loop in loop vs wire weaving doc
Wire Weaving versus Loop in loop Chains
A Comparison of Two Chains
Loop in Loop
Wire Weaving
Loop in loop and wire weaving chains share many similarities. Both loop in loop and wire woven chains have been found through out medieval period. Each made an early appearance in pre-roman times and both techniques were used through out period and in modern jewelry. Both chains are seen in the 1st Century Hellenistic Greece1 2, 7th Century Spain3, 11th century Byzantium4 and Scandinavia5 through to 16th century Cyprus6 and Sweden7. Examples of each type of chain has been found in almost all European cultures, and has been found from the same time periods. It seems to be that the two chains are two different methods for making a similar look. The two chains are made in a very different manner from one another.
Telling the two chains apart from one another using pictures is very hard. Wire weaving is a single wire knitted together to form a “V” shaped stitch similar to nalbinding (Fig 4). Loop in loop chain is made using fused loops woven together and then pulled to form a “V” shaped with in the chain (Fig 28). To tell the difference between loop in loop or wire weaving you need to look at the ends. The end of wire weaving will show a loose wire whereas in loop in loop the number of loops woven together are visible. This is a problem with most finished jewelry since the ends are hidden in different findings such as cones.
Both chains can be drawn to eliminate irregularities in the weaving processes. Drawing makes it harder to tell the difference in the chains. Both can have sharp wires sticking out from a join in wire weaving or from a broken link in loop in loop.
Both chains hang in a similar fashion and have a similar appearance. Loop in Loop is a little more rigid because of its solid nature whereas wire weaving moves more easily. This makes it hard to say if a painting is loop in loop or wire weaving unless there is a distinct finish to the end of a loop in loop chain. The distinct finish a loop in loop can have is to be divided multiple chains or multiple chains woven together. Loop in loop chains can weave one end in to another and then finish the chain in a tail or woven together as seen in the portrait of Caterina Conaro Queen of Cyprus c. 1500 vi. Wire weaving almost always has cones to finish the ends.
Loop in loop is a solid chain and wire weaving is hollow. When looking at a picture of loop in loop the v shaped loops stay in a rigid line, because of the solid nature of the chain. In contrast wire weaving tends to twist around the mandrel and has a slight twist to the weave once pulled. This twist is usually apparent in single wire weaving and gets less and less apparent in double and triple woven items. The twisting of the chain is seen on the chain found in the tomb of Caterina Jagellonica Queen of Sweden who died in 1583
Both methods also can produce wide bands. Loop in loop is woven with different sizes of loops and wire weaving can be flattened.
Loop in Loop Chains
Description:
Loop in loop chain is a solid chain composed of individual fused loops. These chains can be made with 1, 2, 3, 4, or more loops woven together. These chains can be single woven, one loop woven into one loop already on the chain or a double woven the weaving loop containing two loops that are already on the chain. These chains are normally made of pure coinage metals so that the loops can be fused rather than soldered. Pure coinage metals such as, gold, silver, and copper, have lower melting points and can fuse to them selves Once the chain is finished, if tightly woven, the loops form a “V” shaped pattern.
Materials:
2 troy oz. of 22 gauge pure silver wire
5/8 “ dowel rod with a pilot hole drilled at one end
Round needle nose pliers
Draw plate
Charcoal (charred) wood block
Small butane torch
Wire snips
Finishing hammer
Soft surface (lead block, sand bag)
I used pure silver wire because it has a lower melting point than copper, but is affordably priced compared to gold. The lower melting point makes it easier to fuse the loops.
Process:
Adapted from Classical Loop-in-Loop Chains & Their Derivatives by Jean Reist Stark and Josephine Reist Smith, Pg 102-104
- Wrap pure metal wire around a dowel rod, similar to making chain mail links.
Started wire in the pilot hole of the dowel rod. Wrapped the wire close together in a single row on the dowel rod to form a spring.
- Cut coil into individual links
Using wire snips I removed the spring from the dowel rod. Then cut the spring into individual rings to be fused.
- Fuse the end of the links together to form a closed circle for each link.
To fuse the link I used a charred piece of scrap lumber, and heated the links with a small butane torch. The links became red in color and then quickly melted. When the links ends became liquid I removed the torch. The charred piece of wood helped to insulate the links keeping them at a high temperature and helping to distribute the heat evenly to the link. If one end of the link was in the air then that link did not fuse. Some links I left the heat on the link for too long. The ends of these links would melt away from themselves not together.
- Elongating the links
The links must be elongated to a dog bone shape to be able to pass a new link through the links already in the chain. The dog bone pictured in Classic Loop in loop chain is not the shape I ended up using. I made the link oval and then collapsed the link on it self until the ends were barely circular. The picture to the left more accurately depicts the way I elongated the links
- Soldering the 3 links together to form the initial starting point.
I tried to not solder the links and found that the links needed to be soldered to give a base to work from. The soldering broke when I started weaving the chain but it was essential to getting the chain started. For the double woven 3-loop chain.
The double woven 2-loop chain did not need soldering to get the chain started. I believe this step is only if you are using 3 or more loops to weave.
- Weaving the links.
The 3 links in a 3-loop double woven chain start off at 60 degrees from each other. The next link will be added to the bottom most links in the weave. While weaving round nose pliers are used to open the round part of the links to create space to add the next link and to lock the chain in place.
- Hammering or Drawing through a draw plate to even out irregularities.
To true up the chain I started to draw the chains, because of the solid nature of the chain it could not be drawn with out truing the chain by hammering. I hammered the chain lightly while turning it on a soft surface (a lead anvil) to true the lines of the chain. I used a lead anvil, but a sand bag would have worked as well. Then I drew the chain through a ¼ in hole in a draw plate.
Before
After
Wire Weaving Chains
Description:
Wire Weaving is the process of creating a hollow chain by using a single piece of wire in a manner similar to nalbinding. Weaving is a misnomer but the term is commonly accepted, so I will continue to call it wire weaving. Wire weaving creates a “V” shaped stitch once the chain is drawn though a draw plate. The tube that is formed from wire weaving can twist on its self in the process of weaving so longer pieces tend to have a twisted look. Wire weaving can be done as a single, double, or triple stitch, by weaving up the mandrel 1, 2, or 3 stitches before adding the next stitch. All wire weaving is tubular though you can wire weave around objects such as beads, metal bands or any other object that could be decorated. Wire weaving can also be flattened into trim.
Materials:
Scrap wire for starting
Chain wire, I used 22 gauge sterling silver wire
¼ dowel rod as a mandrel
Wire snips
Round needle nose pliers
Draw plate with holes ½ to 1/8-inch diameter.
Process:
Adapted from Great Wire Jewelry
By Irene From Peterson,
Pg 1- 8
- Create a starting flower to begin your weaving off of.
This is a six-looped flower. I create the flower by wrapping wire around three fingers and then placing a shank at the top. I then spread the bundle of loops out into a flower shape
- Put the flower on the mandrel and attach the wire.
- Start weaving.
Weave the wire into the next petal from the one you started on and out of the petal you started on, the wire should then go down through the circle of wire you just created. I work from right to left because I am right-handed. Work around the mandrel once.
- Weave the second row as a single weave.
Weave the wire under the cross created by the first row, pulling the wire down though the loop that is created.
- Start the double weave by weaving the wire through the first row again.
If you count the crossed parts of wire you will skip one cross and go under the second cross from the bottom of you weaving to do a double stitch.
- Continue weaving adding in more wire by going back across and attaching a new piece of wire similar to how you started on the flower.
- Draw the chain. Use the flower to hold on to your weaving while you pull the woven chain through a draw plate. Pull the chain through the draw plate several times. Starting with the a hole that is slightly larger than the chain and continuing using smaller hole until you reach the diameter you want as your finished chain.
Before drawing
After Drawing
Loop in loop pictures
Figure 1
Hellenistic; British Museum two different loop in loop artifacts
http://rubens.anu.edu.au/raid3/new/england/london/museums/british_museum/jewellery/hellenistic/index.php?page=2
Accessed on 02/06/2009
Figure 2
Multiple Loop in loop chains. Hungarian national museum medieval jewelry
http://rubens.anu.edu.au/raid5/hungary/budapest/museums/hungarian_national_museum/hungary/mediaeval/jewellery/
Accessed on 02/06/2009
Figure 3 and 4
From the following web site there is a dig that had both loop in loop and wire weaving from the 1100’s. I believe a Scandinavian country. This web site is in a language that made it hard to tell the exact country of origin, but I was able to read the dates.
http://uit.no/tmu/152/55 Accessed on 02/06/2009
Figure 3
Loop in loop from 1100
Figure 4
Wire weaving from 1100
Bibliography:
Classical Loop-in-Loop Chains & Their Derivatives by Jean Reist Stark and Josephine Reist Smith, Brynmorgen Press, ISBN 0-615984-8-4
Great Wire Jewelry by Irene From Peterson, Lark Books, ISBN 1-57990-093-3
A History of Jewelry Five Thousand Years by J. Anderson Black, Park Lane New York, ISBN 0-517-34437-8
A History of Jewellery 1100- 1870 By Joan Evans, Dover Publications New York, ISBN 0-486-26122-00
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