The digital conservation of cultural heritage has received significant attention in recent years. This active area of research endeavors to digitally conserve culturally significant items. The digital archives produced serve as an important resource for conservators. These records allow the accurate tracking of the degradation of the materials used in the construction of these artefacts.This project outlines the digital conservation and subsequent presentation of a historically significant tapestry held by the Royal Collection at Hampton Court Palace. The tapestry is one of The Story of Abraham set constructed by Willem de Kempeneer in Brussels in the 1540s. These tapestries were commissioned by King Henry VIII and were displayed as a reflection of his wealth and power. The materials used in their construction included wool, silk, silver and gold threads. The objectives of the Thesis are as follows:1) To digitally conserve the tapestry, the Oath and Departure of Eliezer.2) To produce a colorimetrically accurate projection system. This system will be used to project an accurate representation of the original tapestry colours onto the current photofaded version.3) To investigate the photo-fading properties of the natural dyes used to produce the Oath and Departure of Eliezer and their interactions with the metallic threads woven within the tapestry.The work presented in this Thesis contributed to a visitor exhibition called "Henry VIII's Tapestries Revealed" held at Hampton Court Palace between April 2009-October 2010 as part of Historic Royal Palaces' celebrations of the 500th anniversary of Henry VIII's accession to the throne.

Made available in DSpace on 2016-12-08T16:19:04Z (GMT). No. of bitstreams: 1 Elke.pdf: 9748460 bytes, checksum: 80b7b93161d2a69664be1cdc4748bc50 (MD5) Previous issue date: 2009-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Tapestry is one of the oldest artistic languages that survived through time and is revealing in the world s distinct regions. This work aims to watch anachronically the Middle Ages tapestries series denominated The Lady and the Unicorn and examples of contemporary tapestries, both starting from a card and using materials and colors compatible to its time of execution. In a second moment it intends to analyze the narrator s figure, enunciated by Walter Benjamin, doing a parallel with the tapestry weaver when this passes along the technical knowledge to young tapestry weavers. This process repeats itself through time and is adapted to the realities of the many regions where it is done. Watching many examples of contemporary tapestries images it is possible to perceive a dialogue with the painting. Such the trompe l oeil as the reticule are features that appear in both languages. Maybe in the Middle Age painting was at service of the tapestry, but through time this process has changed and today tapestry searches its own identity. The first hypothesis due to this supposed change occurred in the centuries is the anachrony which Georges Didi-Huberman describes in many other artistic manifestations. The second hypothesis is that the technical resources used in the Middle Age still are the reference to the contemporary tapestry weaver. Perhaps semblance is the best definition in the search for the contemporary tapestry s identity. The third hypothesis shows that the tapestry demands an exhaustive learning time, other of card creation and work execution. Maybe the small tapestries or mini-textiles are the solution found nowadays such in factor time as the work s final costs. The research is theoretical, but is only completed through analysis of images which allow a bigger approximation to the process. This is a basic research and the theoretical-methodological references are structured in the Brazilian tapestry weaver s reality that has access to this content via Internet, books and imported magazines; however there are lacks of living changes. To present this research maybe renews and instigates the local tapestry weaver / A tapeçaria é uma das mais antigas linguagens artísticas que ao longo dos séculos vem se manifestando em regiões distintas do mundo. Este trabalho tem por objetivo observar anacronicamente a série de tapeçarias da Idade Média, denominadas A Dama e o Unicórnio e exemplares de tapeçarias contemporâneas, partindo ambas de um cartão e usando materiais e cores compatíveis com sua época de execução. Num segundo momento pretende analisar a figura do narrador, enunciado por Walter Benjamin, fazendo um paralelo com o tapeceiro quando esse repassa o conhecimento técnico aos jovens tapeceiros. Esse processo se repete ao longo dos séculos e adapta-se às realidades das diversas regiões onde é executado. Observando muitos exemplares de imagens de tapeçarias contemporâneas é possível perceber um diálogo com a pintura. Tanto o trompe l oeil como a retícula são características que se manifestam nas duas linguagens. Talvez na Idade Média a pintura estivesse a serviço da tapeçaria, mas ao longo dos tempos esse processo se modificou e hoje a tapeçaria busca sua identidade. A primeira hipótese decorrente dessa suposta mudança ocorrida ao longo dos séculos é a anacronia que Georges Didi-Huberman descreve em várias outras manifestações artísticas. A segunda hipótese é de que os recursos técnicos usados na Idade Média ainda hoje são o referencial para o tapeceiro contemporâneo. Talvez o simulacro seja a melhor definição na busca pela identidade da tapeçaria contemporânea. A terceira hipótese mostra que a tapeçaria exige um tempo exaustivo de aprendizagem, outro de criação do cartão e da execução da obra. Talvez as pequenas tapeçarias ou mini-têxteis sejam a solução encontrada na atualidade tanto no fator tempo como custo final da obra. A pesquisa é teórica, mas só se completa através da análise das imagens que possibilita uma aproximação maior com o processo. Trata-se de uma pesquisa básica e as referências teórico-metodológicas fundamentam-se na realidade do tapeceiro brasileiro que tem acesso aos conteúdos via internet, livros e revistas importadas, mas existem carências de trocas vivenciais. Apresentar essa pesquisa talvez renove e instigue o tapeceiro local

Jaro Kučera and the Moravian Tapestry Manufacture Abstract The diploma thesis deals with the painter and textile designer Jaro Kučera (1885- 1950) who was a director of the Moravian Tapestry Manufacture in Valašské Meziříčí between 1922 and 1945. It focuses mainly on his designs, which he created for this institution, deposited in the Provencial Archives in Opava and on tapestries from Czech and Moravian collections, especially from the Valachian Regional Museum in Valašské Meziříčí and the Moravian Gallery in Brno. The main part of the thesis is an analysis of the phenomenon of the manufacture in Valašské Meziříčí from its establishment to the present.

The thesis is concerned with a comparison of two rapid web development frameworks for the Java platform - Tapestry 5 and Grails. The goal is to get acquainted with both of the frameworks, explain their basic principles and usage, compare their solution to common challenges and their contribution to faster development. Furthermore, the goal is to de fine a set of criteria for the comparison and match each one of them with their respective weights representing their importance in certain decision making scenarios. The frameworks are new and under dynamic development, therefore the bene ts of this thesis are an extensive research in foreign resources, summary of the acquired knowledge, practical usage examples and furthermore the assessment of the frameworks' strenghts and weaknesses. The conclusions and comparison quanti cation can then be used to strategically choose the appropriate framework if necessarry.

No description available.

Edward Whittemore (1933-1995) is a now almost unknown American writer. This project seeks to bring Edward Whittemore to light. Though he has a simple voice and a subtle but vast knowledge of history, he writes with a fantastic imagination and dramatizes a timely but tragic message. In “Part One” of Sinai Tapestry, Whittemore explores the complex relationship between Chaos and Order through the extravagant lives of his major characters, Plantagenet Strongbow and Skanderbeg Wallenstein. Through a biography of Whittemore’s life and a close analysis of Strongbow’s and Wallenstein’s relationship, I will highlight Whittemore’s depth as an author and thinker, make evident his availability to literary analysis and critical theory, and argue the presence of Whittemore’s own ideology regarding the systems that govern human experience.

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Aug. 13, 2007. Includes bibliographical references (p. 47).

This dissertation explores how alabaster funerary sculptures and tapestries created complex and multifarious alliances between the Habsburgs and members of the high nobility. It proposes that the Habsburgs and the nobility negotiated their relationships with one another through commissioning and displaying works of art that used particular materials, iconographies and styles referencing the politically potent and culturally significant heritage of the Burgundian dukes and the ancient Roman emperors. The alabaster sculptures and tapestries discussed in this two-part study were instrumental in defining and redefining, establishing and renewing these relationships. Part one is devoted to alabaster funerary sculpture in the fifteenth- and sixteenth-century Habsburg domain. The origin of great interest in alabaster, together with black marble (black limestone), was the Carthusian monastery, the Chartreuse de Champmol, near Dijon, which had housed the tombs of Philip the Bold, and of John the Fearless and his wife, Margaret of Bavaria. The tombs of the Burgundian dukes became a model for funerary monuments in alabaster of other members of the family and later also for the Habsburgs, including Margaret of Austria, who governed the Low Countries as regent after the death of her husband, Philibert II of Savoy (1480-1504). The tombs of Margaret of Austria, Philibert of Savoy, and his mother, Margaret of Bourbon in a monastery in Brou were intended to assert Habsburg-Savoyard alliance in a region equally desirable to the French for fulfilling their royal ambitions. Following the alabaster and black marble examples in Dijon and Brou, the tombs of Guillaume I de Croÿ and Marie de Hamal, and of Cardinal Guillaume II de Croÿ, originally in Heverlee, near Leuven, were located in a Celestine monastery church that served as a dynastic mausoleum for the noble family. The tombs of the Croÿs offer insight into the extent to which the nobles historically exercised power in the courts of Burgundy and Habsburg, even influencing Margaret of Austria to include all’antica elements in the alabaster funerary monuments and altarpiece in Brou that are otherwise designed in late flamboyant Gothic style. Part two is devoted to exploring tapestries in the Burgundian and Habsburg collections from the late-fourteenth to mid-sixteenth century. Members of the Burgundian and Habsburg families were key players in the development of the tapestry industry in the Low Countries, regulating tapestry production and trade. As an important part of the rulers’ self-fashioning, tapestries were collected, used as gifts, or hung during important occasions. To demonstrate how tapestries were used in a particular setting, I discuss the Seven Deadly Sins set and one tapestry from the History of Scipio Africanus series, both in the Habsburgs' collection, that were displayed during the imperial festivities at Binche and Mariemont in 1549. I examine how these tapestries as well as the specific activities that occurred in front of them and the particular viewers who witnessed and participated in these activities effectively and affectively communicated Habsburg propaganda to the elite local audience, and thereby helped to encourage their loyalty and support.

The goal of this work is to propose a method of comparison and subsequently compare several of the most used Java web application frameworks in the design pattern context. The work describes fundamental design patterns and the compared frameworks, including the patterns implemented by them. Next there is offered a form of evaluation that splits into several criteria and subcriteria, and several sets of weighs representing different scenarios of decision. Frameworks are evaluated and the evaluation is substantiated. Besides the creation of the set of criteria and analysis of individual frameworks, there was an application developed using each of the frameworks, which allowed for a better evaluation by the author. This evaluation is therefore contributive also due to the actual test of the individual frameworks.

The objective of my research is to explore Medici extravagance, power, and wealth through the multifaceted artistic form of tapestries vis-à-vis two particular tapestry cycles; the Acts of the Apostles and the Valois Fêtes. The cycles were commissioned by Pope Leo X (1475-1521), the first Medici pope, and Catherine de' Medici (1519-1589), queen, queen regent, and queen mother of France. The motivation for such a project lies in analyzing what is traditionally considered as two independent tapestry cycles by revealing their social, religious, political, and artistic significance through the powerful dynastic influence of the Medici. As Leo and Catherine were both aware of the contemporary social environment, their commission of the Acts of the Apostles and the Valois Fêtes exemplify the Medici streak for ambition, familial dependence, and triumphalism. As Leo X (r. 1513-1521) governed from Rome, Catherine de' Medici (r. 1547-1559) presided over the French throne for nearly fifty years in some capacity. Both Medici enjoyed access to the wealth associated with the Papal Curia and Valois royal household accounts, respectively, investing an enormous sum on the tapestry cycles, only one of the numerous artistic commissions procured during the sixteenth century. Heedless of their iconography and embellishment, the Acts of the Apostles and Valois Fêtestestify to the wealth and power wielded through their patron's accessibility and resourcefulness to procure an estimable and luxurious commission.