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Modh-Textiles-Scotland-Issue-4.Pdf
A TEXTILES SCOTLAND PUBLICATION JANUARY 2013 AN ENCHANTING ESCAPE IN SCOTLAND FABULOUS FABRIC AND DETAILED DESIGN FASHION FOUNDRY NURTURING SCOTTISH TALENT contents Editor’s Note Setting the Scene 3 Welcome from Stewart Roxburgh 21 Make a statement in any room with inspired wallpaper Ten Must-Haves for this Season An Enchanting Escape 4 Some of the cutest products on offer this season 23 A fashionable stay in Scotland Fabulous Fabric Fashion Foundry 6 Uncovering the wealth of quality fabric in Scotland 32 Inspirational hub for a new generation Fashion with Passion Devil is in the Detail 12 Guest contributor Eric Musgrave shares his 38 Dedicated craftsmanship from start to fi nish thoughts on Scottish textiles Our World of Interiors Find us 18 Guest contributor Ronda Carman on why Scotland 44 Why not get in touch – you know you want to! has the interiors market fi rmly sewn up FRONT COVER Helena wears: Jacquard Woven Plaid with Herringbone 100% Merino Wool Fabric in Hair by Calzeat; Poppy Soft Cupsilk Bra by Iona Crawford and contributors Lucynda Lace in Ivory by MYB Textiles. Thanks to: Our fi rst ever guest contributors – Eric Musgrave and Ronda Carman. Read Eric’s thoughts on the Scottish textiles industry on page 12 and Ronda’s insights on Scottish interiors on page 18. And our main photoshoot team – photographer Anna Isola Crolla and assistant Solen; creative director/stylist Chris Hunt and assistant Emma Jackson; hair-stylist Gary Lees using tecni.art by L’Oreal Professionnel and the ‘O’ and irons by Cloud Nine, and make-up artist Ana Cruzalegui using WE ARE FAUX and Nars products. -
Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge
Pullen, Lesley S. (2017) Representation of textiles on classical Javanese sculpture. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/26680 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Representation of Textiles on Classical Javanese Sculpture Volume 2 Appendices Lesley S Pullen Thesis submitted for the degree of PhD 2017 Department of the History of Art and Archaeology SOAS University of London 1 Table of Contents Appendix 1……………………………………………………………………………………..………….4 Catalogue of images and drawings textile patterns Appendix 2……………………………………………………………………..…………………………86 Plates of Drawings and textile patterns Appendix 3………………………………………………………………………………….…………….97 Plates of Comparative Textiles Appendix 4……………………………………….........................................................107 Maps 2 List of Figures Appendix 1……………………………………………………………………………………..………….4 -
Publications07brituoft.Pdf
EGYPTIAN RESEARCH ACCOUNT, 1901 SEVENTH YEAR. MAHASNA AND b£t khallAf BY JOHN GARSTANG, B.Litt. READER IN EGYPTIAN ARCHEOLOGY AT UNIVERSITY COLLEGE, LIVERPOOL. WITH A CHAPTER BY KURT SETHE, Ph.D. PROFESSOR OF EGYPTOLOGY IN THE UNIVERSITY OF GOTTINGEN. LONDON: BERNARD QUARITCH, 15, PICCADILLY, W. 1903. 51 LONDON I PRINTED BV WILLIAM CLOWES AND SONS, LIMITED, STREET, W. DUKI STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL 1 CONTENTS. CHAPTER I. PAGE closed with stone doors. 28, Entrance of Introduction 1-4 the burial chamber. 29, The shaft by which the chambers were reached. 30, The surface Sect, i, The season and site of work. 2, Boun- deposits and objects found on the stairway. daries to the district explored. 3, Special 31, Copper and flint implements. 32, indications; Alawniyeh. 4, The necropolis Objects from the chambers. 33, The seal- of Mahasna. 5, Main results of its excava- ings and royal names. The alabaster tion. 6, One elaborately furnished tomb. 34, vases. 7, Exploration continued northward ; the Der at Bet Khallaf. 8, Real nature of the structure; a great tomb of the Illrd CHAPTER IV. Dynasty. 9, Architectural features ; the earliest arch. 10, Other neighbouring tombs. The Tomb of Hen Nekht (K 2) . .1 1-14 11, The step-pyramid at Saqqara. 12, The traditional burial-place of Neter-Khet. 13, 35, Appearance and identification. 36, Ana- The tomb of Neter-Khet.—Bibliography. logy with the Step Pyramid. 37, Details of plan and section. 38, The remains of the King. 40, State of the burial chamber. Details of CHAPTER II. -
The Caledonii Grande Tradition Greetings from the Editorial Staff
amildanachamildanach Journal of Celtic Studies ◊ Caledonii Grande Tradition SS http://www.angelfire.com/sc/Caledonii/ Premiere Edition ◊ Five dollars Greetings from the Editorial Staff It has been several years since the We are striving to present articles Sabbats, Gods and Goddesses of publication of the original Samildanach of worth to those of you who wish the Celts and customs relating to was released. Now, with new to be enriched in your study of them. We invite you to submit your computers and a full Staff comprised Celtic life ways. We’ll also carry articles to our Editorial Staff at least of hard working Caledonii members, sections announcing upcoming six weeks before the release date we hope to bring you this magazine Gatherings around the South East, for each issue. Issues of the zine will of Celtic Studies. You’ll find a lot in and notable Gathers throughout number four a year to correspond this issue which we hope will be of the States; as well as, articles on the to the great Fire Festivals. interest to you. – Continued on page 2 The Caledonii Grande Tradition A Little Background Grande Tradition known as the Wiccans and Mystic Christians can Fellowship of Caledon. In its come together and affirm their By Lord Ariel Morgan meetings, the Druidh, the Elders interconnectedness as Creators Ard Druidh Chosen Chief of the Order and Third Degree, and the Episcopacy, children and as brothers and sisters Wisdom Keeper of the Tradition sit together and create the policies of the Caledonii family. Within the which govern the Caledonii. -
On the Topology of Celtic Knot Designs
On the Topology of Celtic Knot Designs Gwen Fisher Mathematics Department California Polytechnic State University San Luis Obispo, CA 93407 [email protected] Blake Mellor Mathematics Department Loyola Marymount University Los Angeles, CA 90045-2659 [email protected] Abstract We derive formulas for counting the number of strands in a variety of knotwork designs inspired by traditional Celtic designs, including rectangular panels, circular borders, rectangular borders, and half frames. We include graphic examples for each of these types of designs. 1. Introduction There is a long tradition of abstract geometric designs in the art of the Celtic peoples of ancient Britain, Scotland and Ireland, including spirals, key patterns and, in the Christian era, knots and interlacings [1]. Complex knotwork patterns were used profusely in the Celtic illuminated manuscripts, such as in the Books of Durrow (early 5th to early 6th century), Kells (middle 6th to early 8th century), Lindesfarne (late 7th century), and Grimbald of St. Bertin (early 11th century). In these manuscripts, interlacing designs (both purely geometric, as in Figure 1, and incorporating animal figures) fill areas and are used as borders for text and illustrations. Françoise Henry called these designs a “sacred riddle” [7], and their symbolic meaning is a fascinating and unresolved issue in Celtic art history. James Trilling [10] has theorized that knotwork designs were, like the crosses that they commonly accompanied, protections against evil: the complex designs would trap and confuse the “evil eye”. Figure 1: A knotwork design, from [5] Whatever their meaning, the complexity of Celtic knotwork designs is evidence of substantial mathematical sophistication [4], and their design and analysis lead to many mathematical questions. -
The Necklace As a Divine Symbol and As a Sign of Dignity in the Old Norse Conception
MARIANNE GÖRMAN The Necklace as a Divine Symbol and as a Sign of Dignity in the Old Norse Conception Introduction In the last century a wooden sculpture, 42 cm tall, was found in a small peat-bog at Rude-Eskildstrup in the parish of Munke Bjergby near Soro in Denmark. (Picture 1) The figure was found standing right up in the peat with its head ca. 30 cm below the surface. The sculpture represents a sit- ting man, dressed in a long garment with two crossed bands on its front. His forehead is low, his eyes are tight, his nose is large, and he wears a moustache and a pointed chin-beard. Part of his right arm is missing, while his left arm is undamaged. On his knee he holds an object resembling a bag. Around his neck he wears a robust trisected necklace.1 At the bottom the sculpture is finished with a peg, which indicates that it was once at- tached to a base, which is now missing (Mackeprang 1935: 248-249). It is regarded as an offering and is usually interpreted as depicting a Nordic god or perhaps a priest (Holmqvist 1980: 99-100; Ström 1967: 65). The wooden sculpture from Rude-Eskildstrup is unique of its kind. But his characteristic trisected necklace is of the same type as three famous golden collars from Västergötland and Öland. The sculpture as well as the golden necklaces belong to the Migration Period, ca. 400-550 A.D. From this period of our prehistory we have the most frequent finds of gold, and very many of the finds from this period are neck-ornaments. -
General Introduction the Evergreen: a Northern Seasonal (1895- 1896/97)
GENERAL INTRODUCTION THE EVERGREEN: A NORTHERN SEASONAL (1895- 1896/97) “Four seasons fill the measure of the year; There are four seasons in the mind of man.” Epigraph to The Evergreen, from John Keats’s “The Human Seasons” Evergreen flyleaf ornament. Published as a semi-annual by Patrick Geddes & Colleagues in the Lawnmarket of Edinburgh and by T. Fisher Unwin in London, The Evergreen: A Northern Seasonal was produced out of interlacing connections as complex as those of the Celtic knot work it showcased. These include arts and crafts, Scottish Renascence, Pan-Celticism, and an urban renewal enhanced with what we would today call an ecological concern with nature and green space in the modern world. With local roots and international aspirations, The Evergreen sought to express a message of social regeneration by uniting art and science in the architecture of the page and the built environment. Expressed in Geddes’s triad of “sympathy, synergy, and synthesis,” this vision was embodied in the emblem of three flying black birds, each carrying a leaf in its beak, which decorated the openings of The Evergreen’s four volumes (Burbridge 73). As Regina Hewitt observes, Geddes conceptualized The Evergreen “as a resource for—and 1 perhaps even a manifesto of—cultural evolution” (“Patrick Geddes”). Although The Evergreen’s print run lasted less than two years, this innovative, interdisciplinary magazine had far-reaching impact. In his review for Pall Mall Magazine, Israel Zangwill highlighted the importance of the local and the social to this illustrated periodical. “’Till I went to Edinburgh,” he wrote, “I did not know what the ‘Evergreen’ was. -
As Far As This Author Knows, Insignia of the Four Awards (The Only Awards Existing in Trinidad and Tobago Until This Date) Are Manufactured in London
As far as this author knows, insignia of the four awards (the only awards existing in Trinidad and Tobago until this date) are manufactured in London. The Awards are: THE TRINITY CROSS~ [See page 12] General shape: St. George’s cross. Material: Silver gilt. Description: Between the arms of the cross is two Red Ibises and two Cocrico Birds (Ibises in first and fourth, and Cocricos in second and third canton), two and two facing in upper, and re- spectant, in lower ~rms of the cross. The arms of the cross have raised and polished borders. The Badge is surmounted with a crested helmet from the Coat- of-Arms of Trinidad and Tobago, in silver gilt. The center of the cross is charged with a gilt circular medal- lion displaying a three-peaked island rising out of the sea. The medallion is surrounded with a gilt ring inscribed: FOR DISTINGUISHED SERVICE. Ribbon: Red-black-red, with narrow white stripes between. Mode of wearing: The Trinity Cross is awarded in single class and should be worn suspended from the Necklet. Qualification: The Trinity Cross is awarded for distinguished and outstanding service to Trinidad and Tobago, as the highest a- ward which the State may bestow upon a deserving citizen. Recipients are entitled to postnominal letters "T.C." THE CHACONIA MEDAL [See page 14, left] General shape: Circular medal. Material: Silver gilt (I Class). Description: Obverse - is charged with Chaconia flower within a raised border inscribed FOR LONG AND MERITORIOUS SERVICE. The suspension has the form of an inverted"V" (chevron) joined with a straight suspension bar. -
Celtic Patterns to Colour Pdf, Epub, Ebook
CELTIC PATTERNS TO COLOUR PDF, EPUB, EBOOK Struan Reid,David Thelwell | 32 pages | 01 Jul 2014 | Usborne Publishing Ltd | 9781409574651 | English | London, United Kingdom Celtic Patterns to Colour PDF Book You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. There were Celts through most of Europe and even Asia, so these coloring sheets are Celtic favorites all over! Celtic Dogs Design. Knotted Celtic Art Design. Celtic Dublin. Triquetra Knot. Celtic Art Coloring Pages to Print. Cross Shape. Print all of our Celtic Coloring pages for free. Follow the lines. Patrick Celtic Coloring. Coloring pages. It can seem like a tangled maze, so some pre-thinking is in order for many of these coloring pages! Quad Celtic Knot. Copyright Disclaimer Disclosure Privacy Terms. Christmas Patterns to Colour Emily Bone. Also, get your favorite crayons, coloring pencils, and watercolors ready for my relaxing adult coloring pages! Trinity Celtic Triangle. Round Pattern. Accept all Manage Cookies. Celtic Heraldry. That's why there were so many intertwined animals, knots, vines, leaves and other decorations behind the main artwork. Celtic Knot Pattern. Swan Celtic Animals. Easy Celtic Bird. Designs are taken from stone carvings, pottery and jewellery and include the intricate knotwork patterns for which the Celts were famous. Vine Motif. Celtic Style Shamrock. Abigail Wheatley. Printable Celtic Symbol Coloring Pages. Beautiful Celtic Coloring Pages. Celtic Owl Design. Small Celtic Knots. They shared common languages, religious beliefs, traditions and of course artwork. Celtic Leaves. Celtic Triquetra Circle Interlaced. Dispatched from the UK in 1 business day When will my order arrive? Celtic Design. -
Thesis&Preparation&Appr
THESIS&PREPARATION&APPROVAL&FORM& & Title&of&Thesis:& Scottish&Fiddling&in&the&United&States:&Reviving&a&Tradition&and&Maintaining&a&Community& & & I. To&be&completed&by&the&Student:& & I&certify&that&this&document&meets&the&preparation&guidelines&as&presented&in&the& Style&Guide&and&Instructions&for&Preparing&Theses&and&Dissertations.&& & & _________________________________& &_______________& (Signature&of&Student)&& & (Date)& & & II. To&be&completed&by&thesis&advisor:& & I&certify&that&this&document&is&suitable&for&submission.& & & _________________________________&& _______________& (Signature&of&Advisor)&& & (Date)& & III. To&be&completed&by&School&Director:& & I&certify,&to&the&best&of&my&knowledge,&that&the&required&procedures&have&been& followed&and&the&preparation&criteria&have&been&met&for&this&thesis/dissertation.&& & & _________________________________& &_______________& (Signature&of&Director)&& & (Date)& & & xc:&Graduate&Coordinator& SCOTTISH FIDDLING IN THE UNITED STATES: REVIVING A TRADITION AND MAINTAINING A COMMUNITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Deanna T. Nebel May, 2015 Thesis written by Deanna T. Nebel B.M., Westminster College, 2013 M.A., Kent State University, 2015 Approved by ____________________________________________________ Jennifer Johnstone, Ph.D., Advisor ____________________________________________________ Ralph Lorenz, Ph.D., Acting Director, School of Music ____________________________________________________ -
INSTITUTION Congress Of. the US Washington, DC Senate Committee
DOCUMENT RESUME ED 243 294 EC 162 422 TITLE Child Abuse Prevention and Treatment and Adoption Reform Act Amendments of 1983. Hearings before the Subcommittee on Family and Human Services of the Committee on Labor and Human Resources. United States Sentate, Ninety-Eighth Congress, First Session (April 6, 11, and 14, 1933). INSTITUTION Congress of. the U.S Washington, D.C. Senate Committee on Labor and Human Resources. PUB DATE Apr 83 NOTE 601p.; For related document, see EC 162 421. PUB TYPE Legal/Legislative/Regulatory Materials (090) Viewpoints (120) EDRS PRICE MF03 Plus Postage. PC Not Availia'Ae from EDRS. DESCRIPTORS *Adoption; *Child Abuse; *Child t4:2glect; Ethics; Federal Legislation; Intervention, edical Services IDENTIFIERS Adoption Reform Act; *Child Abuse Prevention Treatment; Reauthorization Legislation ABSTRACT Statements and papers presented to the U.S. Senate during 3 days of hearings on the Child Abuse Prevention and Treatment and Adoption Reform Act Amendments of 1983 are included in this document. Witnesses' include physicians, psychologists, human services administrators, parents, heads of social service agencies, and organizations advocating adoption. Witnesses are questioned by members of the Subcommittee on Family and Human Services of the Committee on Labor and Human Resources. In addition, articles and publications on abuse and adoption and copies of letters on abuse and adoption are included. Among aspects addressed are ethical issues involved in the "Baby Doe" case, experiences of adopting children with special needs, status of child abuse demonstration projects, and the prevention of birth defects. (CL) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
Icons of the Iron Age: the Celts in History and Archaeology Course Guide
ICONS OF THE IRON AGE: THE CELTS IN HISTORY AND ARCHAEOLOGY COURSE GUIDE Professor Susan A. Johnston GEORGE WASHINGTON UNIVERSITY Icons of the Iron Age: The Celts in History and Archaeology Professor Susan A. Johnston George Washington University Recorded Books™ is a trademark of Recorded Books, LLC. All rights reserved. Icons of the Iron Age: The Celts in History and Archaeology Professor Susan A. Johnston Executive Producer John J. Alexander Executive Editor Donna F. Carnahan RECORDING Producer - David Markowitz Director - Matthew Cavnar COURSE GUIDE Editor - James Gallagher Design - Edward White Lecture content ©2008 by Susan A. Johnston Course guide ©2008 by Recorded Books, LLC 72008 by Recorded Books, LLC Cover image: Celtic knot design on a stone cross, Ballyroebuck, Ireland © Tom O’Brien/shutterstock.com #UT129 ISBN: 978-1-4361-5001-9 All beliefs and opinions expressed in this audio/video program and accompanying course guide are those of the author and not of Recorded Books, LLC, or its employees. Course Syllabus Icons of the Iron Age: The Celts in History and Archaeology About Your Professor...................................................................................................4 Introduction...................................................................................................................5 Lecture 1 The Creation of the Celts ......................................................................6 Lecture 2 The Documentary Sources..................................................................10 Lecture