Question

哪位高手麻烦你们一下 帮忙翻译一段文章。非常重要 谢谢哈

from the mid 1870s a special feature of the firm's production were large hangings of horizontally and vertically repeating floral forms.his involvement in block/printing and weaving from 1875 also accounts for Morris's interest in the art of repeating motifs although the patterns seen in these embroidered hangings are derived from sixteenth/and seventeenth/century embroideries,woven velvets and silks from Persia,Turkey and Italy.Their format,often showing wide patterned borders at the top and bottom edge of the hangings,are a feature of cushion and couch covers from Turkey,now known as "Broussa velvets"from the area in which they were first made .Although late seventeeth/century English crewel/work embroid/eries are always cited as the main historical source for
Morris's own needlework and it is indeed clear that he was attracted by the technique of wool embroidery on a heavy cotton backing , stylistically only one of his designs,The Vine of 1879,shows the characteristic meandering branch and tree forms of traditional crewel/work.This type of design was adopted for use in later Morris&Co.hangings by May Morris and Henry Dearle,although the technique employed owed nothing to the seventeenth/century originals.
In the nineteenth century,the habit of collecting textiles was not nealy as rare as it is today and Morris,along with many contemporary artists and designers,
had a number of pieces of embroidery which,Jane Morris tells us,would be unpicked from time to time to discover the way in which they were made.It is from this awareness and appreciation of embroidery technique that Morris developed his own favourite stitches;those which would provide the effects he sought.Raised embroidery techniques were seldom used in his designs and those stitches most favoured -darning,running ,long and short,stain and stem stitches-merely follow and accentuate the lines of the design,they never make distracting patterns by themselves.
The increasing popularity of Morris embroideries in the 1870s is shown by the large number of commissions for wall/hangings received by the firm.These were often ordered on recommendation by the clients of Philip Webb for the walls of newly built houses and most of the embroideries were worked by the ladies of the household.The first commission of this type was from the Yorkshire industrialist,Sir Isaac Lowthian Bell,for his house,Rounton Grange,Northallerton in Yorkshire,which was designed and built by Webb in 1872-6.Using the theme of
Chaucer's Romaunt de la Rose (a literary progression from the earlier God Women to which the poet refers in this poem),the scheme was realized in five panels,Burne/Jones supplying the composition and individual figure drawings and Morris the background and other decoration.The embroideris were worked in silks,wools and gold thread on a linen ground by Lady Bell and her daughters Florence and Ada Phoebe and these show great skill and patience.The combined design

Answer 1

从中期19世纪70年代的一个特点，该公司生产的大型绞刑的横向和纵向重复插花forms.his参与座/印刷及织造，从1875年也占了莫里斯的兴趣，在艺术的重复图案模式虽有看到，在这些绣绞刑是来自第十六/和第十七/世纪刺绣，编织velvets帛从波斯，土耳其和italy.their格式，而且往往表现出广泛的图案边界，在顶部和底部边缘的绞刑，是一个特点垫和沙发涵盖了从土耳其，现在被称为" broussa velvets " ，从该地区中，他们第一次取得了，虽然晚seventeeth /世纪英语crewel /工作embroid / eries总是引为主体的历史来源
莫里斯自己的needlework ，事实上，这是明确表示，他被我吸引，由技术羊毛刺绣沉重的棉花作后盾，风格只是他的一个设计，藤本植物的1879年，显示特性蜿蜒科及树形式的传统crewel /工作。这种类型的设计是通过使用后，莫里斯＆ co.hangings由五月莫里斯和亨利dearle ，虽然雇用技术欠无关第十七/世纪正本。
在19世纪，习惯收集纺织品没有的早期难得的，因为这是今天和莫里斯，随着当代许多艺术家和设计师，
有若干件刺绣品，其中，简莫里斯告诉我们，将unpicked不时地发现，以何种方式，他们made.it正是从这一认识和欣赏刺绣技术莫里斯发达他自己最喜爱的缝线;这将影响他刺绣技术很少用在他的设计和缝针最惠国待遇- ，跑，长，短，着色剂和干缝针-只是跟随并加剧了线路的设计，他们绝不会做出分心模式本身。
日益普及的莫里斯刺绣，在19世纪70年代是表现出大量的佣金为墙/绞刑受到firm.these往往被责令就建议客户弘为韦伯的墙壁上新建的房屋和大部分的刺绣被工作，由各位嘉宾的household.the第一次委员会的这一类是来自约克郡实业家，主席先生艾萨克lowthian钟，为他的房子， rounton grange ， northallerton在约克夏，这是设计和建造，由韦伯在1872年- 6.using为主题
乔叟的romaunt德拉罗斯（文学级数由早前上帝妇女，其中指诗人在这首诗） ，该计划是实现五个专题组， burne /琼斯供应的组成和个人数字图纸和莫里斯的背景和其他装饰。该embroideris分别在帛， wools和黄金线程对亚麻地面，由夫人贝尔和她的女儿，佛罗伦萨和ada楠及这些，都显示出非凡的技能和patience.the联合设计。

这是对的

Answer 2

从中间19世纪70年代公司的生产的一种特殊性能是大hangings 水平地和垂直重覆花卉形式。 他的介入在块或打印和编织从1875在重覆上主题艺术也占 Morris的兴趣，虽然在这些被绣的hangings看的样式从第十六获得或和第十七或者世纪刺绣、被编织的天鹅绒和丝绸从波斯、土耳其和意大利。 他们的格式，经常显示宽被仿造的边界在hangings的顶面和下缘，是坐垫特点并且横卧盖子从土耳其，现在以“Broussard天鹅绒¡ ±著名从他们首先被做的区域。虽然后第十七或世纪英国crewel或者工作刺绣总被援引作为主要历史来源为
Morris的自己的针线和它只文体上的确是清楚他由羊毛刺绣技术在重的棉花依托吸引，一个他的设计、藤1879年，展示传统crewel或工作的典型蜿蜒地流的分支和树形式。 设计的这个类型被采取了用于最新Morris&Co.hangings在5月Morris和亨利Dearle以前，虽然技术什么都没有使用欠对十七个或世纪原物。
在19世纪，收集纺织品习性不是nealy一样罕见的，象它今天和Morris，与许多当代艺术家和设计师一起，
有一定数量片断刺绣，珍妮Morris告诉的我们，时常会被拆散发现他们被做的方式。它是从刺绣技术的这了悟和欣赏Morris 开发了他自己的喜爱针; 将提供作用他的那些寻找了。被上升的刺绣技术很少用于他的设计，并且那些针最倾向了织补，跑，长期和短小，污点和词根针仅仅跟随并且强调设计的线，他们从未做独自分散样式。
Morris刺绣增长的大众化在19世纪70年代由企业接受的委员会为墙壁的大数显示。这些在推荐经常被定购了由菲利普网上的客户对最近建造的房子墙壁，并且大多刺绣工作在家庭的夫人旁边。这个类型第一个委员会是从约克夏实业家， Isaac ・ Lowthian Bell先生，为他的房子， Rounton 农庄， Northallerton在约克夏，是由Webb设计的并且建立在 1872-6.Using题材
乔叟・的Romaunt de la罗斯(一个文艺进步从诗人在这首诗提到)的更加早期的上帝妇女，计划在五个盘区体会、Burne或者琼斯提供构成和单独图图画的和 Morris背景和其他装饰。embroideris在丝绸、羊毛和金螺纹在亚麻制地面工作在女儿佛罗伦萨和Ada Phoebe 和这些旁边夫人Bell和她的展示伟大的技巧和耐心。联合的设计