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Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
A Manual of Electricity, Magnetism, and Meteorology
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com NYPL RESEARCH LIBRARIES | 34.33 ||||| O691091 – !! !! !! !! ! 2 _- - * - _º º 4.WN iſ A. N. U A ſ, _-_ — of -- … – ( Z.Z.º. cºlºſ Cſºlº, Ayſal & AyA.T.ſ. 5 ºf – ~ - an or sº w - -- > __ anº's ( // E *ſ'. E. O.A.: O I, O & Y. - - º Az _º_*zº, _{Z ~4–. _4% • *. %2. zz & C//4///:3' W. W.4/, /ſ/.../º, SºCſ. ET4/ºr 7, 17//, //, //7/2/, //, 5, , , ,77. //, /wo ºrºzzes *A ºl. II. - - - - - - - - - - - - - - - - - - - - - - - - - - - - --- - Tonoon: . * ~ * - - - - - - - - - - - ------ - -> --> * > *.*.*.*, *, * * x - M.A is . .” - P. i. i* - lº Hº -- - - - - - - -- - - - - * ~ * - - - - 2. - THE NEW YORK PUBLIC UIBRARY Astor, ‘f Nox TIL CEN FOUND A TY ONº. *- **º----- ADVERTISEMENT, IN presenting this volume to the public, it is only just to the publishers for me to state, that the long interval which has elapsed between the appearance of the first and the second volumes has arisen from causes over which they had no control. Circum stances having rendered it necessary for them to seek assistance to complete the volume, I was in duced, at their request, to undertake it: and all that Dr. Lardner had contributed was forthwith placed in my hands. It is unnecessary for me to state the difficulties which an author must encounter in attempting to complete a work commenced by another. I must, however, mention that, after a careful examination of the materials placed at my disposal, I have en deavoured to carry out Dr. -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns. -
A Brief History of the Hawaiian People
0 A BRIEF HISTORY OP 'Ill& HAWAIIAN PEOPLE ff W. D. ALEXANDER PUBLISHED BY ORDER OF THE BOARD OF EDUCATION OF THE HAWAIIAN KINGDOM NEW YORK,: . CINCINNATI•:• CHICAGO AMERICAN BOOK C.OMPANY Digitized by Google ' .. HARVARD COLLEGELIBRAllY BEQUESTOF RCLANOBUr.ll,' , ,E DIXOII f,'.AY 19, 1936 0oPYBIGRT, 1891, BY AlilBIOAN BooK Co)[PA.NY. W. P. 2 1 Digit zed by Google \ PREFACE AT the request of the Board of Education, I have .fi. endeavored to write a simple and concise history of the Hawaiian people, which, it is hoped, may be useful to the teachers and higher classes in our schools. As there is, however, no book in existence that covers the whole ground, and as the earlier histories are entirely out of print, it has been deemed best to prepare not merely a school-book, but a history for the benefit of the general public. This book has been written in the intervals of a labo rious occupation, from the stand-point of a patriotic Hawaiian, for the young people of this country rather than for foreign readers. This fact will account for its local coloring, and for the prominence given to certain topics of local interest. Especial pains have been taken to supply the want of a correct account of the ancient civil polity and religion of the Hawaiian race. This history is not merely a compilation. It is based upon a careful study of the original authorities, the writer having had the use of the principal existing collections of Hawaiian manuscripts, and having examined the early archives of the government, as well as nearly all the existing materials in print. -
Runaway Slaves in Eighteenth-Century Britain Glossary
Runaway Slaves in eighteenth-century Britain Glossary The advertisements contain many words peculiar to the eighteenth-century, here is a list of the trickiest words, as well as some general definitions. • A seeton (health) A seton is a thread, piece of tape or similar in a small wound to prevent it healing and allow for drainage. • A three years protection in his pocket (item) Most likely some kind of document given to the enslaved man by his master authorising him to hire himself out for wages, negotiating salary and then paying an agreed amount to his master. • Apprentice (occupation) A boy or man being trained in a skilled trade (for example shoe-making, carpentry, etc.). • Baker Kneed (health) See "In-kneed". • Banyon [banyan] (clothing item) A banyan was a loose, informal robe to be worn instead of a coat. • Bavarian coat (clothing item) A coat based on the Bavarian style. • Bays (clothing material) Coarse English worsted and woolen fabric. • Black (racial descriptor) British-used designation for a person from any dark-skinned group of peoples, especially sub-Saharan African. • Blackamore/Blackmore/Blackamoor (racial descriptor) British-used designation for a person from any dark-skinned group of peoples, especially sub-Saharan African. • Bonnet (clothing item) A hat, usually tied under the chin and often framing the face • Breeches (clothing item) Precursor to trousers, stopped just below the knee. • Burdet (clothing material) Cotton fabric. • Camblet (clothing material) Plain woven or twilled fabric. • Cast (referring to eyes) (health) A squint. • Chymist (occupation) A chemist. Runaway Slaves in eighteenth-century Britain Glossary • Cloaths (clothing item) A variant spelling of clothes. -
Appendix 6-3
APPENDIX 9.3 REFERENCES MADE TO FABRICS AND CLOTHING BY K.T. KHLEBNIKOV (Compiled by Margan Allyn Grover, from Khlebnikov 1994) 322 REFERENCES MADE TO FABRICS AND CLOTHING BY K.T. KHLEBNIKOV Compiled by Margan Allyn Grover from K.T. Khlebnikov (1994) When and at What Price Goods Were Purchased from Foreigners: Frieze, 150 yards, 1805 - 2 piasters 14 cents, 1808 – 4p, 1810 – 20p, 1811 – 2p Blue nankeen, 100 funts, 1808 – 1p 50c, 1811 – 2p Large blanket, piece, 1808 – 3p 50c, 1811 – 2p (from Khlebnikov 1994: 20, Table 2) Goods traded by Mr Ebbets in Canton under contract with Mr Baranov: 4,000 pieces of nankeen – at 90 centimes 2,000 pieces of blue nankeen – at 1 piaster 20 cents 800 pieces of flesh-colored nankeen – at 90 cents 300 pieces of black nankeen – at 2p 75c 200 pieces fustian – at 2p 75c 600 pieces of cotton – at 6p 50c 10 piculs velvet – at 28p 250 pieces of demi-cotton - at 1p 50c 10 piculs of thread – at 100p 55 pieces of seersucker – at 4p 595 silk waistcoats for 840p 500 pieces of silk material – at 9.20p (from Khlebnikov 1994: 21-23) Goods Issued in Sitkha to Mr O’Cain and Exchange of Same in Canton, 1806: 500 pieces of silk material, 6p 85c 200 pieces of silk material, 5p 147 pieces of satin, 20p 25c 50 packets of handkerchiefs, 9p 75c 70 pieces of satin, from 18p to 19p 150 pieces of satin, 16p 50c 30 pieces of taffetta, 12p 75c 28 catties of silk, 6p 50c 5 pieces of camelot, 26p Mr Baranov continued to figure the piaster at the exchange rate of two rubles throughout his administration. -
Identifying Textile Types and Weaves 1750-1950 DATS in Partnership with the V&A
Identifying Textile Types and Weaves 1750-1950 DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Textile Types and Weaves 1750-1950 Text copyright © DATS, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name taught by Sue Kerry and held at Birmingham Museum and Art Gallery Collections Centre on 29th November 2007. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Printed Textiles in Dress 1740 -1890 Identifying Handmade and Machine Lace Front Cover - English silk tissue, 1875, Spitalfields. T.147-1972 , Image © V&A Images / Victoria and Albert Museum 2 Identifying Textile Types and Weaves Contents Page 2. List of Illustrations 1 3. Introduction and identification checklist 3 4. Identifying Textile Types - Fibres and Yarns 4 5. Weaving and Woven Cloth Historical Framework - Looms 8 6. Identifying Basic Weave Structures – Plain Cloths 12 7. Identifying Basic Weave Structures – Figured / Ornate Cloths 17 8. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
The Life and Works of Charles Lamb
DATE DUE Cornell University Library yysj The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924064980240 Edition de Luxe The Life and Works of Charles Lamb IN TWELVE VOLUMES VOLUME X The Letters OF Charles Lamb Newly Arranged, with Additions EDITED, WITH INTRODUCTION AND NOTES BY ALFRED AINGER VOLUME II LONDON MACMILLAN AND CO., Limited 1900 All rights reserved This Edition consists of Six Hundred and Seventy-five Copies s 1 CONTENTS CHAPTER II—(Continued) 1800—1809 LETTERS TO COLERIDGE, MANNING, AND OTHERS PAGE LXXX. To Thomas Manning Dec. 13, 1800 i LXXXI. To William Godwin Dec. 14, 1800 4 LXXXII. To Thomas Manning Dec. 16, 1800 6 LXXXIII. „ „ Dec. 27, 1800 9 LXXXIV. To Samuel Taylor Coleridge [No date—end of 1800] 12 LXXXV. To William Words- worth . Jan. 30, 1801 17 LXXXVI. „ „ Jan. 1801 19 LXXXVII. To Robert Lloyd . Feb. 7, 1801 22 LXXXVIII. To Thomas Manning Feb. 15, 180 25 LXXXIX. „ „ [Feb. or Mar. J 1801 30 L. X V b 1 LETTERS OF CHARLES LAMB LETTIR DATE PAGE XC. To Robert Lloyd . April 6, i8or 34 XCI. To Thomas Manning April 1801 38 XCII. To Robert Lloyd , April 1801 40 XCin. To William Godwin June 29, 1801 42 XCIV. To Robert Lloyd . July 26, 1801 43 XCV. To Mr. Walter Wilson Aug. 14, 1801 46 XCVL To Thomas Manning [Aug.] 1801 47 XCVIL „ „ Aug. 31, 1 80 49 XCVin. To William Godwin Sept. -
Blue Jeans (Edited from Wikipedia)
Blue Jeans (Edited from Wikipedia) SUMMARY Jeans are a type of pants, typically made from denim or dungaree cloth. Often the term "jeans" refers to a particular style of pants, called "blue jeans," which were invented by Jacob W. Davis in partnership with Levi Strauss & Co. in 1871 and patented by Jacob W. Davis and Levi Strauss on May 20, 1873. Prior to the Levi Strauss patented trousers, the term "blue jeans" had been long in use for various garments (including trousers, overalls, and coats), constructed from blue colored denim. Originally designed for cowboys and miners, jeans became popular in the 1950s among teenagers, especially members of the greaser subculture. Jeans were a common fashion item in the 1960s hippie subculture and they continued to be popular in the 1970s and 1980s youth subcultures of punk rock and heavy metal. Historic brands include Levi's, Lee, and Wrangler. Today, jeans remain a popular fashion item and come in various fits. HISTORY Research on the trade of jean fabric shows that it emerged in the cities of Genoa, Italy, and Nîmes, France. Gênes, the French word for Genoa, may be the origin of the word "jeans". In Nîmes, weavers tried to reproduce jean but instead developed a similar twill fabric that became known as denim, from de Nîmes, meaning "from Nîmes". Genoa’s jean was a fustian textile of "medium quality and of reasonable cost", very similar to cotton corduroy for which Genoa was famous, and was "used for work clothes in general". The Genoese navy equipped its sailors with jeans, as they needed a fabric which could be worn wet or dry. -
Sherwin Williams Prism Paints
Item Number Color Name Color Code SW0001 Mulberry Silk PASTEL SW0002 Chelsea Mauve PASTEL SW0003 Cabbage Rose PASTEL SW0004 Rose Brocade DEEPTONE SW0005 Deepest Mauve DEEPTONE SW0006 Toile Red DEEPTONE SW0007 Decorous Amber DEEPTONE SW0008 Cajun Red DEEPTONE SW0009 Eastlake Gold DEEPTONE SW0010 Wickerwork PASTEL SW0011 Crewel Tan PASTEL SW0012 Empire Gold PASTEL SW0013 Majolica Green PASTEL SW0014 Sheraton Sage PASTEL SW0015 Gallery Green DEEPTONE SW0016 Billiard Green DEEPTONE SW0017 Calico DEEPTONE SW0018 Teal Stencil DEEPTONE SW0019 Festoon Aqua PASTEL SW0020 Peacock Plume PASTEL SW0021 Queen Ann Lilac PASTEL SW0022 Patchwork Plum PASTEL SW0023 Pewter Tankard PASTEL SW0024 Curio Gray PASTEL SW0025 Rosedust PASTEL SW0026 Rachel Pink PASTEL SW0027 Aristocrat Peach PASTEL SW0028 Caen Stone PASTEL SW0029 Acanthus PASTEL SW0030 Colonial Yellow DEEPTONE SW0031 Dutch Tile Blue DEEPTONE SW0032 Needlepoint Navy DEEPTONE SW0033 Rembrandt Ruby DEEPTONE SW0034 Roycroft Rose DEEPTONE SW0035 Indian White PASTEL SW0036 Buckram Binding DEEPTONE SW0037 Morris Room Grey DEEPTONE SW0038 Library Pewter DEEPTONE SW0039 Portrait Tone DEEPTONE SW0040 Roycroft Adobe DEEPTONE SW0041 Dard Hunter Green DEEPTONE SW0042 Ruskin Room Green DEEPTONE SW0043 Peristyle Brass DEEPTONE SW0044 Hubbard Squash PASTEL Item Number Color Name Color Code SW0045 Antiquarian Brown DEEPTONE SW0046 White Hyacinth PASTEL SW0047 Studio Blue Green DEEPTONE SW0048 Bunglehouse Blue DEEPTONE SW0049 Silver Gray PASTEL SW0050 Classic Light Buff PASTEL SW0051 Classic Ivory PASTEL SW0052 Pearl -
Name, a Novel
NAME, A NOVEL toadex hobogrammathon /ubu editions 2004 Name, A Novel Toadex Hobogrammathon Cover Ilustration: “Psycles”, Excerpts from The Bikeriders, Danny Lyon' book about the Chicago Outlaws motorcycle club. Printed in Aspen 4: The McLuhan Issue. Thefull text can be accessed in UbuWeb’s Aspen archive: ubu.com/aspen. /ubueditions ubu.com Series Editor: Brian Kim Stefans ©2004 /ubueditions NAME, A NOVEL toadex hobogrammathon /ubueditions 2004 name, a novel toadex hobogrammathon ade Foreskin stepped off the plank. The smell of turbid waters struck him, as though fro afar, and he thought of Spain, medallions, and cork. How long had it been, sussing reader, since J he had been in Spain with all those corkoid Spanish medallions, granted him by Generalissimo Hieronimo Susstro? Thirty, thirty-three years? Or maybe eighty-seven? Anyhow, as he slipped a whip clap down, he thought he might greet REVERSE BLOOD NUT 1, if only he could clear a wasp. And the plank was homely. After greeting a flock of fried antlers at the shevroad tuesday plied canticle massacre with a flash of blessed venom, he had been inter- viewed, but briefly, by the skinny wench of a woman. But now he was in Rio, fresh of a plank and trying to catch some asscheeks before heading on to Remorse. I first came in the twilight of the Soviet. Swigging some muck, and lampreys, like a bad dram in a Soviet plezhvadya dish, licking an anagram off my hands so the ——— woundn’t foust a stiff trinket up me. So that the Soviets would find out.