Nuova macchina per la trattura della seta di Giannantonio Santorini : descritta per commissione de S.E. il signor Ministro dell' interno del regno d'Italia.

Detailed description of a silk reeling machine invented by Santorini.

Annual report.

Report year varies.

Yu zhi geng zhi tu,

Mode of access: Internet.

Kiito to sono bōeki /

Mode of access: Internet.

Les arts industriels en Touraine. Histoire de la fabrique de soieries de Tours, des origines au XIXe siècle,

"Extrait des Mémoires de la Société archéologique de Touraine (t. XLI)"

Report of the Tariff Commission.

v. 1. The iron and steel trades. -- v. 2. The textile trades: pt. 1. The cotton industry. pt. 2. Evidence on the woollen industry. pt. 3. Evidence on the hosiery industry. pt. 4. Evidence on the lace industry. pt. 5. Evidence on the carpet industry. pt. 6. Evidence on the silk industry. pt. 7. Evidence on the flax, hemp, and jute industries. 2 v. -- v. 3. Report of the Agricultural Committee. -- v. 4. The engineering industries. -- v. 5. The pottery industries. v. 6. The glass industry. v. 7. Sugar and confectionery.

Risposta al quesito: Quali siano i mezzi di provvedere al sostentamento degli operaj soliti impiegarsi nel torcimento delle sete ne' filatoj, qualora questa classe d'uomini così utile nel Piemonte viene ridotta agli estremi dell'indigenza per mancanza di lavoro cagionata da scarsezza di seta.

In Scrittori classici italiani di economia politica. Milano, 1804. 22 cm. [v. 42] Parte moderna, v. 35, p. [5]-102.

Histoire des insurrections de Lyon, en 1831 et en 1834 : d'après des documents authentiques, précédée d'un essai sur les ouvriers en soie et sur l'organisation de la fabrique /

Goldsmiths'-Kress no. 28441.

Si hay moreras hay cristianos nuevos: Los Duques de Pastrana y la industria de la seda en la formación de un espacio de conflicto (Pastrana, c. 1569- c. 1609)

Durante las últimas décadas del siglo XVI los moriscos, amparados por el poder ducal, acapararon la producción y comercio de la seda de la villa de Pastrana, así como adquirieron cada vez mayores cotas de poder municipal. En este artículo se analiza la constitución en la villa ducal de Pastrana de un espacio de odio a causa de la competencia social entre cristianos viejos y moriscos. Este odio se tradujo en una caracterización de los moriscos, sobre todo a partir de 1572, como cristianos nuevos sospechosos. Esta experiencia estigmatizadora sería un precedente de lo que ocurriría en las primeras decadas del siglo XVII con los mercaderes portugueses que sustituyeron en el negocio de la seda a los moriscos tras su expulsión. Entonces se contruiría la imagen del portugués critptojudío.

Histoire et projet dans la valorisation du patrimoine de la soie : Le Filatoio di Caraglio (Coni. Italie) et le Real Filatório de Chacim (Trás-os-Montes, Portugal)

O objetivo deste trabalho é explorar a temática da valorização do patrimônio arquitetónico, herdado pela indústria da seda, baseando-se na história das técnicas, na gestão e na valorização do patrimônio industrial. É a partir do estudo de duas fábricas de seda na Europa: o Filatoio di Caraglio em Itália (data de construção: 1676-1678) e o Real Filatório de Chacim em Portugal (data de construção: 1788) que serão discutidas as estratégias encontradas para a conservação/restauração dos dois casos em questão, com base em suas histórias e contextos atuais. O Filatoio di Caraglio é uma das fábricas de seda mais antigas da Europa tendo como técnica o moinho alia piemontese publicado na Encyclopédie como uma das melhores invenções. No caso do Real Filatório de Chacim, constata-se que a introdução deste moinho por meio de técnicos italianos constituiu uma transferência tecnológica entre os dois países. RÉSUMÉ: L'objective de ce travail est d'explorer la thématique de la mise en valeur du patrimoine architectural hérité de industrie de la soie en se basent sur l'histoire des techniques, la gestion et la valorisation du patrimoine industriei. C'est à partir de l'étude de deux fabriques à soie en Europe: le Filatoio di Caraglio en Italie (date de construction: 1676-1678) et le Real Filatório de Chacim au Portugal (date de construction: 1788) que sont discutées les stratégies employées pour la conservation/restauration de ces deux cas basées sur leur histoire et sur les contextes actuels. Le Filatoio di Caraglio est une des soieries plus anciennes de l'Europe et était caractérisée par une technique du moulin alla piemontese publié dans l'Encyclopédie come une des meilleures inventions. Dans le cas du Real Filatório de Chacim, on constate que l'introduction de ce type de moulin par des techniciens italiens a constitué un transfert technique entre les deux pays. ABSTRACT: The purpose of this research is to examine the enhancement of architectural heritage inherited from the silk industry, focusing on technical history, and the management and valorization of industrial heritage. Conservation/restoration strategies are discussed by analyzing solutions proposed in two European silk mills: The Filatoio di Caraglio, in Italy (date of construction: 1676-1678) and the Real Filatório de Chacim, in Portugal (date of construction: 1788), taking into consideration their histories and current context. While the former is one of the oldest European silk mills, employing the alla piemontese technique, which was praised by the Encyclopédie, the latter was set up by ltalian technicians, establishing a technology transfer between the two countries.

Hearing: in the matter of the minimum wage recommendations of Special Industry Committee no. 17-A for the silk, rayon, and nylon underwear division and the general division of the needlework and fabricated textile products industry in Puerto Rico, August 29 and 30, 1955.

Mode of access: Internet.

Silk purse, sow’s ear : transforming second-Hand clothing into luxury fashion through craft practice

There is more apparel being created than ever before in history. The unsustainable production of materials and the clothing and textile waste that contributes annually to landfill, an estimated 500 000 tonnes of clothing per year in the UK (Gray, 2012) are significant issues inspiring the practice of Australian fashion designers, Carla van Lunn and Carla Binotto. While the contemporary fashion industry is built upon a production and consumption model that is younger than the industrial revolution, the traditions of costume, craft, and bodily adornment are ancient practices. Binotto and van Lunn believe that the potential for sustainable fashion practice lies outside the current industrial manufacturing model. This case study will discuss their fashion label, Maison Briz Vegas, and examine how recycling and traditional craft practices can be used to address the problem of clothing waste and offer an alternative idea of value in fashion and materials, addressing the indicative conference theme, Craft as Sustainability Activism in Practice. “Maison Briz Vegas”, a play on the notion of French luxury and the designers’ new world and sub-tropical home town, Brisbane, is an experimental and craft-based fashion label that uses second-hand cotton T-shirts and wool sweaters as primary materials to create designer fashion. The first collection, titled “The Wasteland”, was conceived and created in Paris in 2011, where designer Carla van Lunn had been living and working for several years. The collection was inspired by the precariousness of the global economy and concerns about climate change. The mountains of discarded clothing found at flea markets provided a textile resource from which van Lunn created a recycled hand-crafted fashion collection with an activist message and was shown to buyers and press during Paris Fashion Week. The label has since become a collaboration with fellow Australian designer Carla Binotto. The craft processes employed in Maison Briz Vegas’ up-cycled fashion collections include original hand block-printing, hand embroidery, quilting and patchwork. Taking an artisanal and slow approach, the designers work to create a hand touched imperfect style in a fashion market flooded with digital printing and fast mass-produced garments. The recycling extends to garment fastenings and embellishments, with discarded jar lids and bottle tops being used as buttons and within embroidery. This process transforms the material and aesthetic value of cheap and generic second-hand clothing and household waste. Maison Briz Vegas demonstrates the potential for craft and design to be an interface for environmental activism within the world of fashion. Presenting garments that are both high-design and thoughtfully recycled in a significant fashion context, such as Paris Fashion Week, Maison Briz Vegas has been able to engage a high-profile luxury fashion audience which has not traditionally considered sustainable or eco practices as relevant or desirable in themselves. The designers are studying how to apply their production model on a greater scale in order to fill commercial orders and reach a wider audience whilst maintaining the element of bespoke, limited edition, and slow hand-craft within their work.

Hidden trails: Visualizing arthropod silk

Arthropods are known to use silk for a number of different purposes including web construction, shelter building, leaf tying, construction of pupal cocoons, and as a safety line when dislodged from a substrate (Alexander, 1961; Fitzgerald, 1983; Common, 1990). Across the arthropods, silk displays a diversity of material properties and chemical constituents and is produced from glands with different evolutionary origins (Craig, 1997). Among insects, larval Lepidoptera are prolific producers of silk. Because many lepidopteran larvae are pests, an ability to interfere with silk production or, at the very least, an understanding of how silk is used, could provide new options for pest control. After testing many known fluorescent dyes, we found that Fluorescent Brightener 28 (also known as Calcofluor White M2R) (Sigma-Aldrich Pty Ltd, Sydney, NSW, Australia), an optical brightener used in the textile industry, binds to arthropod silk in a simple staining reaction, causing it to fluoresce under ultraviolet (UV) light. Such brighteners have also been used in insect gut content analysis (Schlein & Muller, 1995; Hugo et al., 2003). Here we describe the method of visualizing arthropod silk on plant surfaces, using as a model the thin, barely visible, single strands of silk produced by Helicoverpa armigera (Hübner) (Lepidoptera: Noctuidae) neonates.

Silk-inspired polymers and proteins

The biocompatibility and biodegradability of natural silk fibres and the benign conditions under which they (with impressive mechanical properties) are produced represent a biomimetic ideal. This ideal has inspired people in both academia and industry to prepare silk-mimetic polymers and proteins by chemical and/or biotechnological means. in the present paper, we aim to give an overview of the design principles of such silk-inspired polymers/proteins, their processing into various materials morphologies, their mechanical and biological properties, and, finally, their technical and biomedical applications.