Ancient Egyptian and Greek Looms — Inside the Classic

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Roth, H. Ling (Henry Ling), 1855-1925 Project Gutenberg 2008 Not confirmed
Weaving; Looms Readers of public-domain and historical texts
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Words 17,802
Reading time 78 min
Text sections 3

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H. Ling Roth's 1913 study reconstructs ancient weaving technology from tomb paintings and textile fragments. The work compares conflicting illustrations of Egyptian horizontal looms and analyzes preserved cloths for yarn structure, sizing, and dyes, revealing the practical challenges of interpreting archaeological evidence.
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d no other remains; this tomb was surrounded by others, all of them likewise very much disturbed, but equally characteristic of the general nature of the Middle Empire tombs, and containing nothing but Middle Empire objects. Since, in general, few tombs of this site show signs of intrusive burial of a later age, there is no reason to suppose that these objects are of any date later than the XII. Dynasty (_The Burial Customs of Ancient Egypt_, London, 1907, pp. 134-136)."

The horizontal looms we have been describing belong to this period, and the artists have not shown any reeds with them. My studies of primitive looms lead me to think that these Egyptian looms are of a date far anterior to the invention or the application of a reed. It has also, I believe, been remarked by those who have examined cloths of this date, that the irregular array of the warp threads is good proof that reeds could not have been in use. I have already pointed out that in the evolution of the loom the reed puts in a late appearance, but apart from this fact, I do not think the artist would have omitted such an important tool had it been in use in his time.

Dr. Garstang points out that although the surrounding tombs contained Middle Empire objects, the reeds were found in a tomb _without_ any other remains. This can hardly be considered evidence tending to prove that they belonged to the period named, and it is certainly weakened by the accompanying statement that the reeds are _exactly_ similar to the modern reed, for that is almost sufficient to prove that they are _not_ 3900-3700 years old. To me they seem comparatively modern and very similar to one in the Cairo Museum which MM. Brugsch and Quibell are inclined to think is Coptic with this difference, that in Dr. Garstang's reeds the divisions appear to be of cane or wood, while in the Cairo reed they are of iron (?steel). The sketch of this Coptic reed, Fig. 25, has been drawn specially for me, and Miss W. M. Crompton, Assistant Keeper in Egyptology in the Manchester University Museum, has kindly examined the sketch with the article and pronounced it correct. We may, I think, safely conclude that the reed found by Dr. Garstang is Coptic and not Ancient Egyptian.

As regards the actual work of weaving, balls of thread have been found and so have very flat bobbins and pieces of stick with thread wound round which may have been spools as indicated in the drawing, Fig. 7. There is no reason why balls of thread should not have been used as they are in uncivilised countries at the present day, as, for instance, in Tibet, as reported by W. W. Rockhill in _Diary of a Journey through Mongolia and Thibet_, Washington, 1894, p. 41.

I am unable to agree with a recently made statement published in _The Labyrinth, Gerzeh and Marghuneh_, by Prof. Flinders Petrie, E. A. Wainwright and E. Mackey, p. 6, which runs: "The fact of the weft not being at right angles to the warp, if one may conclude by the fabrics, does not, I think, imply that such weaving is of inferior quality. When I noticed the peculiarity first, I thought it might have arisen through distortion by stretching over the body, but repeated examples of the same fact have led me to consider other causes. We know how closely analogous to 'darning' was the early weaving; and in our days it is not unusual to find stockings not darned at right angles, and it may be the women weavers of old sometimes put in the weft more or less out of true right angle. In the childhood of weaving we should expect different methods, and it may be, seeing that we have no selvedged cloth until very long after this time, that they experimented with a diagonal weft to see if it would not reduce the tendency to fray out at the sides." The amount the warp and weft are out of the right angle is stated to be about 20°. The specimen shown me under the microscope indicated clearly that the warp and weft were not at right angles and that the interstices were not square but diamond shaped.

Roth opens his 1913 paper with a frank admission: published illustrations of Egyptian looms by Cailliaud, Wilkinson, and Lepsius 'contradict each other in many important points,' making them 'practically useless' for understanding the craft. His solution—obtaining copies of tomb drawings from Egyptologist N. de G. Davies—sets the tone for a study that treats visual evidence with forensic caution. The preface grounds the work in a specific institutional context: Bankfield Museum in Halifax, at the heart of the Yorkshire woollen trade, where Roth served as Keeper. This local industrial heritage frames his interest in ancient tools as directly relevant to modern textile manufacture.

Reconstructing the Horizontal Loom

The first section examines a single wall painting from the tomb of Chnem-hotep at Beni Hasan, showing a horizontal loom with two squatting women weavers and a taskmaster. Roth methodically compares six published reproductions of this scene, noting discrepancies in the depiction of warp beams, heddles, and the weavers' postures. He does not simply describe the image but interrogates each copyist's interpretation, treating the drawings as secondary sources that may introduce error. The analysis is deliberately narrow: Roth limits his claims to what the painting shows—a ground loom with the warp stretched between two beams—and avoids extrapolating to other loom types. His approach privileges the material evidence of the painting over later scholarly reconstructions, a stance that recurs throughout the text.

Cloth as Evidence: Fibre, Size, and Dye

In the longest analytical passage, Roth turns from images to physical fragments. He describes fourteen cloth specimens from three collections—the Meyer Collection, Lord Denbigh's, and an unnamed source—recording for each: fibre type (linen or wool), presence of sizing, yarn diameter, twist direction, and selvedge construction. The descriptions are precise and unadorned: 'a coarse, highly-sized linen cloth. The yarns are agglutinated, are brittle, and it is difficult to separate the fibres.' Roth notes that many specimens have absorbed embalming gums, complicating fibre identification. He identifies one wool fabric as possibly Cashmere based on fineness, but immediately qualifies: 'particulars of locality, of burial, and the period of time to which this interesting fabric belongs has been lost.' The section demonstrates how textile analysis can yield technical data—warp/weft ratios, dye residues (saffron, red ferum), selvedge reinforcement—while remaining constrained by incomplete provenance.

The Greek Loom and the Limits of Inference

The second chapter shifts to Greek weaving, though the excerpts provide only the chapter heading and no substantive text. Based on the structure of the Egyptian section, Roth likely applies a similar method: examining vase paintings, literary references, and surviving tools. The absence of detailed Greek content in the excerpts is itself instructive—it suggests the evidence for Greek looms is even more fragmentary than for Egyptian. Roth's preface hints at this imbalance: he had 'plenty of material for the study of weaving in various parts of the world' but lacked 'everything relating to the industry in Ancient Egypt and Greece.' The Greek section probably relies heavily on textual sources such as Homer and on comparative analysis with Egyptian techniques. Readers should expect a cautious argument that acknowledges the scarcity of physical remains.

Roth's study is best read as a technical report rather than a narrative history. The value lies in its detailed descriptions of individual artefacts and its critical assessment of earlier illustrations. Readers interested in ancient technology will find a model of how to handle incomplete evidence; those seeking broad cultural context will need to supplement this text with other sources. The work rewards careful attention to the specific measurements, yarn counts, and selvedge structures that Roth records with evident care.

Reading Ancient Egyptian and Greek Looms, I kept thinking about how H. Ling Roth must have felt staring at those faded tomb paintings, trying to see the hands that worked them. That same patient curiosity seems to live in Men of Invention and Industry — Key Ideas to Explore, which traces how ordinary makers turned doubt into something lasting. Both books feel less like histories and more like quiet conversations with patient ghosts.

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