A collection of 14 projects, including pillows, quilts, vest, kimono, bags, curtain, and table runner.

"Already in Greek and Roman antiquity a vibrant series of exchange relationships existed between the Mediterranean regions and China, including the Indian subcontinents along well-defined routes we call the Silk Roads. Among the many goods that found their way from East to West and vice versa were glass, wine, spices, metals like iron, precious stones as well as textile raw materials and fabrics and silk, a luxury item that was in great demand in the Roman Empire. These collected papers connect research from different areas and disciplines dealing with exchange along the Silk Roads. These historical, philological and archaeological contributions highlight silk as a commodity, gift and tribute, and as a status symbol in varying cultural and chronological contexts between East and West, including technological aspects of silk production. The main period concerns Rome and China in antiquity, ending in the late fifth century CE, with the Roman Empire being transformed into the Byzantine Empire, while the Chinese chronology covers the Han dynasty, the Three Kingdoms, the Western and Eastern Jin and Sixteen Kingdoms, ending in 420 CE. In addition, both earlier and later epochs are also considered in order to gather an understanding of developments and changes in long-distance and longer-term relations that involved silk."

Reveals how commodity failure, as much as success, can shed light on aspirations, environment, and economic life in colonial societies.

Through the story of a portrait of a woman in a silk dress, historian Zara Anishanslin embarks on a fascinating journey, exploring and refining debates about the cultural history of the eighteenth-century British Atlantic world. While most scholarship on commodities focuses either on labor and production or on consumption and use, Anishanslin unifies both, examining the worlds of four identifiable people who produced, wore, and represented this object: a London weaver, one of early modern Britain’s few women silk designers, a Philadelphia merchant’s wife, and a New England painter. Blending macro and micro history with nuanced gender analysis, Anishanslin shows how making, buying, and using goods in the British Atlantic created an object-based community that tied its inhabitants together, while also allowing for different views of the Empire. Investigating a range of subjects including self-fashioning, identity, natural history, politics, and trade, Anishanslin makes major contributions both to the study of material culture and to our ongoing conversation about how to write history.

"Traces the American silk industry, once the world's largest, through case studies of the Nonotuck (Northampton, Massachusetts), Haskell (Westbrook, Maine), and Mallinson (New York and Pennsylvania) silk companies. Examines entrepreneurs as well as history of technology and products from sewing-machine thread to mass-produced plain and high-fashion silks"--Provided by publisher.

Francisca de Luarac, the daughter of a poor Spanish silk grower, is a dreamer of fabulous dreams. Marie Louise de Bourbon, the niece of Louis XIV, dances in slippers of fine Spanish silk in the French Court of the Sun King and imagines her own enchanted future. Born on the same day--in an age when superstition, repression, and the Inquisition reign--the lives of these two young women unfold in tandem, barely touching. Each hoards the memory of her adored lost mother like an amulet. Francica's obsession with her lover, a Catholick priest, will shaper her fate. Marie Loouise is yoked by political expediency to the mad, imptoent Carlos II of Spain. But even as their twin destinies spiral inexorably toward disaster, both Queen and commoner cultivate a dangerous, secret life dedicated to resistance, transcendence, and love. Written in gorgeous prose that has the sheen of silk, Kathryn Harrison's POISON vividlyreminds us of the persistence of desire, the passion that exists between mothers and daughters, and the sorcery of dreams.

"One of the best comprehensive histories of a culture in this century."—Amos Funkenstein, Stanford University