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All Hands Are Enjoined to Spin : Textile Production in Seventeenth-Century Massachusetts." (1996)
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1996 All hands are enjoined to spin : textile production in seventeenth- century Massachusetts. Susan M. Ouellette University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Ouellette, Susan M., "All hands are enjoined to spin : textile production in seventeenth-century Massachusetts." (1996). Doctoral Dissertations 1896 - February 2014. 1224. https://scholarworks.umass.edu/dissertations_1/1224 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST c c: 315DLDb0133T[] i !3 ALL HANDS ARE ENJOINED TO SPIN: TEXTILE PRODUCTION IN SEVENTEENTH-CENTURY MASSACHUSETTS A Dissertation Presented by SUSAN M. OUELLETTE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 1996 History ALL HANDS ARE ENJOINED TO SPIN: TEXTILE PRODUCTION IN SEVENTEENTH-CENTURY MASSACHUSETTS A Dissertation Presented by SUSAN M. OUELLETTE Approved as to style and content by: So Barry/ J . Levy^/ Chair c konJL WI_ Xa LaaAj Gerald McFarland, Member Neal Salisbury, Member Patricia Warner, Member Bruce Laurie, Department Head History (^Copyright by Susan Poland Ouellette 1996 All Rights Reserved ABSTRACT ALL HANDS ARE ENJOINED TO SPIN: TEXTILE PRODUCTION IN SEVENTEENTH-CENTURY MASSACHUSETTS FEBRUARY 1996 SUSAN M. OUELLETTE, B.A., STATE UNIVERSITY OF NEW YORK PLATTSBURGH M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Barry J. -
Greek and Roman Textiles and Dress Ebook
GREEK AND ROMAN TEXTILES AND DRESS PDF, EPUB, EBOOK Mary Harlow | 320 pages | 28 Feb 2015 | Oxbow Books | 9781782977155 | English | Oxford, United Kingdom Greek and Roman Textiles and Dress PDF Book The two scholars conclude that the technological innovation in textile production came from the east during all these periods. They had a chiton, which probably involved a certain amount of real sewing, although most of the needlework done by Greek women was in the form of embroidery. The spinster continued to feed tow from the distaff into the growing length of yarn until the spindle reached the floor. The peplos was fastened at the shoulders, armhole openings were left on each side, and the peplos might or might not be cinched with a belt. Caron, Beaudouin. Moffett, Kenworth. Italian Peninsula, B. Piotrovsky, Boris. Schlesinger Jr. It accompanies a major exhibition on view during the spring-summer of at The Costume Institute. Greene, Andrew. Her subject of study are the fullonicae of Ostia, for which she provides a number of diagrams illustrating the viewsheds from various locations within the workshops. Exchange was, not surprisingly, more common in the area of limes , but barbarians also exchanged Roman textiles with other barbarians, as is shown by Roman finds in the Baltic area of Poland. Tucker, Priscilla. Degas: The Artist's Mind. But opting out of some of these cookies may have an effect on your browsing experience. A short summary of this paper. Daniel, Malcolm. Rosenthal, Nan. Lazzarini, Lorenzo and Clemente Marconi. Greek and Roman Textiles and Dress Writer By merging the study of Greek religion and the study of textiles, the current study illustrates how textiles are, indeed, central materialisations of Greek cult, by reason of their capacity to accentuate and epitomize aspects of identity, spirituality, position in the religious system, by their forms as links between the maker, user, wearer, but also as key material agents in the performance of rituals and communication with the divine. -
Inventions in the Cotton Industry
Inventions in the Cotton Industry Paisley Thread Mill Museum A Family of Threads John Kay: The Flying Shuttle 1733 • For centuries handloom weaving had been carried out by the shuttle with the yarn on being passed slowly and awkwardly from one hand to the other. • In 1733 John Kay patented his flying shuttle which dramatically increased the speed of this process. • Kay placed shuttle boxes at each side of the loom connected by a long board, known as a shuttle race. • With cords, a single weaver, using one hand, could knock the shuttle back and forth across the loom from one shuttle box to the other. • A weaver using Kay's flying shuttle could produce much wider cloth at much faster speeds than before. James Hargreaves: The Spinning Jenny 1764 • In 1764 Hargreaves built what became known as the Spinning- Jenny. • The machine used eight spindles onto which the thread was spun. • By turning a single wheel, the operator could now spin eight threads at once. • Later, improvements were made that enabled the number to be increased to eighty. • However, the thread that the machine produced was coarse and lacked strength. Richard Arkwright: The Water Frame 1771 • Richard Arkwright: The Water Frame 1771 • In 1762 Richard Arkwright met John Kay and Thomas Highs, who were trying to produce a new spinning- machine, to improve on the Spinning-Jenny. • Kay and Highs had run out of money and Arkwright offered to employ John Kay to make the new machine, with other, local craftsman to help. • It was not long before the team produced the Spinning-Frame. -
The Industrial Revolution - Making Cloth: the Start of the Industrial Revolution
The Industrial Revolution - Making Cloth: The Start of the Industrial Revolution The Industrial Revolution - Making Cloth: The Start of the Industrial Revolution by ReadWorks The Industrial Revolution got its start in the textile industry. Before the Industrial Revolution, making cloth was a very slow process. Cotton from cotton plants is puffy and full of seeds. First, the seeds had to be taken out, by hand. Next, the cotton had to be spun and stretched into thread, by hand. Finally, the thread was woven into cloth, by hand. Every step along the way required the full concentration of one person. Making cloth took a long time. In 1764, the process of turning cotton into cloth began to change. The three main steps stayed the same. But people began to use machines instead of doing everything manually. The machines did each step faster and faster. Some of the machines were huge. They couldn't fit into a person's home. The first factories were built to house machines and the workers needed to run them. Look at the timeline below. It describes the most important textile machines that were invented. Use it to answer the questions that follow. 1764: The spinning jenny was invented by James Hargreaves. This machine made it easier to make thread. 1769: Sir Richard Arkwright invented the water frame. Now weavers could keep up with all the thread that was being made. After the invention of the water frame, one weaver could weave the yarn from four spinners! The water frame was too big for homes. It only fit in factories. -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns. -
Lecture Outline Processing Fiber Into Yarn I
LECTURE OUTLINE PROCESSING FIBER INTO YARN I. The History of Fiber Processing 11. Material Opening and Cleaning A. Preparing the bale lay-down 1. Selection of bales 2. Bale arrangement for blending 3. Removal of bands and bagging B. Opening and cleaning equipment 1. Weigh-pan feeders 2. Magnetic and electronic cleaners 3. Dust removers 4. Beater type cleaners 5. Positive-fed saw-type cleaners 111. Carding A. Opening of fiber B. Cleaning as a hction C. Reducing or drafting D. Packaging of stock IV. Drawing A. Drafting and fiber orientation B. Blending and uniformity V. Combing A. Combing preparation 1. Drawing for Iapper 2. Lapping B. Principles of combing operation I. Feeding of laps 2. Nipping of fiber 3. Circular combing 4. Detaching 5. Top combing V. Combing (continued) C. Primary functions 1. Removal of short fiber (noils) 2. Removal of trash D. Secondary functions 1. Reducing and drafting 2. Blending and packaging VI. Roving A. Definition and description of machine B. Description of product C. Purpose of roving machine 1. Drafting 2. Twisting 3. Packaging a. laying b. winding c. building VII. Types of Spinning A. Intermittent spinning 1. Hand Spinning 2. Saxony Wheel-Spinning Jenny B. Continuous spinning 1. Cap spinning 2. Centrifugal spinning 3. Flyer spinning 4. Ring spinning a. definition and description of process 1. drafting of fibers 2. twisting of yarn 3. packagmg of yarn aa. laying bb. winding cc. package building b. other ring spinning factors 1. ring and traveler 2. speeds and rpms C. Open-end spinning 1. Definition and methods a. -
02 Yarn Processing
Amini Guide 1 02 Yarn processing CARPETS Amini Guide 02 Yarn processing 2 The carpet weaving phase is preceded by a series of yarn treatments ranging from carding to drying. The goal is to make the material as homogeneous as possible, so that it features such uniform characteristics as resistance, cleanliness, color and elasticity. Carding (3), Spinning (4), Dyeing (5) Amini Guide 02 Yarn processing 3 Carding This is the processing phase where short fibers are untangled and spread out. Although today this is mostly done by mechanical carding machines, in some artisan laboratories this ancient technique is still performed by hand with tools known as “combing cards” used to comb the fibers between two large brushes with metal tips. The result is a thin flap called ‘card web’, later carved into thin strips, called ‘wicks’, and wrapped onto a beam. Each wick gives rise to a carded thread. Amini Guide 02 Yarn processing 4 Spinning Spinning is the twisting together of drawn-out strands of fibers to form yarn, and is a major part of the textile industry. The oldest spinning tools are the distaff (rock) and the spindle. The distaff is a staff, held under one’s arm while using a spindle. Fiber is wrapped around the distaff, and tied in place with a piece of ribbon or string. The spindle is a straight spike used for spinning, twisting fibers into yarn. Amini Guide 02 Yarn processing 5 Dyeing Dyeing is the application of dyes or pigments on textile materials with the objective of achieving color with desired fastness. -
Education Teacher’S Kit
Industrial Heritage - The Textile Industry Education Teacher’s Kit Background There is archaeological evidence of textile production in Britain from the late-prehistoric period onwards. For many thousands of years wool was the staple textile product of Britain. The dominance of wool in the British textile industry changed rapidly during the eighteenth century with the development of mechanised silk production and then mechanised cotton production. By the mid-nineteenth century all four major branches of the textile industry (cotton, wool, flax, hemp and jute and silk) had been mechanised and the British landscape was dominated by over 10,000 mill buildings with their distinctive chimneys. Overseas competition led to a decline in the textile industry in the mid-twentieth century. Today woollen production is once again the dominant part of the sector together with artificial and man-made fibres, although output is much reduced from historic levels. Innovation Thomas Lombe’s silk mill, built in 1721, is regarded as the first factory-based textile mill in Britain. However, it was not until the handloom was developed following the introduction of John Kay’s flying shuttle in 1733 that other branches of the textile industry (notably cotton and wool) became increasingly mechanised. In the second half of the eighteenth century, a succession of major innovations including James Hargreaves’s spinning jenny (1764), Richard Arkwright’s water frame (1769), his carding engine (1775), and Samuel Crompton’s mule (1779), revolutionised the preparation and spinning of cotton and wool and led to the establishment of textile factories where several machines were housed under one roof. -
The Challenge of Prehistoric Textiles
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1988 Wringing It Dry: The Challenge Of Prehistoric Textiles Elizabeth Barber Occidental College Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Barber, Elizabeth, "Wringing It Dry: The Challenge Of Prehistoric Textiles" (1988). Textile Society of America Symposium Proceedings. 626. https://digitalcommons.unl.edu/tsaconf/626 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WRINGING IT DRY: THE CHALLENGE OF PREHISTORIC TEXTILES ELIZABETH BARBER Deptartments of Languages and Anthropology, Occidental College, Los Angeles, CA 90041 Some time ago I embarked on a "short little project" to find out what I could about Bronze Age Aegean textiles, which I had come to suspect were more elaborate and more important than anyone was giving them credit for. I knew the project could not take very long, and would not take more than maybe ten pages to write up, because virtually nothing in the way of textiles has survived from Greece—even in the Classical period, let alone the prehistoric era. But my father, who was a physicist, had instilled into me a question that changed everything: namely, "(If I can't get at it by the direct route,) how else can I get at it?" Fourteen years and 800 pages of "how elses" later, I had more or less wrapped up my "little project"—soon to be published as a fat book. -
Textile Industry and the Factory System
What might be the advantages of factory weaving WhatWhatWhat isWhat the are are boy dothe the you inmachines workers the see machine here? doing?doing? doing? over cottage industry weaving? This is a picture of workers at the mule- spinning machines making cotton cloth in an English textile mill in 1834. The Textile Industry Invented Textiles: any cloth or goods produced by weaving, knitting or felting. The textile industry developed as a way to solve the problems of the putting-out system (cottage industries) and increase productivity and efficiency. The markets continued to demand more cloth, and the rural workers spinning yarn by hand and weaving cloth on a hand loom could not keep up. Notes: Textile Industry Invented: Cottage industry couldn’t keep up with the demand for textiles. 1767: James Hargreaves invented a compound spinning wheel. It was able to spin 16 threads at one time. He named this invention the Spinning Jenny, after his wife, Jenny. 1769: Richard Arkwright improved on the spinning wheel with his invention of the water frame. This machine involved winding thread through four pairs of rollers operating at varying speeds. What powers the water frame? A water wheel powered the water frame. What might be the advantages of the water frame? What might be the disadvantages of the water frame? 1779: Samuel Crompton made a further improvement on the spinning wheel. By using the mobile carriage of the spinning jenny and the rollers of the water frame, Crompton created a new machine that was able to spin strong yarn, yet also thin enough to be used in the finest fabrics. -
GLOSSARY of SPINNING TERMS Batts - Carded Hunks of Fiber As It Comes Off of a Drumcarder Bench – Also Called the Table
GLOSSARY OF SPINNING TERMS batts - carded hunks of fiber as it comes off of a drumcarder bench – also called the table. The table of the spinning wheel on which the wheel and spinning mechanism are mounted bobbin – the shaft of the spool onto which the spun yarn is wound on a spinning wheel carders – (or cards) a pair of brushes used to smooth and straighten fibers for spinning comb - used to process long stapled wool for worsted spinning crimp - amount of curl in a lock of fleece; fine wool is very crimpy distaff – a staff that holds the flax or wool fibers which are drawn from as the spinner needs them when spinning. A distaff can be attached to a belt, mounted on the bench of a spinning wheel, or free-standing. draft - the pulling out of fibers to allow only a certain amount of the fiber to twist into thread drafting triangle – the space between the spun yarn and the fibers being drawn out drive band – the cord carrying the power from the large wheel to the spindle or bobbin/pulley drop spindle – (handspindle) a stick with a weighted whorl that is used to twist fibers into thread ewe – a mature female sheep fiber – the unspun hair/wool/plant material (as opposed to the thread, which is already spun) fleece – the entire coat of wool off of a sheep flyer – the u-shaped device on a treadle spinning wheel that twists the yarn footman – the straight piece of wood or wire that connects the treadle to the axle/crank of a spinning wheel grease wool – (or “wool in the grease”) the unwashed wool as it comes off of a sheep hank – a 560-yard long skein of wool, usually wound on a niddy-noddy or reel knot – a 40-yard strand skein of yarn wound on a reel or a niddy-noddy that measures 2 yards in circumference= 80 yards maidens – (or sisters) two upright pieces of wood that hold the spinning apparatus in a horizontal position. -
Notes from the Flax Presentation by Bruce Engebertson April 29, 2017
notes from the Flax Presentation by Bruce Engebertson April 29, 2017 Bruce began spinning wool at age 10, despite the fact that no one in his immediate family had any background in spinning. A chance referral led him to Ester Kromaki about 25 years ago, and she taught him the traditional Finnish techniques for growing, processing, spinning, and weaving flax. He says his linen knowledge is firmly based in the Finnish traditions and that "he doesn't know a variety of methods but the ones he knows, he knows well." The flax plant is an annual that dies in the winter. It is a "greedy" plant which will take lots of nutrients, so it's best not to plant it in soil that has been exhausted by other crops like corn. Flax is best in full sun and protected from the wind. It is relatively free from insect pests and will even keep potato bugs away (so plant near potatoes!). Prepare the seed bed by spading up the area to be seeded (in our case, approximately 3 ft by 3 ft) and adding in some cow manure or other fertilizer. Make sure the area is free of weeds when you seed. Seed flax when the lilacs just begin blooming. The seed should be spread thickly -- about 5 to 7 seeds for a thumbprint (of course, this depends on the size of your -- hopefully green -- thumb). Do not plant in rows. Divide the seeds in half and sow half in one direction and the other half if the other direction. If the soil is the same color as the seeds, you can add sand to the mix so you'll have an idea of how the seeds are being spread out.