Free Drapery Patterns – Menards Shutters.
Free Drapery Patterns
- An arrangement or sequence regularly found in comparable objects or events
- form a pattern; “These sentences pattern like the ones we studied before”
- A regular and intelligible form or sequence discernible in certain actions or situations
- (pattern) form: a perceptual structure; “the composition presents problems for students of musical form”; “a visual pattern must include not only objects but the spaces between them”
- (pattern) model: plan or create according to a model or models
- A repeated decorative design
- Long curtains of heavy fabric
- The artistic arrangement of clothing in sculpture or painting
- curtain: hanging cloth used as a blind (especially for a window)
- cloth gracefully draped and arranged in loose folds
- Cloth coverings hanging in loose folds
- Drapery is a general word referring to cloths or textiles (Old French drap, from Late Latin drappus ). It may refer to cloth used for decorative purposes – such as around windows – or to the trade of retailing cloth, originally mostly for clothing, formerly conducted by drapers.
- grant freedom to; free from confinement
- loose: without restraint; “cows in India are running loose”
- Without cost or payment
- able to act at will; not hampered; not under compulsion or restraint; “free enterprise”; “a free port”; “a free country”; “I have an hour free”; “free will”; “free of racism”; “feel free to stay as long as you wish”; “a free choice”
- With the sheets eased
free drapery patterns – Waves Pattern
A Greek Late Archaic Bronze Banqueter
L. 11.5 cm.
Solid-cast by the lost wax process and worked in the cold.
Condition: the metal strip on his left with traces of the hole for riveting broken off and in antiquity a new hole drilled in what remains (present overall length about 7 mm shorter than originally). The eyes and nose slightly flattened.
Patina a dark olive green.
The banquet in Ancient Greece, whether intimate or with many guests, fulfilled an important social function, reserved for men – free women were not admitted, though female servants, musicians, dancers and courtesans were present.
Originally an eminently boisterous gathering given over to wine-drinking, the serving of food, entertainment, and accompanying music, it evolved over time into an occasion also for cultural intercourse: the reading of poetry, philosophical debate and other intellectual pursuits.
The smiling banqueter wearing a wreath is reclining on a kline , his left elbow resting on a cushion – the hand holding a phiale; a drinking horn in his right hand.
A remarkably close comparison is a banqueter in the Volos  Museum . They are very similar for some of the cold-working such as the two parallel engraved lines that terminate the drapery over the ankles, on the Volos example also what appears to be a zigzag or lozenge filling, similar to the zigzag lines on either side of the seam of their cushion. Their couches are identical and the mattresses of both decorated with groups of triple vertical strokes. Both pieces are very close in size and could come from the same vessel.
A good parallel is the banqueter in the British Museum , said to have been found at Dodona, usually ascribed to a Peloponnesian workshop, more precisely Corinth, and dated in the second half of the 6th century, though E. Walter-Karydi ascribes it to a local Dodona school .
He is substantial, of finer modelling and engraving and with a magnificent plastic flow; more sophisticated and spirited, beaming with humour, he is a superior creation to these slightly provincial examples, with their rather awkwardly upright position. But the British Museum banqueter has a valid claim to being the finest extant Greek bronze. He is also solid-cast, his couch is wider, imperceptibly curved with flat underside, and most likely once attached to a vessel.
By contrast, the present statuette is on a narrower curved couch – as is the Volos example – with the underside hollowed out , but on either side of both perforated metal strips project for riveting.
The great similarity and discrepancies between the three banqueters pose a problem. There is a contrast between the spirited expression of the British Museum banqueter – the plasticity of his body and drapery, and the simple rendering of the couch – with the parallels. The British Museum banqueter seems to show a neckline of a tunic, though he is naked from the waist up; Volos has a faint resemblance of a neckline (also slanting incisions on his left arm) and our example no indication. The British Museum banqueter rests his right hand on his right knee and in his left holds a solid-cast phiale with an engraved line for the inner rim to indicate depth; the Volos example rests his right hand slightly behind the knee and holds a rhyton in his left; and on ours the right hand holds a rhyton and the left an omphalos phiale. The three pieces differ for the tilts of their heads: ours with the neck slightly tilted forward but the gaze straight ahead, and on the British Museum and Volos examples the necks held straighter and the eyes gaze slightly up.
On the British Museum figure the mass of the hair down the back is admirably worked with the greatest detailing also over the forehead and on either side of the neck. The hair on Volos is trying to imitate the British Museum style though the cold-working is far less refined, especially so for either side of the neck, with on ours only simple horizontal strokes; over the forehead of the Volos a simpler rendering is similar to that on our example. The top of the head of all three is smooth, the mass of hair down the back is smooth on ours and we cannot tell for Volos.
The same artist could not have produced all three; but are the present example and Volos by a lesser artisan in the same workshop? More likely, they are imitations by an artist from a different school who saw and admired the ensemble to which the British Museum example  belonged, whether in a sanctuary at Dodona or thereabouts .
Our banqueter and the Volos example could be from one of several centres of North-West Greece, possibly a workshop at Apollonia on the periphery of Epirus, or from a Thessalian workshop inspired by the school that produced the British Museum banqueter.
1 In reality, klinai usually had legs which are never shown on bronze examples with banqueters made to be fixed to the rims of vess
Autun: Flight into Egypt
I love the roundels beneath the ass’s feet, making the whole look like a child’s wheeled toy.
The Flight into Egypt
She sits, sideways, on the back of the ass,
like a medieval Lady riding her palfrey
with a little hawk on delicate, gloved hand.
Her Child rests in the crook of her left arm,
in her right hand an orb, the globe of the world,
and her Son’s small fingers rest above it,
so that it is cradled between them.
The hem and sleeves of her garment
are richly embroidered, perhaps once coloured,
now reverted to the sandy-grey of the original stone
as it left the hands of the sculptor.
He stares straight at us, solemnly challenging;
her head is bent, so that she looks both at Him and us,
her gaze abstracted, inward, thoughtful,
His head against her heart.
Joseph leads the way, holding the bridle,
His feet upon a patterned roundel,
as are the neat hooves of the little horse,
resembling a child’s toy in stone, with turning wheels.
And all around grow living trees,
leaves and stems and fruit, arranged in triplicate,
springing from beneath their feet as they ride past.
The ass lifts his left front leg,
stepping briskly, daintily, proudly,
although he hangs his head in true humility.
The right leg stands free, carved with space behind:
I put my hands around it, feeling the marks
the chisel made. The bridle, too, hangs clear:
I hold it, touch its ropy coils, pass my fingers
over the folded drapery, stroke the shaggy mane.
Into Egypt they fled, escaping jealousy and death:
a pivotal time, between old and new,
the event engraved on this capital eight centuries ago.
Carved with love, and reverence,
with tenderness and understanding, and regard for beauty,
and stands now within our reach.
(Published in the Poetry Church Collection Summer 2007, Vol. 15)
free drapery patterns