37 10 1009 https://digex.lib.uoguelph.ca/files/original/cdb47446f6208069df7eafb716eb3f05.jpg 95ebb2a84af3a30c6a4c7cde648577dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bidloo and Cowper: Seventeenth Century Anatomical Conflicts Subject The topic of the resource Seventeenth Century Anatomical Atlas production and reception Description An account of the resource This collection will contain a series of illustrations and texts from three seventeenth century Dutch and English anatomical atlases, as well as correspondence between the anatomists Govard Bidloo and William Cowper Creator An entity primarily responsible for making the resource Rose Conlin Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1685-1698 Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine) Language A language of the resource Dutch Latin English Type The nature or genre of the resource Medical Text Portraiture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth Century Dutch Republic, Seventeenth Century England Date Created Date of creation of the resource. 1685, 1690, 1698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Appendix, Table 2: Male anatomical Figure showing Musculature Subject The topic of the resource Anatomy Description An account of the resource The second table of the appendix in William Cowper's The Anatomy of Humane Bodies depicts a male figure, facing away into a landscape that features an overlook, where the man stands, looking over a river, on which a walled town is located. His body is flayed of any skin, revealing the musculature underneath. The figure is posed in a contraposto stance, demonstrating how the muscles react when engaged and relaxed, and stretched in different ways through the positions of the legs and arms. The signature of the engraver, Michiel van der Gucht can be identified in the bottom right corner of the illustration. The signature of the artist who drew the illustrations, Henry Cook, can also be seen in the bottom left corner of the illustration. The appendix, a series of 9 additional plates designed by Henry Cook were added to the end of the 105 copperplate engravings designed by Gerard de Lairesse for Govard Bidloo's anatomical atlas. Bidloo's atlas failed to provide an examination of the entire musculature of the body, as well as several other features that Cowper felt was necessary to provide within his own anatomical atlas. The body is labelled in numerous locations with numbers and letters, identifying the different muscles of the body. Creator An entity primarily responsible for making the resource Henry Cook (artist), Michiel van der Gucht (engraver) Source A related resource from which the described resource is derived The Anatomy of Humane Bodies Publisher An entity responsible for making the resource available Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Societyin 1698. Date A point or period of time associated with an event in the lifecycle of the resource 1698 Contributor An entity responsible for making contributions to the resource William Cowper Henry Cook Michiel van der Gucht Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine, 2004) Format The file format, physical medium, or dimensions of the resource Jpeg Language A language of the resource English Type The nature or genre of the resource Medical Text Identifier An unambiguous reference to the resource within a given context Seventeenth century English medical practice Date Created Date of creation of the resource. 1698 Is Part Of A related resource in which the described resource is physically or logically included. The Anatomy of Humane Bodies Medium The material or physical carrier of the resource. Copperplate engraving Audience A class of entity for whom the resource is intended or useful. Artists Medical practitioners Medical students Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The anatomy of humane bodies, with figures drawn after the life by some of the best masters in Europe, and curiously engraven in one hundred and fourteen copper plates, illustrated with large explications, containing many new anatomical discoveries, and chirurgical observations, to which is added an introduction explaining the animal oeconomy, with a copious index. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. William Cowper. "Appendix, 2nd Table." The Anatomy of Humane Bodies. Oxford, Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society, 1698. https://digex.lib.uoguelph.ca/files/original/cbc11910161515c8808ebe34f67cc55a.jpg a03cb389d3cb635dcba012aeebcacf0f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bidloo and Cowper: Seventeenth Century Anatomical Conflicts Subject The topic of the resource Seventeenth Century Anatomical Atlas production and reception Description An account of the resource This collection will contain a series of illustrations and texts from three seventeenth century Dutch and English anatomical atlases, as well as correspondence between the anatomists Govard Bidloo and William Cowper Creator An entity primarily responsible for making the resource Rose Conlin Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1685-1698 Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine) Language A language of the resource Dutch Latin English Type The nature or genre of the resource Medical Text Portraiture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth Century Dutch Republic, Seventeenth Century England Date Created Date of creation of the resource. 1685, 1690, 1698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of William Cowper Subject The topic of the resource Portraiture Description An account of the resource This mezzotint portrait of William Cowper was engraved by John Smith after an oil painting by John Closterman. It is signed by the artist and engraver in the bottom left and right corners of the portrait. Cowper is portrayed in a flowing wig, cravat, and robes. His name is signed delicately in a plate below his portrait, reading "Gulielmus Cowper Chirurgus" in Latin. Creator An entity primarily responsible for making the resource John Closterman (artist), John Smith (engraver) Source A related resource from which the described resource is derived The Anatomy of Humane Bodies Publisher An entity responsible for making the resource available Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society. Date A point or period of time associated with an event in the lifecycle of the resource 1698 Contributor An entity responsible for making contributions to the resource John Closterman John Smith Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine, 2004) Relation A related resource The Anatomy of Humane Bodies Format The file format, physical medium, or dimensions of the resource Jpeg Language A language of the resource Latin Type The nature or genre of the resource Portraiture Identifier An unambiguous reference to the resource within a given context Seventeenth century English medical practice Seventeenth century portraiture Date Created Date of creation of the resource. 1698 Is Part Of A related resource in which the described resource is physically or logically included. The Anatomy of Humane Bodies Medium The material or physical carrier of the resource. Mezzotint engraving Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. William Cowper. The Anatomy of Humane Bodies. Oxford, Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society, 1698. Extent The size or duration of the resource. 40 x 28 cm https://digex.lib.uoguelph.ca/files/original/50051200088c0d78d6103d1451e1ecd8.jpg a52467121b43eca070d61a97a75b6d0e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bidloo and Cowper: Seventeenth Century Anatomical Conflicts Subject The topic of the resource Seventeenth Century Anatomical Atlas production and reception Description An account of the resource This collection will contain a series of illustrations and texts from three seventeenth century Dutch and English anatomical atlases, as well as correspondence between the anatomists Govard Bidloo and William Cowper Creator An entity primarily responsible for making the resource Rose Conlin Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1685-1698 Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine) Language A language of the resource Dutch Latin English Type The nature or genre of the resource Medical Text Portraiture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth Century Dutch Republic, Seventeenth Century England Date Created Date of creation of the resource. 1685, 1690, 1698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Govard Bidloo Subject The topic of the resource Portraiture Description An account of the resource This copperplate engraving of Govard Bidloo was created by a well established portrait engraver, Abraham Blooteling, after a drawing created by the artist Gerard de Lairesse. It is signed by the artist and engraver in the bottom left and right corners of the portrait. Bidloo is displayed in formal dress, equipped with a curled wig and two knives, facing the viewer in a three quarter turn. Creator An entity primarily responsible for making the resource Gerard de Lairesse (artist), Abraham Blooteling (engraver) Source A related resource from which the described resource is derived Ontleding des Meschelyken Lichaams Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1690 Contributor An entity responsible for making contributions to the resource Gerard de Lairesse Abraham Blooteling Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine, 2004) Relation A related resource Ontleding des Meschelyken Lichaams Anatomia Humani Corporis Format The file format, physical medium, or dimensions of the resource Jpeg Language A language of the resource Dutch Type The nature or genre of the resource Portraiture Identifier An unambiguous reference to the resource within a given context Seventeenth century Dutch medical practice Seventeenth century portraiture Date Created Date of creation of the resource. 1690 Is Part Of A related resource in which the described resource is physically or logically included. Ontleding des Meschelyken Lichaams Extent The size or duration of the resource. 62.5 x 36 cm Medium The material or physical carrier of the resource. Copperplate engraving Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Govard Bidloo. Ontleding des Meschelyken Lichaams. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry boom and widow of Theodore Boom, 1690. https://digex.lib.uoguelph.ca/files/original/1eb2144f2a483a7c85cc38bdff550b53.jpg 857e47825190b025429e227ab2fbd0c3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bidloo and Cowper: Seventeenth Century Anatomical Conflicts Subject The topic of the resource Seventeenth Century Anatomical Atlas production and reception Description An account of the resource This collection will contain a series of illustrations and texts from three seventeenth century Dutch and English anatomical atlases, as well as correspondence between the anatomists Govard Bidloo and William Cowper Creator An entity primarily responsible for making the resource Rose Conlin Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1685-1698 Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine) Language A language of the resource Dutch Latin English Type The nature or genre of the resource Medical Text Portraiture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth Century Dutch Republic, Seventeenth Century England Date Created Date of creation of the resource. 1685, 1690, 1698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Anatomy of Humane Bodies, Allegorical Title Page Subject The topic of the resource Anatomy Description An account of the resource The allegorical title page of The Anatomy of Humane Bodies displays a scene with several individuals performing various tasks in a classical landscape. In the foreground, Father time is shown holding an hourglass while his scythe lies on the ground on the left. On the right of the foreground, three putti are depicted; one hold a piece of parchment, presumably with an anatomical diagram on it in front of the other two, one of which holds a skull, and the other points to a forearm which is spread across a small table. Behind them is the title of the atlas, which reads "The Anatomy of Humane Bodies by William Cowper Surgeon. 1698," which is printed on a piece of paper and pasted over the original engraved title of Ontleding des Meschelyken Lichaams. This is engraved upon a shield resting against a platform on which the allegory of Medicine sits, identified by the large volume that she rests against and the knife like tool she holds in her hand. Beside her, a young boy stands, his face shrouded by drapery, and the skin of his arm removed to display the inner musculature. Flying above and behind the allegory of Medicine is Gloria, identified by her wings and two horns. Finally, in the background, flanked by distinctly Baroque architecture, two skeletons converse with each other. This allegorical title page was purchased alongside three hundred imprints of the 105 copperplate engravings featured within Govard Bidloo's atlases from his publishers. Creator An entity primarily responsible for making the resource Gerard de Lairesse (artist), Peter and Philip van Gunst (engravers) Publisher An entity responsible for making the resource available Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society in 1698. Date A point or period of time associated with an event in the lifecycle of the resource 1698 Contributor An entity responsible for making contributions to the resource William Cowper Gerard de Lairesse Peter van Gunst Philip van Gunst Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine, 2004) Relation A related resource Ontleding des Meschelyken Lichaams Anatomia Humani Corporis Format The file format, physical medium, or dimensions of the resource Jpeg Language A language of the resource English Type The nature or genre of the resource Medical Text Identifier An unambiguous reference to the resource within a given context Seventeenth century English medical practice Date Created Date of creation of the resource. 1698 Is Part Of A related resource in which the described resource is physically or logically included. The Anatomy of Humane Bodies Is Version Of A related resource of which the described resource is a version, edition, or adaptation. Changes in version imply substantive changes in content rather than differences in format. Ontleding des Meschelyken Lichaams Extent The size or duration of the resource. 62.5 x 36 cm Medium The material or physical carrier of the resource. Copperplate engraving on paper Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. William Cowper. The Anatomy of Humane Bodies. Oxford, Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society, 1698. Audience A class of entity for whom the resource is intended or useful. Artists Medical Practitioners Medical Students Members of the Royal Society Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The anatomy of humane bodies, with figures drawn after the life by some of the best masters in Europe, and curiously engraven in one hundred and fourteen copper plates, illustrated with large explications, containing many new anatomical discoveries, and chirurgical observations, to which is added an introduction explaining the animal oeconomy, with a copious index. https://digex.lib.uoguelph.ca/files/original/2584c035d2314e4ac44484b894d1765e.JPG 06c8a7cfebedb5261f9bdf2e14e952ba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bidloo and Cowper: Seventeenth Century Anatomical Conflicts Subject The topic of the resource Seventeenth Century Anatomical Atlas production and reception Description An account of the resource This collection will contain a series of illustrations and texts from three seventeenth century Dutch and English anatomical atlases, as well as correspondence between the anatomists Govard Bidloo and William Cowper Creator An entity primarily responsible for making the resource Rose Conlin Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1685-1698 Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine) Language A language of the resource Dutch Latin English Type The nature or genre of the resource Medical Text Portraiture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth Century Dutch Republic, Seventeenth Century England Date Created Date of creation of the resource. 1685, 1690, 1698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anatomia Humani Corporis, Allegorical Title Page Subject The topic of the resource Anatomy Description An account of the resource The allegorical title page of Anatomia Humani Corporis displays a scene with several individuals performing various tasks in a classical landscape. In the foreground, Father time is shown holding an hourglass while his scythe lies on the ground on the left. On the right of the foreground, three putti are depicted; one hold a piece of parchment, presumably with an anatomical diagram on it in front of the other two, one of which holds a skull, and the other points to a forearm which is spread across a small table. Behind them is the title of the atlas, which reads "Godefridi Bidloo Medicinae Doctoris et Chirurgi Anatomia Humani Corporis Centum et quinque tabulis Illustrata." This is engraved upon a shield resting against a platform on which the allegory of Medicine sits, identified by the large volume that she rests against and the knife like tool she holds in her hand. Beside her, a young boy stands, his face shrouded by drapery, and the skin of his arm removed to display the inner musculature. Flying above and behind the allegory of Medicine is Gloria, identified by her wings and two horns. Finally, in the background, flanked by distinctly Baroque architecture, two skeletons converse with each other, Creator An entity primarily responsible for making the resource Gerard de Lairesse (artist), Peter and Philip van Gunst (engravers) Publisher An entity responsible for making the resource available Vassar College Library Date A point or period of time associated with an event in the lifecycle of the resource 1685 Contributor An entity responsible for making contributions to the resource Govard Bidloo Gerard de Lairesse Peter van Gunst Phillip van Gunst Rights Information about rights held in and over the resource Public Access (Vassar College Library) Relation A related resource Ontleding des Meschelyken Lichaams Format The file format, physical medium, or dimensions of the resource Jpeg Language A language of the resource Latin Type The nature or genre of the resource Medical Text Identifier An unambiguous reference to the resource within a given context Seventeenth century Dutch medical practice Date Created Date of creation of the resource. 1690 Is Part Of A related resource in which the described resource is physically or logically included. Anatomia Humani Corporis Extent The size or duration of the resource. 62.5 x 36 cm Medium The material or physical carrier of the resource. Copperplate engraving on paper Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Govard Bidloo, Anatomia Humani Corporis. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685. Audience A class of entity for whom the resource is intended or useful. Artists Medical practitioners Medical students https://digex.lib.uoguelph.ca/files/original/13a3c3222f117d979b1c99c28dcbc3e8.jpg a63d06b498124feec460c79a1d76ec09 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bidloo and Cowper: Seventeenth Century Anatomical Conflicts Subject The topic of the resource Seventeenth Century Anatomical Atlas production and reception Description An account of the resource This collection will contain a series of illustrations and texts from three seventeenth century Dutch and English anatomical atlases, as well as correspondence between the anatomists Govard Bidloo and William Cowper Creator An entity primarily responsible for making the resource Rose Conlin Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1685-1698 Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine) Language A language of the resource Dutch Latin English Type The nature or genre of the resource Medical Text Portraiture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth Century Dutch Republic, Seventeenth Century England Date Created Date of creation of the resource. 1685, 1690, 1698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ontleding des Meschelyken Lichaams, Allegorical Title Page Subject The topic of the resource Allegorical Title Page Description An account of the resource The allegorical title page of Ontleding des Meschelyken Lichaams displays a scene with several individuals performing various tasks in a classical landscape. In the foreground, Father time is shown holding an hourglass while his scythe lies on the ground on the left. On the right of the foreground, three putti are depicted; one hold a piece of parchment, presumably with an anatomical diagram on it in front of the other two, one of which holds a skull, and the other points to a forearm which is spread across a small table. Behind them is the title of the atlas, which reads "Ontleding des Menschelyken Lichaams, Geedan door Govard Bidloo, Ariat. et Chirurg. Profes(x)i. This is engraved upon a shield resting against a platform on which the allegory of Medicine sits, identified by the large volume that she rests against and the knife like tool she holds in her hand. Beside her, a young boy stands, his face shrouded by drapery, and the skin of his arm removed to display the inner musculature. Flying above and behind the allegory of Medicine is Gloria, identified by her wings and two horns. Finally, in the background, flanked by distinctly Baroque architecture, two skeletons converse with each other, Creator An entity primarily responsible for making the resource Gerard de Lairesse (artist), Peter and Philip van Gunst (engravers) Source A related resource from which the described resource is derived Ontleding des Meschelyken Lichaams Publisher An entity responsible for making the resource available U.S. National Library of Medicine Date A point or period of time associated with an event in the lifecycle of the resource 1690. Contributor An entity responsible for making contributions to the resource Govard Bidloo Gerard de Lairesse Peter van Gunst Philip van Gunst Rights Information about rights held in and over the resource Public Access (U.S. National Library of Medicine, 2004) Relation A related resource Anatomia Humani Corporis Anatomy of the Humane Bodies Format The file format, physical medium, or dimensions of the resource Jpeg Language A language of the resource Dutch Type The nature or genre of the resource Medical Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seventeenth century Dutch medical practice Date Created Date of creation of the resource. 1690 Is Part Of A related resource in which the described resource is physically or logically included. Ontleding des Meschelyken Lichaams Replaces A related resource that is supplanted, displaced, or superseded by the described resource. Anatomia Humani Corporis Extent The size or duration of the resource. 62.5 x 36 cm Medium The material or physical carrier of the resource. Copperplate engraving on paper Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Govard Bidloo, Ontleding des Meschelyken Lichaams. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1690. Audience A class of entity for whom the resource is intended or useful. Artists Medical practitioners Medical students https://digex.lib.uoguelph.ca/files/original/47b18d6232fa3cd0dea5eba65f46501a.pdf 2a40229192716a249b99f468052fe1d0 PDF Text Text The first task of the spinner is to separate the different materials of which the fleece consists, usually in about the following proportions i — Coarse hair, ... ... li seen. Seconds, or Phiri, ... ... Dust and foreign substances, 2£ „ Fine wool, ... ... ... 2 „ 6 seers, or 1 tark. Much attention is required to free the wool from the hair, and the process is a tedious one. The next step is cleaning and separating the wool. A quantity of husked rice is steeped in clean cold water, for a day and a night, or longer, until it becomes soft, when it is ground or bruised upon a stone slab to fine flour. Thin layers of this and of the picked wool are laid alternately, and squeezed with the hand until they are completely intermixed. A little water may bo occasionally sprinkled over the heap, if the weather is hot and dry, else it is not necessary. Soap is never used, as it makes the wool harsh; and its employment in Hindustan being communicated to the Kashmirians, induced them to boast that in this matter at least they were more knowing than Europeans. After being thus treated for about an hour, the flour is shaken out, the wool opened and torn to pieces, chiefly by the nails, and made into somewhat Bquaro, thin, elastic pads, called Tumbu In this process the Phiri, or second school, is extricated. Though too coarse for fine shawls, it is used in the manufacture of those of inferior quality, and of a strong shawl cloth called pnttu. The tumbu is then worked out into a thin flat roving, about half a yard long, which is called a mala. The mala is folded up to the size of the tumbu, and deposited in a deep pot of red earthenware, called a taskas, to be out of the way of dust or accident till required for the spinning wheel. The wheel is constructed on the same principle as that used in Hindustau, but varying in neatness of form and finish, according to its price; the rudest, the Takhtidar, or Pachindar, costs a half rupee; the Katzker, which is the most serviceable, three or four rupees; and the Pakchedar, which is used by those who spin for amusement only, costs from six to sixteen rupees. The iron spindle is enclosed in a cylindrical tube of straw or reed grass, and instead of one line of radii or spokes, supporting a continued circular wooden rim, there are two circular and parallel walls of flat spokes in contact at their edges, leaving between them at their outer circumference an empty space. A hair cord fastened to the loose end of the one spoke, is carried across the space or trough, to the end of the next spoke but one on the opposite side, and having been passed round, it returns to a spoke on the side from which it began. By a continuation of this process a rim is formed of a surface of hair cord, over which runs a small band, that is said seldom to be cut by the friction to which it is exposed. The principle kept in view by this arrangement of spindle and of rim, is to produce a continuance of soft elastic movements without jerk or stiffness, to prevent the yarn breaking on the occurrence of any slight interruption in drawing it out. Women begin to work at daybreak, continue with little interruption the whole day, if not taken off by other domestic affairs, and extend their labor until very late in the night, spinning by moonlight when available, and when they cannot afford to purchase oil for a lamp. The fine wool �is spun commonly into about seven hundred gaz, each gaz consisting of sixteen girahs, about equal to two nails. This yarn is doubled and formed into twist, which is cut into two hundred lengths, each length of three gaz and a half: this measure being suited to the length of the warp for a shawl. From the Phiri, or seconds wool, about one hundred gaz of yarn are also produced. The yarn of the fine wool is sold sometimes by measure and sometimes by weight. A hundred lengths of yarn of fine wool doubled, and each three gaz and a half, bring ordinarily seven tangas, or about seven-ponce. But if the same kind of yarn be sold without being doubled and twisted, the price is regulated by weight, a " pal " bringing from twelve annas to one rupee four annas, according to the demands of the market. The yarn from Phiri, or seconds wool, is sold only by measure, but the gaz employed consists of no more than twelve girahs, or nails, that is, of four girahs less than the gaz in ordinary uso. A hundred yards of Phiri twist, and each of two short gaz, or of twenty four girahs, sell for one ami a half tanga, three pice, or about three half-pence. Although calculations upon this matter can be little more than approximations, yet three pence or three pence-half penny a day, or from three rupees to three rupees eight annas, or from six to seven shillings a month, may be taken as the general earnings of an industrious and expert spinner in Kashmir, out of which, however, must be subtracted the price of the wool,* leaving only one rupee eight annas for her labor. If shawl-wool be furnished to a spinner to clean and to spin, eight annas arc paid for spinning one pal, or three and one third rupees weight of yarn of * Thirty two Tanga or annas, equal two rupees. Class VI. Division TT. 37 the requisite quality for shawls. Sheep's wool, spun by contract, is paid for by the pao, or quarter of a seer, at the rate of from two tan gas. of four pice, to twelve annas per pao, according to the fineness of the yarn; and the spinning- of this quantity into yarn suited for shawls will occupy a woman for eight days. There are several varieties of thread, distinguished by different degrees of fineness. From one pao of clean fine shawl wool a spinner will draw from a hundred to a thousand threads of three and a half gaz each. There is not such a difference between the price of coarse and of fine yarn as might be expected, owing to the greater expenditure on the former of a material that is dear, and on the latter of labor that is cheap. Shawl wool is sometimes spun by men, with a loose spindle like that used in Ladakh. These men are called Trakhans, and the yarn thus spun is finest, but very little of it is now made. Girls begin to spin at the ago of ten, and a hundred thousand females are employed in this occupation in Kashmir. About one-tenth of this number are supposed to Spin for the purpose of obtaining shawls for themselves, or for other members of their families, and nine tenths to earn their livelihood. The Puimangu keeps a shop for the purchase of yarn, but also sends people to collect it from the houses of the spinners, who give notice of their approach by ringing a bell. The yarn is sold to the weavers at a profit of from one piece to a tanga in the rupee. As a large stamp duty is levied on shawl-goods when finished, the exportation of the yarn is forbidden, and prohibition is enforced by heavy fine and imprisonment. Much of it is, nevertheless, exported to those places in �the Punjab where the expatriate weavers have settled. Having ascertained the kind of pattern most likely to suit the market, the weaver applies to persons whose business it is to apportion the yarn according to the colors required; and when this is settled, ho takes it to another, whose function it is to divido the yarn into skeins accordingly, and each skein is delivered to the Rangroz, or dyer. When the body of the cloth is to be left plain, the Phiri, or seconds yarn, is alone given to be dyed. This is generally about the thickness of common cotton sewing thread, is loosely twisted, of a coarser quality than the yarn used for the cloth, and is preferred for employment in flowers, or other ornaments, from its standing higher, and being, as it were, embossed upon the ground. The dyer prepares the yarn by steeping in clean cold water. He professes to be able to give it sixty- four tints, most of which are permanent. Each has a separate denomination, as for instance: the crimson is termed Gulanar (pomegranate flower); the best kind is derived from cobineal, imported from Hindus tan; inferior tints are from Lac and Kirmis (Cher- men), distinguished as Kirmisi. Kirmdana, and Kir- misi lac, or cochineal and lac chermes: log wood is used for other red dyes; blues and greens are dyed with indigo, or colouring matter extra* ted by boiling from European broadcloth. Logwood is imported from Multan and Indigo from India. Carthamns and Saffron, growing in the province, furnish means of various tints of orange, yellow. &c. The occupation of a dyer is invariably hereditary. The whiter and finer the fibre of the wool, and the finer the yarn into which it is made, the more capable it is said to be of receiving a brilliant dye; and this is one reason why the fine white wool of the goat is preferred to that of the sheep. The Nakatu adjusts the yarn for the warp and for the weft. That intended for the former is double, and is cut into lengths of three gaz and a half, anything short of that measure being considered fraudulent. The number of these lengths varies from two thousand to three thousand, according to the closeness or openness of texture proposed, and the fineness or coarseness of the yarn. The weft is made of yarn which is single, but a little thicker than the double yarn or twist of the warp. The weight of the weft is estimated at a half more than that of the warp. The Nakatu receives the yarn in hanks, but returns it in balls: he can prepare in one day the warp and weft for two shawls. the Pennakamgnrn, or warp dresser, takes trom the weaver the yarn which has been cut and reeled, and stretching the lengths by means of sticks into a band of which the threads are slightly separate, dresses the whole by dipping it into thick boiled rice water. After this the skein is slightly squeezed and again stretched into a hand, which is brushed and; suffered to dry: by this process each length becomes stiffened and set apart from the rest. .Silk is generally used for the warp on the border of the shawl, and has the advantage of showing the darker colors of the dyed wool more prominently than a warp of yarn, as well as hardening and strengthening, and giving more body to the edge of the cloth. When the border is very narrow it is woven with the body of the shawl; but when broader, it is worked on a different loom, and afterwards sewn on the edge of the shawl by the " rafugar," or fine drawer, with such �nicety that the union can scarcely bo detected. The silk is twisted for the border warp by the " tabgar.'' The warp differs in breadth, the narrowest counting of twenty, and the broadest of a hundred threads. From the tabgar 1 the silk is handed to the 11 Alakaband, "who reels it, and cuts it to the proper length.” The operation of drawing or of passing the yarns of the warp through the heddles, is performed precisely in the same way as in Europe, and the warp is then taken by the shal-baf, or weaver, to the loom. The weavers are all males, commencing to learn the art at the ago of ten years. In all transactions there are two parties, the Master, or Ustad, and the scholar, or Shagird, the former being the capitalist, the latter the mechanic. Work is executed under four different conditions. First, for wages, when it almost always happens that a system of advances has occurred, by which the workman is so deeply indebted to his employer that he may, in some sort, be considered as his bond-slave. Secondly, upon contract, of which the common term is, that one price is paid for every hundred needles carrying colored yarn that shall have been easily once parsed round and many yarns of the warp. Third, a sort of partnership, in which the Ustad finds all the materials, and the workmen give their labour. When a shawl is sold the outlay of the Utttad indicated from the price, and the remainder is divided into five shares, of which one goes to the matter, and the other four to the workmen. The fourth mode is; all equal division of the proceeds; in which ease the master not only finds the materials, but feeds the workmen. Three men are employed upon an embroidered shawl of an ordinary pattern for three months, but a very rich pair will occupy a whop for eighteen months. The loom differs not in principle from that of Europe, but is of inferior workmanship. [Master] has from three to three hundred in his establishment, and they are generally crowded together in long low apartments. When the warp is fixed in the loom, the nakanh, or pattern drawer, and the tarah-gurn, and tuh'm-guru, or persons who determine the proportion of yarn of different colors to be employed, are again consulted, The first brings the drawing of the pattern, in black and white. The tarah-gurn, having well considered it, points out the disposition of the colors, beginning at the foot of the pattern and calling out the color, the number of threads to which it is to extend, that by which it is to be followed, and so on in succession, until the whole pattern has been described. From his dictation, the talim-guru writes down the particulars in a kind of character or short hand, and delivers a copy of the document to the weavers. The workmen prepare the tojis, or needles, by arming each with colored yarn of the weight of about four grains; these needles, without eyes, are made of light, smooth wood, and have their sharp ends slightly charred, to prevent their becoming rough or jagged through working. Under the superintendence of tarah-guru, the weavers knot the yarn of the tuji to the warp. The face or right side of the cloth is placed next to the ground, the work being carried on at the back or reverse, on which hang the needles in row. and differing in number from four hundred to fifteen hundred, according to the lightness or heaviness of the embroidery. As soon as �the Ustad is satisfied that the work of one line or woof is completed, the comb is brought down upon it with a vigour and repetition apparently very disproportionate to the delicacy of the materials. The cloth of shawls, generally, is of two kinds one plain, or of two threads, one twilled, or of four. The former was. in past times, wrought with a great degree of fineness, but it has been of late less in demand. The various twilled cloths are usually from five to twelve girahs, or nails wide, shawls are twilled, and are commonly about twenty-four nails broad and differ in their extent of field. Two persons are employed in weaving a cloth of this breadth. One throws the shuttle from the edge as far as he can across the warp, which is usually about half way. It is there seized bv the second weaver, who throws it onwards to the opposite edge, and then returns it to his companion, who, in his turn, introducing his ringers into the warp, forwards the shuttle to the edge whence it started, and then re-commences the operation. The cloth thus made is frequently irregular, the threads of some parts of the woof being driven up tightly, and in others left open, from which results a succession of bands, sufficiently distinguishable whilst without colour, but still more obvious when dyed. The open texture is in a degree remediable by the introduction of fresh threads: but there is no sufficient cure for that which has been much compacted. One might be led, to suspect that there existed some radical defective ness in the principle of this mode of weaving not readily mastered, were not pieces of cloth found occasionally of an almost perfect regularity of texture- But the greatest irregularity is discoverable in those shawls which have the deepest and heaviest borders, and a further examination compels me to retract an observation somewhere made, of the artist being so much engrossed by attention to the work of the pattern as to neglect the structure of the field. The edge of the warp in the loom is filled with the heavy thread of the airi, yarn, charged also with colour, so that lines the front of the worked part advances beyond that of the plain part or rich, and an endeavour to equalize this betrays the weaver into a work which proves fruitless; and, in general, the heavier the embroidery on the border, and, of course, the higher the price of the shawl, the less regular is the structure of the cloth. Such, indeed, in some instances, is the degradation of the cloth in the field, as to induce some foreign merchants to cause it to be removed, and another piece to be engrafted within the edge of the border. But in this case there is no other remedy than in a judicious selection of a sheet of the same breadth and fineness; for, although two breadths of the narrow cloth might fit the vacant space, yet these must be joined by the refugar in the mid-line; and although this can be done that the band differs not in thickness from the rest of the cloth, yet the joint is discernible when held between the eye and the light, from the threads in the joined breadth being not continuous in the same line, whereas any irregularity of this nature is drowned in the edge of the bonier. The best practice to ensure a good field bcoms to, consist in weaving the border, in every case, separately and inserting the field by the refugar. When finished, the shawls are submitted to the purnsgar or cleaner, whose business it is to free the shawl from discoloured hairs or yarn, and from ends or knots: he either pulls them out �severally with a pair of tweezers, or shaves the reverse face of the cloth with a sharp knife. Any defects arising from either operation are immediately repaired by the refugar. At this stage of the manufacture the shawls are sent to the Collector of the stamp duties, by whom an ad valorem duty of twenty-six: per cent is levied, and each piece is then stamped and registered. The goods are now handed over to the wafarosh, or person who has advanced money on them to the manufacturer, and to the mokkim, or broker, and these two fix the price, and effect the sale to the merchant; the former charges interest on his advances, the latter a commission, varying from two to five per cent. The purchaser takes the goods unwashed, and often in pieces, and the fine drawer aud washer man have still to do their part. When partly washed the dhobi brings the shawls to the merchant, that they may be examined for any holes or imperfections; should such occur, they are remedied at the expense of the seller: if there are none, the washing is completed. This is done with clear cold water, using soap very cautiously, to white parts alone, and never to embroidery: coloured shit wis are dried in the shade; white ones are bleached in the open air, and their colour is improved by exposure to funics of sulphur. After being washed, the shawls are stretched in a manner which answers I in some degree to calendering: a wooden cylinder in two parts is employed for this purpose, round which the shawl, folded so as not to be quite as broad as the cylinder is long is carefully wrapped, being occasionally damped to make it fold tighter; the end is sewn down: two wedges are then gradually driven between the two parts of the cylinder at the open extremities, more as to force them asunder, and the surrounding folds of the shawl are thus stretched to as great an extent as is consistent with its texture. The piece remains in this state for two days, when it is removed to be packed. The packages are of various dimensions, but they are formed on one principle: these shawls are separated by sheets of smooth glazed, and coloured paper, and they are placed between two smooth planks of wood, with exterior transverse bars, which, projecting beyond the planks, offer a purchase for cord to tie them together: the whole is then planed in a press, or under heavy weights for some days, when the planks are withdrawn, the bale is sewed up in strong cloth, and the whole is sewed up as smoothly and tightly as possible in a rawhide, which, contracting in drawing, gives to the contents of the package a remarkable degree of compactness and protection. � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Procedure in the production of Kashmir shawls Subject The topic of the resource Kashmir Shawls Creator An entity primarily responsible for making the resource Baden Henry Baden-Powell Source A related resource from which the described resource is derived Manufactures & Arts of the Punjab: With a Combined Glossary & Index of Vernacular Trades & Technical Terms ... Forming Vol. Ii to the "Hand-book of the Economic Products of the Punjab" Prepared Under the Orders of Government, page 36-39 Publisher An entity responsible for making the resource available Punjab Printing Company Date A point or period of time associated with an event in the lifecycle of the resource 1872 Contributor An entity responsible for making contributions to the resource Edited by Amelia Pare Format The file format, physical medium, or dimensions of the resource Book UG Extracted Text The first task of the spinner is to separate the different materials of which the fleece consists, usually in about the following proportions i — Coarse hair, ... ... li seen. Seconds, or Phiri, ... ... Dust and foreign substances, 2£ „ Fine wool, ... ... ... 2 „ 6 seers, or 1 tark. Much attention is required to free the wool from the hair, and the process is a tedious one. The next step is cleaning and separating the wool. A quantity of husked rice is steeped in clean cold water, for a day and a night, or longer, until it becomes soft, when it is ground or bruised upon a stone slab to fine flour. Thin layers of this and of the picked wool are laid alternately, and squeezed with the hand until they are completely intermixed. A little water may bo occasionally sprinkled over the heap, if the weather is hot and dry, else it is not necessary. Soap is never used, as it makes the wool harsh; and its employment in Hindustan being communicated to the Kashmirians, induced them to boast that in this matter at least they were more knowing than Europeans. After being thus treated for about an hour, the flour is shaken out, the wool opened and torn to pieces, chiefly by the nails, and made into somewhat Bquaro, thin, elastic pads, called Tumbu In this process the Phiri, or second school, is extricated. Though too coarse for fine shawls, it is used in the manufacture of those of inferior quality, and of a strong shawl cloth called pnttu. The tumbu is then worked out into a thin flat roving, about half a yard long, which is called a mala. The mala is folded up to the size of the tumbu, and deposited in a deep pot of red earthenware, called a taskas, to be out of the way of dust or accident till required for the spinning wheel. The wheel is constructed on the same principle as that used in Hindustau, but varying in neatness of form and finish, according to its price; the rudest, the Takhtidar, or Pachindar, costs a half rupee; the Katzker, which is the most serviceable, three or four rupees; and the Pakchedar, which is used by those who spin for amusement only, costs from six to sixteen rupees. The iron spindle is enclosed in a cylindrical tube of straw or reed grass, and instead of one line of radii or spokes, supporting a continued circular wooden rim, there are two circular and parallel walls of flat spokes in contact at their edges, leaving between them at their outer circumference an empty space. A hair cord fastened to the loose end of the one spoke, is carried across the space or trough, to the end of the next spoke but one on the opposite side, and having been passed round, it returns to a spoke on the side from which it began. By a continuation of this process a rim is formed of a surface of hair cord, over which runs a small band, that is said seldom to be cut by the friction to which it is exposed. The principle kept in view by this arrangement of spindle and of rim, is to produce a continuance of soft elastic movements without jerk or stiffness, to prevent the yarn breaking on the occurrence of any slight interruption in drawing it out. Women begin to work at daybreak, continue with little interruption the whole day, if not taken off by other domestic affairs, and extend their labor until very late in the night, spinning by moonlight when available, and when they cannot afford to purchase oil for a lamp. The fine wool �is spun commonly into about seven hundred gaz, each gaz consisting of sixteen girahs, about equal to two nails. This yarn is doubled and formed into twist, which is cut into two hundred lengths, each length of three gaz and a half: this measure being suited to the length of the warp for a shawl. From the Phiri, or seconds wool, about one hundred gaz of yarn are also produced. The yarn of the fine wool is sold sometimes by measure and sometimes by weight. A hundred lengths of yarn of fine wool doubled, and each three gaz and a half, bring ordinarily seven tangas, or about seven-ponce. But if the same kind of yarn be sold without being doubled and twisted, the price is regulated by weight, a " pal " bringing from twelve annas to one rupee four annas, according to the demands of the market. The yarn from Phiri, or seconds wool, is sold only by measure, but the gaz employed consists of no more than twelve girahs, or nails, that is, of four girahs less than the gaz in ordinary uso. A hundred yards of Phiri twist, and each of two short gaz, or of twenty four girahs, sell for one ami a half tanga, three pice, or about three half-pence. Although calculations upon this matter can be little more than approximations, yet three pence or three pence-half penny a day, or from three rupees to three rupees eight annas, or from six to seven shillings a month, may be taken as the general earnings of an industrious and expert spinner in Kashmir, out of which, however, must be subtracted the price of the wool,* leaving only one rupee eight annas for her labor. If shawl-wool be furnished to a spinner to clean and to spin, eight annas arc paid for spinning one pal, or three and one third rupees weight of yarn of * Thirty two Tanga or annas, equal two rupees. Class VI. Division TT. 37 the requisite quality for shawls. Sheep's wool, spun by contract, is paid for by the pao, or quarter of a seer, at the rate of from two tan gas. of four pice, to twelve annas per pao, according to the fineness of the yarn; and the spinning- of this quantity into yarn suited for shawls will occupy a woman for eight days. There are several varieties of thread, distinguished by different degrees of fineness. From one pao of clean fine shawl wool a spinner will draw from a hundred to a thousand threads of three and a half gaz each. There is not such a difference between the price of coarse and of fine yarn as might be expected, owing to the greater expenditure on the former of a material that is dear, and on the latter of labor that is cheap. Shawl wool is sometimes spun by men, with a loose spindle like that used in Ladakh. These men are called Trakhans, and the yarn thus spun is finest, but very little of it is now made. Girls begin to spin at the ago of ten, and a hundred thousand females are employed in this occupation in Kashmir. About one-tenth of this number are supposed to Spin for the purpose of obtaining shawls for themselves, or for other members of their families, and nine tenths to earn their livelihood. The Puimangu keeps a shop for the purchase of yarn, but also sends people to collect it from the houses of the spinners, who give notice of their approach by ringing a bell. The yarn is sold to the weavers at a profit of from one piece to a tanga in the rupee. As a large stamp duty is levied on shawl-goods when finished, the exportation of the yarn is forbidden, and prohibition is enforced by heavy fine and imprisonment. Much of it is, nevertheless, exported to those places in �the Punjab where the expatriate weavers have settled. Having ascertained the kind of pattern most likely to suit the market, the weaver applies to persons whose business it is to apportion the yarn according to the colors required; and when this is settled, ho takes it to another, whose function it is to divido the yarn into skeins accordingly, and each skein is delivered to the Rangroz, or dyer. When the body of the cloth is to be left plain, the Phiri, or seconds yarn, is alone given to be dyed. This is generally about the thickness of common cotton sewing thread, is loosely twisted, of a coarser quality than the yarn used for the cloth, and is preferred for employment in flowers, or other ornaments, from its standing higher, and being, as it were, embossed upon the ground. The dyer prepares the yarn by steeping in clean cold water. He professes to be able to give it sixty- four tints, most of which are permanent. Each has a separate denomination, as for instance: the crimson is termed Gulanar (pomegranate flower); the best kind is derived from cobineal, imported from Hindus tan; inferior tints are from Lac and Kirmis (Cher- men), distinguished as Kirmisi. Kirmdana, and Kir- misi lac, or cochineal and lac chermes: log wood is used for other red dyes; blues and greens are dyed with indigo, or colouring matter extra* ted by boiling from European broadcloth. Logwood is imported from Multan and Indigo from India. Carthamns and Saffron, growing in the province, furnish means of various tints of orange, yellow. &c. The occupation of a dyer is invariably hereditary. The whiter and finer the fibre of the wool, and the finer the yarn into which it is made, the more capable it is said to be of receiving a brilliant dye; and this is one reason why the fine white wool of the goat is preferred to that of the sheep. The Nakatu adjusts the yarn for the warp and for the weft. That intended for the former is double, and is cut into lengths of three gaz and a half, anything short of that measure being considered fraudulent. The number of these lengths varies from two thousand to three thousand, according to the closeness or openness of texture proposed, and the fineness or coarseness of the yarn. The weft is made of yarn which is single, but a little thicker than the double yarn or twist of the warp. The weight of the weft is estimated at a half more than that of the warp. The Nakatu receives the yarn in hanks, but returns it in balls: he can prepare in one day the warp and weft for two shawls. the Pennakamgnrn, or warp dresser, takes trom the weaver the yarn which has been cut and reeled, and stretching the lengths by means of sticks into a band of which the threads are slightly separate, dresses the whole by dipping it into thick boiled rice water. After this the skein is slightly squeezed and again stretched into a hand, which is brushed and; suffered to dry: by this process each length becomes stiffened and set apart from the rest. .Silk is generally used for the warp on the border of the shawl, and has the advantage of showing the darker colors of the dyed wool more prominently than a warp of yarn, as well as hardening and strengthening, and giving more body to the edge of the cloth. When the border is very narrow it is woven with the body of the shawl; but when broader, it is worked on a different loom, and afterwards sewn on the edge of the shawl by the " rafugar," or fine drawer, with such �nicety that the union can scarcely bo detected. The silk is twisted for the border warp by the " tabgar.'' The warp differs in breadth, the narrowest counting of twenty, and the broadest of a hundred threads. From the tabgar 1 the silk is handed to the 11 Alakaband, "who reels it, and cuts it to the proper length.” The operation of drawing or of passing the yarns of the warp through the heddles, is performed precisely in the same way as in Europe, and the warp is then taken by the shal-baf, or weaver, to the loom. The weavers are all males, commencing to learn the art at the ago of ten years. In all transactions there are two parties, the Master, or Ustad, and the scholar, or Shagird, the former being the capitalist, the latter the mechanic. Work is executed under four different conditions. First, for wages, when it almost always happens that a system of advances has occurred, by which the workman is so deeply indebted to his employer that he may, in some sort, be considered as his bond-slave. Secondly, upon contract, of which the common term is, that one price is paid for every hundred needles carrying colored yarn that shall have been easily once parsed round and many yarns of the warp. Third, a sort of partnership, in which the Ustad finds all the materials, and the workmen give their labour. When a shawl is sold the outlay of the Utttad indicated from the price, and the remainder is divided into five shares, of which one goes to the matter, and the other four to the workmen. The fourth mode is; all equal division of the proceeds; in which ease the master not only finds the materials, but feeds the workmen. Three men are employed upon an embroidered shawl of an ordinary pattern for three months, but a very rich pair will occupy a whop for eighteen months. The loom differs not in principle from that of Europe, but is of inferior workmanship. [Master] has from three to three hundred in his establishment, and they are generally crowded together in long low apartments. When the warp is fixed in the loom, the nakanh, or pattern drawer, and the tarah-gurn, and tuh'm-guru, or persons who determine the proportion of yarn of different colors to be employed, are again consulted, The first brings the drawing of the pattern, in black and white. The tarah-gurn, having well considered it, points out the disposition of the colors, beginning at the foot of the pattern and calling out the color, the number of threads to which it is to extend, that by which it is to be followed, and so on in succession, until the whole pattern has been described. From his dictation, the talim-guru writes down the particulars in a kind of character or short hand, and delivers a copy of the document to the weavers. The workmen prepare the tojis, or needles, by arming each with colored yarn of the weight of about four grains; these needles, without eyes, are made of light, smooth wood, and have their sharp ends slightly charred, to prevent their becoming rough or jagged through working. Under the superintendence of tarah-guru, the weavers knot the yarn of the tuji to the warp. The face or right side of the cloth is placed next to the ground, the work being carried on at the back or reverse, on which hang the needles in row. and differing in number from four hundred to fifteen hundred, according to the lightness or heaviness of the embroidery. As soon as �the Ustad is satisfied that the work of one line or woof is completed, the comb is brought down upon it with a vigour and repetition apparently very disproportionate to the delicacy of the materials. The cloth of shawls, generally, is of two kinds one plain, or of two threads, one twilled, or of four. The former was. in past times, wrought with a great degree of fineness, but it has been of late less in demand. The various twilled cloths are usually from five to twelve girahs, or nails wide, shawls are twilled, and are commonly about twenty-four nails broad and differ in their extent of field. Two persons are employed in weaving a cloth of this breadth. One throws the shuttle from the edge as far as he can across the warp, which is usually about half way. It is there seized bv the second weaver, who throws it onwards to the opposite edge, and then returns it to his companion, who, in his turn, introducing his ringers into the warp, forwards the shuttle to the edge whence it started, and then re-commences the operation. The cloth thus made is frequently irregular, the threads of some parts of the woof being driven up tightly, and in others left open, from which results a succession of bands, sufficiently distinguishable whilst without colour, but still more obvious when dyed. The open texture is in a degree remediable by the introduction of fresh threads: but there is no sufficient cure for that which has been much compacted. One might be led, to suspect that there existed some radical defective ness in the principle of this mode of weaving not readily mastered, were not pieces of cloth found occasionally of an almost perfect regularity of texture- But the greatest irregularity is discoverable in those shawls which have the deepest and heaviest borders, and a further examination compels me to retract an observation somewhere made, of the artist being so much engrossed by attention to the work of the pattern as to neglect the structure of the field. The edge of the warp in the loom is filled with the heavy thread of the airi, yarn, charged also with colour, so that lines the front of the worked part advances beyond that of the plain part or rich, and an endeavour to equalize this betrays the weaver into a work which proves fruitless; and, in general, the heavier the embroidery on the border, and, of course, the higher the price of the shawl, the less regular is the structure of the cloth. Such, indeed, in some instances, is the degradation of the cloth in the field, as to induce some foreign merchants to cause it to be removed, and another piece to be engrafted within the edge of the border. But in this case there is no other remedy than in a judicious selection of a sheet of the same breadth and fineness; for, although two breadths of the narrow cloth might fit the vacant space, yet these must be joined by the refugar in the mid-line; and although this can be done that the band differs not in thickness from the rest of the cloth, yet the joint is discernible when held between the eye and the light, from the threads in the joined breadth being not continuous in the same line, whereas any irregularity of this nature is drowned in the edge of the bonier. The best practice to ensure a good field bcoms to, consist in weaving the border, in every case, separately and inserting the field by the refugar. When finished, the shawls are submitted to the purnsgar or cleaner, whose business it is to free the shawl from discoloured hairs or yarn, and from ends or knots: he either pulls them out �severally with a pair of tweezers, or shaves the reverse face of the cloth with a sharp knife. Any defects arising from either operation are immediately repaired by the refugar. At this stage of the manufacture the shawls are sent to the Collector of the stamp duties, by whom an ad valorem duty of twenty-six: per cent is levied, and each piece is then stamped and registered. The goods are now handed over to the wafarosh, or person who has advanced money on them to the manufacturer, and to the mokkim, or broker, and these two fix the price, and effect the sale to the merchant; the former charges interest on his advances, the latter a commission, varying from two to five per cent. The purchaser takes the goods unwashed, and often in pieces, and the fine drawer aud washer man have still to do their part. When partly washed the dhobi brings the shawls to the merchant, that they may be examined for any holes or imperfections; should such occur, they are remedied at the expense of the seller: if there are none, the washing is completed. This is done with clear cold water, using soap very cautiously, to white parts alone, and never to embroidery: coloured shit wis are dried in the shade; white ones are bleached in the open air, and their colour is improved by exposure to funics of sulphur. After being washed, the shawls are stretched in a manner which answers I in some degree to calendering: a wooden cylinder in two parts is employed for this purpose, round which the shawl, folded so as not to be quite as broad as the cylinder is long is carefully wrapped, being occasionally damped to make it fold tighter; the end is sewn down: two wedges are then gradually driven between the two parts of the cylinder at the open extremities, more as to force them asunder, and the surrounding folds of the shawl are thus stretched to as great an extent as is consistent with its texture. The piece remains in this state for two days, when it is removed to be packed. The packages are of various dimensions, but they are formed on one principle: these shawls are separated by sheets of smooth glazed, and coloured paper, and they are placed between two smooth planks of wood, with exterior transverse bars, which, projecting beyond the planks, offer a purchase for cord to tie them together: the whole is then planed in a press, or under heavy weights for some days, when the planks are withdrawn, the bale is sewed up in strong cloth, and the whole is sewed up as smoothly and tightly as possible in a rawhide, which, contracting in drawing, gives to the contents of the package a remarkable degree of compactness and protection. � https://digex.lib.uoguelph.ca/files/original/7e1f04167261eab7a11d8ff583aa25e9.jpg 37db869a85554569885fbe5ffd08f46d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shawl of pashmina wool Description An account of the resource Kashmir Shawl paired with a dress made of Muslin from Bengal. Creator An entity primarily responsible for making the resource Victoria and Albert Museum Source A related resource from which the described resource is derived http://www.vam.ac.uk/content/articles/s/shawls/ Date A point or period of time associated with an event in the lifecycle of the resource 1780 Bengal Dress Kashmir Muslin Shawl Victorian period https://digex.lib.uoguelph.ca/files/original/39e4cad7dccf5e0819a6f09cbaf6db24.png 8664837310532004efd0454a3bf96bd9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queens Crown of England Subject The topic of the resource The Crown Jewels of England with the Koh-i-noor-diamond located on the front. Crown England koh-i-noor-diamond Queen Women https://digex.lib.uoguelph.ca/files/original/5cf8979e619bec8d678f797f4192fff8.jpg 15430247351ca3cf94efb8361629c40d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Koh-i-noor-diamond Description An account of the resource An image of a copy of the koh-i-noor-diamond which is now located in the crown jewels of England.