Margarita Gleb a
clay, they survive well in the archaeological contexts and allow us to trace the presence
and sometimes even location of a warp-weighted loom on sites. The trapezoidal or
truncated pyramidal shape of loom weights seems to have been prevalent in Etruria (Fig.
42.6), although ring-shaped loom weights were common north of the Arno River.18
Occasionally loom weights are found in situ having fallen to the ground when the warp to
which they were originally attached was destroyed or deliberately cut, as for example, at
Poggio Baccherina near Chianciano.19 A set of loom weights is typically composed of six
to thirty implements, although it could reach as many as eighty.20 Fewer loom weights
would be needed if they are heavy and/or wide and more if they are light and/or narrow.21
The weaving on a warp-weighted loom started at the top, hence the weft had to be
packed upwards. In the simplest tabby weave the warp is divided by pulling every second
thread and inserting a rod or shed bar between the two groups in such a way that one of
the groups is in front of it. Such a position creates an open or natural shed through which
the weft could be passed all at once. The artificial or counter shed is then achieved by
providing the back set of warp threads with heddles, or individual holders, usually made
out of string for each individual warp end thread, which are attached to a heddle bar. When
the heddle bar is lifted, it separates the threads in the direction opposite to the original
shed. In more complex twill weaves, the warp is divided into more groups, attached to
several heddle bars which are lifted in a specific sequence to achieve a particular pattern.
Figure 42.6 Ceramic loom weights, Poggio Civitate di Murlo, seventh-sixth century BCE.
Courtesy of Anthony Tuck.a ; bFigure 42.5 Warp-weighted loom and its position with: a) natural shed; b) artificial shed.
Courtesy of Eva Andersson Strand.