Textile Artifacts from H.M. Sloop Debraak Tyler Rudd Putman
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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Attire Tailoring Fine Formal Hire
Attire Tailoring fine formal hire www.attiretailoring.co.uk Here at Attire Tailoring we know more than anybody that it is so imperative to look and feel your outright best on this huge day. Getting everybody in co-ordinating outfits is simple with our broad hirewear assortment, accessible in pretty much every size. With top of the line formal outfits and coordinating accessories, you’ll discover all that you need to put your best self forward, with costs from just £35 per outfit. View our wide scope of styles and shading palettes on the web and build your look using our intelligent Outfit Builder. With our totally online service you can arrange everthing without the need to visit a store . With our online service, we’ll send you the style of your choice for a two day trial in your own home, months before the wedding. Plan your wedding rapidly and where needed with our online assistance. With over 20 years of hirewear experience everything you need is taken care of. The choice is yours... Hire is the flexible choice. It doesn’t matter if it’s 1 or 100 guests, we have the sizes to fit the whole party - even the little ones! Hire is the convenient choice. Your wedding party can be located any- where in the UK and we’ll make sure all outfits are delivered up to a full week before the function date. Travelling to the UK from abroad? We deliver to hotels too! Hire is the sustainable/ethical choice. Renting is recylcing. Go on! book your fitting atwww.attire-tailoring.co.uk *The Try On service is only available on selected months. -
Surgery at Sea: an Analysis of Shipboard Medical Practitioners and Their Instrumentation
Surgery at Sea: An Analysis of Shipboard Medical Practitioners and Their Instrumentation By Robin P. Croskery Howard April, 2016 Director of Thesis: Dr. Lynn Harris Major Department: Maritime Studies, History Abstract: Shipboard life has long been of interest to maritime history and archaeology researchers. Historical research into maritime medical practices, however, rarely uses archaeological data to support its claims. The primary objective of this thesis is to incorporate data sets from the medical assemblages of two shipwreck sites and one museum along with historical data into a comparative analysis. Using the methods of material culture theory and pattern recognition, this thesis will explore changes in western maritime medical practices as compared to land-based practices over time. Surgery at Sea: An Analysis of Shipboard Medical Practitioners and Their Instrumentation FIGURE I. Cautery of a wound or ulcer. (Gersdorff 1517.) A Thesis Presented to The Faculty of the Department of History Program in Maritime Studies East Carolina University In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Maritime Studies By Robin P. Croskery Howard 2016 © Copyright 2016 Robin P. Croskery Howard Surgery at Sea: An Analysis of Shipboard Medical Practitioners and Their Instrumentation Approved by: COMMITTEE CHAIR ___________________________________ Lynn Harris (Ph.D.) COMMITTEE MEMBER ____________________________________ Angela Thompson (Ph.D.) COMMITTEE MEMBER ____________________________________ Jason Raupp (Ph.D.) COMMITTEE MEMBER ____________________________________ Linda Carnes-McNaughton (Ph.D.) DEPARTMENT OF HISTORY CHAIR ____________________________________ Christopher Oakley (Ph.D.) GRADUATE SCHOOL DEAN ____________________________________ Paul J. Gemperline (Ph.D.) Special Thanks I would like to thank my husband, Bernard, and my family for their love, support, and patience during this process. -
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. -
Guide to the Martin Klein Collection
Guide to The Martin Klein Collection The Francis Russell Hart Nautical Collections Compiled by Anna Britton The Francis Russell Hart Nautical Collection MIT Museum Cambridge, Massachusetts 1 © 2019 Massachusetts Institute of Technology All rights reserved. No portion of this book may be reproduced without written permission of the publisher. Published by The MIT Museum 265 Massachusetts Avenue Cambridge, Massachusetts 02139 TABLE OF CONTENTS 2 Acknowledgments 4 Biographical Note 5 Scope and Content 6 Series Description I: Technical Literature and Archival Material 7 Series Description II: Manuals 27 Series Description III: Slides 30 Appendix A: Artifacts 37 Appendix B: Sonar and Personal Files 38 Appendix C: Reference Books 40 Appendix D: Interviews and Transcripts 44 Acknowledgments The MIT Museum wishes to thank Martin Klein for his long service to the MIT Museum as a member of the Collections Committee and for his interest in assisting the Museum to acquire significant collections documenting undersea sensing technologies. Klein’s own extensive professional and personal collection of archives and slides is the core collection defined in this guide. 3 We also acknowledge Martin Klein’s major support in providing resources to catalog and digitize substantial elements of the Martin Klein Collection. He has also maintained a keen interest in the work and advised on priorities for digitization. The majority of the collection was processed and entered in the Museum’s database by Freya Levett between 2016 and 2017. Additional archival materials were digitized and added to the database by Anna Britton from 2018 to 2019. Anna Britton organized and compiled the content in this guide based on her knowledge of the collection, its database records, and related materials not yet cataloged. -
RUTILUS Strategies for a Sustainable Development of the Underwater Cultural Heritage in the Baltic Sea Region
RUTILUS Strategies for a Sustainable Development of the Underwater Cultural Heritage in the Baltic Sea Region SWEDISH NATIONAL MARITIME MUSEUMS REPORT dnr 1267/03-51, 2006 2 Table of Contents 1. Background and Vision .........................................................................................................9 1.1 Main Objectives...............................................................................................................11 1.2 Target Groups for the Report.........................................................................................11 1.3 The Road Map ................................................................................................................11 1.4 Limitations......................................................................................................................13 1.5 The Report......................................................................................................................13 2. Cultural Heritage Legislations.............................................................................................17 2.1 Laws on Underwater Cultural Remains ........................................................................17 2.2 Protection and Ownership.............................................................................................18 2.3 Other Legal Aspects.......................................................................................................20 2.4 Conclusions....................................................................................................................23 -
Dress Like a Pilgrim a Procurement Guide by Mayflower Guard
DRESS LIKE A PILGRIM A Procurement Guide SEPTEMBER 29, 2018 THE MAYFLOWER GUARD General Society of Mayflower Descendants Dress Like a Pilgrim A Procurement Guide By Mayflower Guard As James Baker, noted Pilgrim historian, points out in his recent article in the Mayflower Journal 1 there is a major image problem associated with what clothing and apparel Pilgrims wore. The image of black clothing, buckles and blunderbusses persist in the public mind. To overcome this misperception and to assist in this effort to change public perceptions, the donning of appropriate garments representing what the Pilgrims actually wore should be a major objective for the commemoration of the 1 Baker, James W., Pilgrim Images III, Mayflower Journal Vol. 2, No. 1 [2017], pp 7-19 1 400th anniversary of the arrival of the Mayflower. We the Mayflower descendants need to Dress Like a Pilgrim and wear Pilgrim Appropriate Apparel (PAA). So, what did Pilgrim men and women wear? Fabrics In 17th Century England and in the Netherlands, there were two basic fabrics that were used for clothing, wool and linen. There was combination of wool and linen know has fustian corduroy that was also used, however finding this fabric today is almost impossible. Cotton while available was very rare and very expensive in the early 17th century. Colors We know that the Pilgrims wore a variety of colors in their clothing from probate records where the color of various clothing items were mentioned including the colors violet, blue, green.1,2 The color red was also listed. However, the reds that were used in the early 17th century were more of a brick red and a matter red which is a little more orange in nature than modern reds. -
Dalarö Dive Park (Sweden)
In the waters off Dalarö lies a world of history waiting to be explored. Here you find shipwrecks dating back to the 17th century, preserved in nearly perfect condition. At Dalarö Dive Park, divers and non-divers alike can take part of this unique cultural heritage. This brochure has been developed by employees at the Maritime Museum, a part of the Swedish National Maritime and Transport Museums (SMTM) within the framework of the EU Interreg Central Baltic project BALTACAR (Baltic History Beneath the Surface). © Swedish National Maritime and Transport Museums 2019 Thanks to a unique combination of brackish water, cold, darkness and low oxygen levels in the Baltic Sea, materials – even wood – can be preserved in almost perfect A diving experience condition. Dalarö Dive Park contains many well-preserved wrecks dating all the way back The Baltic Sea is one of the to the 1600s, making diving in world’s busiest seas. Ever since Dalarö Dive Park an experience the great Ice Age, it has been you simply cannot find almost home to nearly unceasing human anywhere else in the world. activity and maritime trade. Around the Swedish coast alone there are an estimated 20,000 shipwrecks or more. Throughout history Dalarö has served as an important maritime hub, making unique in the world Dalarö Dive Park into a huge underwater museum. Wreck diving in Sweden Ships that sank before 1850 are considered ancient monuments and are protected under the Heritage Diving in Conservation Act. Wreck diving is generally allowed, 6 but divers are not allowed to touch or cause damage to a wreck. -
International Marine Archaeological & Shipwreck Society 2 1 3 4 5 7 6
International Marine Archaeological & Shipwreck Society 1 Newsletter Number 6 September 2012 2 3 4 5 6 8 7 Included in this issue Oldest shipwreck on Scilly? Odyssey loses Treasure 9 Spanish man o'war MMO moves to clarify position Terra Nova found Sleeping Bear Dunes £2billion treasure Titanic artefacts IMASS Newsletter Number 6 Table of contents Page 2 Chairman's Report Page4 Adopt a Wreck Awards Page23 President’s/Editor Comments Page5 Medieval Fishing village Page23 One of Two Hospital Ships Page7 Mesolithic artefacts Page24 Oldest shipwreck on Scilly? Page12 Mary Rose studied. Page24 Odyssey loses Treasure Page13 North Sea warship wrecks Page24 HM. man o'war “Victory” Page14 EH names wreck sites Page25 MMO moves to clarify position Page15 Divers convicted of theft Page25 Duke of Edinburgh Award Page16 Should shipwrecks be left ? Page26 WW2 tanks studied Page17 SWMAG could be “Angels” Page27 LCT- 427 Page17 Shipwreck identified Page28 Technical divers find wreck Page18 Multibeam Sonar Page28 The 'Purton Hulks' Page18 Tunbridge Wells Sub Aqua Page28 Plymouth wreck artefacts Page19 “MAST” Charity swim Page29 Terra Nova found Page29 HMS Victory Page19 Antoinette survey Page21 Panama scuttled wrecks Page30 Heritage Database Page21 Baltic Sea Wreck find Page30 Bronze Age ship Page22 SS Gairsoppa wreck Page31 Newport medieval shipwreck Page22 Captain Morgan's cannon Page32 Ardnamurchan Viking Page22 Claim to a shipwreck Page32 King Khufu's 2nd ship Page32 IMASS Officers & Committee Members: Apollon Temple cargo Page32 President - Richard Larn OBE Sleeping Bear Dunes Page32 Vice Presidents - Alan Bax & Peter McBride Chairman - Neville Oldham Woods Hole Oceanographic Page33 Vice Chairman - Allen Murray Secretary - Steve Roue Wrecks off the Tuscan Page33 Treasurer & Conference booking secretary - Nick Nutt First US submarine Page33 Conference Ticket Secretary - Paul Dart Technical advisor & Speaker Advisor/Finder - Peter Holt Titanic wreck Page33 NAS. -
1. Fabric Grain Follows Vertical Lines of Graph Paper. 2. Pattern Pieces Are
NOTES: 1. Fabric grain follows vertical lines of graph paper. 2. Pattern pieces are drawn without seam allowance. 3. The waistcoat is back-stitched; lining and pocket flaps are whip-stitched. 4. Center-front closure of twenty-two -inch-diameter self-covered buttons with fifteen 1 ¼-inch functional buttonholes reinforced with buttonhole stitch that extends ½ inch beyond the buttonhole opening; seven buttons are non-functional. 5. Six/8 -inch diameter self-covered non-functional Man’s Waistcoat, France, c. 1750, silk cut, uncut, and voided velvet (ciselé) on satin foundation, center-back length: 27 1/2 in. (69.85 cm), buttons are located below each pocket opening. purchased with funds provided by Suzanne A. Saperstein and Michael Finished pocket flaps conceal most of the buttons. and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. 6. Side seams terminate at pocket. Shapiro, Grace Tsao, and Lenore and Richard Wayne, M.2007.211.812, photo © 2010 Museum Associates/LACMA 7. The back of the waistcoat is composed of linen plain weave. The collar line and the armscye are finished This handsewn sleeveless waistcoat is made of silk cut, on the inside with a 1-inch bias strip of the same linen. uncut, and voided velvet (ciselé). The meandering ribbon The center-back seam is only sewn 8 ½ inches from and acorn pattern was woven to follow the edges of the the top. Beneath this seam, eleven pairs of eyelets center-front and hem of the finished garment in a method (round holes reinforced with thread) line a 19 ½-inch known as à disposition. -
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 -
Style Guide 2020
STYLE GUIDE 2020 1 Cunard and Royal Ascot share a Royal Ascot is synonymous passion for unforgettable moments with sartorial elegance. that exude style. This is upheld by its Dress Code, which guests are invited to embrace with their own individual style and thus contribute to an occasion heralded internationally as a major fashion event. To advise and Sail with Cunard to be welcomed into a world of unique experiences – a world away from anything else inspire guests with what to wear to the Royal Meeting this June, we have partnered with Cunard - for at sea. Bask in the peace and tranquillity aboard our fleet; Queen Victoria, Queen Elizabeth and Queen the third year - to bring you the Royal Ascot Style Guide 2020. Mary 2, as you drift between towering Norwegian Fjords, catch first sight of sparkling Alaskan glaciers The Royal Ascot Dress Code is traditional, woven into the very fabric of our history. It was Beau or feel the breeze under a mid-Atlantic sky heading for New York on our iconic Transatlantic Crossing. Brummell, perhaps Britain’s first fashion icon, who at the turn of the 19th century dictated the dress for When not exploring new shores, the Cunard on board experience is built on fine dining, hand selected men in the Royal Enclosure. His sense of style is still reflected in Royal Ascot fashions today. entertainment and outstanding service. From the sophistication of a masquerade ball to the intimacy of Ascot continues to recognise key trends in the ever-evolving world of fashion and in 2020, the Royal a shared moment on deck, the stage is set for you to create your own memories at sea.