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The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe, with Particular Reference to Hungary
m^mt&'i HISTORY, TECHNOLOGY, AND ART MONOGRAPH 4 P.S. m Ro -co 664 ;c\j no. 4 ; co |o s- I The Influence of ico Ottoman Turkish Textiles and Costume in Eastern Europe Digitized by the Internet Archive in 2012 with funding from Royal Ontario Museum http://archive.org/details/influenceofottomOOgerv The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary History, Technology, and Art Monograph 4 The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary Veronika Gervers Royal Ontario Museum Publication date: 5 October 1982 Suggested citation: ROM HTA Monogr. Royal Ontario Museum Publications in History, Technology, and Art The Royal Ontario Museum publishes two series in the fields of history, technology, and art: Monographs, a numbered series of original publications, and Papers, a numbered series of primarily shorter original publications. All manuscripts considered for publication are subject to the scrutiny and editorial policies of the Art and Archaeology Editorial Board, and may be subject to review by persons outside the museum staff who are authorities in the particular field involved. Royal Ontario Museum Art and Archaeology Editorial Board Chairman/Editor: A. J. Mills Associate Editor: E. J. Keall Associate Editor: M. Allodi The late Dr. Veronika Gervers was Associate Curator in the Textile Department of the Royal Ontario Museum. Cover: Detail of an embroidered cover. Turkish. 17th century. See Figures 32 and 33. Canadian Cataloguing in Publication Data Gervers, Veronika, 1939-1979. The influence of Ottoman Turkish textiles and costume in Eastern Europe (History, technology and art. -
Turkish Style: a Short Review from Ottoman Clothing and Textile Design in Sixteen Century Miniatures
Current Trends in Fashion Technology & Textile Engineering ISSN: 2577-2929 Short Communication Curr Trends Fashion Technol Textile Eng Volume 1- Issue 5 - December 2017 DOI: 10.19080/CTFTTE.2017.01.555571 Copyright © All rights are reserved by Şükriye Yüksel Turkish Style: A Short Review from Ottoman Clothing and Textile Design in Sixteen Century Miniatures Şükriye Yüksel* İnönü Cad, İTÜ Gümüşsuyu Kampüsü, Turkey Submission: October 16, 2017; Published: December 04, 2017 *Corresponding author: Şükriye Yüksel, Textile Tech & Design, İnönü Cad, İTÜ Gümüşsuyu Kampüsü, No 65 Taksim, Beyoğlu, Turkey, Tel: ; Email: Abstract th In this presentation, by examination of the Turkish painting art in 16 century Ottoman thminiatures, which is the most important evidence of Turkish clothing style, to display the taste of Ottoman Turks’s clothing and the textile design in the history. Unique beauty of the textile design and printing details of the Ottoman Caftans in the 16 century miniature collection provide information about the style and technique of fabrics in the history. The aim of this presantation may be the inspiration and enlighment to the new gener- ation textile trends through past, especially driven from the samples of Turkish miniature art and expose admired colors and the design of historicKeywords: clothing. Fashion history; Miniature art; Ottoman textiles; Caftans Introduction and admired by the other Countries in the World [1]. Textiles used as diplomatic gifts, produced in the Ottoman Empire with the beauty of its unique design and colors (Figure 1-3). Figure 1: Nakkaş Osman painted, Selim II. in his royal tent, re- ceiving the commander of Ottoman Army in Belgrade. -
NFHS Basketball Equipment/Apparel Specifications 2020-2021
NFHS Basketball Equipment/Apparel Specifications 2020-2021 IESA Sleeves/Tights/Compression Shorts 3-5-3: Arm sleeves, knee sleeves, lower leg sleeves, compression shorts and tights are permissible. • Anything worn on the arm and/or leg is a sleeve, except a knee brace, and must meet the color restrictions. • Sleeves/tights, compression shorts shall be black, white, beige or the predominant color of the jersey and the same color sleeves/tights must be worn by teammates. • All sleeves/tights, compression shorts must be the same solid color and must be the same color as any headband or wristband worn. • Sleeves/tights and compression shorts must meet the logo requirements. See NFHS Rule 3-6. • Note: A brace is defined as anything worn for a medical purpose to increase stability. In general, it is made of neoprene or elastic knit with an insert embedded to support the joint. It may or may not have a hinge and/or straps or an opening over the knee cap. Wristbands and Headwear 3-5-4: Wristbands and headwear must meet the following guidelines: • Headbands and wristbands may be white, black, beige or the predominant color of the jersey and must be the same color for each item and all participants. They must also be the same color as any sleeve/tights worn. • A headband is any item that goes around the entire head. It must be a circular design without extensions. If worn, only one headband is permitted, it must be worn on the forehead/crown. It must be nonabrasive and unadorned and may be a maximum of 3 inches wide. -
Recording, Digital Restoration Andtextile Facsimile
RECORDING, DIGItaL RESTORatION AND TEXTILE FacsIMILE OF A VERDURE taPESTRY at MUSEO CERRALBO, MADRID Location: Stove room at Museo Cerralbo, Madrid Author: Anonymous Dated: 18th century Mesurements: 283 x 437 cm Materials: Wool and silk Description: Tapestry fragment with a central composition consisting in two birds (a ma- caw and a peacock), framed with a traditional verdure decoration of plants, flowers and trees aligned to the vanishing point, with a landscape of mountains and a stream in the distance. CONTENTS 1.The tapestry at the Cerralbo Museum 3 2. Moving the Tapestry 4 3. Photographic documentation before cleaning process 6 4. Condition Report 9 5. Treatment 13 6. Colour Digitalisation 15 7. Composite Image Stitching 18 8. Lucida 3D Scanner 19 9. Digital Restoration 22 10. Printing 25 11. Colour recovery 36 1. THE TAPESTRY AT THE CERRALBO MUSEUM The Cerralbo Museum was originally a palace, built in the 19th century by the Marquis of Cerralbo, established as both a family residence and a gallery in which to exhibit their collection. The Marquis donated his palace, along with its collections, to Patrimonio Nacional. Due to poor conditions, some pieces had to be removed from their original location within the palace. This was the case for this verdure tapestry which could be found hanging as a curtain ‘in order to create a dark and romantic atmosphere’. The Instituto del Patrimonio Cultural de España commissioned Factum Arte to make a facsimile that would hang in the tapestry’s original location. The project was divided into five steps: -Cleaning the original tapestry at the Real Fábrica de Tapices. -
A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition
A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition Introduction There does not seem to have been any distinctive everyday dress for Christian pastors up until the 6th century or so. Clergy simply wore what was common, yet muted, modest, and tasteful, in keeping with their office. In time, however, the dress of pastors remained rather conservative, as it is want to do, while the dress of lay people changed more rapidly. The result was that the dress of Christian pastors became distinct from the laity and thus that clothing began to be invested (no pun intended) with meaning. Skipping ahead, due to the increasing acceptance of lay scholars in the new universities, the Fourth Lateran council (1215) mandated a distinctive dress for clergy so that they could be distinguished when about town. This attire became known as the vestis talaris or the cassock. Lay academics would wear an open front robe with a lirripium or hood. It is interesting to note that both modern day academic and clerical garb stems from the same Medieval origin. Councils of the Roman Catholic church after the time of the Reformation stipulated that the common everyday attire for priests should be the cassock. Up until the middle of the 20th century, this was the common street clothes attire for Roman Catholic priests. The origin of the clerical collar does not stem from the attire of Roman priests. It’s genesis is of protestant origin. The Origin of Reformed Clerical Dress In the time of the Reformation, many of the Reformed wanted to distance themselves from what was perceived as Roman clerical attire. -
What They Wear the Observer | FEBRUARY 2020 | 1 in the Habit
SPECIAL SECTION FEBRUARY 2020 Inside Poor Clare Colettines ....... 2 Benedictines of Marmion Abbey What .............................. 4 Everyday Wear for Priests ......... 6 Priests’ Vestments ...... 8 Deacons’ Attire .......................... 10 Monsignors’ They Attire .............. 12 Bishops’ Attire ........................... 14 — Text and photos by Amanda Hudson, news editor; design by Sharon Boehlefeld, features editor Wear Learn the names of the everyday and liturgical attire worn by bishops, monsignors, priests, deacons and religious in the Rockford Diocese. And learn what each piece of clothing means in the lives of those who have given themselves to the service of God. What They Wear The Observer | FEBRUARY 2020 | 1 In the Habit Mother Habits Span Centuries Dominica Stein, PCC he wearing n The hood — of habits in humility; religious com- n The belt — purity; munities goes and Tback to the early 300s. n The scapular — The Armenian manual labor. monks founded by For women, a veil Eustatius in 318 was part of the habit, were the first to originating from the have their entire rite of consecrated community virgins as a bride of dress alike. Belt placement Christ. Using a veil was Having “the members an adaptation of the societal practice (dress) the same,” says where married women covered their Mother Dominica Stein, hair when in public. Poor Clare Colettines, “was a Putting on the habit was an symbol of unity. The wearing of outward sign of profession in a the habit was a symbol of leaving religious order. Early on, those the secular life to give oneself to joining an order were clothed in the God.” order’s habit almost immediately. -
A Typical Digger a Digger’S Belongings Newspapers, Magazines and Books Were Full of Advice About What Diggers Should Take to the Goldfields
A typical digger A digger’s belongings Newspapers, magazines and books were full of advice about what diggers should take to the goldfields. A typical digger was a man in his 20s, either unmarried Some even provided lists of supplies. Shops in London, or with a young family. Although doctors and lawyers Sydney and Melbourne offered special digger’s kits. came to the goldfields, most diggers were tradesmen such as blacksmiths, builders, butchers, carpenters and Recommended supplies shoemakers. They were well educated and most could James Bonwick published a guide to the Australian read and write. diggings in 1852. He advised diggers not to take too Some people came to the diggings from nearby much as transport was very expensive. As most would cities and towns by coach or on foot. Others came have to walk to the diggings, they should take only from all over Australia or from overseas. For those what they could carry. Bonwick recommended: seeking their fortune, no distance was too far and • hard-wearing clothes Celebrating success no cost too great. • strong boots Some diggers had jewellery Most of the diggers who came from overseas • waterproof coat and trousers of oilskin made to celebrate their were English, but there were also Welsh, Irish and A portrait to send home success. These brooches • a roll of canvas ‘for your future home’ include many of a diggers’ Scottish diggers. Europeans were also keen to make Diggers who had left their • good jacket for Sundays essential belongings: picks their fortune and came from Germany, Italy, Poland, families far behind were keen • pick, shovel and panning dish and shovels, panning dishes, Denmark, France, Spain and Portugal. -
2019 Specifications Benches
2019 SPECIFICATIONS BENCHES Table of Contents Alphabetical Index .......................................................2-5 Terms and Conditions .....................................................6 Leather and Finishes ......................................................7 Nailheads................................................................7 Benches................................................................11 Numerical Index ......................................................70-72 Email orders to: [email protected] Furniture Help Desk Fax orders to: 516.293.2054 The Kravet Furniture Help Desk Mail orders to: is available to answer all of your Kravet Furniture questions and inquiries 225 Central Avenue South 9am to 5:30pm EST Bethpage, NY 11714 Monday through Friday 1.800.648.5728 x 2484 benches & ottomans Blair H5107 • page 13 Brent B902 • pages 14-15 Bryn Mawr SOV • pages 16-17 Celia HC302 • page 18 Charles H5110 • page 19 Classic B5220 • page 20 Claydon B901 • page 21 Cocktails FS313 • page 22 Cole H5109 • page 23 Conover B838 • page 23 Crete OT518/S • page 24 Cross Stool B5115 • page 24 Cuddle Up FS475 • page 25 Delray BR20 • page 25 Durand C200 • page 26 Forte B830 • page 26 2 / KRAVET FURNITURE benches & ottomans Fyfield B900 • page 27 Glendale AS700 • page 29 Grafton C201 • page 29 Holyoke SRD • pages 30-31 Jane WS109 • page 32 Jane WS109 • page 32 Kimberly H5108 • page 33 La Jolla BS20 • page 34 Lily Pond FS976 • page 36 Linden B991 • page 37 MacDougal PS1000 • page 34 Mahon FS306 • page 38 Maidstone FS977 • -
View Brochure
Classic Combination Seat cushion: Audley. Cushions: Sissinghurst, Caradon Scampston Trail Exbury Star Tintinhul Leaf Wallpaper: Scampston Trail. Chairs: Denim Ticking Ottoman: Denim Broad Stripe. Cushions: Caradon, Bay Check Wallpaper: Chillingham. Chair: Munstead Tabley Spot Wallpaper: Chillingham. Curtains: Elton Stripe. Blind: Tintinhul Leaf Embroidery. Chairs: Munstead Colourful Contrast Wallpaper: Hestercombe Sprig. Blind: Levens. Chair covers in Denim Plain, Bay Check. Cushion: Tabley Spot Wallpaper: Mottisfont. Stool: Elton Stripe Bedcovers: Elton Stripe, Wallpaper: Scampston Trail. Sissinghurst, Tabley Spot Seat Cushion: Bay Check Wallpaper: Tintinhul Leaf. Headboard: Tintinhul Leaf Embroidery. Cushions: Barnsley Leaf. Ottoman: Scampston Trail Wallpaper: Hestercombe sprig Chair: Bay Check Cushion: Tabley Spot Sofa: Sissinghurst Cushions: Munstead, Sissinghurst Sofa: Sissinghurst Cushions: Munstead, Sissinghurst Cushions: Tintinhul Leaf, Charlecote Curtains: Adagio Plain, Summer Stripe Trim, Edged in Sennen cut fringe. Sofa: Sissinghurst. Cushions: Adagio Plain, Munstead, Sissinghurst, Tabley Spot. Chairs: Caradon, Adagio Plain. Sofa: Sissinghurst. Cushions: Munstead, Sissinghurst Sofa: Sissinghurst. Cushions: Munstead, Sissinghurst Curtains: Adagio Plain. Blind: Tabley Spot. Chair: Caradon. Cushions: Sissinghurst, Munstead Layered Richness Wallpaper: Chillingham. Curtains: Chillingham Embroidery. Blind: Bay Check. Sofa : Etoile. Cushions: Bay Check, Chillingham Embroidery. Slipper chairs: Etoile. Slipper chair cushions: Barnsley -
The Origin and Historical Background of Ottoman and Italian Velvets
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Sumiyo Okumura Dr. [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Okumura, Sumiyo Dr., "Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets" (2016). Textile Society of America Symposium Proceedings. 1008. https://digitalcommons.unl.edu/tsaconf/1008 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Dr. Sumiyo Okumura Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources together with material evidence. -
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 -
WEATHERMAX® Premium Awning Fabrics
WEATHERMAX® Premium Awning Fabrics WeatherMax fabric has taken away the need to make a choice between a waterproof and a breathable fabric by offering a solution to both. WeatherMax is hightly breathable but still water resistant. 100% Solution-dyed Satura® Performs Where Acrylic Fails Outperforms Solution-Dyed Polyester • Minimum 5-year Fade Resistance • 2X Strength and Durability • Twice the Fade Resistance • No Sagging • 6X Abrasion Resistance • Double the Strength Retention • Highly Breathable • 60% Higher Water Resistance • High Water Resistance PLUS High • No Color Bleeding or Rub-Off • 25% Cost Savings Breathability www.contenderus.com WEATHERMAX® Premium Awning Fabrics WEATHERMAX 80 and WEATHERMAX LT Specifications Property Specification WEATHERMAX® 80 WEATHERMAX® LT Material SaturaMax SaturaMax Weave Ottoman Weave Plain Weave Weight 271 g/m2 (9.0 oz/yd2) 220 g/m2 (6.5 oz/yd2) Width 60” / 152 cm 60” / 152 cm Finish HydroMax HydroMax WeatherMax is made from the SaturaMax yarn. This is a solid pigment, solution dyed polymer yarn. This ensures the highest quality colored yarn is produced. As the color is physically part of the polymer yarn itself, it offers superior color consistency, light fastness and strength characteristics. The exceptional quality of this yarn ensures the fade resistance of the WeatherMax is equal to that of acrylic fabrics. HydroMax is a highly water repellent impregnated finish that helps give WeatherMax the ability to protect against heavy rain while keeping breathability and dimensional stability. The finish is also highly resistant to dirt and staining. An anti-microbial component is also added to the finish to help prevent any potential mildew or mold growth on top of the fabric.