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Natural Materials for the Textile Industry Alain Stout
English by Alain Stout For the Textile Industry Natural Materials for the Textile Industry Alain Stout Compiled and created by: Alain Stout in 2015 Official E-Book: 10-3-3016 Website: www.TakodaBrand.com Social Media: @TakodaBrand Location: Rotterdam, Holland Sources: www.wikipedia.com www.sensiseeds.nl Translated by: Microsoft Translator via http://www.bing.com/translator Natural Materials for the Textile Industry Alain Stout Table of Contents For Word .............................................................................................................................. 5 Textile in General ................................................................................................................. 7 Manufacture ....................................................................................................................... 8 History ................................................................................................................................ 9 Raw materials .................................................................................................................... 9 Techniques ......................................................................................................................... 9 Applications ...................................................................................................................... 10 Textile trade in Netherlands and Belgium .................................................................... 11 Textile industry ................................................................................................................... -
John Brown and George Kellogg
John Brown and George Kellogg By Jean Luddy When most people think of John Brown, they remember the fiery abolitionist who attacked pro-slavery settlers in Kansas in 1855 and who led the raid on the Federal arsenal at Harpers Ferry, Virginia in 1859 in order to spark a slave rebellion. Most people do not realize that Brown was no stranger to Vernon and Rockville, and that he worked for one of Rockville’s prominent 19th century citizens, George Kellogg. John Brown was born in Torrington, CT in 1800. His father was a staunch opponent of slavery and Brown spent his youth in a section of northern Ohio known as an abolitionist district. Before Brown became actively involved in the movement to eliminate slavery, he held a number of jobs, mainly associated with farming, land speculation and wool growing. (www.pbs.org) Brown’s path crossed with George Kellogg’s when Brown started to work for Kellogg and the New England Company as a wool sorter and buyer. John Brown George Kellogg, born on March 3, 1793 in Vernon, got his start in the woolen industry early in life when he joined Colonel Francis McLean in business in 1821. They established the Rock Manufacturing Company and built the Rock Mill, the first factory along the Hockanum River, in the area that would grow into the City of Rockville. Kellogg worked as the company’s agent from 1828 to 1837. At that time, he left the Rock Company to go into business with Allen Hammond. They founded the New England Company and built a factory along the Hockanum River. -
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. -
An Industrial History of Easthampton G
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 1937 An Industrial history of Easthampton G. B. Dennis University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Dennis, G. B., "An Industrial history of Easthampton" (1937). Masters Theses 1911 - February 2014. 1449. Retrieved from https://scholarworks.umass.edu/theses/1449 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST 312066 0306 7762 4 AN INDUSTRIAL HISTORY OF 5ASTHAMFFQN Gr. B. Dennis Thesis Submitted for Degree of Master of Science, Massachusetts State College, Amherst. June 1, 1937 . TABLE OF CONTENTS Outline. Introduction. Map of the Business District of Easthampton. Chapter I. Early History of Easthampton. Page 1. " II. The Industry Founding Period 1227-1276. n 6. » III. Early Transportation, A Problem. n 16. IV. Population Growth and Composition. n 21. " V. Conditions During the Expansion Period. it 30. " VI. Easthampton At the Turn of the Century. n H VII. Population in the New Era 1295-1937 n " VIII. The New Era 1295-I937. n 56. " IX. The Problem of Easthampton Analyzed. n 73- • X. Conclusions and Summary. n 21. References Cited n 26. Appendix I. Tables and Graphs on Population n 22. Appendix II. Tables showing Land in Agriculture n 93. AN INDUSTRIAL HISTORY OF EASTHAMPTON Outline I. Early History. A. Land purchases and settlement. -
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. -
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. -
The Adventures of Mr. Verdant Green [Electronic Resource]: an Oxford
. SjHasajj;--: (&1&MF 1 THE VENTURES tw MM **> 'SkSSi *"3 riLLlAM PATEiiSGN, EDINBURGH Um LOKLOj , . fJ tl^OTWltiBttt y :! THE ADVENTURES OF MR. VERDANT GREEN. : ic&m MMwmmili¥SlW-ia^©IMS OF yVLiMR. Verbint ^Tf BY CUTHBERT BEDE, B.A., WITH HalaUSTHANIONS 38 Y THE AUTHOR, LONDON JAMES BLACKWOOD & CO., LOVELL'S COURT, PATERNOSTER ROW. : — THE ADVENTURES MR. VERDANT GREEN, %n (f^forb Jfwsjimatr. BY CUTHBERT BEDE, B.A. ttlj ^ximcrouS iFIludtrattond DESIGNED AND DRAWN ON THE WOOD BY THE AUTHOR. —XX— ' A COLLEGE JOKE TO CURE THE DUMPS.' SlUlft. ONE HUNDRED AND TWENTY-SIXTH THOUSAND. LONDON JAMES BLACKWOOD & CO., LOVELL'S COURT, PATERNOSTER ROW. CONTENTS. CHAPTER I. PACE Mr. Verdant Green's Relatives and Antecedents .... I CHAPTER II. Mr. Verdant Green is to be an Oxford-man y CHAPTER III. Mr. Verdant Green leaves the Home of his Ancestors ... 13 CHAPTER IV. Mr. Verdant Green becomes an Oxford Undergraduate . .24. CHAPTER V. Mr. Verdant Green matriculates, and makes a sensation . .31 CHAPTER VI. Mr. Verdant Green dines, breakfasts, and goes to Chapel . .40 CHAPTER VII. " Mr. Verdant Green calls on a Gentleman who is licensed to sell " . 49 CHAPTER VIII. Mr. Verdant Green's Morning Reflections are not so pleasant as his Evening Diversions 58 vi Contents. CHAPTER IX. ,AGE Mr. Verdant Green attends Lectures, and, in despite of Sermons, has dealings with Filthy Lucre 67 CHAPTER X. Mr. Verdant Green reforms his Tailors' Bills and runs v^ "'h°rs. He also appears in a rapid act of Horsemanship, and i.-Js Isis cool in Summer 73 CHAPTER XI. -
Fabric”? Find 20 Synonyms and 30 Related Words for “Fabric” in This Overview
Need another word that means the same as “fabric”? Find 20 synonyms and 30 related words for “fabric” in this overview. Table Of Contents: Fabric as a Noun Definitions of "Fabric" as a noun Synonyms of "Fabric" as a noun (20 Words) Usage Examples of "Fabric" as a noun Associations of "Fabric" (30 Words) The synonyms of “Fabric” are: cloth, material, textile, framework, stuff, tissue, web, structure, frame, form, make-up, constitution, composition, construction, organization, infrastructure, foundations, mechanisms, anatomy, essence Fabric as a Noun Definitions of "Fabric" as a noun According to the Oxford Dictionary of English, “fabric” as a noun can have the following definitions: The underlying structure. The body of a car or aircraft. The basic structure of a society, culture, activity, etc. Cloth or other material produced by weaving or knitting fibres. Artifact made by weaving or felting or knitting or crocheting natural or synthetic fibers. The walls, floor, and roof of a building. GrammarTOP.com Synonyms of "Fabric" as a noun (20 Words) The branch of science concerned with the bodily structure of humans, animals, and other living organisms, especially as revealed by dissection anatomy and the separation of parts. Human anatomy. A piece of cloth for cleaning or covering something e g a dishcloth or a cloth tablecloth. A cloth bag. A musical work that has been created. composition The social composition of villages. The constitution written at the Constitutional Convention in Philadelphia constitution in 1787 and subsequently ratified by the original thirteen states. The constitution of a police authority. GrammarTOP.com The action of building something, typically a large structure. -
Congressional Record-Sen Ate
8718 CONGRESSIONAL RECORD-SENATE. SEPTEJ\IBER 19, from the files of the House1 without leaving copies, papers in the case We, therefore, think there is no merit in the proposition, and that of J. W. Chickering. it ought to be inde1initely postponed. LEA-VE OF ABSENCE. The renort was agreed to, and the joint resolution indefinitely post poned. 1\Ir. Fmm,. by unanimous consent, obtained indefinite leave of ab Mr. P ALUER, from the Committee on Commerce, reported an sence, on account of important business. amendment intended to be proposed to the ~eneral deficiency appro 'Ihe hour of 5 o'clock having arrived, the House, in accordance with priation bill; whi<'h was referred to the Committee on Appropriations. its standing order, adjourned. Mr. WILSON, of Maryland, from the Committee on Claims,. to whom were referred the following bills, reported them severally without PRIVATE BILLS INTRODUCED AND REFERRED. amendment, and submitted renorts thereon: · UndEJr the rnle private bills of the following titles were introduced A bill (H. R. 341) for the relief of John Farley; and and referred· as indicated below: A bill (S. 729) for the relief of J. A. Henry and others. By Mr. BLAND (by request): A bill (H. R. 11456) to pay Philip Mr. CHANDLER, fn>m the Select Committee on fud~an Traders, to Henke.Lfor property unlawfully confucateci and destroyed-to the Com whom was referred the bill (S. 3522) regulating th~ purchase of timber mittee on War Claims. from. Indians, reported it with an amendment.. l:y Air. BUTLEH.: A bill (H. R. -
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. -
Checklist for Textiles U.S.A
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. &• TENTATIVE AND CONFIDENTIAL CHECKLIST FOR TEXTILES U.S.A. Home Furnishings Category Anderson Studio of Handweaving - East Gloucester, Massachusetts. Drapery material. Cotton, viscose and Jute. Designed by Beatrice Anderson, 1951*. Thelma Becherer - West Franklin, New Hampshire. Tapestry. Handwoven of green, yellow and clear "velon" plastic, with dried horsetails and cattails. Plain weave. 1956. Monica Bella Broner, Tapestry. "Fur Weave." Wool, cotton and fur strips, 195^• Bill Carter and Dodie Childs - Chicago, Illinois. Roll Shade, Handwoven matchstick bamboo across multicolored and textured cotton, wool and metallic yarn warp, 1955* Arundell Clarke Drapery fabric. "Strocm Draden". Handscreened white print on trans parent white silk. Designed by Pierre Kleykamp, 1955. Drapery fabric, "Primitive Forms." Handscreened black print on brown cotton. Designed by Baldwin-Machado, 1950, Drapery fabric. "10,000 B.C." Cotton jacquard, charcoal on white. Designed by Naomi Raymond, 1952. Cohn-Hall-Marx Co, (For Colvin, see Bertha Schaefer Callery - Page 3.) Upholstery fabric, Saran and metal, novelty weave. Brown, 1955. Fazakas Fabrics, Inc. Drapery fabric, "Hit & Miss," Black spray on white cotton batiste, Designed by DoneIda Fazakas, 1950, Qeraldine Punk - Lancaster, Pennsylvania, Window ahade, Handwoven red and rust cotton and rayon warp. Banana bark and coconut cord weft. 1950, Screen, Handwoven in Puerto Rico, White string warp,, white jnaguey and coconut sliver weft, 19^8, % Ginstrom - Cedar Falls, Iowa. Screen. "Scallops." Handwoven, handtied openwork; all linen panel. 1955. folding Decorative Fabrics. Drapery fabric. "Torero-Vermilion 33." Silk screened cotton sateen. Designed by Otto and Grete Wollner,1955» LiUy E.