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C H R I S T Y &
C h r i s t y & C ooC Since 1773 History and Legacy by Irra K With special thanks to The Stockport library and hat museum FamilyFamily Six reigns of Royals, and Eight generations of the Christy family have forged the brand of Christys London since it’s foundation by Miller Christy in 1773, 237 years ago Following his apprenticeship to a Hatter in Edinburgh, Miller Christy created a company that would survive for generations, outliving thousands of hat makers across the former British Empire: by 1864 for example there were 53 hatting firms in Stockport alone. Throughout hundreds of years, the factory was still managed by direct descendants of the founder of the Firm ValuesValues 1919 Christys readily registered their own The Christy Collection in Stockport is appreciation testament to the influence the company of workers’ had. At its height, it employed 3000 excellent local people leaving a valuable legacy service < - During World War II, hats were not rationed in order to boost morale, and Christys supported the effort within their family-run company, effectively running it like an extended family Celebrating Victory as well as mourning the fallen at the -> end of World War I Trade MarksTrade Marks The Stockport Collection With business of Christy Papers includes a expanding to 500 page booklet detailing foreign lands, trade marks registered safeguarding around the world at the the insignia in height of the British Empire. all it’s forms These involve registering the full name, letters 'C', it’s became vital – insignia, shape, and colours as we shall see In the early days, < - several variations - > of company marks and insignia were circulated, later consolidating into the Christy crown and heraldry which is now recognised the world over Trade Marks iiiiTrade In many territories, Trade Marks were either disputed or had to be re-registered. -
The Pileus Cap Quick and Dirty Instructions for Aethelmearc 12Th Night Saturnalia Meisterin Felicitas Fluβmüllnerin
The Pileus Cap Quick and Dirty Instructions for AEthelmearc 12th Night Saturnalia Meisterin Felicitas Fluβmüllnerin What is a pileus? The pileus (or pilos) was a Greek-style traveling hat given to Roman slaves upon receiving their freedom. It is associated with Castor and Pollux, representing the egg that they hatched from, just as the slave is becoming a new man in his freedom. During the Festival of Saturnalia, everyone was allowed to wear the pileus, including slaves, and there was a topsy-turvy role reversal for the duration of the festival. Odysseus wearing the pilos. Ancient Greek red-figure plate Ancient Greek terracotta statuette of Ancient Greek red-figure from Apulia, third quarter of the a peasant wearing a pilos, 1st century situla from Apulia, ca. 360 4th century BC, Louvre. BC. BC, Museo Nazionale Archaeologico, Naples. Pair of Roman statuettes (3rd century AD) depicting the Dioscuri (Castor and Pollux) as horsemen, with their characteristic skullcaps (Metropolitan Museum of Art) What is it made of? Traditionally the pileus would be made of white wool to represent an egg shell, however, Saturnalia was a festival of color and celebration so feel free to use color and decorations, especially blue and gold (Saturnalia), red and white (AEthelmearc), and decorations of fertility and life: sun, moon, stars, herd animals, pinecones, nuts, and acorns. How to create a pileus: *I recommend felted wool or felt as the material. If made with a softer fabric, it will require a stiffener to stand tall. 1. Measure your head circumference loosely. 2. Add 6”. Bottom Brim Curve: _______________________ 3. -
Accat2013.Pdf
Allens Crowns Tiaras A103 1 1/2" Tall A107 1 3/8" Tall A113 1 1/2" Tall Little Princess Tiara* Small Loop Tiara Princess Tiara* A122 1 5/8" Tall A123 2" Tall A133 1 1/4" Tall Small Heart Tiara Royal Princess Tiara* Looping Tiara A162 2" Tall A350 2" Tall AA240 2 1/2" Tall Fleur Di Lis Mardi Gras Tiara* Spring Tiara† ** Interlocking Loop Tiara B102 1 1/2" Tall B110 1 3/8" Tall B120 1 1/2" Tall Loop Tiara Curls & Loop Tiara Loop Tiara* ** Made from cast metal. † Jewel insert available in multiple colors. * Made from cast metal, capped with genuine Austrian rhinestone crystal by Swarovski™. 2 Allens Crowns B149 2" Tall C100 1 1/2" Tall C102 1 5/8" Tall Valentine's Day Tiara* Little Aztec Tiara* Loops Tiara C103 1 3/4" Tall C104 1 1/2" Tall C112 1 5/8" Tall Peak & Loop Tiara Loops & Heart Tiara Three Loops Tiara C117 1 3/8" Tall C206 1 5/8" Tall C301 1 7/8" Tall Five Loops Tiara Shooting Star Tiara Small Jewel Tiara† C350 3" Tall D109 2" Tall D117 1 5/8" Tall Spring Tiara†** Loops & Pearl Tiara Three Loops with Pearls Tiara ** Made from cast metal. † Jewel insert available in multiple colors. * Made from cast metal, capped with genuine Austrian rhinestone crystal by Swarovski™. 3 Allens Crowns D121 2 1/4" Tall E110 2" Tall E113 3" Tall Teardrop & Loops Tiara Peak Tiara Queen Tiara* F100 1 7/8" Tall G111 2 1/4" Tall G120 2" Tall Heart & Loops Tiara Peaked Heart Tiara Loop Tiara* G127 2 3/8" Tall J100 2" Tall J124 2 5/8" Tall Basketweave Tiara Heart Tiara Elevated Star Tiara J168 2" Tall K100 2 1/4" Tall K101 1 7/8" Tall Stars Tiara* Hearts & Loops Tiara Tie the Knot Tiara * Made from cast metal, capped with genuine Austrian rhinestone crystal by Swarovski™. -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
The Rights of War and Peace Book I
the rights of war and peace book i natural law and enlightenment classics Knud Haakonssen General Editor Hugo Grotius uuuuuuuuuuuuuuuuuuuu ii ii ii iinatural law and iienlightenment classics ii ii ii ii ii iiThe Rights of ii iiWar and Peace ii iibook i ii ii iiHugo Grotius ii ii ii iiEdited and with an Introduction by iiRichard Tuck ii iiFrom the edition by Jean Barbeyrac ii ii iiMajor Legal and Political Works of Hugo Grotius ii ii ii ii ii ii iiliberty fund ii iiIndianapolis ii uuuuuuuuuuuuuuuuuuuu This book is published by Liberty Fund, Inc., a foundation established to encourage study of the ideal of a society of free and responsible individuals. The cuneiform inscription that serves as our logo and as the design motif for our endpapers is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 b.c. in the Sumerian city-state of Lagash. ᭧ 2005 Liberty Fund, Inc. All rights reserved Printed in the United States of America 09 08 07 06 05 c 54321 09 08 07 06 05 p 54321 Frontispiece: Portrait of Hugo de Groot by Michiel van Mierevelt, 1608; oil on panel; collection of Historical Museum Rotterdam, on loan from the Van der Mandele Stichting. Reproduced by permission. Library of Congress Cataloging-in-Publication Data Grotius, Hugo, 1583–1645. [De jure belli ac pacis libri tres. English] The rights of war and peace/Hugo Grotius; edited and with an introduction by Richard Tuck. p. cm.—(Natural law and enlightenment classics) “Major legal and political works of Hugo Grotius”—T.p., v. -
A Roman Frontier Post and Its People
CHAPTER IX Dress and Armour As we gather together the relics brought to light from the abandoned wells and rubbish-pits at Newstead, the figure of the Roman soldier inevitably rises before us. It is a figure rendered familiar by the great monuments which commemorate Imperial triumphs, and by the portrait-reliefs which once stood above the graves of centurions, cavalry soldiers, or standard-bearers recalling to the passers-by the likeness of the dead. It is to such memorials, and to the scanty finds of weapons and armour which have been preserved to our time, that we owe most of the knowledge we possess regarding the arms and equipment of the army of the Empire. The columns and the triumphal arches furnish us with a series of pictures of the soldier in action. The victories of Trajan over the Dacians are sculptured on the column which he had set up in Rome in A.D. 104. The triumphs of Marcus Aurelius over the Marcomanni are unfolded in the reliefs decorating the huge pillar that gives its name to the Piazza Colonna. We follow each stage in the campaigns, the army making roads, building bridges, constructing forts, attacking and attacked. Many details are given which help us to realise vividly the scenes commemorated. No doubt in such sculptures, executed, as they were, in Rome, the artists drew their inspiration to some extent from older Hellenic models, and there thus enters into the treatment a somewhat conventional element. The grave stones of the legionaries or auxiliaries, on the other hand, are probably more exact in details. -
Crosby Garrett Helmet
A Roman Cavalry Helmet and the Phrygian Cap The Crosby Garrett helmet is well preserved example of a two-piece Roman cavalry helmet in the style of a Phrygia Cap, discovered close to Carlisle in 2010 by metal detectorists. Grampus Heritage who lead the EVEHD project have been involved with local Cumbrian volunteers in surveying the site of the discovery to see if there are any associated Roman discoveries yet to be made. With sponsorship from the Tullie House Museum and Art Gallery and the Portable Antiquities Scheme, Grampus and a local team identified earthworks which seemed to be part of a substantial enclosure surrounded by ditches, within which buildings had once stood. The enclosure, which measures as much as 500 metres (1,600 ft) long on its southern side, combines both native British and Roman methods of fortification. A sunken area within the enclosure may possibly have served as a paddock for horses, while the evidence for the buildings is concentrated in the enclosure's northern portion. The remnants of Romano-British field systems in the surrounding area show that the area was under cultivation and animal remains found on the site indicate that the inhabitants also raised livestock, including sheep, goats and pigs. The presence of Roman pottery suggests that the inhabitants had adopted some elements of the Roman lifestyle, but their community may well have been there long before the Romans arrived. Archaeological evidence from the enclosure indicates that the site may have been first settled as far back as the Bronze Age, at least 1,000 years before the helmet was deposited. -
A Study on the Design and Composition of Victorian Women's Mantle
Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. -
Eleventh Session, Commencing at 9.30 Am
Eleventh Session, Commencing at 9.30 am 2632* ANCIENT GOLD COINS Lesbos, Mytilene, electrum Hekte (2.56 g), c.450 B.C., obv. diademed head of a Satyr to right, with full beard and goat's ear, rev. Heads of two confronted rams, butting their heads together, above a palmette all within incuse square, (S.4244, GREEK BMC 40. Bodenstedt 37, SNG Fitz.4340). Fine/very good, scarce. $300 2630* 2633* Macedon, Kingdom of Philip II, (359-336 B.C.), gold stater, Ionia, Phokaia, (c.477-388 B.C.), electrum hekte or sixth (8.64 g), Pella mint, struck under Antipater, Polyperchon stater, (2.54 g), issued in 396 B.C. [Bodenstedt dating], or Kassander (for Philip III and Alexander IV), c.323-315 obv. female head to left, with hair in bun behind, wearing a B.C., obv. head of Apollo to right with laureate wreath, rev. diadem, rev. quadripartite incuse punch, (S.4530, Bodenstedt galloping biga to right, driven by charioteer holding kentron 90 (obv. h, rev. φ, SNG Fitz. 4563 [same dies], cf.SNG von in right hand, reins in left hand, bee above A below horses, in Aulock 2127). Very fi ne with off centred obverse, rare. exergue ΦΙΛΙΠΠΟΥ, (cf.S.6663, cf.Le Rider 594-598, Group $400 III B (cf.Pl.72), cf.SNG ANS 255). Traces of mint bloom, of Ex Geoff St. Clair Collection. fi ne style, has been mounted and smoothed, otherwise good very fi ne and very scarce. The type is known from 7 obverse and 6 reverse dies and only 35 examples of type known to Bodenstedt. -
Clothing in Ancient Greece Edited
Clothing in ancient Greece Clothing in ancient Greece and Rome was generally created out of large, single pieces of fabric. Several different pieces of clothing could be worn in various combinations to create multiple outfits. The fabric was also draped, belted and pinned into various styles. In art, it is sometimes very difficult to differentiate the various garments worn as they all seem to be billowy drapes of fabric. In Greece, women usually wore one of two garments on a regular basis. One was the peplos, a style of dress made from a single piece of fabric that is folded over at the top, wrapped around the body and pinned up at the shoulders. Folding down the top created a second layer of fabric that ran down the back and the front of the garment, which was referred to as an apoptygma. The other piece of clothing was worn by both men and women, and was called a chiton. The chiton was very similar to the peplos, except without the apoptygma. This was created by a single piece of fabric wrapped around the body and pinned up on the shoulders, or by two pieces of fabric sewn up both sides with space left for armholes. The men wore a shorter version of the chiton. This, too, could be belted or left as-is. The pins that were often used to hold up these garments worked very similarly to safety pins or brooches, and were called fibulae. The other important piece of clothing for both men and women was called the himation. -
PDF Catalogue
1 GAUL, Massalia, c. 200-120 BCE, AR obol. 0.60g, 9mm. Obv: Bare head of Apollo left Rev: M A within wheel of four spokes. Depeyrot, Marseille 31 From the JB (Edmonton) collection. Obverse off-centre, but high grade, superb style, perfect metal, and spectacular toning. Estimate: 100 Starting price: 50 CAD 2 CIMMERIAN BOSPORUS, Pantikapaion, c. 310-303BC, AE 22. 7.61g, 21.5mm Obv: Bearded head of Satyr (or Pan), right Rev: P-A-N, forepart of griffin left, sturgeon left below Anokhin 1023; MacDonald 69; HGC 7, 113 Ex Lodge Antiquities Estimate: 100 Starting price: 50 CAD 3 CIMMERIAN BOSPOROS, Pantikapaion, c. 325-310 BCE, AE17. 3.91g, 17mm. Obv: Head of satyr left Rev: ΠΑΝ; Head of bull left. MacDonald 67; Anokhin 1046 From the JB (Edmonton) collection. Starting price: 30 CAD 4 THESSALY, Atrax, 3rd c. BCE, AE trichalkon. 6.03g, 18mm. Obv: Laureate head of Apollo right Rev: ATP-A-Γ-IΩN, horseman, raising right hand, advancing right. Rogers 169-71; BCD Thessaly II 59.6-10 Starting price: 30 CAD 5 THESSALY, Krannon, circa 350-300 BCE, AE chalkous. 2.41g, 15.4mm. Obv: Thessalian warrior on horse rearing right. Rev: KPAN, bull butting right; above, trident right. BCD Thessaly II 118.5; HGC 4, 391 From the zumbly collection; ex BCD Collection, with his handwritten tag stating, “V. Ex Thess., Apr. 94, DM 35” Starting price: 30 CAD 6 THESSALY, Phalanna, c. 350 BCE, AE 18 (dichalkon or trichalkon). 6.53g, 17.5mm. Obv: Head of Ares right, A to left . -
American Journal of Numismatics 26
AMERICAN JOURNAL OF NUMISMATICS 26 Second Series, continuing The American Numismatic Society Museum Notes THE AMERICAN NUMISMATIC SOCIETY NEW YORK 2014 © 2014 The American Numismatic Society ISSN: 1053-8356 ISBN 978-0-89722-336-2 Printed in China Contents Editorial Committee v Jonathan Kagan. Notes on the Coinage of Mende 1 Evangeline Markou, Andreas Charalambous and Vasiliki Kassianidou. pXRF Analysis of Cypriot Gold Coins of the Classical Period 33 Panagiotis P. Iossif. The Last Seleucids in Phoenicia: Juggling Civic and Royal Identity 61 Elizabeth Wolfram Thill. The Emperor in Action: Group Scenes in Trajanic Coins and Monumental Reliefs 89 Florian Haymann The Hadrianic Silver Coinage of Aegeae (Cilicia) 143 Jack Nurpetlian. Damascene Tetradrachms of Caracalla 187 Dario Calomino. Bilingual Coins of Severus Alexander in the Eastern Provinces 199 Saúl Roll-Vélez. The Pre-reform CONCORDIA MILITVM Antoniniani of Maximianus: Their Problematic Attribution and Their Role in Diocletian’s Reform of the Coinage 223 Daniela Williams. Digging in the Archives: A Late Roman Coin Assemblage from the Synagogue at Ancient Ostia (Italy) 245 François de Callataÿ. How Poor are Current Bibliometrics in the Humanities? Numismatic Literature as a Case Study 275 Michael Fedorov. Early Mediaeval Chachian Coins with Trident-Shaped Tamghas, and Some Others 317 Antonino Crisà. An Eighteenth-Century Sicilian Coin Hoard from the Termini-Cerda Railway Construction Site (Palermo, 1869) 339 Review Articles 363 American Journal of Numismatics Andrew R. Meadows Oliver D. Hoover Editor Managing Editor Editorial Committee John W. Adams John H. Kroll Boston, Massachusetts Oxford, England Jere L. Bacharach Eric P. Newman University of Washington St.