Journal articles: 'Draperies'

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Derville, Alain. "L'héritage des draperies médiévales." Revue du Nord 69, no. 275 (1987): 715–24. http://dx.doi.org/10.3406/rnord.1987.4329.

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YOSHIDA, KOJIRO. "The Gion Festival Draperies." Sen'i Gakkaishi 51, no. 6 (1995): P264—P267. http://dx.doi.org/10.2115/fiber.51.6_p264.

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Chandrasekaran, Kavitha. "Application of Natural Dye Obtained from Sweet Indrajao on Fabrics." Current Biochemical Engineering 6, no. 3 (December 28, 2020): 180–91. http://dx.doi.org/10.2174/2212711906999201020202052.

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Background:: In the long run, synthetic tints were found to be harmful to the chemicals. As a result natural tints have come to be used for their many intrinsic values. The main reason being, then availability of local plants as the main source of natural colorants. Their easy availability in the country being zero cost – effective and planted for other purposes are the main reasons for utilizing them as natural tints. Almost all the parts of the plants, namely stem, leaves, fruits, seeds, barks etc. are used for extracting natural colour. In addition, they are antimicrobial antifungal, insect – repellant deodorant, disinfectant having medicinal values. Methods:: Sweet Indrajao leaves were cleaned by washing with water and dried under direct sunlight and ground as fine powder. A fine strainer was used to remove the wastages. After all these processes, 1-kilogram leaves weighed 318 grams. Then, it is put in 75% ethanol 25% water and heated in a breaker which in kept over a water bath for 2 hours. After this, the contents were filtered and kept in a separate beaker. Bleached fleece draperies stained with stain extract were made to become wet and put into different stain baths which contain the required amount of stain extract and water. Acetic acid was added to it after 20 minutes. The fleece drapery was stained for about one hour at 60oC. The draperies thus stained were removed, squeezed, and put to treatment with metal salts without washing. Different metal salts were used for the treatment using 3% of any one of the chemical mordants like alum, stannous chloride, potassium dichromate, ferrous sulphate, nickel sulphate, copper sulphate and natural mordants such as myrobolan, turmeric, cow dung, Banana sap juice at 60oC for 30 minutes with MLR of 1:30. The stained draperies were washed repeatedly in all the three methods in water and dried in air. At last, the stained draperies were put to soap with soap solution at 60oC for 10 minutes. The draperies were repeatedly washed in water and dried under the sun. Results:: Sweet Indrajao leaves discharged colour easily in alcoholic water. The fleece draperies were stained with chemical and natural mordants. It was observed that the stain uptake was found to be good in post-mordanting method. Ultrasonication has clearly improved the stainability of the draperies at pH 3 and 3.5 values. The pH decreases the stain ability under both Conventional and Ultrasonic conditions. The colour strength increases with an increase in staining temperature in both cases of US and CH methods. Conclusion:: Sweet Indrajao.L has been found to have good ultrasonic potential as a stain plant. The stain uptake as well as the fastness properties of the fleece drapery were found to enhance when metal mordant was used in conjugation with ultra-sonication for the extract of Sweet Indrajao. It was also found that the enhancement of staining ability was better without mordant draperies. The dye extract showed good antibacterial activity against the three bacterial pathogens. Among the three bacterial pathogens, dye extract showed more effective against Escherichia coli pathogens and dye extract showed more effective against Aspergillus pathogens. Hence, the ultrasonic method of drapery staining may be appropriate and beneficial for society at large in future.

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Kazlacheva, Zlatina, Julieta Ilieva, and Tanya Peneva. "FASHION AND PATTERN DESIGN OF LADIES’ DRESSES WITH TRANSFORMATION OF DIFFERENT TYPES OF DRAPERIES." Applied Researches in Technics, Technologies and Education 7, no. 1 (2019): 10–23. http://dx.doi.org/10.15547/artte.2019.01.002.

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One of the ways of creation of new fashion designs is the transformation of a garment in another one. According to the main design principles silhouettes, lines, and forms of elements and pieces can be changed. According to both fashion and technical design the change of the elements with decorative and constructive function is more important than changing only decorative ones. The transformations are possible for all of elements with decorative and constructive function: darts, seams, 3D elements. And according to the fashion and pattern making view the drapery is maybe the most interesting three dimensional element, which can be with only decorative, but in the more of the cases it is with decorative and constructive function. The paper presents fashion and pattern design of ladies’ dresses on the base of transformation of the three basic types of drapes: twist knot, twisted and free draperies. In created variants draperies are with decorative and constructive function. With presented way of transformation new designs of draped ladies’ dresses are easy and successfully created. Every of the basic three types of drapery with decorative and constructive function: twist knot, twisted and free ones can be changed with other two types. The facilitating of design and pattern making is result not only that transformations are made on one basic model, but also that systemized approaches of constructing of twist knot and twisted draperies are used.

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Udovenko, O. L. "Drawing drupes as a means of development of spatial thinking." Educational Dimension 26 (December 14, 2009): 348–51. http://dx.doi.org/10.31812/educdim.7042.

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In the article typology and receptions of transmission of folds is crammed in the educational raising. The didactics value of picture of draperies as facilities of development of analytical thought of students is investigational. Essence of graphic analysis of plastic form opens up on the example of exposure оf forms of folds.

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Kazlacheva, Zlatina. "PATTERN DESIGN OF TWISTED DRAPERIES WITH DECORATIVE AND CONSTRUCTIVE FUNCTION." Applied Researches in Technics, Technologies and Education 7, no. 1 (2019): 1–9. http://dx.doi.org/10.15547/artte.2019.01.001.

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The paper presents a systemized approach of pattern design of twisted draperies with decorative and constructive function on the base of calculating compensation of shortening after twisting. The presented approach of constructing uses an investigation of obtaining of mathematical dependences on the base of the shortening of the piece in directions of width and height after twisting. The formulas, obtained with linear regressions, make pattern design of this type of drapery full systemized and lead to successful constructing of twisted pieces or parts of them in varied sizes. The pattern design of twisted draperies with decorative and constructive function is systemized with the use of dependence for calculation of the additional width for twisting. The systematization facilitates the processes of fashion and technical design leading to easy and successful constructing of drapery in different sizes of draped parts of clothing pieces, and giving possibilities for new creative ideas and variety of designs. It makes the presented systemized approach of pattern design very suitable for ready-to-wear industry.

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Kazlacheva, Zlatina, and Petya Dineva. "An investigation of pattern making of twisted draperies." Applied Researches in Technics, Technologies and Education 5, no. 2 (2017): 85–93. http://dx.doi.org/10.15547/artte.2017.02.002.

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Frank, Louis, and Leticia Leratti. "Sur quelques essais de restitution expérimentale des médaillons de draperies léonardiennes." Léonard de Vinci, l’expérience de l’art Hors-série (2024): 38–43. http://dx.doi.org/10.4000/11v41.

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Les auteurs présentent ici le cheminement intellectuel qui les a conduits à restituer le modèle en « médaille », c’est-à-dire en haut relief plutôt qu’en ronde bosse intégrale, que Léonard de Vinci conçut très probablement lorsqu’il peignit en grisaille la Draperie pour une figure assise dite Draperie Saint-Morys, conservée au département des Arts graphiques du musée du Louvre (inv. 2255).

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Craig, John, and N. B. Harte. "The New Draperies in the Low Countries and England." Albion: A Quarterly Journal Concerned with British Studies 31, no. 3 (1999): 461. http://dx.doi.org/10.2307/4052975.

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ZELL, MICHAEL. "WALTER MORRELL AND THE NEW DRAPERIES PROJECT, c. 1603–1631." Historical Journal 44, no. 3 (September 2001): 651–75. http://dx.doi.org/10.1017/s0018246x01001959.

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This article explores the lengthy and convoluted history of a Jacobean project to set the idle poor to work making ‘new draperies’. Although the projector, Walter Morrell, convinced the Cecils, King James, and the privy council of the social and fiscal benefits of his scheme, he failed to persuade the Hertfordshire gentry. This case study in the formulation of crown economic policy, and in ‘Stuart paternalism’, draws upon Morrell's own detailed, unpublished treatise, as well as conventional political sources, and shows how the combination of ‘commonwealth’ rhetoric and progressive economic thinking could sway crown policy-making. It also demonstrates once again the limits of conciliar authority in early Stuart England. In the face of sustained provincial non-compliance, the privy council had neither the machinery nor the stomach to force the Hertfordshire elite to implement government policy and give meaningful support to a government-backed projector. And despite their inability to deal with growing rural unemployment, the Hertfordshire magistrates were unwilling to experiment with rural industry as a solution.

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Kolić Pustić, Mara. "Gold ornamented draperies as a source of new knowledge about the painting of Nikola Božidarević." Portal, no. 14 (December 29, 2023): 39–59. http://dx.doi.org/10.17018/portal.2023.3.

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U radu je prezentirano interdisciplinarno istraživanje zlatnih ornamentiranih draperija Nikole Božidarevića. Opisano je stanje očuvanosti i postupak uklanjanja materijala iz naknadnih intervencija na slici Navještenje. Proučeni su Božidarevićevi ornamenti i način njihova punciranja te su preliminarno istraženi u širem kontekstu djelovanja toga majstora. Usporedbom s tkanjem zlatno-svilenih baršuna talijanskog quattrocenta, utvrđene su poveznice s Božidarevićevom izvedbom zlatnih ornamentiranih draperija. Prezentiran je i hipotetski predložak ornamenta za koji je utvrđeno da je korišten za prikaz plašta Bogorodice na slici Navještenje. Detektirane su grupe draperija sa sličnim motivom ornamenta, među kojima je i jedna Hamzićeva, što nudi dodatnu dimenziju sagledavanja značenja ornamentiranih draperija.

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Ward, Joseph P., and N. B. Harte. "The New Draperies in the Low Countries and England, 1300-1800." Sixteenth Century Journal 30, no. 1 (1999): 248. http://dx.doi.org/10.2307/2544966.

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13

Jarrige, François. "Jean-Michel Minovez, L’industrie invisible. Les draperies du Midi, xviie-xx." Revue d'histoire du XIXe siècle, no. 46 (June 1, 2013): 220–22. http://dx.doi.org/10.4000/rh19.4499.

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Miller, S. "L'industrie invisible: les draperies du Midi, XVIIe-XXe siecles: essai sur l'originalite d'une trajectoire * La puissance du Midi: drapiers et draperies de Colbert a la Revolution." French History 27, no. 2 (January 10, 2013): 308–9. http://dx.doi.org/10.1093/fh/crs151.

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Lemarchand, Guy. "Jean-Michel Minovez, L’industrie invisible. Les draperies du Midi XVIIe-XXe siècles." Annales historiques de la Révolution française, no. 371 (March 1, 2013): 209–12. http://dx.doi.org/10.4000/ahrf.12730.

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Kotey, Nathan A., John L. Wright, and Michael R. Collins. "A method for determining the effective longwave radiative properties of pleated draperies." HVAC&R Research 17, no. 5 (October 2011): 660–69. http://dx.doi.org/10.1080/10789669.2011.591257.

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Minovez, Jean-Michel. "L'État et les draperies dans les Pyrénées centrales au milieu du XVIIIe siècle." Annales du Midi : revue archéologique, historique et philologique de la France méridionale 116, no. 246 (2004): 171–89. http://dx.doi.org/10.3406/anami.2004.2838.

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Dineva, Petya, Zlatina Kazlacheva, and Julieta Ilieva. "A study of fashion design and pattern making of ladies' dresses with draperies." Applied Researches in Technics, Technologies and Education 4, no. 4 (2016): 262–71. http://dx.doi.org/10.15547/artte.2016.04.002.

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Maxmudjon, Turdiyev, and Yuldasheva Dildora. "Hygienic Effect Of The Drapery Of Children’s Clothes." American Journal of Interdisciplinary Innovations and Research 03, no. 11 (November 13, 2021): 48–52. http://dx.doi.org/10.37547/tajiir/volume03issue11-09.

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Today, the youth, whose education process has been developing, need to be prepared for the demands of society is the main purpose. The pedagogue’s experience, knowledge and personality play a big role in obsessed knowledge of youth, morality, tradition, getting learned culture, ability and developing worldwide and getting the appropriate place in society during the practical experience. In addition, developing the problem-solving abilities of the young, in the modern world, is the main responsibility of the pedagogue. For this, pedagogues should have their creative ways of teaching and the ability to react positively to the increasingly changing world. This article explains the range of clothes for pre-school children, draperies mechanical features, estimating the saving heat character of children’s clothes.

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Nair, Janaki. "Past Perfect: Architecture and Public Life in Bangalore." Journal of Asian Studies 61, no. 4 (November 2002): 1205–36. http://dx.doi.org/10.2307/3096440.

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“In the city,” says carl schorske, writing of Vienna at the turn of the twentieth century, “… the truth of industrial and commercial society had to be screened in the decent draperies of pre-industrial artistic styles. Science and law were modern truth, but beauty came from history” (1981, 45). Quotations from the past were equally the mark of architectural styles that were forged in colonial and postcolonial societies, as history became a resource for defining new ideals of beauty. If the retreat into (classical European) history was a striking feature of public architecture in colonial India (Evenson 1989, 99–109), an attempt to command a long and respectable lineage of authority equally marked the efforts of Indian nationalists in the early post-independence period.

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Peneva, Tanya, Zlatina Kazlacheva, and Julieta Ilieva. "Adaptation of a system for pattern design of twist knot draperies for knitted fabrics." IOP Conference Series: Materials Science and Engineering 1031, no. 1 (January 1, 2021): 012023. http://dx.doi.org/10.1088/1757-899x/1031/1/012023.

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O'Donnell, Joseph F., and Rose Virani. "Like Rembrandt Draperies: A Portrait of Cathy Tingle.Like Rembrandt Draperies: A Portrait of Cathy Tingle. Produced by Lisa Kaplan , LifeWorks Videos, $149, includes 10-page curriculum guide. Running time: 50:57 minutes." Journal of Palliative Medicine 8, no. 3 (June 2005): 677–78. http://dx.doi.org/10.1089/jpm.2005.8.677.

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OLDLAND, JOHN. "The Clothiers’ Century, 1450–1550." Rural History 29, no. 1 (March 19, 2018): 1–22. http://dx.doi.org/10.1017/s0956793317000188.

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Abstract:In the hundred years from 1450 to 1550, the great success enjoyed by the English woollen industry in continental markets was a result of clothiers organising the rural cloth industry in the West Country, Suffolk/Essex, the Kentish Weald and Newbury and its surrounds, to produce cloth that London merchants required. To do this they allocated extensive capital to cloth production: buying wools, sorting and dyeing them, organising their carding and spinning, putting the yarn out for weaving, and then in some cases owning the mills that fulled the cloth and finally shearing it in-house. The leading clothiers carried wool and cloth inventories, developed strong buying networks and offered merchants credit. Clothiers' control over production declined after 1550 as the government exercised greater control over cloth quality and clothiers' freedoms, and as price competition intensified from coarser cloths and new draperies.

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Morton, Timothy. "More Books about Buildings and Food." Victorian Literature and Culture 25, no. 2 (1997): 359–65. http://dx.doi.org/10.1017/s1060150300004848.

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George Eliot lamented the decoration of her and George Henry Lewes's house, for which Owen Jones, the man behind the color scheme for the Crystal Palace, designed wallpaper and chose draperies. At the beginning of his chapter on Middlemarch in Novels Behind Glass, a detailed historicist study of Thackeray, Gaskell, Dickens, Eliot and the Great Exhibition, Andrew Miller quotes Eliot's lament: “Such fringing [sic] away of precious life in thinking of carpets and tables is an affliction to me and seems like a nightmare from which I shall find it bliss to awake into my old world of care for things quite apart from upholstery” (189). In the Afterword, Miller quotes the deathbed words of Oscar Wilde, whose earnestness about his own wallpapered predicament are quite in contrast with Eliot: “My wallpaper and I are fighting a duel to the death…. One or the other of us has to go” (221).

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Brumont, Francis. "Marins et marchands marseillais en Normandie vers 1570." Annales du Midi : revue archéologique, historique et philologique de la France méridionale 132, no. 311 (2020): 315–33. http://dx.doi.org/10.3406/anami.2020.9056.

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Les relations commerciales entre Marseille et la Normandie étaient assez épisodiques jusqu’au milieu du XVIe siècle. À partir des années 1560, elles devinrent plus actives, surtout après 1570 grâce à la conjonction de deux événements : la guerre de Chypre entre Venise et les Turcs qui permit à Marseille de capter une partie du commerce des épices en direction de la mer du Nord et l’arrivée sur le marché des draperies anglaises que les Marseillais pouvaient envoyer vers le Levant. Cet échange épices/draps prospéra durant quelques années entraînant l’installation de Marseillais et d’Anglais à Rouen, la ville où s’échangeaient ces marchandises. La reprise en mains par Venise du trafic des épices et les voyages des Anglais en Méditerranée pour pratiquer ces échanges directement entraînèrent la quasi-disparition des Marseillais en Normandie, même si certains s’étaient essayés au commerce avec le Brésil et à la pêche de la morue.

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Makuch, Damian Włodzimierz. "Szczeliny dla wolnomyślnych powiewów. Polskie taktyki przekładowe dzieł Johna Williama Drapera." Przegląd Humanistyczny, no. 67/1 (October 11, 2023): 91–109. http://dx.doi.org/10.31338/2657-599x.ph.2023-2.7.

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The article outlines the process of translating John William Draper’s historical works into Polish and shows how these translations were evaluated against the background of the reception of the American scientist’s ideas. The author describes the historical conditions for the transfer of Draperism, identifies the translation tactics of Polish translators, and traces how critics with different worldviews reacted to the results of their work. Using this example, he tries to show that in the second half of the 19th century, the Polish (counter)discourse of secularization developed under extremely difficult conditions related to censorship and morality, so the translation tactics of Draper’s historiography can be considered an emancipatory gesture.

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Stone, Nancy J. "Environmental Design, Personality, and Online Learning." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 62, no. 1 (September 2018): 1171–75. http://dx.doi.org/10.1177/1541931218621269.

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Students completed an online tutorial presented as a video or PowerPoint presentation in a room with or without a window with blue, green, red, or white draperies to determine the impact of the environment on online learning. Students’ scores improved significantly from pretest to posttest; however, contrary to expectation, there were no main effects of windows, color, or the type of tutorial. There was a Room X Color interaction effect. Contrary to expectation, posttest scores were highest in the windowed room with red drapes and in the windowless room with green or white drapes. The lowest posttest scores occurred in a windowless room with red drapes and a windowed room with green drapes. Learners high in extraversion and agreeableness tended to have lower posttest scores, but high levels of conscientiousness were not related to performance. These results suggest that the presence of a window influences the impact of color in the learning environment, but the relation between personality and online performance is still unclear.

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McNeil, Lynda. "Bridal Cloths, Cover-UPS, and Kharis: The ‘Carpet Scene’ in Aeschylus’ Agamemnon." Greece and Rome 52, no. 1 (April 2005): 1–17. http://dx.doi.org/10.1093/gromej/cxi009.

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Past readings of Aeschylus’ Agamemnon (458 BC) have spawned numerous theories about the nature and significance of the cloth stage prop central to the ‘Carpet Scene’ (783-974). Kenneth Morrell has pointed out that ‘recent critics at best emphasize the ambiguous nature of the “fabric” ’, which the critics refer to variously as something carpet-like, as rugs or blankets, as garment-like tapestries or loosely-fitting garments, as draperies, and more generally as the household's treasure. But what fabric, if any, would have been versatile enough to function as a tapestry, a robe, and a blanket, and would have inspired outrage when used as a rug?More symbolically significant than the most luxurious carpet, the fabric strewn on the ground before Agamemnon strongly suggests a bridal cloth, an object replete with symbolism, which would have served as both a nuptial robe and a coverlet for the marriage bed. Scholars who discuss Athenian weddings in the context of the Oresteia have overlooked the nuptial nuances of the ‘carpet’.

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MUNRO, JOHN. "Spanish merino wools and the nouvelles draperies: an industrial transformation in the late medieval Low Countries." Economic History Review 58, no. 3 (August 2005): 431–84. http://dx.doi.org/10.1111/j.1468-0289.2005.00310.x.

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TÎRLĂ, Laura, Virgil DRĂGUȘIN, Ionuț MIREA, and Teodor COJOCARIU. "Speleomorphology of M3-R2 – The highest cave in the SE Carpathians." Revista de Geomorfologie 18, no. 1 (October 22, 2016): 59–68. http://dx.doi.org/10.21094/rg.2016.103.

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High-alpine caves are currently in the spotlight of research as they are host to speleothems, key recorders of Quaternary environmental change. Based on modern survey and analytical techniques, we investigated the karst morphology of M3-R2 Cave, the highest alpine cave in the Romanian Carpathians. Spatial modeling in Compass has shown survey details and cave morphology. We recalculated the main cave parameters (development/extension/depth), obtaining 47 m/21 m/-18.15 m, respectively. Slope ranges between 25° and 45°, with short passage segments of 5° to 10°. The cave developed at the intersection of a SW-dipping schistosity plan with two fracture sets, occurred under compression conditions. It is a remnant of a once longer cave system, which was progressively eroded under glacial conditions. Speleothem diversity is uncommonly rich for a marble cave, with dominant moonmilk formations, stalagmites and draperies. Due to its location/elevation, evolution and speleothems, this cave has a great potential in providing important paleoclimatic information compared to other karst landforms in South Carpathians.

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Posèq, Avigdor W. G. "Aspects of Italian Baroque Art: I. Bernini’s Non-Figural Draperies as “Simbolic Forms”; II. Directional Reading in Caravaggio." Acta Historiae Artium 51, no. 1 (December 1, 2010): 111–38. http://dx.doi.org/10.1556/ahista.51.2010.1.6.

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Freile, D., J. D. Milliman, and L. Hillis. "Leeward bank margin Halimeda meadows and draperies and their sedimentary importance on the western Great Bahama Bank slope." Coral Reefs 14, no. 1 (February 1995): 27–33. http://dx.doi.org/10.1007/bf00304068.

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Daumas, Jean-Claude. "Jean-Michel Minovez L’industrie invisible. Les draperies du Midi, XVIIe-XXe siècles. Essai sur l’originalité d’une trajectoire Paris, CNRS Éditions, 2012, 593 p.Jean-Michel Minovez La puissance du Midi. Drapiers et draperies de Colbert à la Révolution Rennes, PUR, 2012, 305 p." Annales. Histoire, Sciences Sociales 70, no. 01 (March 2015): 255–57. http://dx.doi.org/10.1353/ahs.2015.0151.

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Höstman, Anna. "I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON." Tempo 72, no. 286 (September 6, 2018): 17–30. http://dx.doi.org/10.1017/s0040298218000323.

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AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.

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Mazzinghi, Anna, Lisa Castelli, Francesca Giambi, Chiara Ruberto, Leandro Sottili, Francesco Taccetti, and Lorenzo Giuntini. "The Importance of Preventive Analysis in Heritage Science: MA-XRF Supporting the Restoration of Madonna with Child by Mantegna." Applied Sciences 13, no. 13 (July 7, 2023): 7983. http://dx.doi.org/10.3390/app13137983.

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The Madonna with Child by Andrea Mantegna owned by the Museo Poldi Pezzoli in Milan is painted on canvas with an unusual distemper technique. During the period of 1863–1865, the painting was restored by Giuseppe Molteni. The identification of potential retouchings by Molteni, possibly covering part of the original layer, was the object of this work carried at the Opificio delle Pietre Dure. To evaluate the extent of both Molteni’s intervention and Mantegna’s original layer, the MA-XRF spectrometer developed by CHNet-INFN was used to discriminate between the two paint layers and identify the materials and the extension of both “artists”. Indeed, the elemental maps showed that Molteni’s work entirely covered the mantle of the Virgin, even changing the fold of the draperies and enriching the red robe with shell gold highlights, giving a different appearance to the painting. Moreover, MA-XRF also revealed that the original Mantegna was still mostly intact underneath Molteni’s layer, thereby providing a decisive guide for conservation works. These results indeed formed the basis for the technical decision to remove the varnish and Molteni’s version, unveiling the original Mantegna. A second MA-XRF campaign was then carried out to fully characterise the materials of this unusual painting technique.

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Grafinsky, E., and Lesya Chen. "CREATIVITY OF THOMAS GUTTER AND HIS SCULPTURAL WORKS." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2024, no. 1 (May 17, 2024): 52–58. http://dx.doi.org/10.23939/sa2024.01.052.

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The study of the work of the German-born sculptor Thomas Gutter, who worked in Galicia during the late Baroque period, is currently poorly studied, so it needs a thorough study. The article is devoted to the analysis of the work of the sculptor Thomas Gutter. It explores the life and creative path of the artist, the peculiarities of his style, and the use of materials in sculpture. Gutter's main works, their themes, and symbolism, in particular expressiveness in space, are considered. His works are distinguished by the expressiveness of the form, the drama of expression and the detailing of the plastic treatment of draperies. Thomas Hutter's style is characterized by a combination of South German traditions and Central European styles and shows an evolution from the late Baroque to greater geometrization. With his sculptural works, Gutter not only enriched local art, but also made a significant contribution to the formation of the late Baroque style in the Western Ukrainian region. His work influenced the style of many subsequent generations of sculptors. The sculptural works of Thomas Hutter have a high artistic value and belong to the cultural heritage not only of Ukraine but also of Europe. The results of the study can be useful for art historians, sculptors, and researchers.

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Haquette, Bertrand. "Des lices et des joncs : rivière et draperies de la vallée de la Lys à la fin du Moyen Age." Revue du Nord 79, no. 322 (1997): 859–82. http://dx.doi.org/10.3406/rnord.1997.5266.

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ZELL, MICHAEL. "N. B. Harte (ed.), The new draperies in the Low Countries and England, 1300–1800. (Oxford: Oxford University Press, 1997.) Pages 334. £35.00." Continuity and Change 14, no. 3 (December 1999): 453–70. http://dx.doi.org/10.1017/s0268416099313436.

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Davids, Karel. "The New Draperies in the Low Countries and England, 1300–1800. Edited by N. B. Harte. Oxford: Oxford University Press, 1997. Pp. xiv, 334. $67.00." Journal of Economic History 59, no. 3 (September 1999): 801–3. http://dx.doi.org/10.1017/s0022050700023640.

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Espinosa Pesqueira, Manuel E., and Elsa Arroyo Lemus. "The Use of Smalt in Simon Pereyns Panel Paintings: Intentional Use and Color Changes." MRS Proceedings 1618 (2014): 131–39. http://dx.doi.org/10.1557/opl.2014.462.

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ABSTRACTThe Flemish painter Simón Pereyns travelled to New Spain in 1566 as a member of the viceroyal court. In two important paintings La Virgen del Perdón (1568) and San Cristóbal (1588) we identified wide use of blue smalt pigment, a potassium glass with cobalt oxide. The color of this material depends on its manufacture process, from pale greyish blue to violet or dark blue. The more blue color the more expensive the pigment. On the 16th century market the commerce of smalt was divided into many categories based on the material quality. Historical archive documents testify smalt imports from Seville to New Spain in two different qualities: fine and smalt woody ashes. In Pereyns` paintings the smalt was used in specific parts of the composition as the dark sky in landscapes, shadows of draperies and under layers in order to create a color background for the figures. Nowadays, in these areas, the alteration of the paint layer is evident. The blue has been changed into brown color. Optical microscopy (MO), scanning and transmission electron microscopies were performed in order to characterize the particles of smalt. The degradation of potassium glass was verified, as a consequence of aging and degradation process due to environmental conditions. These phenomena are well known and study on European paintings. In this research our aim is to explore the intentional use of smalt on Pereyns’ compositions and how color change as a consequence of microscopic materials instability can influence the contemporary reception of the paintings. Many paintings from New Spain have a dull, dark and limited palette but the original was very different. The remarks about the color of New Spain's paintings should considered the normal aging of the paint components, studied by materials science and art history.

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Roch, Jean-Louis. "Entre draperie rurale et draperie urbaine ? La draperie foraine de Rouen à la fin du Moyen Âge." Annales de Normandie 48, no. 3 (1998): 211–30. http://dx.doi.org/10.3406/annor.1998.4840.

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Morizot, Yvette. "La draperie de Despoina.Texte." Ktèma : civilisations de l'Orient, de la Grèce et de Rome antiques 33, no. 1 (2008): 201–9. http://dx.doi.org/10.3406/ktema.2008.1097.

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Craig, John. "N. B. Harte. The New Draperies in the Low Countries and England. (Pasold Studies in Textile History 10.) New York: Oxford University Press. 1998. Pp. xiii, 334. $67.00. ISBN0-19-921063-2." Albion 31, no. 3 (1999): 461–63. http://dx.doi.org/10.1017/s0095139000070794.

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Тарасенко, О. А., and А. А. Тарасенко. "Світобудова Михайла Гуйди." Art and Design, no. 2 (August 11, 2021): 152–63. http://dx.doi.org/10.30857/2617-0272.2021.2.14.

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Purpose of the article is to show the particular features of the model of the universe in the genre portrait-paintings and compositions of the modern Ukrainian artist M. E. Guyda are investigated. Historico-culturalogical, comparative, iconographic and iconological methods are applied. The ideological content and the particular features of the formal solution of figurative compositions are considered in the context of the heritage of world art. The national character of the images and symbols of the house, the clan and the native land are revealed; as is the nature of the manifestation of the relationship of the earthly and the heavenly. It was found that in the center of creation in compositions of M. E. Guyda is a spiritually inspired person from the folk. The depiction of people of different ages in interaction with nature helps to convey a natural course of time. It was clarified that the European aristocratic ceremonial portrait is foundational for the Ukrainian master. Artistic-stylistic analysis revealed that in the portrait-paintings "At the Well" (2013) and "Baba Kilyna" (2016), canonical composition was transformed by the artist through the expansion of space filled with individual symbolic content. The components of the ritual ceremonial portrait (columns, draperies, table-altar) are transformed into the image of a Cossack courtyard with a hedge, a tree of life, a well, a rainbow path. In the painting "Green Festivities" (2004), the house is shown as a temple. In the composition "Chumatsky Way" (2014), the world is presented as a universe – a model of the universe-house, with the architectonics of earth and sky. Scientific novelty is that the transformation of the canonical composition of the ceremonial portrait in the work of the contemporary artist M. E. Guyda is shown. The cultural and historical content of the master’s compositions was studied in connection with the problems of national self-identification and polystylism of the art of the twentieth century.is that the appeal to archetypes and symbols allowed the artist to expand the chamber space of his native Cossack house-yard to the "Model of Guyda’s Universe". The persuasiveness of individual pictorial images and symbols is based on the unity of personal, emotional perception of life with supra-individual mythological thinking. Practical significance. The presented materials, their artistic and stylistic analysis and generalization can be used in scientific research devoted to the art of portrait painting in Ukraine and in the world.

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YALCINKAYA, M. ALPER. "Science as an ally of religion: a Muslim appropriation of ‘the conflict thesis’." British Journal for the History of Science 44, no. 2 (June 14, 2010): 161–81. http://dx.doi.org/10.1017/s0007087410000749.

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AbstractJohn W. Draper's History of the Conflict between Religion and Science (1874) is commonly regarded as the manifesto of the ‘conflict thesis’. The superficiality of this thesis has been demonstrated in recent studies, but to read Draper's work only as a text on ‘science versus religion’ is to miss half of its significance, as it also involved evaluations of individual religions with respect to their attitudes towards science. Due to Draper's favourable remarks on Islam, the Ottoman author Ahmed Midhat translated his work into Turkish, and published it along with his own comments on Draper's arguments. Midhat interpreted Islam using the cues provided by Draper, and portrayed it as the only religion compatible with science. While his Christian readers condemned Draper for his approach to Islam, Midhat transformed the ‘conflict thesis’ into a proclamation that Islam and science were allies in opposition to Christian encroachment on the Ottoman Empire. This paper analyses Midhat's appropriation of Draper's work and compares it to the reaction of Draper's Christian readers. It discusses the context that made an alliance between Islam and science so desirable for Midhat, and emphasizes the impact of the historico-geographical context on the encounters between and representations of science and religion.

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Morozova, Anna V., and Aysan Daroudi. "Written and Pictorial Sources on the Architecture of Persia and Central Asia during the Era of Timur’s and Timurids’ Rule." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 724–43. http://dx.doi.org/10.21638/spbu15.2022.409.

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The article is devoted to the study of the most valuable source at the culture and architecture of Persia and Central Asia during the reign of Timur (late 14th — early 15th centuries) — the diary of the Spanish ambassador to the court of Timur. At this stage in the development of researching on the Persian and Central Asian architecture of the Timurid period, along with the problem of “analysis” of monuments and artistic style, the problem of “synthesis” of image of these architecture is urgent. The authors of this article propose a methodology for restoring the general impression of this architecture, which can serve as a basis for the process of “synthesis”, based on the study of the contemporary written source of the early 15th century — the diary of the Spanish grandee Ruy Gonzalez de Clavijo, who was part of the Spanish embassy, sent by the Castilian king Enrice III to the court of Timur at 1403–1406. Being an educated man and receptive to the new, Clavijo was able to isolate the characteristic features of the worldview of a man of the East, primarily an oriental despot, and the associated features of the art of the East. He and his colleagues in the embassy drew attention to the cunning, treachery, ingenuity, secrecy of the eastern rulers. The Spaniards were struck by the luxury, power and wealth of Timur’s state, which at that time was at the zenith of glory. The Spaniards, accustomed to the stability of architectural images in their native Spain, were amazed at the variability of the artistic images of the East. They drew attention to the love of the representatives of the peoples of the East for free draperies, giving themselves to the will of the wind, in the temporary architecture and in festive women’s clothes, that by their nature were well consistent with the decoration of architectural buildings. The Spanish envoys revealed that subservient to the first and most faithful fresh impression, tenaciously grasping the main difference between the architecture of Timur’s state and contemporary European architecture. This difference consisted in the desire to create an image that is changing, diverse, fluid, mobile, not instantly solved and full of mystery, but at the same time striking the imagination with its luxury and wealth and according to the understanding of their masters, customers and spectators. The conclusion about the specifics of Timurid architecture, made on the basis of a study of the diary of the Spanish ambassador, is supported by the authors of the article turning to the analysis of written and pictorial sources created by representatives of the studied culture itself.

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Wickliff, Gregory A. "Draper, Darwin, and the Oxford evolution debate of 1860." Earth Sciences History 34, no. 1 (January 1, 2015): 124–51. http://dx.doi.org/10.17704/1944-6187-34.1.124.

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Historians of science have written much about the famous exchange over Darwinism in 1860 at the Oxford meeting of the British Association for the Advancement of Science between Bishop Samuel Wilberforce and Thomas Henry Huxley. The event is one of the most famous in nineteenth-century science. But little has been written about the paper that served as the occasion of that debate. The paper was one presented by John William Draper, a British-born American scientist and physician. A full transcription of Draper's paper is presented here, with a discussion of Draper's earlier writing and lectures on geology, evolution, and the philosophy of history. Together Draper's writings show his early adoption of key principles of the development hypothesis, his willingness to accept the principle of human evolution, and his claims for what he saw as the evolutionary nature of human society.

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Loht, Shawn. "Drapers and Gardeners." Film and Philosophy 24 (2020): 98–119. http://dx.doi.org/10.5840/filmphil2020247.

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This article examines Martin Heidegger's concept of conscience in Being and Time as it is manifested by the characters Don Draper from the television series Mad Men (Matthew Weiner, 2007-2013) and Chauncey Gardiner in the film Being There (Hal Ashby, 1979). The article suggests that Draper hears and occasionally responds to what Heidegger terms the “call of conscience,” whereas Gardiner neither hears this call nor responds to it. Gardiner poses a problem case for Heidegger’s account of Dasein by virtue of failing to exhibit conscience. A question latent in Gardiner’s makeup is what causes him to be this way. The contrast of the characters Draper and Gardiner is approached through the lens of the portrayal of secret identity in filmic media. Both characters live public lives that are at odds with their genuine selves, but they react to this disconnect differently. Core concepts addressed vis-a-vis Heidegger’s account of conscience include facticity, falling, discourse, authenticity, and death. The article concludes that Draper hears and responds to conscience’s call because he has a discursive comprehension of the disconnect between his true self and the public life he has lived; a crucial component of the phenomenon of conscience according to Heidegger is the existential capacity for discourse. Gardiner, in contrast, does not hear conscience at all because his Dasein lacks the discursive element that conscience requires in order to be activated. Gardiner’s being-in-the-world is such that he fails to understand the divide between his lived self and his public self. For Gardiner, these are the same.

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Roch, Jean-Louis. "Innovations et résistances dans la draperie : exemples normands." Médiévales 19, no. 39 (2000): 46–56. http://dx.doi.org/10.3406/medi.2000.1493.

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Hayward, Maria. "Walter Morrell’s ‘Manufacture for the New Draperie’ (1616)." Textile History 50, no. 1 (January 2, 2019): 121–22. http://dx.doi.org/10.1080/00404969.2019.1594737.

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Journal articles on the topic 'Draperies'

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