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This style of linenfold can be created using a plane and a pre-drawn pattern, with a little finishing chisel work required at each end. A stitched embroidered border could be counterfeited by the use of punches. More complicated styles resemble a sheet of fabric that has volute folds back and forth many times.
Silesia (Sleazy, Slesia) was a thin twilled woven cloth made of linen [1] or cotton. [2] The term denoted a wide range of fabric grades from greige goods to dyed and finished cloth. Silesia was used for various linens, for lining clothes, and in window blinds. [1] Cotton Silesia was calendered to obtain a gloss finish. [2]
Linsey-woolsey was an important fabric in the Colonial America due to the relative scarcity of wool in the colonies. [2] Many sources [ 5 ] say it was used for whole-cloth quilts , and when parts of the quilt wore out the remains would be cut up and pieced into patchwork quilts .
Thus, "stuff" in this context refers to fabric not made of silk or silk substitutes. The word was still in English upper-class usage in this sense in the 1960s. In Victorian dressmaking terminology, stuff was used as a generic term for woven fabrics, with cloth generally reserved for woollens (as opposed to worsteds ).
The rectangular shape of the fabric indicates a life's journey and the ornamentation captures the cultural ancestral memory of the region. [3] The material used is either linen or hemp. The act of spinning thread and the process of weaving linen embodies spiritual power dating back to the ancient deity Mokosh who is often represented in embroidery.
Burne-Jones made a drawing of the figures first, which was transformed into a color design by Morris or Dearle. A photographic image was made of he design with figures, to which Morris or Dearle added a floral background, and a border equally filled with designs of trees and flowers.
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The fabric was first stretched on a tenter frame and sized with animal gelatine. The oil was then applied and allowed to cure between coats. As the cure relies on oxidation by the air, thin coats and long cure times between are required. [1] [2] Overlaps between sheets of fresh oilcloth would amalgamate naturally when pressed together.
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