Relevant bibliographies by topics / Drapering

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Drapering'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Drapering"

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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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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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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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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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TRIAPITSYN, SERGUEI V. "Taxonomic review of Polynema (Hymenoptera: Mymaridae) in Australia and New Zealand, with descriptions of eight new species." Zootaxa 4915, no. 2 (January 21, 2021): 151–200. http://dx.doi.org/10.11646/zootaxa.4915.2.1.

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Two Australian species of Polynema Haliday (Hymenoptera: Mymaridae), P. (Polynema) draperi Girault and P. (Polynema) editha Girault, are redescribed, as is the Australasian and Oriental P. (Dorypolynema) mendeli Girault; the previously unknown female of P. draperi and male of P. editha are also described. One new species group, the draperi group, is newly defined in P. (Polynema), in which eight new species are described: P. (Polynema) aristokratka sp. n. (New Zealand), P. (Polynema) baronessa sp. n. (New Zealand), P. (Polynema) grafinya sp. n. (New Zealand), P. (Polynema) imperatrix sp. n. (Australia), P. (Polynema) koroleva sp. n. (New Zealand), P. (Polynema) markiza sp. n. (New Zealand), P. (Polynema) princessa sp. n. (Australia), and P. (Polynema) rangatira sp. n. (New Zealand). Keys to the two treated subgenera of Polynema, both sexes of the world species of P. (Dorypolynema Hayat & Anis), and to females of the 10 described P. (Polynema) species in Australia and New Zealand are given. Taxonomic notes are provided for the Afrotropical species Polynema (Dorypolynema) mboroense (Risbec), comb. n. from Acmopolynema Ogloblin, whose previously unknown female is described, and for the Australian species Palaeoneura frater (Girault), comb. n. from Polynema.
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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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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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Dissertations / Theses on the topic "Drapering"

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Bjuhr, Maria. "Draperingens form och fall : En studie i drapering som arbetssätt inom mönsterkonstruktion." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17341.

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I denna uppsats studerar jag drapering som arbetssätt inom mönsterkonstruktion. Drapering ären klassisk teknik för att forma tyg runt en kropp. När man arbetar med denna teknik är störstfokus på plaggets uttryck och fall. Studien är utförd i samarbete med ett litet svensktmodeföretag, och inom studien utvecklas en klänning, en kjol och en byxa. I det praktiskaarbetet tillämpas en arbetsmetod som innefattar märkning och nedmontering av det draperadeplagget. Denna arbetsmetod visar sig vara framgångsrik när det kommer till att återskapa dendraperade formen som tagits fram av designern. Drapering, som är ett tredimensionelltarbetssätt, jämförs i studien med traditionell platt mönsterkonstruktion. Inom plattmönsterkonstruktion använder man standardmåttlistor och grunduppställningar somutgångspunkt när man konstruerar modeller. Inom drapering börjar man med att skapamodellen genom att drapera upp plagget på en docka och själva mönsterkonstruktionen börjarinte förrän plagget har monterats ned från dockan. Man har således inte samma arbetsgång närman arbetar med draperade och platta konstruktioner. Drapering är ett mer fritt arbetssätt änplatt mönsterkonstruktion är. Inom drapering arbetar man ständigt med kroppen somutgångspunkt, och låter den och materialet som används bestämma plaggets form och fall.
Program: Designteknikerutbildningen
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Ragnestam, Maria. "Drapering av en illusion : En komparativ studie med utgångspunkt i fotografierna av Leila Khaled och Shirin Neshat." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1033.

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The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which

needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.

In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes

the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.

The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.

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Wollin, Elin. "Fresh Face >>> Body 2.0 : Handens minne + Digitala dimensioner." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5863.

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"My goal with this project is to digital print a Science Fiction inspired print on fabric that provides an optical illusion with lenticular technology. The fabric will be presented with five curtain drapings, two in motion with motorized movable suspensions. The Print design is going to be created with a science fiction/cyberpunk/transhumanism atmosphere. I’m inspired by the relation between body and machine. The textile field is drawn to smart textiles where the idea of function, artificial intelligence and virtual reality is central. There are already textiles that are designed to react to the wearers needs. And soon it will be possible for the online shopper to purchase customized clothes by recreating themselves as an avatar through 3Dscanning. With this as inspiration my digital print is designed. Technically I will produce a fabric using the lenticular technology that creates an optical illusion. In order to produce the fabric, I need to work with the prints in Photoshop and then digitally print them on fabric. So that the fabric could be able to obtain an optical effect, a lens made of silicone will be laminated on top. The silicone lens is cast in a form which is sketched and made as a model in Rhino and then cut out from a metal block with a milling cutter. The composition will be presented as five curtain drapings. Two of them moves with electric winches. They will hang separately but communicate in a spatial constellation. Like organs the draperies spread out and fall back again. Here, as in the print design, the body and the machine will be crucial. The focus is also on the fabric's tactile character, drama and historical heritage."
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BÄLTER, BJURGERT LOVISA. "FRÅN STILLEBEN TILL MÖNSTER." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18115.

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Det finns sparsamt med litteratur om arbetet med draperade plagg ur en mönsterkonstruktörs synvinkel. Dessutom tar majoriteten av mönsterkonstruktionsundervisningen sällan upp drapering i ett tidigt stadie (om över huvud taget). Rapportens syfte är att undersöka hur en mönsterkonstruktör kan gå tillväga för att översätta draperade plagg till reproducerbara tvådimensionella mönster. Som underlag för studien har tre plagg draperade på docka av en extern handledare använts. Det första plagget är en vävd klänning, det andra en klänning i trikå och det tredje en quiltad väst. I originaldraperingarnas tyg markeras fästpunkter och eventuella skärningar noga, därefter monteras draperingen ned, delarna kalkeras av och toiler sys upp och provas på dockor och provpersoner i flera omgångar tills önskat resultat erhålls. De slutgiltiga mönsterdelarna digitaliseras in i programvaran Modaris (Lectra Systemes) där linjer finputsas och kontrollmäts och plaggen graderas. Studien visar hur en mer direkt förståelse för hur tyg och form påverkas av kroppen kan uppnås med hjälp av draperingsbaserad mönsterkonstruktion. Det behöver inte finnas en motsättning mellan de olika sätten att arbeta, eftersträvansvärt vore istället att mönster-konstruktörer behärskar så många tekniker som möjligt för att kunna nå ett bra slutresultat
Program: Designteknikerutbildningen
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Becchia, Alain. "La draperie d'Elbeuf, des origines à 1870 /." Rouen : Publ. de l'Université de Rouen, 2000. http://catalogue.bnf.fr/ark:/12148/cb377040653.

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Karlsson, Linda, and Ida Sundqvist. "Dold under draperingen : En intervjustudie om operationssjuksköterskans förhållningssätt till hela människan under arbetet i operationssåret." Thesis, Linnéuniversitetet, Institutionen för hälso- och vårdvetenskap (HV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-102275.

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Bakgrund: Under ett kirurgiskt ingrepp är patienten många gånger sövd och täckt av draperingsmaterial. Operationssjuksköterskan har spetskompetens gällande omvårdnaden kring patienten i samband med kirurgiska ingrepp. I den högteknologiska operationsmiljön blir operationssjuksköterskans arbete fokuserat till det kirurgiska såret under operationen. I denna situation riskerar patienten att uppfattas som ett objekt och inte som en unik människa. Syfte: Studiens syfte var att undersöka operationssjuksköterskans förhållningssätt till hela människan under arbetet i operationssåret. Metod: Studien genomfördes som en kvalitativ intervjustudie med induktiv ansats och elva operationssjuksköterskor från två olika sjukhus i södra Sverige intervjuades med semistrukturerade intervjufrågor. Datamaterialet analyserades med latent innehållsanalys i enlighet med Erlingsson och Brysiewicz (2017). Resultat: Det genomgående temat i resultatet var Se människan under draperingen.Operationssjuksköterskorna beskrev att noggrant förarbete och förtroendefullt samarbete med kollegor var en förutsättning för att utföra sitt arbete i operationssåret. De var ständigt vaksamma på förändringar kring patienten och försvarade patienten och den utsatta kroppen under operationen. Även under arbetet i operationssåret var operationssjuksköterskorna medvetna om hela människan som låg under draperingen och operationssjuksköterskans fokus i operationssåret tar avstamp i intresse för patienten och det bästa operationsresultatet. Slutsats: Operationssjuksköterskorna är ständigt medvetna om hela patienten under arbetet i operationssåret. Deras patientfokus och drivkraft att göra det bästa för patienten, även i situationer då de måste ägna operationssåret all uppmärksamhet, genererar en god vård för patienten i samband med operation och ger en positiv bild av operationssjuksköterskans yrke.
Background: During a surgical procedure, the patient is often anesthetized and covered with draping material. The operating theatre nurse has expertise regarding the care of the patient in connection to surgical procedures. In the technological environment, the operating theatre nurse's work is focused on the surgical wound, during the operation. In this situation, there is a risk that the view of the patient will change from being a person into an object, and will not be seen as a human being. Objective:This study aims to investigate the operating theatre nurse’s attitude towards the whole picture of the human being during the work in the surgical wound. Method: The study was conducted with a qualitative interview method with an inductive approach, and eleven operating theatre nurses from two different hospitals in southern Sweden were interviewed with semi-structured interview questions. The data material was analyzed with latent content analysis in accordance with Erlingsson and Brysiewicz (2017). Result: The recurring theme in the result was See the human being beneath the draping. The operating theatre nurses described that careful preparation and trust in colleagues were a prerequisite in performing their work in the surgical wound. They were constantly alert to changes around the patient, and guarded the patient and the exposed body during the operation. Even during the work in the surgical wound, the operating theatre nurses were aware of the patient who was beneath the draping and the focus in the surgical wound was due to the concern of the patient, and the best surgical result. Conclusion: The operating theatre nurses are constantly aware of the whole person when they focus during the work in the surgical wound. Their patient focus is to do what is best for the patient. Even in situations when attention must be paid to the work in the wound, it is always due to the concern of the patient and gives a positive image of the profession of the operating theatre nurse.
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Cardon, Dominique. "Technologie de la draperie médiévale d'après la règlementation technique du nord-ouest méditerranéen : Languedoc-Roussillon-Catalogne-Valence-Majorque : XIIIe-XVe siècles." Montpellier 3, 1990. http://www.theses.fr/1990MON30035.

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La reglementation technique du nord-ouest mediterraneen (statuts des metiers de la laine, ordonnances sur la draperie) permet une etude technologique des etapes successives de la production, de l'appret et de la teinture des tissus de laine en languedoc, roussillon, catologne, dans le royaume de valence et a majorque aux 13e-15e siecles. La conversation en mesures metriques et l'interpretation des donnees chiffrees fournissent, pour la premiere fois, des bases de comparaisons avec les informations tirees de l'analyse d'echantillons de lainages medievaux retrouves en languedoc et dans les archives datini a prato. La quantite de precisions originales apportees par les sources utilisees et la vision d'ensemble offerte par ce travail, amenent a poser des questions valables pour toutes les draperies medievales, en particulier celle des veritables criteres de qualite des tissus dans les differents centres drapiers
The inportant corpus of gild regulations available from the archives of the north-west mediterranean regions allows a thorough technological analysis of the various stages of the woollen-cloth production:from the choice of wools to the various branches of the dye-industry, including spinning, weaving, fulling and shearing. A new methodological approach is experimented: the systematic conversion of quantitative data into metric measurements and the interpretation of the results in the light of the technical analysis of various mediaeval textile fragments. From this works, and from the quantity of oritinal details provided by the sources, a more precise vision of the european woollencloth industry arises. It raises the question of real quality standards in the major european textile centers in lediaeval ages
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Rolfsson, Kajsa. "Hulda : Mönster för en frisk fläkt i en sjuk miljö." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27966.

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Det här projektet handlar om en frisk vård i en sjuk miljö. Jag tar in naturen till sjukhuset för att få patienter att känna sig mer inbjudna, trygga och avslappnade. Mitt arbetsområde har varit patientens privata sfär kring sängen.
This project is dealing with human care in a sick environment. I bring nature into the hospital to make patients feel more invited, secure and relaxed. My work area has been patients’ private sphere around the bed, which has resulted in two patterns for drapes.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Torró, Gil Lluís. "Proto-indústria i acumulació originària de capital a la vila valenciana d'Alcoi (1430-1823)." Doctoral thesis, Universidad de Alicante, 2000. http://hdl.handle.net/10045/53954.

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La tesi tracta sobre els orígens del procés d’industrialització a la ciutat tèxtil d'Alcoi i els districtes adjacents entre 1430 i 1821, prestant atenció a l'evolució de la població, l'agricultura, la renda feudal, i, finalment, l'activitat de fabricació centrada en la producció de draps de llana. L'estudi, a més de la reconstrucció de diverses sèries demogràfiques, de producció i preus agraris, d'evolució de les rendes feudals i de producció de draps entre 1569 i 1827, analitza el paper dels gremis en l'evolució de la fabricació de draps des de l'Edat Mitjana fins al començament de la mecanització. El cas d'Alcoi és particularment important per tres raons: (1) va ser el principal centre de producció de teixits de llana a Espanya, probablement entre c. 1750-1830; (2) va donar lloc a un procés únic de la industrialització que proporciona moltes llums en el coneixement dels mecanismes que faciliten i/ o dificulten la industrialització espanyola; i (3) algunes de les seves característiques (con ara la participació activa dels gremis en el procés de mecanització) fan d'ell en un cas excepcional fins i tot a nivell internacional.
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Books on the topic "Drapering"

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"Custom draperies". 3rd ed. Asheville, NC: Lederer Enterprises, 1988.

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Rothschild, Anne. Draperies de l'oubli. Bruxelles: Eperonniers, 1990.

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Curtains and draperies: History, design, inspiration. Woodstock, N.Y: Overlook Press, 1994.

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Lang, Donna. Make it with style: Draperies & swags. New York: Clarkson N. Potter, 1996.

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The complete book of curtains and draperies. Woodstock, N.Y: Overlook Press, 1991.

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Kasimatē, Anna. Hellēnikē kourtina: Schedia & tekhnikē. Athēna: Ekdosē EOMMEX, 1986.

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Heather Luke's curtains. London: New Holland, 2008.

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Yaker, Rebecca. How to make curtains: Measuring and making the perfect window coverings for every room in your home. North Adams, MA: Storey Publishing, 2015.

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Curtain recipes. Marlborough: Shoestring, 2004.

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Katrin Cargill's simple curtains: Creative ideas & 20 step-by-step projects. 2nd ed. New York: Ryland Peters & Small, 2005.

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Book chapters on the topic "Drapering"

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Babu, V. Ramesh, and S. Sundaresan. "Curtains and draperies." In Home Furnishing, 103–40. WPI Publishing, 2018. http://dx.doi.org/10.1201/9781351186230-4.

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2

Allison, Diana. "Curtains and Draperies." In Estimating and Costing for Interior Designers, 135–60. Bloomsbury Publishing Inc, 2014. http://dx.doi.org/10.5040/9781501371479.ch-010.

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3

"Draperies and Drops." In Illustrated Theatre Production Guide, 43–56. Routledge, 2013. http://dx.doi.org/10.4324/9780080491516-10.

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4

"The Fold: Baroque and Postmodern Draperies." In Drapery. I.B.Tauris, 2002. http://dx.doi.org/10.5040/9780755604630.ch-004.

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5

Dalivalle, Margaret, Martin Kemp, and Robert B. Simon. "Drawings and Dates." In Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts, 84–90. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0005.

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Abstract:
Chapter 4 examines the two surviving drawings for Christ’s draperies at Windsor, their attribution, and their place in the chronology of Leonardo’s drawing styles. The use of red chalk on red paper favours a later date for the drawings, as does the system of hatching, but the development of his drawing style is complicated, as indicated by a review of his drapery studies. A copy formerly in the Yarbrough collection shows Christ’s right sleeve, as in the Windsor drawing but not as in the final painting, suggesting that the copyist knew Leonardo’s painting at a point before it was finished.
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6

Roch, Jean-Louis. "L’organisation sociale de la draperie rouennaise aux xive et xve siècles." In Les Villes normandes au Moyen Âge, 225–40. Presses universitaires de Caen, 2006. http://dx.doi.org/10.4000/books.puc.9464.

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7

Brumont, Francis. "Un foyer de draperie rurale dispersée au xvie siècle : la Sierra Riojana." In L’artisan au village, 33–50. Presses universitaires du Midi, 2000. http://dx.doi.org/10.4000/books.pumi.24061.

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8

Scherman, Matthieu. "Fournir la draperie italienne : les Salviati et les laines d’Angleterre au XVe siècle." In Le marché des matières premières dans l’Antiquité et au Moyen Âge, 447–61. Publications de l’École française de Rome, 2021. http://dx.doi.org/10.4000/books.efr.8168.

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9

Minovez, Jean-Michel. "Les artisans aux champs dans les draperies des Pyrénées centrales fin xviie-fin xviiie siècle." In L’artisan au village, 67–86. Presses universitaires du Midi, 2000. http://dx.doi.org/10.4000/books.pumi.24076.

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10

Cazals, Rémy. "Fraude et conscience de place dans la draperie languedocienne au XVIIIe siècle." In Publications d'histoire économique et sociale internationale, 457–69. Librairie Droz, 2007. http://dx.doi.org/10.3917/droz.beaur.2007.01.0457.

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