. 5: The cardboard folders in which the 
collection of Coptic textiles was stored since 
the early 1990s. Photo by Jan Ciglenečki, 2024.
COPTIC TEXTILES FROM THE ARCHITECT MILAN KOVAČ’S PRIVATE COLLECTION 83
When Kovač was engaged in a restoration project for a Roman 
kiln at Ptuj,17 he sought to arrange for the restoration of his textile 
collection at the specialized workshop in Ptuj, known for its expertise 
in textile conservation.18 Regrettably, no agreement was reached, and 
the textiles have not undergone any conservation treatment since 
their purchase sixty years ago.
In spring 2023, the cardboard folders containing the textiles were 
relocated from the unheated storage room where they were kept for 
several decades to an apartment equipped with central heating. It 
was here that we had our first opportunity to examine the collection.
FROM ANALYSIS TO CONSERVATION
The first research question that arose was related to the authentication 
of the collection. The reconstructed circumstances of its purchase in 
1964 provide valuable clues, enabling us to assume its provenance to the 
Fustat area in historic Cairo. However, the claims made by the antiquities 
seller, based on the present owner’s recollections from 60 years ago, need 
to be corroborated with further scientific analysis. The authentication 
of Coptic textiles, typically made of dyed linen or wool fibers, is a com-
plex process from both historical and technical perspectives, requiring 
expertise in textile craftsmanship, art history, and scientific analysis.
When the collection becomes accessible, the research will explore 
techniques such as tapestry weaving, embroidery, and appliqué while 
meticulously examining design and stylistic elements.19 On the textiles 
from Kovač’s collection, these elements are marked by intricate patterns 
inspired by nature, geometric configurations, figural representati-
ons, or religious symbols such as crosses. Authentic pieces typically 
integrate these symbolic representations in a meaningful manner. 
Without venturing into detailed analysis, it may be broadly asser-
ted that the majority of textiles in Kovač’s collection originate from 
garments. Much like the collection housed in the National Museum 
of Slovenia,20 these artifacts exemplify a diverse array of weaves and 
17 Kovač described his involvement in the restoration of the Roman kiln in his 
autobiography Utrinki arhitektove življenjske poti, 420–22.
18 The same restoration workshop in Ptuj was in 2019 responsible for the resto-
ration and conservation of the Coptic textiles collection from the National 
Museum of Slovenia. Ilec, “Conservation of Coptic Textiles.” 
19 A summary of this is available in Han, “A Study on the Characteristics.” 
20 Ciglenečki et al., Coptic Textiles from the Collection, 189.
JAN CIGLENEČKI, ABDELRAZEK ELNAGGAR, AND ŽIGA SMOLIČ84
ornamental techniques traditionally associated with tunics, shawls, 
and upholstery.
With regard to color, the pieces in Kovač’s collection can be catego-
rized into monochrome, dichromatic, or polychrome groups. Among 
the tunic fragments are numerous examples of clavi, embellished with 
stylized vegetal, animal, or human motifs. The assemblage further 
encompasses tabulae adorned with geometric and floral patterns, as 
well as decorative bands and stripes. A damaged polychrome woolen 
portrait, circular in shape, stands out for its depiction of a human face 
– possibly Christ – encased within a stylized cross motif.
A comprehensive typological classification, accompanied by an 
analysis of weaving techniques, decorative characteristics, and dating 
derived from comparative analysis, will be undertaken following the 
completion of protective conservation measures. Investigating the 
material of the textiles will further illuminate the composition of ma-
terials used and their deterioration over time, particularly concerning 
burial and storage conditions. Both non-invasive and invasive scientific 
methods will be employed to identify the fibers and weaving techniques, 
determine the coloring materials, and diagnose the state of degradation. 
This will enable a comprehensive assessment of conservation needs for 
proper storage and exhibition, including fumigation, stabilization, cle-
aning, and consolidation. The textiles will undergo analysis, including 
microscopic investigations, hyperspectral imaging, X-ray fluorescence, 
infrared spectroscopy, analytical chemistry, and dating methods.21
A brief visual examination of Kovač’s collection revealed that the 
textiles had suffered considerable damage. Numerous small fragments 
were scattered in the cardboard folders, and some larger pieces were 
at imminent risk of detaching completely. Upon opening the folders, 
we also noticed the presence of insects (specifically silverfish) visible 
to the naked eye.22
In preserving these valuable artifacts, urgent conservation is of cru-
cial importance. The condition of the objects must be first assessed by 
examining signs of damage such as tears, stains, discoloration, insect 
damage, or mold infestation. Documenting the condition with detailed 
descriptions and photographs is important to create a conservation 
plan for proper treatment by qualified conservators using reversible 
methods. Many of the textiles from Kovač’s collection are mechanically 
21 For details on these procedures, see: Amin, “Technical Investigation.” 
22 Silverfish (Lepisma saccharina) are small insects that thrive in dark, humid 
environments and feed on starch-rich materials. For a recent overview of the 
problem, see Abdallah, “Insect Identification.” 
COPTIC TEXTILES FROM THE ARCHITECT MILAN KOVAČ’S PRIVATE COLLECTION 85
and structurally unstable, requiring urgent intervention to prevent 
further deterioration. This might involve consolidating loose threads 
or fibers, securing weak areas with stitching or glue, or providing 
support with backing materials. Gentle cleaning may be required to 
remove surface dirt, dust, or stains that could contribute to accelerated 
deterioration over time. 
Maintaining optimal environmental conditions is crucial for 
textiles’ long-term storage or display.23 This includes ensuring stable 
humidity and temperature to avoid fluctuations that could result in 
biological infections or fiber degradation. Minimizing exposure to 
light, particularly ultraviolet (UV) radiation, is essential to prevent 
fading and degradation of dyes and fibers. Items should be stored in 
acid-free archival-grade materials such as tissue paper to protect them 
from environmental pollutants and physical damage.
These considerations will be crucial for formulating appropriate 
conservation strategies, procedures, and measures to meet the require-
ments for future exhibitions.
TOWARDS THE EXHIBITION 
The authors wish to conclude this paper by expressing profound gra-
titude to Mr. Milan Kovač for temporarily loaning his Coptic textiles 
collection to the University of Ljubljana. This generous act will faci-
litate further, more detailed research and analysis, thus supporting 
much-needed conservation and restoration efforts. The preservation 
measures outlined above are crucial for the work of the researchers, 
which will be facilitated through access projects at the Slovenian Node 
of the European Research Infrastructure for Heritage Science (E-RIHS.
SI) and the SloveNile: Slovenian-Egyptian Heritage Science Platform 
research group. As part of these activities, Kovač’s collection of Coptic 
textiles will also serve educational purposes and provide students and 
young researchers from diverse disciplines with the unique opportunity 
to engage with the material culture of Christian Egypt.
Mr. Kovač’s explicit wish is that his textile collection and other 
collections comprising archaeological, photographic, and valuable 
documentary materials ultimately find a home in a museum. Displayed 
collectively as the “Private Collection of Milan Kovač,” such an exhibition 
would stand as a testament to his enduring legacy and commitment to 
preserving the world’s cultural heritage.
23 Elnaggar et al., “Risk analysis for preventive conservation.”
Fig. 6: Milan Kovač’s collection of Coptic textiles – visual 
documentation. The Coptic textiles from Kovač’s private collection 
presented here were photographed in the same order as found 
in the unnumbered folders, without any particular rearrangement. 
Smaller pieces are not included in the photographic documentation 
provided. Further analysis is necessary to match detached fabrics, 
determine the precise sizes of each piece, and identify the materials 
used and the weaving techniques employed. Following this, a new 
numbering system will be introduced in the catalog.
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
COPTIC TEXTILES FROM THE ARCHITECT MILAN KOVAČ’S PRIVATE COLLECTION 91
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COPTIC TEXTILES FROM THE ARCHITECT MILAN KOVAČ’S PRIVATE COLLECTION 93
ABSTRACT
This article aims to reconstruct the circumstances surrounding the 
purchase and preservation history of a previously unknown collection 
of Coptic textiles from the private holdings of architect Milan Kovač 
(b. 1940). Acquired during Kovač’s study trip to Egypt and Sudan in 
1964, the textiles were obtained from a souvenir seller he met while 
wandering around Cairo. The seller claimed they originated from an 
ancient rubbish dump in the Fustat area, Cairo’s oldest historic district 
and the first Islamic capital of Egypt, renowned for its archaeological 
significance and as an important hub for textile production. The col-
lection of Coptic textiles that Kovač has held in private possession for 
six decades has undergone minimal conservation efforts and remains 
in urgent need of restoration. The article outlines the collection’s 
authen tication, analysis, and conservation plans. The paper concludes 
with the first-ever publication of photographs of the entire collection.
keywoRdS: Coptic textiles, Christian Egypt, private collections, 
Milan Kovač, Fustat
Koptske tkanine iz zasebne zbirke arhitekta Milana Kovača
IZVLEČEK
Članek poskuša rekonstruirati okoliščine nakupa in zgodovino 
hrambe prej neznane zbirke koptskih tkanin, ki se nahaja v zasebni 
lasti arhitekta Milana Kovača (r. 1940). Zbirko koptskih tkanin je Kovač 
leta 1964 med študijskim potovanjem po Egiptu in Sudanu kupil od 
prodajalca spominkov, ki ga je po naključju srečal med sprehajanjem 
po Kairu. Prodajalec je trdil, da so bile tkanine najdene na antičnem 
smetišču v Fustatu, zgodovinski četrti starega Kaira in najstarejši islam ski 
prestolnici Egipta, ki je bil pomembno središče za proizvodnjo tkanin. 
Zbirka koptskih tkanin, ki je v Kovačevi lasti že šest desetletij, je bila 
deležna le minimalne zaščite in jo je nujno temeljito restavrirati. Članek 
obravnava načrte za avtentifikacijo, analizo in nadaljnjo hrambo zbirke. 
Članek zaokroža prva objava fotografij celotne zbirke.
ključne BeSede: koptske tkanine, krščanski Egipt, zasebne zbirke, 
Milan Kovač, Fustat