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The purpose of this study was to identify, through historic documents, the craftsmen of a specific region, Montgomery County, that may have contributed to the construction of area buildings between 1850 and 1900. Data from Population Census reports and Birth Registers were used to create a matrix of craftsmen names, their trade, location, and length of service. This list was used to place in perspective different kinds of craftsmen by attempting to relate various trades to one another, to area resources, and specific sites. For this well-timbered region, carpenters represented almost half (437.) of the craftsmen identified. The identification of 1,028 craftsmen and presence of apprentices indicated that skilled labor was available to residents and that some level of formal training did exist. Through the use of bills, receipts, and letters, the study also revealed individual and collaborative works as well as labor and material costs. Although these craftsmen were found throughout the county, the majority resided in Blacksburg and Christiansburg. / M.S.

Identity and its different constructions - national, social and personal, for example - are increasingly recognised as fundamental to understanding current and historic cultures. The reflexive relationship of identity issues with sartorial expression is a key concept within dress, fashion and textile studies. This thesis contributes to that growing body of knowledge by developing an understanding of how specific eighteenth century Scotswomen and their families related to their garments, thus bringing together contemporary study methods and understandings of identity with historic manifestations. This study of identity is embedded within an object-study methodology, following investigative practice and cataloguing methods currently used within the international museums community. This assists the secondary purpose of the thesis, which is to highlight a breadth of largely unpublished main garment objects within Scottish public and private collections. The intimate study of these objects has revealed stories of how daily life interacted with personal taste and style, purchase methods, garment use and international markets for individuals connected to Scotland. This has contributed material understanding to wider academic research areas, most importantly the everyday lives of eighteenth century Scotswomen, issues of identity within Scotland, and how European fashion trends were adopted or adapted by individuals outside of the major fashion centres of London and Paris. Study of the garments has involved stylistic analysis of their textiles and of their construction, connecting them to other extant and depicted garments from British and international collections. Thus providing material evidence of international styles in the eighteenth century, and matching two items in a rare example of extant main garments evidencing duplication in the eighteenth century handmade clothing industry.

published_or_final_version / abstract / Conservation / Master / Master of Science in Conservation

My installations are propositions for an imaginary world that relies on its own internal logic, a world of believability without recognition. While the work references landscape it also emphasizes its contrivance, as it is automatically estranged in an "unnatural" gallery setting. I subvert or de-familiarize the materials and processes that I use in the service of creating a fictitious environment. My places are impossible places. They are irregular, illogical, and unstable. Our imagination can be one of most dangerous things to psychological stability as it is an inventory of all things possible, no matter how irrational or improbable. The irrational is always an option, a lingering threat. The imagination seems to hate permissions and limitations, but is nevertheless lodged within them. I want to create a sense of nonsensical logic. If all things that can be imagined are logical possibilities, I want to find the place where fantasy seems to be just barely reality. If I can't have an inherent contradiction, I'll take an apparent one.

This thesis focuses on the topic of stencil painting in Central Europe. Based on the review of literature the current state of research is described and the technology is placed in the broader context of the decorative techniques used in the Middle Ages. Attention is paid to the history, process of making of the templates, method of their printing, the typology of used designs, the question of performing artists or craftsmen and wide possibilities of its application for the panel or mural paintings. The main focus of the thesis is the use of stencil painting and its specifics in the case of use for the polychrome of flat wooden ceilings and mobiliary in the churches interiors. The motifs used for their decoration are examined with regard to iconography, considered is also the possibility of the existence of overall iconographic program. The second part of the thesis consists of a catalogue with locations, where the stencil paintings have been used for decoration of flat ceilings or mobiliary in Czech, Slovak and Polish Republic. Keywords medieval art, stencil painting, ornament, Central Europe, wooden flat ceilings, mobiliary, polychrome, iconography

This theses focuses on olfactory and visual components of mate choice in grey partridge. The aim is to evaluate the importance of melanin-based ornametnation and olfaction in mate choice and to explain the role of sexual selection in the evolution of secondary ornamentation in this socially monogamous galliform bird. To do that several experiments were conducted to (1) assess the ability of individuals to recognize conspecific odour and (2) to estimate the significance of melanin based feather ornamentation in male-male and male-female interactions. In some experiments I manipulated the expression (size) of feather maleanin- based ornamentation while in others I used birds forced to pair randomly to find out how the size of ornament and similarity in ornament expression between males and females (assortative pairing) affects reproductive success and investments (egg hatchability and number of eggs laid).

L’objet de ce travail est d’étudier le lien entre le mécénat et le décor architectural à Damas de l’arrivée des Salğūqides à l’irruption des Mongols en Syrie et l'occupation destructrice de la ville, soit la fin de la dynastie ayyūbide.Un recensement des monuments conservés, replacés pour certains dans le contexte d’un mécénat qui dépasse largement la métropole syrienne, permet de mettre plusieurs groupes de mécènes, un groupe princier (le dynaste et sa famille directe), celui des émirs qui gravite autour de ce pouvoir central sans toujours résider et se rend ainsi visible dans la capitale, et celui des groupes de juristes et de religieux (soufis notamment) qui, tracent avec leurs fondations une géographie dans la ville et dans ses faubourgs.Une présentation des monuments par étapes chronologiques, et par réseaux (familiaux, sociaux) illustre des moments-clefs de la création artistique à Damas (milieu du XII° siècle: Nûr al-Dîn; début XIII°: al-'Âdil) et des groupes d’édifices liés par des caractères originaux: muqarnas de plâtre au XII° siècle et de pierre au XIII° siècle n'ornent longtemps que les portails des familles princières.Le décor réside dans les choix architecturaux (salles à coupoles, transition sur trompes ou sur pendentifs), mais aussi dans le choix des matériaux avec le goût pour la peinture et la sculpture sur plâtre et pour les assises de pierre colorées (ablaq).L’étude des ornements, montre des liens durables avec l’art fatimide jusqu’au début du XIII° siècle, mais aussi des échanges constants avec les foyers de l'espace zankide et ayyûbide, mais aussi de Mésopotamie, d’Iran et d’Asie Centrale, qui pourvoient Damas en savants et combattants. / This work is a study about the link that we can find between the Architectural Ornament and the patronage in medieval Damascus from the arrival of Salğūqids to the Mongol conquest.A listing of the still existing (or documented) monuments, put for some patrons into the context of their known architectural activity in order to point out the importance of the destroyed monuments, throws light on the activity of rulers and their family, military circles, and religious circles. This patronage outlines a geography of these groups in and around the city of Damascus.The study of the monuments, chronologically and by circles of patronage (families, social groups…) illustrates some moments of important artistic activity ( Middle of the XIIth century: Nûr al-Dîn; Beginning of the XIIIth century: al-Âdil), and also some groups of monuments with original ornamentation, or conception: plaster and stone muqarnas only occcur on portals built by the ruler and his family, not by the amirs, nor scholars.Architectural ornament is also based upon some choice, for cupolas on squinches or pendentives, for cut plaster or painted plaster, couloured stones for stripped walls (ablaq).The study of ornaments shows the links with Fatimid art till the beginning of the XIII° century, and with close Syrian and Mesopotamian sources, but also with the more remote oriental sources, with Iranian and Central Asian art, in this time many scholars and warriors.come to Damascus from these countries.

Previous research highlighted consumer dissatisfaction with fashion clothing products on offer. There is a lack of information about real consumers needs due to the industry standards of beauty and behaviour as well as a constant rush for innovation that feeds fashion cycles. This research identifies the elements that will enable fashion clothing companies to become more inclusive, and aims to find a methodological relationship between the stakeholders in the fashion industry: consumers, designers and companies. The research considered the difference between a mature market as opposed to emergent ones, and addressed differences between Western and Eastern cultures.