Tapestry

Tapete, /, tapestry, hanging wallpaper (Anat.) tapetum. 

Teppich, m. carpet rug tapestry (table) cover blanket. 

I put the cleaning things to one side. It s not really a book, in fact, it s a concertina of heavy, creamy paper, and it reminds me of the reproduction of the Bayeux Tapestry, which I was allowed to have when I was in bed with a cold, the story unfolding in space as well as in my mind and before my eyes. The pictures are wood engraving with the words set in type below. 

Had my time come already I wondered, as it faded. We had not yet made preparation for my lying-in. Perhaps it would pass if I lay quietly and went on with my prayers. When they were done I turned my head, and looked toward the tapestry of Melusina that my mother, as good as her word, had caused to be made and hung above my bed. Melusina in her dragon form, her ancestress and... 

Margold, Harlan M. The alchemist s almanach reweaving the tapestry of time. Santa Fe (NM) Bear Co, 1991. xvii, 335 p. ISBN 0-939680-74-2... 

This enchanting book traces the myths and legends that surround this fabulous creature. It follows the romance of the fables through the various threads of history (the popes and princes who treasured their horns), the fine paintings and tapestries that depicted them, and the great alchemists who filled their bestiaries with them... 

Flavonoids bonded to fibres undergo photodegradation over the course of time their identification in historic textiles is thus often difficult. The analysis of a wool orange fibre (from a nineteenth century Aubusson tapestry) dyed with alum mordant and quercetin enabled the presence of quercetin (at m/z 301) and its decomposition products, 3,4-dihydroxybenzoic acid (at m/z 153) and methyl 3,4-dihydroxybenzoate (at m/z 167), to be confirmed. [30] The samples were hydrolysed with hydrochloric acid and analysed with RPLC MS. 

HPLC-UV-Vis-ESI MS was used to identify indigoid dyes in blue fibre extracts taken from a Japanese tapestry (nineteenth century). Two main colourants were recognized as indigotin and Methylene Blue, [44] a thiazine cationic dye first synthesized at the end of the nineteenth century, commonly used for silk and cotton dying (Figure 13.9). 

Figure 13.9 Chromatogram obtained for extract of blue fibre from a Japanese tapestry and ESI mass spectra of the compounds eluted in the chromatographic peaks ( ) Methylene Blue (2) indigotin. Reproduced from M. Puchalska, K. Potec Pawlak, I. Zadrozna, H. Hryszko and M. Jarosz. J. Mass Spectrom., 39, 1441 1449 (2004). By permission of John Wiley Sons, Ltd...

The optimized RPLC UV-Vis ESI MS method for all typical blue colourants (indi-goids, hematein, tannins, anthocyanins and selected flavonoids) was used for the identification of dyes extracted from a thread taken from an Italian tapestry of unknown origin from the collection of the National Museum in Warsaw (Poland). It was found that to obtain the red-blue colour of the fibre a mixture of dyestuffs was probably used. The presence of indigotin, tannic and ellagic acid (at m/z 301, NI), as well as carminic acid, suggested the use of indigo and cochineal. Reseda luteola could also have been used due to the presence of luteolin and apigenin. 

Standards, Aubusson tapestry from nineteenth century Gallic acid, dihydroxybenzoic acids, carminic acid, alizarin, purpurin, xanthopurpurin, quinizarin, emodin, morin, quercetin, luteolin, apigenin, rhamnetin, hystazarin, anthragallol HCI/MeOH/H20, DMSO A ACN B H20 with HCOOH 256 nm/ESI (+)... 

Different studies have been conducted by the same team of researchers for the analyses of tapestry fibres. The main aim was to study the surface evolution of these fibres, silk or wool, during light ageing or cleaning procedures. 

J. Batcheller, A. M. Hacke, R. Mitchell and C. M. Carr, Investigation into the nature of historical tapestries using time of flight secondary ion mass spectrometry (ToF SIMS), Applied Surface Science, 252, 7113 7116(2006). 

C. M. Carr, R. Mitchell and D. Howell, Surface chemical investigation into the cleaning procedures of ancient tapestry materials. Part 1, Journal of Materials Science, 39, 7317 7325 (2004). 

Beneath the windows, on the wall to your right, hang richly colored tapestries with particular tarot keys as their design. In clockwise sequence they show The Emperor, The Hermit, and Death. The tapestries on the wall to your left (continuing in a clockwise direction) show The Devil, Justice, and The Lovers. 

On the wall directly opposite you, in place of a tapestry, hangs a curtain of cloth-of-gold. Above the curtain, but beneath the window, hangs a chivalric shield. The shield s field is white and its heraldic device is a gold phoenix, issuant from a nest of azure-blue flames. This is the east wall of the hall. Your personal siege is placed on the western arc of the Round Table. 

Turning, the western wall behind you is also without a tapestry. It has a low archway cut through it that is veiled by a strangely quiescent mist. This mist sparkles with rainbow-colored light. On the same wall, above the arched doorway, hangs another shield but this shield is concealed from view by a black cloth that hangs over it. 

Figure 2. The Great Hall. The roman numerals denote the tarot tapestries.

The Hall of Great Bliss contains an altar of jet. The walls and floor are of darkest indigo, supporting a faceted crystal dome that refracts the white brilliance from the White Sun over the battlements. There are three pillars, two black and one of scarlet marble. The eastern throne is of purest alabaster. The tarot tapestries which hang in the chamber are those of Keys I, III, VI and VII. 

Beneath the Chamber of Starry Wisdom is the Hall of the Desirous Quest (Chesed). It has an amethyst altar and four pillars, two of lapis and two of crystal. The walls are of translucent sapphire, the roof a white dome. The eastern throne is of gray granite the floor squares are white and blue within it are hung tapestries of the tarot Keys, V, VIII, IX, and X. 

Beneath the Chamber of Great Bliss—Binah—is the Hall of the Holy Fire (Geburah). It has an altar of ruby and five pillars, two of jet, two of carnelian, and one of emerald. The walls of crimson marble are surmounted by a black cupola. The throne is of obsidian and the floor tiles of alternating black and scarlet. The tapestries are VII, VIII, XI, and XII. 

Beneath the Chamber of the Desirous Quest is the Hall of the Red Lion, corresponding to Netzach. It has an emerald altar, walls of jade, and a floor of malachite and copper tiles. Seven pillars, three of green marble, three of amber and one of scarlet, support the jade dome that is carved with leaves to resemble a forest canopy. The throne in the east is of coral. The tarot tapestries are X, XIII, XVI, XVII, and XVIII. The chamberlain of this hall is usually connected with the Lordly Ones, the Elven folk from under the hollow hills—perhaps even the elfin queen from the enchanted forest of Brolicade. 

Finally, set beneath the Hall of the Holy Fire, is the Hall of the Sacred Ibis, the subjective Sephira of Hod. The altar is an unflawed crystal. The amber walls are topped by a domed ceiling of sapphire. The floor is of alternating tiles of ivory and gold. Eight pillars line the chamber, four of deep blue and four of milky marble, and the throne is of jasper. The tarot tapestries are those of Keys XII, XV, XVI, XIX, and XX. 

The majority and minority reports of the House Special Committee on the Louisiana Elections present a tapestry of election-time violence. Taken together, the reports testify to whipping and other violence intimi-... 

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