Hand-Loom Weaving: A Manual for School and Home Informative Summary

Overview:

This comprehensive manual on hand-loom weaving, written by Mattie Phipps Todd in 1902, explores both the historical and practical aspects of the craft. Beginning with a discussion of the origins of weaving, dating back to ancient Egypt and its presence in various cultures worldwide, the manual highlights weaving as the first industrial art practiced by primitive peoples. Todd then introduces the primitive loom commonly used in schools and meticulously outlines the advantages and disadvantages of this traditional tool.

The heart of the manual lies in its step-by-step guidance for weaving various objects using the Todd adjustable hand loom, which the author created to overcome limitations posed by the primitive loom. Through clear instructions and detailed illustrations, Todd covers a wide range of techniques, including stringing warp for different widths and materials, splicing various textiles, dyeing methods, and creating diverse woven articles like rugs, mats, hammocks, baskets, and even doll clothes. The manual also incorporates a section on weaving oriental rugs, offering fascinating insights into the history and techniques behind these intricate creations. Lastly, the author delves into the cultural significance of Navajo blankets, explaining their weaving methods and the symbolism embedded in their designs.

Key Findings:

The manual advocates for hands-on, practical education in weaving, emphasizing the holistic development of the child, encompassing intellect, dexterity, and creativity.
Todd emphasizes the significance of “doing” as opposed to merely “thinking,” highlighting the importance of practical experience in learning and mastering a craft.
The manual underscores the value of individual learning, advocating for educators to cater to students’ diverse abilities and provide them with challenges that align with their skill levels.
It emphasizes the importance of developing self-reliance and resourcefulness in children, encouraging them to take ownership of their learning and problem-solving.
The manual emphasizes the community-building aspect of weaving, where older students can mentor younger ones and contribute to the overall learning environment.

Learning:

Understanding the history of weaving: Readers will gain insight into the ancient origins of weaving and its cultural significance across different civilizations. They will learn about the various techniques and tools used throughout history, tracing the evolution of the craft.
Mastering basic weaving techniques: The manual provides detailed instructions for stringing warp, splicing different materials, and executing basic weaving patterns. Readers can learn how to create a variety of woven items using the Todd adjustable hand loom.
Developing skills in design and pattern creation: The manual guides readers through the process of replicating existing patterns, incorporating them into their weaving projects, and even creating their own original designs.
Exploring the world of color and dyeing: Readers will learn about different dyeing techniques, including the use of both chemical and vegetable dyes, and be introduced to color theory and its application in weaving.
Understanding the cultural significance of weaving: The manual presents the cultural significance of Navajo blankets and oriental rugs, highlighting their artistic and symbolic values. This provides readers with a broader perspective on the social and cultural contexts in which weaving has flourished.

Historical Context:

The manual was written in 1902, during a period of significant social and educational change. Industrialization was transforming society, and there was a growing awareness of the need for practical skills in education. This movement led to the rise of manual training and a renewed focus on hands-on learning. Todd’s manual reflects this shift, advocating for weaving as an integral component of a well-rounded education.

Facts:

Weaving is the oldest of the industrial arts. It has been practiced for thousands of years, with evidence dating back to ancient Egypt and Mesopotamia.
The Egyptians are considered the inventors of the loom. Two types of looms were in use – horizontal and perpendicular.
The Israelites were likely familiar with weaving before their sojourn in Egypt. It was during their stay in Egypt that they acquired the skills needed to execute the hangings in the Tabernacle.
Joseph’s “coat of many colors” demonstrates the existence of dyeing in ancient times.
The art of weaving migrated through Europe and became known in England after the Roman conquest.
Weaving is the first industrial art practiced by primitive peoples. This is evidenced by its presence among the savages of Central Africa and the islands of the sea.
The Egyptians used a stick with a hook at one end as a shuttle and a batten.
The Hindoo loom was a simple apparatus consisting of two bamboo rollers and a pair of gears. The shuttle served as both a shuttle and a batten.
The Indians obviated the problem of drawing in the sides of rugs by twisting two stout cords in the edge of the woof during the process of weaving.
The “new education” emphasized the child’s ability to work out their own solutions and invent new tools and techniques.
The Todd adjustable hand loom was invented to address the limitations of the primitive loom, particularly for use in crowded classrooms.
The Todd loom is adjustable to innumerable smaller square and oblong sizes.
Navajo blankets were first made by the Pueblo Indians, from whom the Navajo Indians learned the art.
Among the Pueblo Indians, men are the weavers, but among the Navajos, the women weave.
Navajo blankets were often used as clothing, but the best blankets were, and still are, worn at sacred dances.
The colors most used in Navajo blankets are white, gray, black, bright yellow, red, and sometimes blue.
The colors in old Navajo blankets, made with vegetable dyes, were beautiful and lasting.
The Navajo weave their blankets from the bottom up, with some working in one direction and others weaving from both ends toward the center.
Navajo blankets are finished with four border cords and small tassels at the four corners.
Turkish rug patterns are often geometrical or arabesque, as an edict from the Koran prohibited the reproduction of living things.

Statistics:

A full-sized rug requires nearly two yards of silkoline.
A large brass kettle holding about five gallons is used for dyeing.
To dye six yards of flannel, 3 oz. of Glauber salts and 3/4 oz. of sulphuric acid are needed.
A pint measure is used for diluting dyes, and the formulas are based on this invariable measure.
Navajo blankets often have as many as 29 different balls of color hanging from a single blanket.
The “steps” of a Kiz-Kilim rug are about 1/4 inch wide.
The warp strings for a hammock are 31 inches long for the metal loom and 29 inches long for the wooden loom.

Terms:

Warp: The lengthwise threads in woven fabric.
Woof: The crosswise threads in woven fabric.
Shuttle: A tool used to carry the woof threads across the warp.
Batten: A tool used to press the woof threads together.
Selvedge: The edge of woven fabric.
Bias: A diagonal cut in fabric.
Mordant: A substance used to fix dye to fabric.
Glauber salts: A chemical used in dyeing as a mordant.
Sulphuric acid: A corrosive acid used in dyeing.
Kilim: A flat-woven rug without a pile.
Bokhara rug: A type of oriental rug with a dense pile and geometric patterns.
Khiva rug: A type of oriental rug with a coarse texture and heavier pile than a Bokhara rug.
Navajo blanket: A traditional blanket woven by Navajo Indians, known for its intricate designs and vibrant colors.
Pile weaving: A type of weaving where the nap or pile stands up from the surface.

Examples:

The “coat of many colors” worn by Joseph in the Bible is an example of the early use of dyeing.
The “Abnákee Rug Industry” is an example of a successful revival of rug-weaving in New England.
The felt mats used in weaving are an example of durable and reusable material.
The “Jacob’s ladder” is an example of a simple and engaging exercise for young children.
The “Pussy-cat stairs” is another name for “Jacob’s ladder”.
The doll clothes illustrated in the manual provide examples of intricate weaving projects for children.
The illustration of a miniature Indian loom shows the simple tools used by Navajo Indians in their traditional weaving.
The “steps” in a Kiz-Kilim rug are an example of a perforated pattern.
The cross-stitch pattern on silk canvas is an example of a project that can be completed on the loom.
The “Republic of Childhood” by Kate Douglas Wiggin offers several examples of engaging weaving games for children.

Conclusion:

Mattie Phipps Todd’s “Hand-Loom Weaving” is a comprehensive guide that blends historical insights with practical instruction. It champions hands-on learning and the value of weaving as a skill that fosters creativity, resourcefulness, and a sense of community. The manual provides readers with a wealth of knowledge about weaving techniques, materials, and design principles, empowering them to create a diverse range of woven items. Moreover, the exploration of cultural traditions, such as Navajo blanket weaving and oriental rugs, adds depth and context to the craft, highlighting its enduring significance across time and cultures. By blending practical instruction with historical and cultural context, “Hand-Loom Weaving” invites readers to discover the beauty and joy of weaving, a timeless art form with a rich history and limitless possibilities.

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