I felt that Mary was there, pulling at my sleeve, willing me to appreciate the artistry, wanting me to understand the dazzle of the material world that shaped her. At her execution Mary, Queen of Scots wore red. Widely known as the colour of strength and passion, it was in fact worn by Mary as the Catholic symbol of martyrdom. In sixteenth-century Europe women's voices were suppressed and silenced. Even for a queen like Mary, her prime duty was to bear sons. In an age when textiles expressed power, Mary exploited them to emphasise her female agency. From her lavishly embroidered gowns as the prospective wife of the French Dauphin to the fashion dolls she used to encourage a Marian style at the Scottish court and the subversive messages she embroidered in captivity for her supporters, Mary used textiles to advance her political agenda, affirm her royal lineage and tell her own story. In this eloquent cultural biography, Clare Hunter exquisitely blends history, politics and memoir to tell the story of a queen in her own voice.
I felt that Mary was there, pulling at my sleeve, willing me to appreciate the artistry, wanting me to understand the dazzle of the material world that shaped her.At her execution Mary, Queen of Scots wore red. Widely known as the colour of strength and passion, it was in fact worn by Mary as the Catholic symbol of martyrdom.In sixteenth-century Europe women's voices were suppressed and silenced. Even for a queen like Mary, her prime duty was to bear sons. In an age when textiles expressed power, Mary exploited them to emphasise her female agency. From her lavishly embroidered gowns as the prospective wife of the French Dauphin to the fashion dolls she used to encourage a Marian style at the Scottish court and the subversive messages she embroidered in captivity for her supporters, Mary used textiles to advance her political agenda, affirm her royal lineage and tell her own story.In this eloquent cultural biography, Clare Hunter exquisitely blends history, politics and memoir to tell the story of a queen in her own voice.
Little white lies can add up to big trouble. Felton Billows is known around the small town of Dappled Hills as something of a show-off. She’s always dressed-up. She drives a luxurious car. And she has a quite spectacular diamond ring that she’s fond of waving around. Felton, unfortunately, has other issues, too. She’s not particularly kind to the people who work in her yard and run errands for her. Aside from that, Felton complacently alludes to the fact that she knows a few secrets. When Felton is discovered dead, it’s still a shock—this is Dappled Hills, after all. But it may not be easy to unravel the mystery when quite a few suspects come to light. Can Beatrice uncover the murderer before he strikes again?
Embroidery begins with the needle, and the needle (thorn, fish-bone, or whatever it may have been) came into use so soon as ever savages had the wit to sew skins and things together to keep themselves warm—modesty, we may take it, was an afterthought—and if the stitches made any sort of pattern, as coarse stitching naturally would, that was embroidery. The term is often vaguely used to denote all kinds of ornamental needlework, and some with which the needle has nothing to do. That is misleading; though it is true that embroidery does touch, on the one side, tapestry, which may be described as a kind of embroidery with the shuttle, and, on the other, lace, which is needlework pure and simple, construction "in the air" as the Italian name has it. The term is used in common parlance to express any kind of superficial or superfluous ornamentation. A poet is said to embroider the truth. But such metaphorical use of the word hints at the real nature of the work—embellishment, enrichment, added. If added, there must first of all be something it is added to—the material, that is to say, on which the needlework is done. In weaving (even tapestry weaving) the pattern is got by the inter-threading of warp and weft. In lace, too, it is got out of the threads which make the stuff. In embroidery it is got by threads worked on a fabric first of all woven on the loom, or, it might be, netted. There is inevitably a certain amount of overlapping of the crafts. For instance, take a form of embroidery common in all countries, Eastern, Hungarian, or nearer home, in which certain of the weft threads of the linen are drawn out, and the needlework is executed upon the warp threads thus revealed. This is, strictly speaking, a sort of tapestry with the needle, just as, it was explained, tapestry itself may be described as a sort of embroidery with the shuttle. That will be clearly seen by reference to Illustration 1, which shows a fragment of ancient tapestry found in a Coptic tomb in Upper Egypt. In the lower portion of it the pattern appears light on dark. As a matter of fact, it was wrought in white and red upon a linen warp; but, as it happened, only the white threads were of linen, like the warp, the red were woollen, and in the course of fifteen hundred years or so much of this red wool has perished, leaving the white pattern intact on the warp, the threads of which are laid bare in the upper part of the illustration.
This Concise Companion presents fresh perspectives on eighteenth-century literature. Contributes to current debates in the field on subjects such as the public sphere, travel and exploration, scientific rhetoric, gender and the book trade, and historical versus literary perceptions of life on London streets. Searches out connections between the remarkable number of new genres that appeared in the eighteenth century. Crosses conventional disciplinary lines. Demonstrates that philosophy, history, politics and social theory both influence and are influenced by literature.
Combining attitude and instruction, projects and inspiration--plus iron-on transfer pattern sheets and a perforated practice stitch card--"Embroider Everything Workshop" is a complete how-to.
Royally confused about kings and queens? Never sure what happened when? Or where — England, Scotland, Ireland, or Wales? Learn the people and events that shaped British history British History For Dummies, 3rd Edition is full of rip-roaring stories of power-mad kings, executions, invasions, high treason, global empire building, and forbidden love — not bad for a nation of stiff upper lips. Engaged travelers, lifelong learners, history buffs, and students will all enjoy this friendly and accessible guide written in, well, plain English. This book is for you if you studied British History in school (perhaps a while ago) or learned only a bit about Wales or Scotland or Ireland and want to know more. And if you've ever asked yourself, "What kingdoms are part of the United Kingdom?" or "Exactly how was the UK formed?" or "Which people make up the UK?" — you've come to the right place, to get those answers and so much more. With an 8-page color insert so you can see who, what, and where the ensuing historical action takes place, you’ll learn about the following people and events (and more): What led to the Roman invasion and about the Britons who resisted it How Britain was divided into Saxon and Celtic kingdoms How the Roman Church converted Celtic and British Christians When the Vikings arrived, and what other invaders followed The many battles of Henry II The forming of England’s parliament How the Black Death affected Britain The Tudors vs. The Stuarts How the Industrial Revolution helped push advancements in farming and infrastructure All about the Victorians — everyone's favorite Britain’s involvement in the Great War and World War II Additionally, this edition is revised and expanded to include the historical parliamentary elections of 2010 and the British mission in Afghanistan, and you don't want to miss out. Pick up your copy of British History For Dummies, 3rd Edition today.
