The art of weaving is so old that written history does not record its beginnings. Several countries claim the honor and pre- sent proof in the form of early pictures but it still is and probably will be an unsolved mystery. Quite possibly, weaving may have been discovered or invented by several peoples.
Each country has its own methods and patterns but the fundamental principle re- mains the same. Anyone who had darned a stocking will understand it---simply going over and under lengthwise or warp threads with a crosswise or weft thread.
The craft words used by our forefathers were simple and homely. The many syllabled technical terms of today seem over-elaborate in comparison. As this description of weaving goes on, some of those sturdy, almost forgotten words will be used and underscored.
We, of course, are particularly interest- ed in the weaving of our forefathers. As the people in the new country began to feel the pressure of taxes, they rebelled and soon it was considered the patriotic duty of every housewife to do her own weaving or have it done by the itinerant weaver. Weaving was done in homes up to the Civil War. Little was done after that time and comparatively few people now remember seeing looms in operation.
Each country has its own methods and patterns but the fundamental principle re- mains the same. Anyone who had darned a stocking will understand it---simply going over and under lengthwise or warp threads with a crosswise or weft thread.
The craft words used by our forefathers were simple and homely. The many syllabled technical terms of today seem over-elaborate in comparison. As this description of weaving goes on, some of those sturdy, almost forgotten words will be used and underscored.
We, of course, are particularly interest- ed in the weaving of our forefathers. As the people in the new country began to feel the pressure of taxes, they rebelled and soon it was considered the patriotic duty of every housewife to do her own weaving or have it done by the itinerant weaver. Weaving was done in homes up to the Civil War. Little was done after that time and comparatively few people now remember seeing looms in operation.
The looms we find in old attics today are often heavy and sometime crude, but they show careful, honest workmanship with the materials which were at hand. Most of them are framed with mortise and tenon joints and not a nail is used in their construction. The framework of some of these looms is about six feet high, six feet wide, and seven feet deep, which explains the necessity for the separate loom room.
The first step in weaving is warping. The material selected for the lengthwise threads of the finished cloth is passed back and forth around pegs in a warping board until the required length is obtained. This operation is repeated until one has the necessary number of warp threads to make the desired length of cloth. The manner of determining this number will be explained later. In warping, the threads are crossed between A, B and C; also between D and E. (see illustration) These crosses are important as will be seen later. After the proper number of threads is placed, the warp is carefully taken from the board by slipping it from peg A and with the hands a simple loop is made. Another loop is drawn through this as in crocheting. This is continued until the end is reached. One now has a chain of warp.
The first step in weaving is warping. The material selected for the lengthwise threads of the finished cloth is passed back and forth around pegs in a warping board until the required length is obtained. This operation is repeated until one has the necessary number of warp threads to make the desired length of cloth. The manner of determining this number will be explained later. In warping, the threads are crossed between A, B and C; also between D and E. (see illustration) These crosses are important as will be seen later. After the proper number of threads is placed, the warp is carefully taken from the board by slipping it from peg A and with the hands a simple loop is made. Another loop is drawn through this as in crocheting. This is continued until the end is reached. One now has a chain of warp.
At the back of the loom is a large, round beam called the warp beam. This may be revolved at will. A small rod about an inch and a half in diameter is fastened by cords to this beam. Now begins the dressing of the loom. The small rod is slipped through loop E in the warp. The warp is spread to the approximate width of the weaving by placing groups of threads through the teeth of a raddle or rake. The last word exactly describes the spreader.
The help of another person is needed now to turn the warp beam slowly while one keeps the warp straight and taut as it is rolled on the beam. When this is done satisfactorily, two lease rods are placed between crosses A, B and C. The alternate threads are thus kept in their proper order. The first thread passes over the back rod and under the front rod; the second thread reversing the order; the third as the first, etc. This simplifies threading as the warp would be hopelessly tangled without these crosses.
The help of another person is needed now to turn the warp beam slowly while one keeps the warp straight and taut as it is rolled on the beam. When this is done satisfactorily, two lease rods are placed between crosses A, B and C. The alternate threads are thus kept in their proper order. The first thread passes over the back rod and under the front rod; the second thread reversing the order; the third as the first, etc. This simplifies threading as the warp would be hopelessly tangled without these crosses.
Next comes the threading of the heddles. The heddles of our ancestors were of linen thread but weavers of today find those of wire more satisfactory. The heddles are strung on two rods---one through the top loop and one through the bottom. The complete assembly is called a harness. For simple over and under weaving, two harnesses are used, while pattern weaving as in the old coverlets calls for four. The harnesses are hung from a strong rod near the front of the loom.
Through the eye of each heddle is strung a warp thread---the first thread through the first heddle on the front harness; the second thread through the first heddle on the back harness; the third thread through the second heddle in the front harness, and so on. This is not as complicated as it sounds but requires patience.
Through the eye of each heddle is strung a warp thread---the first thread through the first heddle on the front harness; the second thread through the first heddle on the back harness; the third thread through the second heddle in the front harness, and so on. This is not as complicated as it sounds but requires patience.
After the thread is drawn through the heddle, it is passed through an opening in the reed. In front of the harnesses is hung a swinging framework called the beater or batten in which the reed is placed. The reed was made by binding split reeds or bamboo four to six inches in length be- tween half-round rods. A comb provides the best comparison. The reed is numbered according to the number of openings in an inch. Thus a #12 reed has 12 openings in one inch. Evidently the old time reeds were numbered according to the number of openings in two inches. A #12 would then become a #24. The size of the reed determines the number of threads to be warped in the beginning. If one were using a #12 reed and wished to weave a piece of cloth ten inches wide, 120 threads (10" X 12) should be warped, plus 12 to 24 more to allow for a selvage and a certain drawing-in of the cloth in weaving. This varies with the weaver and must be determined by experience. In passing the warp threads through the reed openings, the work should be centered. That is, the center of the reed is found and half of the threads are placed to the right and half to the left of this point. With 120 threads, one would begin threading 60 openings to the right of the center of the reed. The loom is then balanced to do good work.
After threading through the reed, the warp is tied securely to a small rod attach- ed to the cloth beam at the front of the loom by cords. The rod is brought up over the breast beam, a stationary bar in front of the batten. Care must be taken in tying that each warp thread has the same ten- sion. Otherwise very uneven cloth will be produced, to say nothing of that calamity ---broken warp threads. They may be tied but at best are not very satisfactory.
The next step is to fill the shuttle with material for the weft or woof. The shuttle is often made of apple wood and the old ones are polished by use to a satiny finish. It is about ten inches long and in the center is hollowed an opening to take in the quill wound with weft thread.
The next step is to fill the shuttle with material for the weft or woof. The shuttle is often made of apple wood and the old ones are polished by use to a satiny finish. It is about ten inches long and in the center is hollowed an opening to take in the quill wound with weft thread.
The harnesses are tied to the treadles below. When ready to weave, one presses the right hand treadle and alternate threads in the warp are raised and those between are lowered, creating a shed to allow the shuttle to pass through freely from right to left. As the shuttle is thrown, the weft thread unwinds from the quill. Then the swinging batten is pulled toward the weaver rather sharply and the thread is beaten in. Next the left hand threadle is depressed, the shuttle thrown from left to right and the batten brought forward again. This operation is repeated until the desired length of cloth is woven.
In pattern weaving, four harnesses are used. While seemingly more complicated, it is easily understood by one who has mastered the earlier steps of weaving. The threading is different from that of plain weaving. A draft is followed in which there are four spaces. Imagine the lines and spaces of a bar of music. Numbered from the bottom to the top, the first space represents the front harness; the second space, the second harness; the third space, the third harness; and the fourth space, the back harness. Now draw verticle lines to make squares in your imaginary music bar. Each of these squares represents a heddle. In following the draft, the warp threads are drawn through the heddles indicated by the dark squares.
In pattern weaving, four harnesses are used. While seemingly more complicated, it is easily understood by one who has mastered the earlier steps of weaving. The threading is different from that of plain weaving. A draft is followed in which there are four spaces. Imagine the lines and spaces of a bar of music. Numbered from the bottom to the top, the first space represents the front harness; the second space, the second harness; the third space, the third harness; and the fourth space, the back harness. Now draw verticle lines to make squares in your imaginary music bar. Each of these squares represents a heddle. In following the draft, the warp threads are drawn through the heddles indicated by the dark squares.
That is, in the Butternut pattern, thread number one would be drawn through the first heddle in the first harnesses; the second thread through the first heddle in the second harness; the third thread through the second heddle in the first harness; and so on following the draft to the end.
There are many other types of weaving but most of us are interested in the coverlets so proudly displayed by those fortunate enough to possess them. Nearly all these are woven with four harnesses as described above. The pattern possibilities are limitless. The names given the patterns are proof that our forbears were able to give their fancy play if they so de- sired. We have Methodist Wheel, Solomon's Delight, Lover's Knot, Federal Knot, Lee's Surrender, Cat's Paw and Snail Trail, Pine Cone Bloom, Snowball, Dog Tracks, Bonaparte's March, Chariot
Wheels, Whig Rose, Governor's Garden, Parson's Beauty, Queen's Delight, Braddock's Defeat and many others. Some of these come from a real or fancied resemblance while others reflect Revolutionary and political events. Occasionally a pattern is known by a different name in other localities.
Hand weaving is to be heartily recommended as a delightful occupation. Anyone seriously interested is referred to Foot-Power Loom Weaving by Edward F Worst and Shuttle-Craft Book of American Hand-Weaving by Mary Atwater. Worst's book clearly describes every step in weav- ing and gives many drafts. The Shuttle- Craft Book also contains drafts and extremely readable chapters dealing with the many preparations given flax and wool before weaving could be done.
There are many other types of weaving but most of us are interested in the coverlets so proudly displayed by those fortunate enough to possess them. Nearly all these are woven with four harnesses as described above. The pattern possibilities are limitless. The names given the patterns are proof that our forbears were able to give their fancy play if they so de- sired. We have Methodist Wheel, Solomon's Delight, Lover's Knot, Federal Knot, Lee's Surrender, Cat's Paw and Snail Trail, Pine Cone Bloom, Snowball, Dog Tracks, Bonaparte's March, Chariot
Wheels, Whig Rose, Governor's Garden, Parson's Beauty, Queen's Delight, Braddock's Defeat and many others. Some of these come from a real or fancied resemblance while others reflect Revolutionary and political events. Occasionally a pattern is known by a different name in other localities.
Hand weaving is to be heartily recommended as a delightful occupation. Anyone seriously interested is referred to Foot-Power Loom Weaving by Edward F Worst and Shuttle-Craft Book of American Hand-Weaving by Mary Atwater. Worst's book clearly describes every step in weav- ing and gives many drafts. The Shuttle- Craft Book also contains drafts and extremely readable chapters dealing with the many preparations given flax and wool before weaving could be done.