Egyptian Pyramid Sampler / Египетские пирамиды

Quilting is a craft that has been around since, according to Emporia State University, 3400 B.C. Known for sure to have been used by the Egyptian Pharaohs, quilting eventually spread from the Middle East to Europe. For sure, bed quilts were used in..

viii, 171 p. : 22 cm

No need to hunt down floss colors or guess how many skeins you’ll need—we’ve done the work for you! Simply add this coordinating thread kit to your cart along with the Violet Dreams Quilt Blocks and your project will arrive along with all of the embroidery floss needed to complete the project. Premium quality thread kit contains Craftways cotton floss to stitch one set of six blocks. Each skein of Craftways floss has approximately 8.7 yards of 100% long staple Egyptian cotton in a skein. The 6-strand divisible skein allows you to adjust the thickness of your stitching. Imported. • Thread kit contains Craftways floss to stitch one set of six Violet Dreams Quilt Blocks. • Floss is 100% long staple Egyptian cotton. • Each skein has 6 divisible strands. • Approximately 8.7 yds (8m) per skein.

Today was a very enlightening day to say the least and also a day where I ran across two very distinct resources that could be used for old school campaign design. The first of these is an article entitled "Paradise Maps, Monk Tabloids, and Monsters A Thousand Years of Medieval Cosmology. Basically this is an article about paradise maps and it could be used to design an Earthly paradise or Heaven on Earth a concept that dates back to the Greeks and even further back. This could be used to design out your own paradise of the gods adventure setting. Besides the article has some nifty maps in it. Next up is a whole range of early 1900's magicians posters that I ran across earlier today. These have a look and feel to them that is so period authentic with all kinds of infernal ideas and adventures lurking within their artwork . Finally I was doing some research into undead in Holmes and Basic Dungeons and Dragons, back in October James Mishler released Ghosts -- The Incorporeal Undead for Labyrinth Lord These notes provide a rare insight into the background behind the niche that the author saw. In this case a whole range of details about his design process including his blog post on the ghosts is a monster generator blog post tucked into the background. This post talks about dungeon generators spontaneously creating both life and the monsters of the dungeon itself. This was a central theme in many of the early dungeons such as those of Arduin and other early rivals of TSR. So what does this have to do with Holmes D&D? Quite a bit in point of fact. The heavy hitter monsters of epic level are the Hydra, Dragons, and Chimera as well as the Giants in no particular order of importance. In the mythological and cultural terms of legends of pop culture these are some of the guardians of the world's greatest treasures and artifacts. I'm going to be stepping far away from Tolkien here and slanting towards mythological and pulp tradition. When we look at things such as Das Rheingold, or One Thousand and One Nights or even the story cycles of Edgar Rice Burroughs(or any of the authors of Appendix N or beyond). We begin to see the extent of the mythological and mystic at work in the workings of early D&D. This isn't to be taken lightly because it brings us to the idea of the spontaneous generation of life and monsters. The mythological is the other in D&D and its horrific as well as dangerously epic in its scope. These are monsters and mayhem that take lives, court violence, and create the vector of the scope of it all in D&D. These things are utterly alien and completely at odds with the circumstances of the PC's and they guard the vaults of the Ancients, the gods, and should never be routine. These things are the 'other' this is a tradition that was echoed in Holmes and today in designers works such James Raggi's Lamentations of the Flame Princess. We can see the Gothic elements in One Thousand And One Nights quite easily;" Haunting is used as a plot device in gothic fiction and horror fiction, as well as modern paranormal fiction. Legends about haunted houses have long appeared in literature. In particular, the Arabian Nights tale of "Ali the Cairene and the Haunted House in Baghdad" revolves around a house haunted by jinns.[62] The Nights is almost certainly the earliest surviving literature that mentions ghouls, and many of the stories in that collection involve or reference ghouls. A prime example is the story The History of Gherib and His Brother Agib (from Nights vol. 6), in which Gherib, an outcast prince, fights off a family of ravenous Ghouls and then enslaves them and converts them to Islam.[63] Horror fiction elements are also found in "The City of Brass" tale, which revolves around a ghost town.[64] The horrific nature of Scheherazade's situation is magnified in Stephen King's Misery, in which the protagonist is forced to write a novel to keep his captor from torturing and killing him. The influence of the Nights on modern horror fiction is certainly discernible in the work of H. P. Lovecraft. As a child, he was fascinated by the adventures recounted in the book, and he attributes some of his creations to his love of the 1001 Nights." Now why I'm saying that because each and every adventure has its elements of the horror and the Gothic built right into it. This is something we've lost as dungeon masters and players the magick of taking Dungeons and Dragons as the ordinary and mundane. Any encounter with these types of powerhouses PC's should count their lucky stars if they live through them. There are several possible origin points of the Chimera and its ilk according to Wiki;" Homer's brief description in the Iliad[2] is the earliest surviving literary reference: "a thing of immortal make, not human, lion-fronted and snake behind, a goat in the middle,[3] and snorting out the breath of the terrible flame of bright fire."[4] Elsewhere in the Iliad, Homer attributes the rearing of Chimera to Amisodorus.[5] Hesiod's Theogony follows the Homeric description: he makes the Chimera the issue of Echidna: "She was the mother of Chimaera who breathed raging fire, a creature fearful, great, swift-footed and strong, who had three heads, one of a grim-eyed lion; in her hinderpart, a dragon; and in her middle, a goat, breathing forth a fearful blast of blazing fire. Her did Pegasus and noble Bellerophon slay."[6] The author of the Bibliotheca concurs:[7] descriptions agree that she breathed fire. The Chimera is generally considered to have been female (see the quotation from Hesiod above) despite the mane adorning her head, the inclusion of a close mane often was depicted on lionesses, but the ears always were visible (that does not occur with depictions of male lions). Sighting the Chimera was an omen of storms, shipwrecks, and natural disasters (particularly volcanoes).While there are different genealogies, in one version the Chimera mated with her brother Orthrus and was the mother of the Sphinx and the Nemean lion (others have Orthrus and their mother, Echidna, mating; most attribute all to Typhon and Echidna)." So once again we've got an other worldly origin point and usually all it takes for a monster to be born is a minor event to spawn things and monsters of legend. To add tentacles and Lovecraftian elements as needed. For Hydra this scene from Willow always reminds me of this. So what might a Epic Monster Generator Table look like? 1d6 Epic Monster Generator Table 1d4 giants created from the remains of a weapon of the gods. These hill giants are mishap and very dangerously violent. They will attack anyone they can come across. A chimera spawned from the remains of the split skull of a demon god and now guarding what remains of his treasure hoard. 1d6 orcs may result if the chimera's blood reaches the skull A gang of outlaw 1d6 giants has been created from the split blood of a god who battled his brother these are guarding the golden coins left behind by the melee. A hydra was spawned by the summoning of a demon, it slayed all of the cult and now guards a weapon that they uncovered. A dragon has been created by slaying of a god, it guards the hoard that was spawned by his passing. A gang of giants and orcs has been created by the passing of titan of legend. They are seeking to start a kingdom of their own by enslaving locals and taking anything of value.

Ready for the reveal? Today was the third lesson of Bastet our Egyptian Cat Mystery Class! We Bedecked, Bejeweled and Beadazzled the lotuses. So fun! We attached different types of beads with different techniques and beautiful threads. There are two lotuses on the canvas, each at a 45 degree angle so each section of […]

Well my three month old is starting to drool! So I decided I should whip up some bibs for my little "cutie". I love to make my bibs with buttons, no fuzzy velcro and they're not easily ripped off by baby. Made from cotton yarn so they are easy to care for, just throw them in the washer. I have made bibs before but the result was never consistent. I have made three bibs from this pattern. I am pretty sure it works, but let me know if you have any problems. Enjoy! What You'll Need Size I Hook WW Cotton Yarn Button (I used 19 mm buttons, size really isn't a big issue, as long as it fits nicely through the buttonhole) Tapestry Needle for weaving in loose ends sc- single crochet ch- chain sc2tog- single crochet 2 together ss- slip stitch Row 1: ch 14, 2sc in 2nd ch from hook, sc in next 11 ch spaces, 2sc in last ch, ch1, turn. (15 sc) Row 2: 2sc in first sc, sc in next 13 sc, 2sc in last sc, ch1, turn. (17 sc) Row 3: 2sc in first sc, sc in next 15 sc, 2sc in last sc, ch1, turn. (19 sc) Row 4-19: sc across, ch1, turn. (19 sc) Now we will begin the first strap. Row 1: sc in next 6 sc, ch1, turn. (6 sc) Row 2: sc across. (6 sc) Row 3: sc in next 4 sc, sc2tog, ch1, turn. (5sc) Row 4: sc across, ch1, turn. (5 sc) Row 5: sc in next 3 sc, sc2tog, ch1, turn. (4 sc) Row 6: sc across, ch1, turn. (4 sc) Row 7: sc in next 2 sc, sc2tog, ch1, turn. (3 sc) Row 8-18: sc across, ch1, turn. (3 sc) Row 19: sc across, finish off. (3 sc) Now for the second strap! Row 1: join yarn in last stitch on other side of bib. Ch1, sc in same stitch, sc in next 5 sc, ch1, turn. (6 sc) Row 2: sc across, ch1, turn. (6 sc) Row 3: sc in next 4 sc, sc2tog, ch1, turn. (5 sc) Row 4: sc across, ch1, turn. (5 sc) Row 5: sc in next 3 sc, sc2tog, ch1, turn. (4 sc) Row 6: sc across, ch1, turn. (4 sc) Row 7: sc in next 2 sc, sc2tog, ch1, turn. (3 sc) Row 8-17: sc across, ch1, turn. (3 sc) Row 18: sc, ch2, skip over middle sc, sc in last sc, ch1, turn. Row 19: sc in first sc, sc in ch2 space, sc in last sc. (3 sc) You can change colors here if you like. Border: ch1, sc all the way around, put 3sc in each corner stitch, join to first sc with ss. Weave in ends and attach button. There you go! I would love to see your completed bibs and hear what you think of this pattern. So leave a comment and/or a link if you like! Please do not claim this pattern as your own. You may sell the finished product but do not sell my pattern. When selling please link back to me. Do not post this pattern anywhere else, you may link back to me though. :) Thanks!

50s Shrug Grecian Sundress Pattern Ariadne Tunic Sunhat crown pattern This is a pattern-piece for a 6-piece hat crown; the illustration comes from a 1940s hatmaking book I own. It would be u…

Recently, I mentioned receiving the latest issue, Issue No. 53, of the Archaeological Textiles Newsletter (a periodical which, starting with the very next issue, will be called the Archaeological Textiles Review (click on the line for "2011" and scroll down). One article in that issue particularly piqued my interest. The title of that article is: Orfinskaya, Olga and Pushkina, Tatyana. 10th century AD textiles from female burial II-301 at Gnezdovo, Russia. The authors begin by noting that Gnezdovo was occupied in the 10th century chiefly by "Scandinavians and Slavs." This article is about another one of those 10th century chamber grave that are fashioned like an underground room, with boards lining all four interior surfaces. Some jewelry was found; specifically, a number of beads large enough to make up a necklace; a silver cross, and fragments of an equal armed brooch and an "oval" brooch. Two round birchbark pieces were also found in this grave (one split in two) with holes around their edges, as though they had been laced to a fabric piece to create a box, like the birchbark find in the Pskov grave. As at Pskov, textile fragments were associated with this putative birchbark box, suggesting that a costume had been stored inside it when the grave was sealed. But unlike the Pskov grave and certain other graves at Gnezdovo that I have written about, this grave did not contain any textile finds resembling what is currently thought of as Viking era women's costume. Reconstruction of Dress 1 (ATN, No. 53, p. 39) Instead of a large piece of fabric with loops that might have been an apron dress, there were substantial fragments of two dresses that incorporated silk brocades, fragments of a linen dress that included blue pieces as well as undyed pieces, and a scrap big enough to be identified as sprang but too small to be identified as a particular object or garment. Dress 1 had long sleeves with cuffs and a short, standing collar and a bodice portion made from a brocade that the authors believe, on the basis of the type of gold thread used in it, likely had been made in Northern China. The illustration that appears to the right is from the article and shows two possible reconstructions of its original appearance. Dress 2 survived only in fragmentary form; other than ascertaining that it had a v-shaped neckline, the authors do not opine about how that dress was made. Toroptsa dress (11th-13th c) The linen fragments are just as interesting. They appear to constitute the remains of a tunic or shift that was made from undyed, coarse linen on the top, with a skirt of blue-dyed, finer linen that was pleated onto the garment at approximately the level of the waistline. The description resembles a tunic found at the Toroptsa site in Izyaslavl, Russia, a sketch of which is reproduced at the left. (I cannot reproduce the citation information, since I can no longer access the website from which I downloaded this image.) The lesson I take away from this find as the ATN writeup describes it is that the contents of each grave excavated must first be examined on the basis of its own contents, without attempting to constrain the analysis in terms of what the analyst expects to find. Although other finds in this area appear to be Scandinavian (i.e., Viking), this one does not appear to be even remotely like those finds. To the contrary, this find contains jewelry that a Viking woman might have worn, a dress decorated with a Chinese brocade and made in a rather Chinese style, and another dress, perhaps an underdress, in a style that might have been found in a Slavic grave. It's a useful reminder that all people do not always dress exactly the way their tribe, nationality, or station prescribe, but may adopt different clothing according to circumstances, and reconstructing the clothing may help us understand the circumstances that shaped the way they lived. The article contains way too much detail for me to adequately summarize it here, and I commend it to my readers' attention. In case you did not subscribe to ATN last year, be of good cheer: you can purchase a copy of Issue No. 53 for 10 Euros, or wait another year or two and download a copy from the Internet, and read the article for yourself.

At head of title: L'art chrétien en Egypte