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Volume One
Acknowledgements iv
Introduction xiii
Notes to the Reader xxv
Overshot 1-508
Overshot Overview 1-29
“Typical” coverlet 1
Patterns 2-3
Monk’s Belt version 3
Origin? 3-4
Quantity 4
Dating 4, 15
Pattern names 4-7
Drafts, early 6-7
Characteristics 8
Yarns 8-11
Weight of a coverlet 10-11
Color and dyes 11-15
Patterning 15-16
Size of a coverlet 16
Panels 2, 3, 16-18
Selvedges 18
Borders 18-19, 20-23
Squaring 19-20
Pattern size and proportion 19-20
Joining Panels 18, 20
Finishing warp ends 20
Fringes 23-26
Quality, perfection 26-27
Aesthetics 27-29
Conclusion of overview 29
Monk’s Belt 30-37
Basic characteristics 31
Blocks, introduction 31-32, 33
Opposites 32
Tabby - defined 32
Tabby - determining 32, 35
Yarns 32
Treadling 32
Early draft interpretations 33-37
Threading 34
Treadling 34
As-drawn-in 35
Early ways vs. today’s 35-36
Doublers 36-37
Stroke drafts 36-37
Overshot: 4 blocks, 4 harnesses 38-92
Theory and structure 39
Half-tones 39
Block orders possible 39
With adjacent blocks 40
Theory and structure 40-42
On-opposites 42-44
Theory and structure 44
Opposites, area(s) of 44-46
Early drafts 46-64
Types and how to interpret 46-54
Very Specific 47
Specific 48
Paired Numbers 49
Stroke-type 50
Notation variations 51
General information 51-53
Tie-ups 53-54
Treadling
As-drawn-in 54
“Squaring” a pattern 54-56
Rose fashion 57-58
Variations 59-64
Other Characteristics 64-115
Tabby 64-71
Plain Weave 65
Double Tabby 66-71
Variations 71
Doublers, split and unsplit 72-81
Symmetry 82-88
Broad-narrow 82-88
Perfection 82-88
Errors 88-92
On early drafts 88-90
Interpretations 90, 92
Is It Old? 93-115
“Transitional” period 94-96
Contemporary weavers/weaving 94, 96
“Is It Old” Gallery with comments 97-115
Multi-Harness Overshot 116-143
Introduction 117
Variety of structures 117-119
Gallery with technical explanations 119-143
Overshot Gallery 144-458
Introduction 145
Pattern Groups
Monks Belt, 2 blocks 146-155, 156
Monks Belt-like, 4 blocks 156-159
Blocky 160-180
Both motifs the same 180-189
Two simple motifs 190-197
Directional 198-205
Stairstep separators 206-208
“Star-tables” 208-223
Motifs with shared blocks 224-230
Unusual as-drawn-in treadling 231
Diamonds 232-241
Simple tables and crosses 242-247
Simple tables and diamonds 247-260
Table and simple cross, evolving 261-270
Pine Burr types 271-280
Pine Burr-like 281-284
4 blocks on opposites 285-286
Simple and fancy tables 287-299
Evolving 300-307
Tables/radiating motif 308-321
Leaves 322-344
Rose/star clusters and table 345-367
Variations 368-383
Chariot Wheels 384-412
Circle Patterns 413-458
Dated Overshot Coverlets 459-497
Introduction 461
Gallery of coverlets in
chronological order 462-486
Cross-stitched date 487
Letters woven in/variations 488-489
How dates were woven 489-492, 477
Concluding notes 492-497
Photos of dates 494-495
Contemporary interpretations 496-497
Overshot endnotes and credits 498-508
Volume Two
Twill II 1-154
Introduction II 1-2
Straight Twill II 2-10
Four harness basics II 2-3
Gallery II 4-10
Point Twill and “Herring Bone” II 10
Four harness basics II 10
Gallery II 11-14
Extended Point Twill II 15
Four harness basics II 15
Gallery II 15-19
Broken Twill II 20
Gallery II 20-21
Multi-harness Point Twill
Basics II 22-27 (33, 37)
Gallery II 28-38
Patterns from early draft books II 38-55
Variations in tie-ups
on Fancy Twills II 56
Basics II 56
Gallery II 57-59
Patterns from early draft books II 60-68
Fancy tie-ups creating stars, etc. II 69-88
Turned Twill-like tie-ups II 88-95
Brocade-like patterns II 96-109
Extended Point Twill, multi-harness II 110-114
Broken, multi-harness Twill II 115
Twills in blocks
2 block, 10 harness II 116-121
Point Twill in blocks, fancy
2 block, 12-20 harnesses II 122-139
3 block, 12 harnesses II 140-141
3 block, 10 harnesses II 142-142, 146-151
3 block, 16 harnesses II 144-145
Transition to Turned Twill II 152
Twill Endnotes and credits II 153
Turned Twill, Turned Satin, Combination Weaves II 155-218
Introduction II 157
Overview II 157-160
Turned Twill
Theory, structure and variations II 161-163
Early drafts II 164
Structure variations II 164-168
Diaper Coverlets vs. Damask Diaper
Early terms and ways II 168-169
Turned Satin
Structure II 170-172
Combination Weaves
Turned Twill and Turned Satin plus
Point Twills II 173-177
Gallery
Turned Twill Coverlets II 178-192, 194-205
Turned Satin II 193
Combination Weaves II 206-209
Drawdowns of early patterns II 210-217
Chapter endnotes and credits II 218
Double Weave II 219-322
Structure, simplified II 221-225
Historical context II 225-226
Overview II 225-232
Number of blocks used II 226
Plain Weave ground II 226-227
Patterning II 227-229
Yarns II 229
Borders, fringes and seams II 229-230
Combining blocks II 229, 234
“Squaring” a pattern II 230
Sett, pattern repeats, panels II 230
Errors? II 230-232
Structure in Detail II 232-234
Early draft books II 234-235
Early drafts, interpreted II 235-237
Errors, doublers and tie-ups II 237-240
Gallery II 241-322
Introduction II 241
Four and five blocks, no combining II 242-263
Four blocks, combining II 264-267
Five blocks, combining II 268-270
Checkerboard-with-dots patterns II 271-274
Snowball patterns II 275-303
Blossom patterns II 304-309
“Framed” patterns II 310-319
Double Weave endnotes and credits II 321-322
Just Patterns or Orphaned Patterns meant to be woven in Double Weave, Turned Twill or Turned Satin II 323-350
Introduction II 325
Early sources used II 325
Inspiration? II 325-326
Patterns, Patterns, Patterns II 326-349
From checkerboards II 326-328
From diamonds II 329-331
Columnar patterns II 332-334
Intricately combined patterns II 334-335
Framed patterns II 336-341, 348-349
Bold and contemporary looking II 342-344
Unusualities II 344-347
From sketch to drawdown
John Landis’ method II 347-349
Just Patterns endnotes and credits II 350
Summer and Winter II 351-403
Brief description II 353
Comparison to other weaves II 353
Name origin II 354-355
Early Draft II 355
Overview of the coverlets II 355
Number of blocks II 355
Combining blocks II 355-356
Stereotypical coverlet II 356
The coverlets
Yarns and Patterining II 356
Quantity woven II 357
Borders and fringes II 357
Errors II 357
Old vs new and
“Rules” and appearance II 357-358
Background appearance II 358
Units and half-units II 358
History speculation II 358
Structure in detail II 360
Background area, floats & ties II 360
Compared to Overshot II 360-361
Tie-downs or binders II 361
Floats II 361
Number of harnesses needed II 361
20th century version II 362
Units and half-units II 362
Early drafts II 363
Determining tie-up and treadles II 363-364
Looms used ? II 364
Number of blocks used II 364-365
Did blocks combine? II 364-365, II 397-401
Tie-ups and treadles II 364-365
Interpreting drafts II 365-368
Treadling II 367-368
Contemporary treadling variations II 368-370
Summary II 370-371
Summer and Winter Gallery
Introduction II 371
Coverlets II 372-401
Diamond patterns II 372-373
Enlarged star or fancy table and star pattern II 374-386
Wheel patterns II 386-392
Wheel variations,
“Rose in Bloom” II 392-396
With combined blocks II 397-401
Summer and Winter endnotes and credits II 402-403
Star and Diamond II 405-482
Introduction II 407
Overview of
Structure and patterns II 407-409
Coverlet details,
Blocks, yarns, sett, etc. II 409-412
The variety of structures II 412-413
Two approaches to drafting II 413-416
Tie-downs explained II 414-415
Combining blocks II 416
Structures and variations II 416-426
Commonalities II 417
Tied structures II 417-424
I. Odd number of ends per block II 417-419
II. With brocade-like areas II 419-421
III. Combining structures II 421
IV. Even number of ends per block II 421-422
V. Tied variation II 422-423
VI. “Borrowed” tie downs II 423-424
Other Structures II 424-426
VII. Discrete blocks, no overlapping II 424-425
VIII. Discrete blocks, staggered edges II 425-426
Conclusion II 426
Gallery Prologue II 426-434
Peter Stauffer, early weaver
His coverlets, sampler and pattern book compared II 428-434
Star and Diamond Gallery II 434-481
Group I II 434-452
Group II II 453-459
Group III II 460-462
Group IV II 463-465
Group V II 466-469
Group VI II 470-473
Group VII II 474-477
Group VIII II 478-481
Conclusion II 481
Star and Diamond endnotes and credits II 482
Miscellaneous: Ribbed, Weft-faced and Honeycomb-like Coverlets II 483-517
Introduction: Strange bedfellows II 485
Ribbed coverlets II 485-496
Structure II 486-487, 491, 492, 495
Gallery II 488-496
Type I II 488-494
Type II II 494-496
Boundweave or
Weft-faced Plain Weave II 497-507
Structure II 497-499
Early reference II 497
Coverlet characteristics II 499
How to read these drawdowns II 499
Gallery II 500-507
Honeycomb II 508-516
Defined II 508
Characteristics II 508
Early drafts II 508-511
Structure II 509-511
“Dimity” II 509-511
Gallery II 512-516
Four and eight harness honeycomb
Miscellaneous endnotes and credits II 517
Motifs II 519-538
Introduction II 521-523
Number of motifs for a pattern II 521
Structures II 522-523
How to read the Motif Charts II 523
The Charts II 524-537
01. Separators II 524
02. Even checkerboards II 524
03. Uneven checkerboards II 524
04. Simple tables, 2 block, even II 525
05. Simple tables, 2 block, uneven II 525
06. Fancy tables, 2, 3, 4, blocks II 526
07. Crosses II 526
08. Crosses Plus II 527
09. Diamonds II 527
10. Diamonds, blocks combine II 527
11. Radiating II 528
12. Radiating, Leaves II 529
13. Stars and their Roses II 530
14. Star-like motifs II 530
15. Simple motifs, blocks combine II 531
16. Wheels from crosses II 532
17. Wheels/ Star or Rose center II 533
18. Snowballs II 534
19. Fancy Snowballs II 534
20. Fancier Snowballs II 535
21. Eight-pointed stars II 535
22. Eight pointed stars/brocade-like II 536
23. Eight-pointed stars from Star and Diamond patterns II 536
24. Flowers from Star and Diamond patterns II 537
Motifs endnotes and credits II 538
Trees and Churches II 539-558
Overview
Trees on coverlets II 541
Crossed pine trees II 541-542
Weave structures used II 543-544
On borders and more II 544
Columnar patterns II 544
Churches II 545
Upright and side trees
Treadling described II 545-546
From one motif, a variety of trees II 547-554
Snowballs II 547-550
Roses II 550-551
Roses and Snowballs II 551
Tiny Diamonds II 552
Crosses II 552-553
Blossom-like motifs II 553
Eight-pointed stars II 554
Miscellaneous II 554
Churches
From early draft books II 555-556
Trees and Churches endnotes and credits II 557-558
Evolution of Patterning II 559-594
Origins of the theory II 561
A flight of fancy
Two block Overshot to four II 561-564
Evolution of structure II 563-564
Keeping the old with the new II 564
Four block Overshot and how it grows
Blocky patterns/ opposite and adjacent blocks II 565-566
Checkerboards to Stars II 566
Stars to Roses II 567
Patterns grow II 567-568
Star-tables II 568-569
Checkerboards to simple tables II 569
Getting fancier II 570
And fancier II 571
Simple tables, stars or roses, and separator II 572-574
Stars to Chariot Wheels II 574-576
Other Chariot Wheels II 577
Simple tables and cross
One branch II 578
Another branch II 579
To a Pine Burr variation II 580-581
A grand circle route II 581-584
Missing link II 581-582
And another route, cross emphasis II 584-588
Radiating II 585-586
Leaves II 586-588
Directional patterns II 588
Patterns when blocks combine II 588-592
Very simple crosses evolve II 588-589
From a rose to a fancy snowball II 590-592
Conclusion
Pattern Evolution: by choice or chance? II 592-593
Epilogue
How does an art grow? II 593
Evolution of Patterning endnotes and credits II 594
An Annotated Bibliography: Early pattern books and early drafts II 595-615
Overview of source material used II 597-598
Books used for this study II 599-610
(shown in chronological order)
Draft collections used II 610-614
Annotated Bibliography endnotes and credits II 615
Bibliography II 616
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