Education Teacher’S Kit
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Heritage Statement
Heritage Statement Location Chimney at Queen Street Mill Museum, Briercliffe, Burnley. BB10 2HX Queen Street Mill Queen Street Mill is a steam‐powered weaving shed located in the mill village of Harle Syke above the town of Burnley, Lancashire and was built around 1894. Today, with its sister museum at Helmshore, Haslingden it forms part of the Museum of Lancashire Textiles Industry. The Mill is quite unique as it still contains its own working steam engine which powers original looms by intact drive systems. The mill was built and run by a village co‐operative and continued to operate until 1982. Recognised for its historic importance the site was bought by Burnley Borough Council, and when faced with later financial uncertainty taken over by Lancashire County Council in 1997. Set beside its mill lodge on the edge of open countryside the complex typifies the Lancashire Cotton Industry of the late nineteenth and early twentieth centuries. The site contains a Scheduled Ancient Monument, Queen Street Mill Engine, which is currently being rescheduled under English Heritage’s revision of the National Heritage List, List ID 1005085. The scheduled site consists of the engine and its house and boiler house and the flue and chimney. The buildings are listed, Grade 1. The site is within the Harle Syke Conservation Area. Listing Grade 1 List Entry Number: 1416482 Date First Listed: 23 Dec 2013 Chimney The Grade 1 listed chimney at Burnley Queen Street Mill Museum is circular in plan, constructed from red brickwork and is thirty five metres tall, four metres diameter at its base and tapers to just over two metres at the top. -
Historic 1901 Steel Grain Elevator Faces Demolition
Volume 45 Fall 2016 Number 4 Historic 1901 Steel Grain Elevator Faces Demolition he 1901 Electric Steel Elevator (ESE) in in Minneapolis and Buffalo, were working to find a fireproof Minneapolis faces demolition if current preser- material to replace the all-wood terminal elevator. Steel, vation efforts fail to prevent it. tile, and concrete were fireproof, but more expensive than The ESE is nationally significant as one of wood. In Minneapolis, at least, the fireproof issue had more Tthe original all-steel grain elevators with free-standing, to do with insuring the grain in the elevator than with the cylindrical, grain tanks and a steel workhouse or headhouse. elevator itself. Only a city-certified fireproof elevator could It is the only survivor of three “classics of the steel era” avoid costly insurance rates. The ESE was the only new identified by Reyner Banham in his 1986 study, A Concrete elevator certified fireproof in Minneapolis in 1902. Atlantis. The others were the Electric Elevator in Buffalo, Claude Allen Porter (C.A.P.) Turner, an engineer bet- N.Y. (1897, razed 1984), and the Pioneer Steel Elevator ter known for his later innovations in reinforced concrete, in Minneapolis (1900, razed 1995; visited during the 1983 designed the elevator to take advantage of fireproof steel SIA Annual Conference). construction. He approached the design holistically, work- At the turn of 20th century, elevator builders, especially ing not only with a lighter, stronger, steel-tank design, but (continued on page 2) In This Issue: • Call for Nominations—SIA Officers 2017 • 2017 SIA Annual Conference, Houston, May 18–21 ❍ Call for Papers ❍ Tour Previews ❍ Student Scholarships ❍ General Tools Award Nominations • Welcome Steven Walton, SIA’s new Exec. -
Fulled Wool Scarves Multiple Projects on the Same Threading
Fulled Wool Scarves multiple projects on the same threading MADELYN VAN DER HOOGT Choose from a fabulous array of colors and make lots of scarves for quick and easy holiday gifts. Change weft colors for different looks on the same warp—or change the colors of the warp, too! Simply tie a new warp onto the one you’ve just finished. The setts of both the warp and the weft in this project are very open to allow maximum fulling to take place during wet finishing. The result is a wonderfully soft, thick, cuddly, warm winter scarf. hese two scarves were woven on dif- secure them in front of the reed. ferent warps, both of Harrisville Then, taking the first end of the old T Shetland, one in Garnet, the other warp and the first end of the new warp on in Peacock. Both yarns are somewhat one side (right side if you are right hand- “heathered” (flecks of other colors are spun ed, left side if you are left-handed), tie into the yarn), a quality that makes them them together in an overhand knot. Re- work well with a variety of weft colors. peat with the next end from each warp and You can choose to weave many scarves on continue until all ends are tied. The knots one very long warp or even tie on new do not have to be exactly at the same point warps to change scarf colors completely. for every tie. Especially with wool, small Whatever you choose, you’ll find the tension differences between the threads weaving easy and fun. -
Barred Blanket Initialled CY and Dated 1726
Barred Blanket initialled CY and dated 1726 Introduction The collection of The Scottish Tartans Authority (STA) includes a number of specimens of predominately white based tartan material typical of what is often referred to as an arisaid pattern1. Amongst these is a complete joined specimen initialled CY and dated 1726 (Plate 1). This magnificent piece is the oldest and largest complete example of a joined Highland plaid/blanket known. It was purchased in 19662 from John Telfer Dunbar, collector and author of the seminal work The History of Highland Dressi. Unfortunately, Dunbar’s records are far from complete and in this instance, he gives no clue as to where he acquired the piece. Plate 1. Detail of the blanket showing the initials, date and join. Photo: E. F. Williams. The use of the term ‘arisaid’ to describe this type of pattern resulted in this piece being used in a display in the manner described by Martin Martinii (Plate 2). However, rather than being intended for use as an arisaid, this piece is an example of a Highland domestic plaid3 of a type often referred to as a ‘Barred Blanket’ because of the striped selvedge pattern. This is supported by the family tradition that the plaid was woven by CY to commemorate her marriage (to Capt Arbuthnott) and was used on special occasions to decorate the table. 1 The term refers to the form of over-plaid worn by women until the early 18th century and is discussed further in the companion paper Musings on the Arisaid and other female dress. -
Belper Mills Site
Belper North Mill Trust Outline masterplan for the renewal of the Belper Mills site February 2017 Belper North Mill Trust Outline masterplan for the renewal of the Belper Mills site Contents Page numbers 1 Introduction 1 2 Heritage significance 1 - 4 3 End uses 4 - 5 4 Development strategy 5 - 9 4.1 Phase 1 6 - 7 4.2 Phase 2 7 4.3 Phase 3 8 4.4 The end result 9 5 Costs of realisation 10 - 11 6 Potential financing – capital and revenue 11 - 15 6.1 Capital/realisation 11 - 12 6.2 Revenue sustainability 12 - 15 7 Delivery 15 - 16 Appendices 1 Purcell's Statement of Significance 2 Purcell's Feasibility Study Belper North Mill Trust Outline masterplan for the renewal of the Belper Mills site 1 Introduction As part of this phase of work for the Belper North Mill Trust we have, with Purcell Architects, carried out an outline masterplanning exercise for the whole Belper Mills site. At the outset, it is important to say that at the moment the site is privately owned and that while Amber Valley Borough Council initiated a Compulsory Purchase Order process in 2015, that process is still at a preliminary stage. This is a preliminary overview, based on the best available, but limited, information. In particular, access to the buildings on site has been limited; while a considerable amount of the North Mill is accessible because it is occupied, access to the East Mill, now empty, was not made available to us. Also, while we have undertaken some stakeholder consultation, we have not at this stage carried out wider consultation or public engagement, nor have we undertaken detailed market research, all of which would be essential to any next stage planning for the future of the site. -
6 X 10 Long Title.P65
Cambridge University Press 978-0-521-15382-9 - Heroes of Invention: Technology, Liberalism and British Identity, 1750-1914 Christine MacLeod Index More information Index Acade´mie des Sciences 80, 122, 357 arms manufacturers 236–9 Adam, Robert 346 Armstrong, William, Baron Armstrong of Adams, John Couch 369 Cragside Aikin, John 43, 44, 71 arms manufacturer 220 Airy, Sir George 188, 360 as hero of industry 332 Albert, Prince 24, 216, 217, 231, 232, 260 concepts of invention 268, 269, 270 Alfred, King 24 entrepreneurial abilities of 328 Amalgamated Society of Engineers, knighted 237–8 Machinists, Millwrights, Smiths and monument to 237 Pattern Makers 286–7 opposition to patent system 250, 267–8 ancestor worship, see idolatry portrait of 230 Anderson’s Institution, Glasgow 113, 114, president of BAAS 355 288, 289 Punch’s ‘Lord Bomb’ 224–5 Arago, Franc¸ois 122, 148, 184 Ashton, T. S. 143 Eloge, to James Watt 122–3, 127 Athenaeum, The 99–101, 369 Arkwright, Sir Richard, Atkinson, T. L. 201 and scientific training 359 Atlantic telegraph cables 243, 245, 327 as national benefactor 282 Arthur, King 15 as workers’ hero 286 Askrill, Robert 213 commemorations of, 259 Associated Society of Locomotive Cromford mills, painting of 63 Engineers and Firemen 288 enterprise of 196, 327, 329 era of 144 Babbage, Charles 276, 353, 356–7, factory system 179 375, 383 in Erasmus Darwin’s poetry 67–8 Bacon, Sir Francis in Maria Edgeworth’s book 171 as discoverer 196 in Samuel Smiles’ books 255, 256 as genius 51, 53, 142 invention of textile machinery 174, 176 bust of 349 knighthood 65 n. -
Marketing Fragment 6 X 10.T65
Cambridge University Press 978-0-521-87370-3 - Heroes of Invention: Technology, Liberalism and British Identity, 1750-1914 Christine MacLeod Frontmatter More information Heroes of Invention This innovative study adopts a completely new perspective on both the industrial revolution and nineteenth-century British culture. It investi- gates why inventors rose to heroic stature and popular acclaim in Victorian Britain, attested by numerous monuments, biographies and honours, and contends there was no decline in the industrial nation’s self-esteem before 1914. In a period notorious for hero-worship, the veneration of inventors might seem unremarkable, were it not for their previous disparagement and the relative neglect suffered by their twentieth-century successors. Christine MacLeod argues that inventors became figureheads for various nineteenth-century factions, from economic and political liberals to impoverished scientists and radical artisans, who deployed their heroic reputation to challenge the aristocracy’s hold on power and the militaristic national identity that bolstered it. Although this was a challenge that ultimately failed, its legacy for present-day ideas about invention, inventors and the history of the industrial revolution remains highly influential. CHRISTINE MACLEOD is Professor of History in the School of Humanities, University of Bristol. She is the author of Inventing the Industrial Revolution: The English Patent System, 1660–1800 (1988). © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87370-3 -
Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted. -
Industrialism, Androids, and the Virtuoso Instrumentalist
UNIVERSITY OF CALIFORNIA Los Angeles Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Leila Mintaha Nassar-Fredell 2013 © Copyright by Leila Mintaha Nassar-Fredell 2013 ABSTRACT OF THE DISSERTATION Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist by Leila Nassar-Fredell Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert S. Winter, Chair Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As ii the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity. Both instrumental performers and androids explored the liminal area between human and machine. As androids lost their magic, musical virtuosos assumed the qualities of spectacle and spirituality long embodied by their machine counterparts. In this process virtuosi explored the liminal space of human machines: a human playing a musical instrument (a machine) weds the body to a machine, creating a half-human, half-fabricated voice. -
A Special and Unusual Loom Frame from the First Half of the Nine
FINDING THE THREAD RESTORATION OF A PROFESSIONAL WEAVER'S LOOM Rabbit Goody A special and unusual loom frame from the first half of the nine teenth century now in the collection of the Ontario Agricultural Mu seum, Milton, Ontario,1 has provided an opportunity to examine some of the specialized equipment used by weavers in the nineteenth century to weave cloth with speed, intricate geometric patterns, and/or accommodate longer lengths of cloth. Surviving examples of cloth have made it apparent that trained weavers, weaving fancy cloth during the nineteenth century were using more complex equipment than that commonly associated with home textile produc tion. However, until now surviving examples of the equipment have been scarce. The museum's loom is one of a small number that can be linked to the production of the more complex cloths of this pe riod. At least, it has specialized equipment which professional weavers might choose to place on their looms. It is the most com plete example currently known. In their book, "Keep Me Warm One Night", Dorothy and Harold Burnham have identified this loom as being a professional weaver's loom because of its specialized features.2 It is being restored for the purpose of reproducing some of the more intricate cloth woven by professional weavers in the Niagara Peninsula. The survival of this loom frame, with its special features, has made it possible to set certain criteria for identifying other looms used by professionals and to corroborate the descrip tions of equipment and methods found in publications and manuscripts from the last half of the eighteenth century and early nineteenth century used to weave fancy cloth rapidly by profes sionals. -
Prices and Profits in Cotton Textiles During the Industrial Revolution C
PRICES AND PROFITS IN COTTON TEXTILES DURING THE INDUSTRIAL REVOLUTION C. Knick Harley PRICES AND PROFITS IN COTTON TEXTILES DURING THE 1 INDUSTRIAL REVOLUTION C. Knick Harley Department of Economics and St. Antony’s College University of Oxford Oxford OX2 6JF UK <[email protected]> Abstract Cotton textile firms led the development of machinery-based industrialization in the Industrial Revolution. This paper presents price and profits data extracted from the accounting records of three cotton firms between the 1770s and the 1820s. The course of prices and profits in cotton textiles illumine the nature of the economic processes at work. Some historians have seen the Industrial Revolution as a Schumpeterian process in which discontinuous technological change created large profits for innovators and succeeding decades were characterized by slow diffusion. Technological secrecy and imperfect capital markets limited expansion of use of the new technology and output expanded as profits were reinvested until eventually the new technology dominated. The evidence here supports a more equilibrium view which the industry expanded rapidly and prices fell in response to technological change. Price and profit evidence indicates that expansion of the industry had led to dramatic price declines by the 1780s and there is no evidence of super profits thereafter. Keywords: Industrial Revolution, cotton textiles, prices, profits. JEL Classification Codes: N63, N83 1 I would like to thank Christine Bies provided able research assistance, participants in the session on cotton textiles for the XII Congress of the International Economic Conference in Madrid, seminars at Cambridge and Oxford and Dr Tim Leung for useful comments. -
Glossary of Terms
The Missing Chapter: Untold Stories of the African American Presence in the Mid-Hudson Valley Glossary of Terms Bay: A compartment in a barn, used fore storing hay or grain. Britches or Breeches: Short trousers, especially fastened below the knee. Breeches were originally made of leather, but were made of various materials. Buckskin: Leather made from a buck’s skin, could also refer to a thick smooth cotton or woolen cloth. Coating: A cloth used for making coats. Drab coloured: A dull brownish yellow or dull gray color. Felt: A fabric made of wool and hair. Fife: A small high-pitched flute without keys, often used in military and marching bands. Fustian: A coarse sturdy cloth of a cotton-linen blend; any durable fabric with a raised nap made mainly from cotton, for example, corduroy or moleskin. Gaol: is an early Modern English spelling for jail, with the same pronunciation and meaning of a place of legal detention. Grogram: A rough fabric of silk and wool with a diagonal weave. High Dutch: An eighteenth century term for German. Homespun: Spun or woven in the home; a plain coarse woolen cloth made of homespun yarn. Instant (inst.): The current calendar month. Inventory: a detailed list of things in one’s view or possession; especially, a regular survey of all goods and materials in stock. Linsey Woolsey: A coarse fabric of cotton or linen woven with wool. Low Dutch: used to signify those persons of Netherlandish descent. Manchester velvet: A fine cotton used in making dresses. The Missing Chapter: Untold Stories of the African American Presence in the Mid-Hudson Valley Nanekeen: A sturdy yellow or buff cotton cloth.