Excerpt from Catalogue of Algerian Embroideries In view of these facts we may expect to find the same general characteristics in the specimens described in this catalogue, and it will be seen that they form a class distinctfrom all others. It should, however, be remembered that the aboriginal Kabyles or Berbers, whose descendants still survive in considerable numbers, practise a much cruder kind of embroidery based on purely geometrical motives. This work is not represented in the is in the matter of design that the ...
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Excerpt from Catalogue of Algerian Embroideries In view of these facts we may expect to find the same general characteristics in the specimens described in this catalogue, and it will be seen that they form a class distinctfrom all others. It should, however, be remembered that the aboriginal Kabyles or Berbers, whose descendants still survive in considerable numbers, practise a much cruder kind of embroidery based on purely geometrical motives. This work is not represented in the is in the matter of design that the resemblance of Algerian to Turkish work is most clearly seen, but in the former there is less indication of the naturalistic rendering of floral forms, and the colour scheme is less striking, softer shades being used and subdued effects being aimed at. The patterns are as a rule closely arranged over a large part of the surface of the fabric. They are based on floral motives, frequently grouped to form rows of pointed medallions. Linen, either closely woven (653 - 1893) or in the looser form known as e'tamine (t. 61 - 1915) forms the ground; cotton is occasionally employed (t. 60 Silk, sometimes relieved with metal threads, is the material used for the pattern. Mauve in various shades is usually dominant throughout. There is a considerable variety of tone in different examples (t. 60 and 61 - 1915) and'the mauve colour in a single speci men is often uneven, though not to a fault (654 A fine deep red sometimes replaces mauve as the principal colour, and in these examples a deep blue is generally employed to an almost equal degree, both colours being outlined in dark mauve (267 - 1896; T. 391 - 1912; T. 59 In such cases mauve has also a place among the colours used for small details of the pattern. Other subordinate colours, generally bright in tone, are sparingly employed. They are pale blue, green, yellow, White, pink, and red. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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