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completed weaving of the penelope skyphos from chiusi:
the header is tablet-woven linen, with the linen weft for the band used as the warp for the rest of the piece on a warp-weighted loom, which you can see in the photos below (there is also a previous post with more process photos here). the reverse is a negative mirror image of the front, since I wove this as double-weave pickup rather than tapestry:
additional details below the cut:
the bottom and side borders of the finished piece are tablet-woven with a mixture of linen and mercerized cotton. the sides are a classic meander motif, while the bottom border includes the "X" square from the skyphos itself. the bottom border was woven directly onto the piece using the remainder of the warp beneath penelope's feet (tablet draft for anyone interested—I designed it to be twist-neutral and everything). the side borders are sewn on because I didn't set up the side borders when I started the project, but ellen harlizius-klück previously executed a stunning version here that has the side borders woven in, as well as a really helpful video on this technique.
I was originally planning to leave part of the black warp threads unwoven to serve as penelope's warp, the way I did a few years ago with the amasis painter vase:
but I couldn't figure out how to execute it well in this version, especially since I was doing double-weave and not tapestry. perhaps next time! overall, this was a complicated and fun project as a first warp-weighted loom piece. I learned a lot of important lessons—chief among them being to actually calculate warp lengths instead of eyeballing them and to increase the loom weights on the warps for better tension. unfortunately, I also learned I want to build a large warp-weighted loom (the one I have now was made by jennifer marcus at fiber paintings studio and it is lovely, but I would like to weave larger pieces.)
the original pot also features telemachus standing over a grieving penelope (I had room only for his spear), perhaps a reference to the scene in book 1 when he reprimands his mother and orders her back upstairs:
Odysseus was not the only one
who did not come back home again from Troy.
Many were lost. Go in and do your work.
Stick to the loom and distaff. Tell your slaves
to do their chores as well. It is for men
to talk, especially me. I am the master.
οὐ γὰρ Ὀδυσσεὺς οἶος ἀπώλεσε νόστιμον ἦμαρ
ἐν Τροίῃ, πολλοὶ δὲ καὶ ἄλλοι φῶτες ὄλοντο.
ἀλλ᾽ εἰς οἶκον ἰοῦσα τὰ σ᾽ αὐτῆς ἔργα κόμιζε,
ἱστόν τ᾽ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε
ἔργον ἐποίχεσθαι: μῦθος δ᾽ ἄνδρεσσι μελήσει
πᾶσι, μάλιστα δ᾽ ἐμοί: τοῦ γὰρ κράτος ἔστ᾽ ἐνὶ οἴκῳ.
Od. 1.354–359. Emily Wilson translation.
my plan is to eventually create a larger version of this piece that includes telemachus and the meta aspect of unwoven warp threads. it would also be interesting to figure out if I can weave a different image on the back of the cloth, since the reverse of the pot itself depicts eurycleia recognizing odysseus as she washes his feet.
The ancient world was full of textile masterpieces we can only imagine… but most of them have rotted away. So few of them have come down to us in these days that we think of metal and stone as the primary mediums for the oldest artworks. But there were tapestries and fabric work that would have rivaled the finest wrought gold and iron and the first cave paintings.
This is a incredibly rare find. A ball of yarn made from stinging nettle fibers in the Late Neolithic (5900 years old) in what’s now Marin-Epagnier in Switzerland. The thread has been preserved by being carbonized.
Look at how much thread that is!
And how fine and even it is spun!
The skill going into this is absolutely incredible.
Imagine the incredible textile work that must’ve been made with that.
For a reference here’s a ball of nettle yarn I managed to make with a drop spindle. That took me 300 hours of work.
OOooh, we are going to be visiting Switzerland later this summer and we are so going to the Laténium where that old ball of yarn is housed. I can’t wait.
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I feel like we really lost something when we started looking at writing as a reader-centric product meant to appeal to the desires of a specific audience rather than a writer-centric approach of someone writes whatever particular thing particular compels them/whatever weird thing the demons in their head want to talk about, and people out there who are also compelled, and/or relate, find that writing. A lot of discussions of writing really center around what readers want rather than a writer's exploration. Sometimes as a reader I don't know what I want. I click on a fic or pick up a book I'm not sure about but that looks interesting, and I love it. Reading what I expect to get is it's own joy, but we always need to expand our horizons and not get mad at creators for not always writing what we want/expect.
think it's a deep consolation to know that spiders dream, that monkeys tease predators, that dolphins have accents, that lions can be scared silly by a lone mongoose, that otters hold hands, and ants bury their dead. that there isn't their life and our life. nor your life and my life. that it's just one teetering and endless thread and all of us, all of us, are entangled w it as deep as entanglement goes. v neat i think.
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Big shoutout to the dorks at the USCG for making this An Incident, making sure that the Clearwater’s message gets spread far outside the number of people who would have seen them at the New York Sail 250 event.
The Clearwater has a long history of advocacy on ecological and social issues in the Hudson River watershed and beyond. You can support their efforts here:
What's New with Clearwater
Clearwater also has a sick soundtrack of songs about Hudson River maritime history, available from Smithsonian Folkways Recordings. The title track is a favorite among my friend group:
Cleaning up the badly polluted Hudson River and its environs has long been a cause that Pete Seeger has devoted himself to, even organizing
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