Two Asymmetrical Pavy Weaves

© Carolyn Priest-Dorman, 2003

A year ago my article “Some More Medieval Linen Weaves” presented a number of multishaft medieval liseré weaves of pavy design. One important design feature common to all these textiles was that the wales of the pattern all lined up and met perfectly. Accordingly, when I was attempting to draft an 8-shaft version of a pavy liseré weave for that article I focused a lot of attention on getting the diagonals to line up perfectly.

Last summer, however, I ran across two historic pavy weaves that are markedly irregular; their float arrangements are not perfect, and the wales do not line up perfectly. Further, the structure of these particular two textiles is not a liseré; it is a gebrochene. That is, it is an “Ms and Ws” structure with twill floats in both warp and weft systems, not just in the weft system as with a pavy liseré.

Middelburg-Nassau-Grimbergen, draft no. 1

One is part of an antependium from Middelburg-Nassau-Grimbergen, now in the Koninklijk Instituut voor het Kunstpatrimonium in Brussels. It dates to the first third of the 16th century. A complete analysis was not available to me, but the drawdown by J. Vynckier (de Jonghe, p. 70) was. The other is a large fragment of linen (Tx 63) in the collection of the Abbey of St. Truiden in Tongeren, Belgium. It was analyzed by Daniël de Jonghe (pp. 270-272), who assigns it a date similar to that of the Middelburg piece. Although the piece is a fragment, the complete width of 33.6 cm survives, including both tabby selvedges. Like most medieval ecclesiastical linens, it is woven with Z-spun singles line linen. The thread count is about 60 ends and 45 picks per inch, and the cloth is bleached.

If the structural analyses by de Jonghe and Vynckier are correct as printed, then the two textiles are curious inversions of one another. Both textiles are identically drawn in, yet their tie-ups are exact opposites. If, however, the structural analysis by Vynckier is drawn using a different convention than that by de Jonghe, then the two textiles may be closely related.

Middelberg-Nassau-Grimbergen draft no. 2

De Jonghe’s textile analysis can be checked against the photo of Tx 63; as always, he represents the warp with black and the weft with white. I was not able to check Vynckier’s analysis against the antependium because I do not currently have access to a photo of the actual textile. But if Vynckier’s drawdown uses white to represent the warp and black the weft, then the two textiles could be woven on the same warp using the same tie-up by simply changing the treadling sequence. Because de Jonghe dates them together due to their commonalities, it’s worth considering that they might be closely related, perhaps from the same production center. Accordingly, I give two different versions of the Middleburg draft, for those who’d like to try weaving them both on one warp without switching tie-ups.

St.-Truiden Tx 63

The draft called “Middleburg 1” is the one I first derived from the drawdown. It assumes the black-warp, white-weft CIETA convention that de Jonghe uses. The “Middleburg 2” draft I based on my hunch that the two textiles are related, and that Vynckier might have represented the textile “backward” from the CIETA convention. Instead, it is predicated on a white-warp, black-weft convention. The draft for Tx 63 is cut down and reworked from that of de Jonghe (p. 272), whose drawup and draft present more than a complete repeat and are tied up differently than I would do it.


Sources:

Daniël de Jonghe, “De Textieldocumenten uit Sint-Truiden: Technologische Bevindingen,” pp. 63-105 in Stof uit de Kist: De middeleeuwse textileschat uit de abdij van Sint-Truiden. Leuven, Belgium: Uitgeverij Peeters, 1991.

Daniël de Jonghe, catalogue entry for Tx 63, pp. 270-272 in Stof uit de Kist: De middeleeuwse textileschat uit de abdij van Sint-Truiden. Leuven, Belgium:  Uitgeverij Peeters, 1991.


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This article was originally published in Issue 35 (March 2003) of Medieval Textiles, the newsletter of the medieval textiles study group of Complex Weavers.  The drafts and drawdowns I submitted were created using the freeware drafting program, WinWeave.  Using GIMP, I have turned the original drafts into graphics for republishing here.

A Medieval Kruiswerk Weave

© Carolyn Priest-Dorman, 2002

The ordinances of the London Guild of Weavers name several different linen products in their price list of 1456: linen cloth, plain towel, napery and towels of Paris work, "crosse werk," cross diamond, small knots, chains in work, "catrylettes," "damask knots with the chapelettes," and "all manner work made in draught work" (Consitt, pp. 205-207).  Many of these apparently were figured weaves.  While researching pavy weaves, I encountered a class of Renaissance linen patterning called in Dutch kruiswerk, or cross work.  Since cross work is listed as a 15th century weave in the London list, it drew my eye immediately.

J. Six's article mentions or shows photos of several kruiswerk examples, although none of them are dated to earlier than around 1600.  Kruiswerk is a subset of the gebrochene class of weaves, an elaboration of pavy in which certain design elements are stretched out by adding stairsteps to the typical Ms and Ws threading.  Unlike the pavy liseré weaves from the last article, they have twill floats of varying length in both systems on both faces of the textile.  The historic examples all require more than four shafts to weave.

None of the 17th and 18th century gebrochene variants in Zeigler or Lumscher look quite like kruiswerk; most of them are closer to pavy in style.  Marjie Thompson published the draft of an early 17th century kruiswerk, the "Earl of Mar canvas," in 1997.  However, late last spring I encountered an even earlier example, a textile dating to around the 15th century, Tx 60, documented among the holdings of the Abbey of St. Truiden in Belgium.  It is in the same pattern family as Six's kruiswerk examples and the Earl of Mar piece.

Here is a draft of Tx 60 from St. Truiden.  Daniël de Jonghe analyzed the weave and produced a draft which I have simply redrafted into a more standardized American notation.



This particular kruiswerk is woven on 12 shafts.  Unlike the Earl of Mar piece, its twill floats are balanced by an expanse of tabby ground.  The original textile remnant is a complete loomwidth of between 64 and 65.8 cm in width and 21.5 cm in length.  It is woven of linen, possibly bleached, at 23 warps and 17 wefts per centimeter.  Each selvedge is reinforced with a single S-plied thread (Stof uit de Kist, pp. 268-270).

It is not clear to me yet where Six got the term kruiswerk, but his article suggests there's an early manuscript with drafts of this type of weave structure.  I am looking into this more deeply, as it would be so nice to be able to identify kruiswerk as the "cross work" of the London regulations.


Sources:

Consitt, Frances.  The London Weavers' Company from the Twelfth Century to the Close of the Sixteenth Century.  Oxford: Clarendon Press, 1933. 

Hilts, Patricia.  The Weavers Art Revealed.  Facsimile, Translation, and Study of the First Two Published Books on Weaving: Marx Zeigler's "Weber Kunst und Bild Buch" (1677) and Nathaniel Lumscher's "Neu eingerichtetes Weber Kunst und Bild Buch" (1708).  Ars Textrina, vols. 13-14 (December 1990).

Six, J. "Kruiswerk, Lavendel, Pavy en Pellen," Het Huis, Oud & Nieuw, vol. 10 (1912), pp. 105-122.

Stof uit de Kist: De middeleeuwse textielschat uit de abdij van Sint-Truiden.  Provinciaal Museum voor Religieuze Kunst, Begijnhofkerk, Sint-Truiden.  Leuven: Uitgeverij Peeters, 1991.  (Textile analysis and catalogue entry by Daniël de Jonghe.)

Thompson, Marjie.  "The Earl's Canvas," Weaver's, Issue 38 (Winter 1997), pp. 38-40.



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This article was originally published in Issue 33 (September 2002) of Medieval Textiles, the newsletter of the medieval textiles study group of Complex Weavers.  The draft and drawdown I submitted were created using the freeware drafting program, WinWeave.  All my drafts were translated by the editor into better software for printing and publishing.  Due to the large size of the repeat, the draft was not printed in its entirety.  A separate drawdown was printed plus a draft of the complete threading plus the first half of the treadling.   

Using GIMP, I have re-edited my original draft into a graphic for inclusion here.  I have chosen to reintegrate the threading, tie-up, treadling, and drawdown back into a single graphic.  The tie-up is for rising shed/countermarche.  Having it all appear as a single image gives a better idea of how the threading, tie-up, and treadling work together to produce the patterning.

This post was delayed by several weeks due to my being so inexperienced at editing graphics.  I had to cut and paste several different pieces of the original draft together into one big image, then hand-retouch a great many of the seams literally pixel by pixel.  Fortunately, though, I learned a whole lot by doing so!  Hopefully the next work won't take so long to produce.

Some More Medieval Linen Weaves

© Carolyn Priest-Dorman, 2002


This article presents some multishaft self-patterned linen weaves that are a bit more complex than those of previous articles.  The interlacements can be woven on seven to 15 shafts.  All drafts were produced by the present author; with the exception of "Pavy 8," which is original, they were developed from drawdowns by the authors noted in the text.

Two basic classes of weave structure are represented by these more complex textiles.  Like some of the simpler self-patterned weaves, they share two basic principles.  First, they are self-patterned, with a single warp system and a single weft system.  Second, they display regularly repeating areas of different length floats in the same textile.

The first class has areas of twill floating in both systems on both faces.  Beyond "twill," this class of structure does not seem to have a specific name, although many of the weaves represented qualify as composite twills in CIETA terminology (Burnham, p. 29).  Many variants appear in Davison's chapter on "twill combinations," mostly based around the point repeat lozenge twill and the gebrochene, or "Ms and Ws," twill.

The point repeat lozenge twills covered in the previous article have some more complex cousins.  The Vatican's T-5, from the Museo Sacro collection, is a particularly attractive example (see draft).  This 13-shaft linen is of unknown medieval date (Volbach, pp. 16-17).  Its thread count is unavailable; however, Volbach's drawdown suggests the original proportions of the sett, four warps for every three wefts, yielding a lovely network of elongated twill lozenges filled with tabby.

 Another example is the "bloeddoek" (cup cover?) at Hoogstraten in Belgium, which dates to the last quarter of the 14th century (De Jonghe, p. 66).  Although De Jonghe analyzed it as a 16-shaft weave, if his drawdown is correct it can be woven on 15 shafts and 15 treadles (see draft).  The twill sections involve floats over three threads.  De Jonghe's drawdown notes a shedding anomaly in the original that results from one tie-up having been omitted; whether error or intention is unknown.  The draft below preserves the original error, but adding Shaft 5 to Treadle 9 in the draft will perfect the shedding.

The second type of weave structure to be considered here is one with twill floats of varying length in only one system per side of the textile.  Specifically, these textiles have only weft floats on the face of the textile, against a foundation of tabby.   The appropriate CIETA terminology to apply to these textiles is liseré weaves (Burnham, p. 86).  The effect is similar to a brocade, except that the floats do not derive from a supplemental weft.  Many medieval linen or silk liseré textiles are quite elaborate, woven on various types of drawlooms.  The one presented here, the linen chasuble from the Church of St. Godehard, is simple enough to be woven on a 16-shaft loom (see draft).

This 14th century liseré textile, preserved at Hildesheim in Germany, exhibits a marvelous pattern reminiscent of tiled floors.  As far back as 1682, this particular pattern was being called "pavy" (Six, p. 110),  no doubt from the French pavé, or paving stone; the term may be somewhat older.  Pavy patterning can also be woven as a class of gebrochene twill.  Patricia Hilts' section on gebrochene weaves from the introduction of her The Weavers Art Revealed devotes some discussion to the development and augmention of just such a pattern.  However, a liseré pavy weave lacks the floats in the warp system that are characteristic of gebrochene pavy weaves.

The St. Godehard linen is woven on14 shafts (De Jonghe, p. 66), and the twill areas involve floats over four warps.  It was woven at about 80 ends and picks per inch, with a weft thread slightly thicker than the warp thread (Flury-Lemberg, p. 500).  I have drafted it from Flury-Lemberg's drawdown using a standard gebrochene threading and treadling.

(drafted for rising shed)

 A similarly patterned pavy liseré exists at Maastricht in the Netherlands; its weft floats are over five warps.  The thread count is about 45 ends and picks per inch (Stauffer, no. 138, p. 214).  The tabby sections are large, and the twill floats are arranged in pairs separated by a single warp thread.  Accordingly, it appears to have been woven on 18 or 20 shafts.  Another fragment of a pavy liseré  (number 7c) is preserved among the relics at Tongeren in Belgium, also with five-thread floats.  Its thread count is about 48 ends and 45 picks per inch (De Jonghe, p. 138).

The pavy liseré weave evidently even crossed over from the linen industry into the German fustian industry.  One 10-shaft pavy liseré from the 15th or 16th century (Endrei, p. 61), Cologne Z 1020, has a linen warp and a cotton weft (von Stromer, p. 121).  For all we know currently, other examples of fustian in this weave may also exist.  There are certainly other known examples of pre-1600 pavy weaves; however, they are not as accessible or well published as the ones in this article.  It is therefore difficult to know whether they are liseré pavys or gebrochene pavys.

Using the basic design principles of the pavy pattern, I attempted to devise a pavy liseré draft for only eight shafts.  I did not succeed with any number of shafts fewer than eight.

(drafted for rising shed)

The eight-shaft draft presented here (Pavy 8) preserves the proportions of all its constituent lozenges as well as the symmetrical arrangement of all the pattern lines, which is not always easy with this pattern.  However, due to the comparatively small number of shafts involved, the floats are relatively short.  Accordingly, the contrast between long floats and areas of tabby is not as great as it would be on a textile woven with more shafts.  For best effect, pavy liseré needs to be woven on more than 8 shafts.


Sources:

Burnham, Dorothy K.  Warp & Weft: A Dictionary of Textile Terms.  New York:  Charles Scribner's Sons, 1981.

Davison, Marguerite Porter.  A Handweaver's Pattern Book, Revised Edition.  Swarthmore, Pennsylvania:  Marguerite P. Davison, 1993 [1950]. 

De Jonghe, Daniël. "Technologische Beschouwingen," pp. 65-88, and "Relieken," p. 122-248 in Textiel van de vroege middeleeuwen tot het Concilie van Trente.  Tongeren Basiliek O.-L.-Vrouw Geboorte, vol. I.  Leuven:  Uitgeverij Peeters, 1988.

Endrei, Walter.  "Les étoffes dites de Pérouse, leurs antécédents et leurs descendance."  Bulletin de CIETA, no. 65 (1987), pp. 61-68.

Flury-Lemberg, Mechthild.  Textile Conservation and Research: A Documentation of the Textile Department on the Occasion of the Twentieth Anniversary of the Abegg Foundation. Schriften der Abegg-Stiftung, Volume VII. Bern:  Abegg-Stiftung, 1988.

Hilts, Patricia.  The Weavers Art Revealed.  Facsimile, Translation, and Study of the First Two Published Books on Weaving: Marx Zeigler's "Weber Kunst und Bild Buch" (1677) and Nathaniel Lumscher's "Neu eingerichtetes Weber Kunst und Bild Buch" (1708), Part I: Marx Ziegler's "Weber Kunst und Bild Buch".  Ars Textrina, vol. 13 (December 1990).

Six, J. "Kruiswerk, Lavendel, Pavy en Pellen," Het Huis, Oud & Nieuw, vol. 10 (1912), pp. 105-122.

Stauffer, Annemarie.  Die Mittelalterlichen Textilien von St. Servatius in Maastricht.  Schriften der Abegg-Stiftung Riggisberg, Band VIII.  Riggisberg:  Abegg-Stiftung Riggisberg, 1991.

Stromer, Wolfgang von.  Die Gründung der Baumwollindustrie in Mitteleuropa.  Monographien zur Geschichte des Mittelalters, Band 17.  Stuttgart:  Anton Hiersemann, 1978.

Volbach, W.F.  I Tessuti del Museo sacro vaticano.  Catalogo del Museo sacro della Biblioteca apostolica vaticana, Vol. 3.  Città del Vaticano:  Biblioteca apostolica vaticana, 1942.

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This article was originally published in Issue 31 (March 2002) of Medieval Textiles, the newsletter of the medieval textiles study group of Complex Weavers.  The draft and drawdown I submitted were created using the freeware drafting program, WinWeave.  All my drafts were translated into better software for printing and publishing.  During that process the draft I created for the "bloeddoek," which specifically preserved the original shedding error Daniël de Jonghe noted in the original, was changed by the editor to correct the error.  The draft for the Godehard textile was truncated down to a quarter of its original threading and treadling, turning it from a gebrochene into a much simpler hin und wieder (point repeat lozenge) structure.

Using GIMP, I have re-edited each of my original drafts into a graphic for inclusion here.  The draft for the "bloeddoek" that appears here is the draft I intended to be published with the article, not the corrected draft which was published.  The draft for the Godehard textile shows the complete gebrochene threading and treadling repeat; due to the size of the draft, the rising shed indicators in the tie-up have been changed to black squares in order to make them more visible.
 

Some Medieval Linen Weaves

[This article was originally published in Issue 30 (December 2001) of Medieval Textiles, the newsletter of the medieval textiles study group of Complex Weavers.] 

© Carolyn Priest-Dorman, 2001

While the most common linen product in the Middle Ages was tabby-woven, weavers also produced many types of figured linens.  The rippenköper and Wabengewebe described in previous articles represent some early medieval examples.  This article expands the scope of medieval cultures and techniques producing simple figured linen weaves.