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☆ The Summerville News, Thurs., Dec. 21, 1972
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Garden tools do not sound
ver> romantic as Christmas gifts,
but if you choose them with
care and buy high quality ones
you'll be doing a gardening
friend a favor In the medium
price range arc such convent
cnees as electric hedge clippers
and lawn edgers
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^^reetin^s
With deep appreciation
of your loyalty and
good will, we're
wishing you all the
pleasures of a
fine old-fashioned
Yule. Be merry!
ROBO
WASH
Lyerly Highway
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POay your holiday be filled with
wonder and all your wishes come
true. Many thanks for your loyal,
continued support.
Jones-Buice Insurance Agency
Cliff and Mary John Fowler
Tax Returns Bookkeeping
[Above) The Adoration of
the Magi French tap
estry of the late 15th Cen
tury. The Metropolitan
Museum of Art, Lillian
Stokes Gillespie (Collection,
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Hhristmas
Greetings
We hope you and yours
have the Merriest
Christmas ever in the
grand tradition of
the Yuletide seasonl
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The Nativity a detail of the altar frontal at The
Cloisters. German tapestry, dating from third quarter of
the 15th Century. From the Life of the Virgin. Done in
wool, silk, and metallic threads on a linen warp. The
Metropolitan Museum of Art, gift of (diaries F. Ikle.
66 Arras” Means Tapestry
Flourishing tapestry workshops often ceased abruptly
as did tapestry weaving in Paris, in 1415. after the de
feat of the French by the English at Agincourt. But the
art would then be re-established elsewhere, in another
town — as it was after 1415, in Arras, under the patronage
of the dukes of Burgundy. At Arras, the weavers won such
a reputation that the name of the town became a synonym
for tapestry itself.
The mld-15th Century was a great period in tapestry
weaving, with important workshops like that at Tournai.
France, which produced famous tapestries such as the
"Story of Troy," a series of 11 large hangings, which were
reproduced by order for several houses of royalty. The
very composition of these tapestries shows they were
meant primarily for wall hangings — the artists deliber
ately avoided perspective, keeping the overall proportions
to a single scale.
Raphael Changed Technique
With the Renaissance, however, the technique changed
completely, when the great painter Raphael designed tap
estries in the manner of Renaissance fresco painting, im
posing the painter's laws on the woven designs. Raphael’s
designs were much admired and repeatedly re-woven dur
ing the 16th and 17th centuries, most often at the great
workshops in Brussels and other Flemish cities. Other
workshops were in Italy and France, later in Germany,
Denmark, and Sweden, and finally in England.
The weaving of tapestries continued to be a flourishing
ihdustry throughout the 17th Century, with new designs
by the great painter Rubens, for the Flemish workshops.
A new industry was established in France, under Henry
IV, and in 1662 the royal factory of the Gobelins was
formed — one of the most famous names in tapestry.
During the 18th Century. European taste moved towards
a lighter and more delicate style of decoration. Tapestries
began to lose favor, and the art reached a low point in the
19th Century. An exception was a revival in the 1880’s by
William Morris in England, who returned to mediaeval
inspiration in tapestry design, just as the "pre-Raphael
ite" painters and poets did in art and poetry.
THE HE AN KING
In parts of France, Spain, and Mexico they still eat a
special 12th Night cake, in which a single bean has been
concealed The tinder of the bean is hailed as Bean King
a survival of an ancient pagan custom which chose the
King of the Saturnalia by lot in this way.
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!’ 1 ; the Joys i
i of Christmas ;
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i We hope the Christmas 1
J promise of a bright future
1 is fulfilled for you and your family. «
For your valued patronage, we thank you.
g TRION DRUGS ’
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Christmas Themes
From Tapestry Era
Are Revived Today
Todav's great revival of tapestry work and other needle crafts shows a lively in
terest in sacred subjects, just as many of the famous tapestries of the past weredevout
treatments of Biblical themes, including the Nativity and the Adoration of the Magi.
Tapestry work itself has a long and fascinating history, as modern weavers and
embroiderers are discovering. It is defined as a hand-woven, patterned fabric in wnicn
the weaver shapes one area of color at a time. Basically a simple technique, which
can be accomplished even on primitive looms, such weaving has been done ever since
early antiquity. ■
The oldest tapestry work known to us is Egyptian where some of the cloth found
in tombs was patterned with lotus flowers and hieroglyphics. A comprehensive history
would trace it through pre-Christian times to the fine silk hangings made in Byzantium,
and adapted from there by Islamic artists - plus the parallel development m the Far
East, where tapestries were made by the Chinese and Japanese. But our own tradi
tion is derived from the European, which has produced such exquisite work as tne
examples reproduced here.
Although the most dramatic examples are large pictorial wall hangings tapestry
has been used for many other purposes, such as covers, cushions, and upholstery . . .
just as today’s craftsmen make chair covers in needlepoint.
Wool is the most frequently used fiber, though details
are often done with silk or even gold or silver — and some
tapestries have been produced entirely in silk.
Large pictorial tapestries were generally made by a
team of weavers, the most skillful of whom specialized
in faces They worked from a full size design, or cartoon,
made by a professional designer, which was traced in out
line on the warp or vertical threads.
Tapestries used as wall hangings found a wide accept
ance in mediaeval Europe — they gave warmth and color
to the stark stone walls of castles and. other interiors, and
they were a type of furnishing easily movable from one
location to another.
Crusades Inspired Europeans
The earliest wool tapestries in Western Europe date
from the 12th and 13th centuries — when the Crusades
had made Europeans familiar with the tapestries of the
East The first professional tapestry workshop in Paris
was established about 1263. The earliest surviving product
of that workshop is a group of large tapestries showing
scenes from the Apocalypse, now in the Museum of Tapes
tries in Angers, France. Others from the same period in
clude one called “Nine Heroes,” now in. The Cloisters in
New York, and the “Presentation of Christ in the Temple,”
which is in Brussels. All of these reflect the style of the
Franco-Flemish painting and book illumination of the
late 14th Century —a composition in tiers and back
grounds covered with Initials or flowers.
Tapestry in Today’s World
The revival of interest in our own time is partially at
tributable to a reaction against poor quality in mass
produced merchandise and synthetic fabrics. Another fac
tor is that modern painting of the abstract school trans
lates well into tapestry. And again — today’s architecture
is stark and severe, and in need of color, just as were
mediaeval castles. Hence decorative wall hangings are
again serving a true function, even if they are no longer
needed to keep out the cold.
Today we have not only the professional weavers in tra
ditional workshops, but also the small-scale production of
the artist-weaver. Even more notable, perhaps, is the
prominence of the individual craftsman, most often a
craftswoman, who expresses herself in the related tech
niques of needlepoint and crewel embroidery.
Many of today’s experts in needlecrafts are members of
the Embroiderers’ Guild of America, an educational, non
profit organization whose purpose is to maintain high
standards of design, color, and workmanship in all kinds
of embroidery and canvas work. Through its New York
office, the Guild carries on a variety of activities, includ
ing a quarterly publication, a reference library, and occa
sional contests.
The modern illustrations we show are courtesy of the
Embroiderers' Guild, as they are among the winning de
signs in a Christmas Card competition held by the Guild
They are interesting modem interpretations of the tapes
try themes of the past.
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SUPREME OIL CO.
REDS
The traditional colors of the
Christmas season are red and
green. These colors have
meant different things to dif
ferent people over the ages.
Color has been used as the
symbol of abstract ideas from
time immemorial.
Green was a sacred color
among the ancient and medi
eval Egyptians who wore it as
a symbol of hope and the joy
of spring.
In early and medieval
Christian art, colors had a
mystic or symbolic meaning.
Red indicated passion. In its
good sense it was a symbol of
divine energy and love and the
creative power of the Holy
Spirit; in its bad sense it was a
sign of hate. In that meaning
it became a sign of Satan.
Emerald green is often the
symbol of hope and growth in
many Christian paintings.
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$ Max the spirit of Christmas l>e ever present
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in vour home, bearing the gifts of peace v
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and contentment, happiness and good cheer. j
for von and x our families, now and ahi ays.
I BRYANT & SONS »
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Blessings
of the
Holy Season
Good Will to All Men.
May the spirit of His
message abide with us.
A&W
DRIVE
IN