Ancient Egyptian and Greek Looms Informative Summary (2024)

Overview:

This text dives deep into the world of Ancient Egyptian and Greek weaving practices, specifically focusing on the looms they used. The author, H. Ling Roth, delves into the historical context of weaving in Egypt, meticulously comparing various illustrations of the horizontal loom found in the tomb of Chnem-hotep at Beni Hasan. He then examines the evolution of the loom, exploring the use of heddles and laze rods, as well as the introduction of the “beater-in” tool. Additionally, Roth discusses the vertical loom, contrasting the Egyptian version with the Greek, which relied on warp weights for tension. He examines both forms in detail, looking at their construction, tools, and methods of operation, highlighting the differences and advancements between the two cultures.

The text also includes a detailed analysis of mummy wrappings, providing insights into the materials and techniques used in Ancient Egyptian textile production. This analysis, conducted by W.W. Midgley, focuses on the types of fibers used, the construction of the fabrics, and the presence or absence of sizing agents. Through these observations, Roth sheds light on the sophistication and evolution of weaving practices in Ancient Egypt, highlighting the differences between the early and later periods.

Key Findings:

• The Ancient Egyptians used a horizontal loom, which was simple in design but effective for producing various fabrics.
• The Egyptians employed the heddle, a crucial tool for creating the “shed” in weaving, signifying an early stage in loom development.
• Selvedges, crucial for preventing fraying, were not initially used, indicating the use of separate weft threads for each “pick.”
• The Egyptians were skilled weavers, producing a variety of textiles using basic tools and techniques.
• The Greeks primarily used an upright, warp-weighted loom, which was a more primitive design compared to the Egyptian horizontal loom.
• Both Greeks and Egyptians used spools for holding the weft thread.
• The Greeks also used tapestry looms, which are considered a rudimentary form of weaving closely related to mat making.

Learning:

• Evolution of the Loom:The text illustrates the gradual development of weaving tools and techniques, showcasing the heddle as a crucial advancement in loom design. It also explains the transition from finger weaving to the use of spools, reflecting the progress in weaving technology.
• Cultural Differences in Weaving Practices:The text highlights the different approaches to weaving employed by Ancient Egyptians and Greeks. While the Egyptians favored a horizontal loom, the Greeks relied on a warp-weighted upright loom, reflecting the different cultural and technological contexts.
• Importance of Warp Tension:The text emphasizes the significance of warp tension in weaving, comparing the use of breast beams in Egyptian looms to the use of warp weights in Greek looms. This comparison underlines the importance of maintaining consistent tension for achieving a smooth and well-woven fabric.

Historical Context:

The text is written in 1913, a time when there was significant interest in exploring Ancient Egyptian and Greek civilizations, particularly their material culture and technological advancements. This historical context fueled the author’s research, leading him to examine the various illustrations and artifacts related to ancient weaving practices.

Facts:

1. The Beni Hasan tomb illustrations depict a horizontal loom used by Ancient Egyptians.The tomb paintings provide valuable information on the design and operation of this type of loom.
2. The horizontal loom was prevalent in Egypt from the XIIth to the XIXth Dynasties (approximately 2000-1200 B.C.)This suggests that this design was widely used and persisted for several centuries.
3. Egyptian weavers used a “beater-in” tool to push the weft into place, not a shuttle.This tool was similar in shape to a slashing stick, and the pose of the weavers in illustrations supports its downward application.
4. The Egyptians did not use reeds in their weaving until a later period.This is evident in the lack of reeds depicted in the tomb paintings and the irregular arrangement of warp threads in fabrics from this era.
5. The selvedge, a feature crucial for preventing fraying, was not a common element in Egyptian fabrics until the XVIIIth Dynasty (circa 1600 B.C.)This indicates a later development in Egyptian weaving techniques.
6. A wooden model of a group of women spinning and weaving, discovered by Professor John Garstang at Beni Hasan, provides further evidence for the existence of horizontal looms in Ancient Egypt.This model, found in the Museum of the Liverpool Institute of Archæology, helps to confirm the depictions in tomb illustrations.
7. The Egyptian vertical loom, while distinct from the horizontal loom, was not truly upright.Its depiction as upright in tomb paintings was due to the limitations of ancient Egyptian perspective.
8. The vertical loom was common in Egypt by the XVIIIth Dynasty (circa 1425 B.C.)This suggests a shift towards a more efficient and space-saving design.
9. The Greek upright loom, unlike the Egyptian vertical loom, had only one beam and relied on warp weights for tension.This fundamental difference highlights the unique features of Greek weaving.
10. The Greeks were familiar with the tapestry loom, as illustrated on a small lekythos in the British Museum.This type of loom, which involves creating patterns directly on the warp threads, is considered a more rudimentary form of weaving.
11. The discovery of numerous pyramid-shaped clay warp weights in Egypt is attributed to the Roman period.This suggests the potential existence of vertical looms with warp weights in Egypt during Roman times.
12. The existence of warp-weighted looms in Greece is confirmed by illustrations, including the depiction of Penelope at her loom.These illustrations, though not technically precise, provide valuable visual evidence of Greek weaving practices.
13. The warp threads in Greek looms were bunched together before being weighted, ensuring consistent tension and preventing unraveling.This practical detail is absent in the artistic representations of these looms but is crucial for understanding their functionality.
14. The Scandinavian warp-weighted loom, similar to the Greek loom, was documented by Olafsson in hisOeconomische Reise durch Island(1787).This suggests the continuity of this type of loom in Scandinavian cultures.
15. The “beater-in” in Scandinavian looms was sometimes crafted from a whale’s jaw or rib.This reflects the innovative use of available materials in pre-industrial societies.
16. The use of warp weights for maintaining tension was not limited to Greece and Scandinavia.Similar looms with warp weights are documented in Syria and Cyprus, indicating the widespread adoption of this method.
17. The use of a spool for holding the weft thread is evident in the illustrations of both Greek and Egyptian looms.This tool was a common feature in ancient weaving practices.
18. The “Linen Girdle of Rameses III” is a notable example of Egyptian textile craftsmanship, showcasing intricate designs and excellent workmanship.This girdle, despite its impressive complexity, was likely woven on a simple loom without a reed.
19. The examination of fifteen mummy wrappings by W.W. Midgley revealed the use of both linen and wool in Ancient Egyptian textiles.This analysis sheds light on the materials and techniques used in Egyptian weaving.
20. The presence of imported wool in some mummy wrappings indicates trade connections with other regions, particularly India or Kashmir.This highlights the global reach of ancient textile production and exchange.

Statistics:

1. The “Linen Girdle of Rameses III” was an impressive 17 feet (5.2 meters) long.This unusual length suggests its importance and possible ceremonial use.
2. The girdle’s width tapered from 5 inches (12.7 cm) to 1 7/8 inches (4.8 cm).This unique taper was likely achieved by gradually dropping warp threads during weaving.
3. The girdle had a remarkably high thread count, estimated at 272-340 warp threads per inch (107-134 per cm).This signifies the intricate nature of the weaving and the skill of the weaver.
4. The “one-up-and-one-down” linen cloth, sample No. 1, had a warp thread count of 44 per inch (17 per cm).This indicates a relatively coarse weave.
5. The imported wool cloth, sample No. 3, had a thread count of 22 warp threads per inch (8.8 per cm).The fineness of the weave points to the high quality of this imported fabric.
6. The coarse linen cloth, sample No. 5, had a warp thread count of 56 per inch (22 per cm).The higher thread count indicates a more tightly woven fabric.
7. The highly-sized linen cloth, sample No. 6, had a warp thread count of 48 per inch (19 per cm).This indicates a relatively coarse weave and the use of sizing agents to stiffen the fabric.
8. The heavily-sized linen cloth, sample No. 8, had a warp thread count of 36 per inch (14.1 per cm).This indicates a very coarse weave and the extensive use of sizing agents.
9. The linen cloth with a complex selvedge, sample No. 10, had a warp thread count of 32 per inch (12.6 per cm).This emphasizes the intricate detailing in the selvedge and the weaver’s meticulous craftsmanship.
10. The fine linen cloth with a red-dyed selvedge, sample No. 11, had a warp thread count of 80 per inch (31.5 per cm).This indicates a fine weave and the use of dye to create a decorative element.
11. The red-dyed linen cloth, sample No. 12, had a warp thread count of 96 per inch (37.4 per cm).This suggests a relatively fine weave and the use of red dye, likely “ferum,” which often affected the fibers’ resilience.
12. The variegated linen cloth, sample No. 13, had a warp thread count of 80 per inch (19 per cm).This highlights the use of dye to create a striped pattern.
13. The soft-woven linen fabric with irregular lines, sample No. 14, had a warp thread count of 56 per inch (22 per cm).This reflects the use of varied warp thread thickness for achieving textural effects.
14. The variegated linen fabric, sample No. 15, had a warp thread count of 64 per inch (25 per cm).This showcases the use of different colored warp threads for creating a patterned fabric.
15. The “Linen Girdle of Rameses III” had a thread count of 272-340 warp threads per inch (107-134 per cm).This emphasizes the intricate nature of the weaving and the weaver’s skill.
16. The warp thread diameters in the mummy wrappings ranged from 1/25th to 1/71st of an inch (1 mm to .2/8 mm).This range illustrates the variation in thread thickness used in different fabrics.
17. The mean fiber diameter of the weft in sample No. 1 was 1/1768 of an inch (0.144 mm).This measurement provides a specific example of fiber size.
18. The mean fiber diameter of the warp in sample No. 1 was 1/1786 of an inch (0.142 mm).This measurement highlights the slight difference between the weft and warp thread sizes.
19. The average warp thread count for the mummy wrappings was 60.2 per inch (23.7 per cm), while the average weft thread count was 28.9 per inch (11.4 per cm).These statistics provide an overview of the thread counts in the analyzed samples.
20. The average fiber diameter of the weft in the mummy wrappings was 1/1681 of an inch (0.15 mm).This provides a general statistic for the fiber size across the analyzed samples.

Terms:

1. Selvedge:A finished edge of a woven fabric, preventing fraying.
2. Warp:The lengthwise threads in a woven fabric, forming the basis for the structure.
3. Weft:The crosswise threads in a woven fabric, interlaced with the warp threads.
4. Shed:The opening created in the warp threads to allow the weft thread to pass through.
5. Heddle:A frame with loops or wires that raise and lower groups of warp threads to create the shed.
6. Lazerod:A rigid rod used to separate the warp threads and hold them in place during weaving.
7. Beater-in:A tool used to push the weft thread into place, tightly against the previously woven rows.
8. Warp Weight:A weight attached to the warp threads in upright looms to maintain tension.
9. Tapestry Loom:A type of loom where patterns are created directly on the warp threads, without a separate weft.
10. Sizing Agent:A substance applied to textiles to stiffen or smooth them.

Examples:

1. The tomb of Chnem-hotep at Beni Hasan features illustrations of Egyptian weavers using horizontal looms.The details in these paintings offer valuable insights into the loom’s design and operation.
2. The wooden model of a group of women spinning and weaving, found at Beni Hasan, confirms the existence of horizontal looms in Ancient Egypt.This model provides tangible evidence to support the illustrations.
3. The “Linen Girdle of Rameses III” is a remarkable example of Egyptian textile craftsmanship, showcasing intricate designs and exceptional workmanship.Its intricate patterns and high thread count highlight the Egyptians’ skill.
4. The small lekythos in the British Museum depicts a woman using a tapestry loom, illustrating the Greek familiarity with this type of weaving.This example showcases the rudimentary nature of tapestry weaving compared to other forms of textile production.
5. The illustration of Penelope at her loom on an Athenian skyphos depicts a Greek upright loom with warp weights.This image, though not technically accurate, provides visual evidence of the Greek weaving technique.
6. The Scandinavian warp-weighted loom, documented by Olafsson, is similar in design to the Greek loom.This reflects the cultural continuity of this weaving technique in Northern Europe.
7. The use of whale’s jaw or rib as a “beater-in” in Scandinavian looms illustrates the resourceful use of available materials in pre-industrial societies.This example showcases the adaptability and innovation of ancient weavers.
8. The imported wool fabric in mummy wrappings provides evidence of trade connections between Ancient Egypt and other regions, particularly India or Kashmir.This demonstrates the global reach of textile production and trade in antiquity.
9. The detailed analysis of mummy wrappings reveals the use of both linen and wool in Ancient Egyptian textiles, highlighting the variety of materials employed.These analyses offer specific examples of the fibers and techniques used in weaving.
10. The diverse thread counts and fiber diameters in the analyzed mummy wrappings demonstrate the range of weaving techniques and fabric qualities in Ancient Egypt.This highlights the adaptability and sophistication of Egyptian weaving practices.

Conclusion:

The text reveals that ancient weaving practices varied significantly between Egypt and Greece, highlighting the distinct technological advancements and cultural influences that shaped textile production in these ancient civilizations. The Egyptians were early innovators in weaving, developing simple but effective looms and techniques that evolved over time. They were skilled craftsmen, producing a range of fabrics using tools such as the heddle and the “beater-in.” The Greeks, on the other hand, relied on a more rudimentary, warp-weighted upright loom, reflecting their own cultural and technological context. While the Greeks were familiar with tapestry looms, they were generally less advanced in weaving technology than the Egyptians. This comparison emphasizes the importance of considering the specific cultural and historical contexts when examining the development of weaving practices in different societies.

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