TH E A R T I S TI C C R A FT S S E R I E S

O F T EC H N I CAL HA N D B O O KS
E D I T E D B Y W R LET H A B Y
. .

H A ND L O O M
-
WEAVING
H A N D L O O M W EA V IN G
‘
-

P L A IN @ O R N A M EN T A L
9

B Y L U T H E R H O O P E R WI T H L I N E
D R A WI N G S R Y T H E A U T H O R 59
°

NOEL RO O KE : ALSO S E VE R A L
I LL U S T R A T I O N S FR O M A N C I EN T
A N D M O D E R N T E X TI L E S

LONDON

S IR IS AA C P IT M A N 8: S O NS , LTD .

I AM E N CO R N E R E C 4
,
.

B AT H, ME LB O U RN E A N D NE W YO RK
 P RE FA T O R Y N O T E T O TH E
1 92 0 RE P R INT

IT was unfortunate that the first edition f Hand o

“

loom Weaving became exhaus ted at a time

”

when the di ffi culty of producing such books was

almos t insurmountable especially as its success and
,

the increasing demand for it called for an immediate

reprint Hap p ily the lengthy period of delay has
.

come t an end and the present volume which is

o
, ,

an exact replica of the first edition except for a ,

page or two f necessary addenda is w ready

o ,
no

for the use of stu dents and others interes ted in the
fascinat ing textile arts .

The favourable pinions f Ha d loom Weaving

“
O o n -
’

so generally commu nicated to the author have been

highly gratifying and have more than compensa t ed
,

for the care and labour best wed on the preparation o

of the work These communications are hereby

.

gratefully acknowledged .

LU T HE R HO O P ER .

th at held dif f emf / mu }

PRIN TED m Bu n GLAND , n

S m IS AA P C IT M AN dz S ONS , LM I I TE D
 E D IT O R S P R E F A C E
’

IN issuing this volume of a series of Handbooks on

the Artistic Crafts i t will be well to s tate wha t are
,

our general aims .

I n the first p lace we wish t o provide t rustworthy

,

text b ks of w rkshop practice from the points f

- oo o
, o

view f experts who have critically examined the

o

meth ds current in the shops and putting aside

o ,

vain survivals a pre p ared to say what is good

,
re

workmanship and t set p a standard of quality

,
o u

in the crafts which are more especially associated

with design Secondly in doing this we hope t
.
, ,
o

treat desig itself as an essential part f good work

n o

manship D uring the las t century m st f the arts

. o o
,

save p ainting and sculpture of an academic kin d ,

were little considered and t h ere was a tendency to ,

”
look on design as a mere matter f pp a
“
o a e ra n ce.
”
S ch
u
“
ornamentation as there was was usually
obtai ed by following in a mechanical way a drawing
n

pr vided by an artist who ften k ew little of the

o o n

technical processes involved in prod c t ion W ith u .

th e cri t ical attention giv e n t o th e crafts by R uski n

and M rris i t came to be seen tha t i t was im pos
o
,

sible t detach design from craft in this way and

o ,

that in t he widest sense true design is an i pa

, ,
n se r

able element f good quality in v olvi g as it does

O ,
n

t he selection of g o d a d suitable material con

o n ,

t iva c
r n for special p urpose expert workmanship
e , ,

proper finish and so on fa m re than mere rna ,

r o o

ment and indeed that ornamentation itself was

, ,

rather an exuberance f fine wo kma ship than a o r n

matter of merely abstract lines W orkman ship .

when separated by too wide a gulf from fresh

— —
thought that is from design inevitably decays
, ,

and on the other hand ornamen tation divorced

, , ,

from work m anship is necessarily unreal and qui c kly

, ,

f alls into afl c tatio P r per namentati n may be

'

e n . o or o

defined as a language addressed t the eye ; it is o

pleasant th ught expressed in the speech of the tool

o .

In the third p lace we would have this series put

,

artistic craftsmanship before people as furnishing

reasonable occupati ns for those who would gain o

a livelihood Although wi thin th bounds of

. e

academic art the competiti n of its kind is so

,
o , ,

acute that only a ve ry few per cent can fairly hope .

to succeed as pain ters and sculptors yet as artistic ,

craftsmen there is every probability that nearly

,

every one who would pass through a su fficient

period of apprenticeship t o workmanship an d design
wo u ld reach a me as ure of su ccess .

vi
 I n the blending O f h andwork and thought in such
arts as we p ropose t deal with h appy careers may
o
,

be found as far removed from the dreary routine

of hack labour as from the terrible uncertainty O f
,

academic a t It is desirable in every way tha t

r .

men of g d educati n should be br ught back into

oo o o

the productive crafts : there are more than enough

”
of us in the C ity
“
and it is probable that more
,

c nsiderat ion will be given in this century than in

o

th last to D esign and Workmanship

e .

This volume on Weaving the seventh f our ,

O

series is an interes t ing acc unt f a very ancient and

,
o O

a very rema kable art With weaving fr m early

r . o

days has been associated the making of patterns

which repeat a given unit and the commerce in ,

such fabrics has been the chief means f di m i at o sse n

ing patterns over the w rld C onsidering the utility

o .
,

the u iversality and the w nderful nature f the

n
,
o o

art at its simplest and the splendid t iumphs f it r o s

maturi ty weaving must have a strong claim for

,

b eing the most extraordinary of man s inventi ns

’
o .

W R . . L ET HA B Y .

S ep temb er 1 91 0 .
 A U T H O R S P R E FA C E ’

NOT W I T H ST A N D I N G
the com p etition of i ts for
m idab l rival the power loom the hand loom still
e -
,
-

survives and seems likely to c ontinue in u se f th

, or e

weaving of the bes t we bs in several branches of ,

textile manufacture .

In variou s districts of Great Britain as well as ,

in France Germany I taly and other E uropean

, , ,

countries hand loom weaving continues to be

,
-

though much decayed an im p rtant in dustry In ,

o .

the E ast—i In dia C hina and Japan — the hand

n , ,

loom weavers outnumber by several millions t h e

w rkers em pl yed in attending t th e textile
o o o

machinery f Eur pe and America

o o .

The fact that hand loom weaving has so long -

survived gives ho p e that now that there is a

, ,

gr wing deman d f the best i all depart ments Of

o or n

w rkmanship the f uture m ay see an extensive

o ,

revival of this beautiful and ingenious ar t .

There is more hope for such a revival sinc e

numer us handicraf t societi es and guilds as well as
o ,

many inde p enden t art workers have been led to ,

ix
study and prac t ise weaving and have met with ,

much enc uragement both as regards the quality

o ,

of the work they have been able to produce and ,

its appreciation by the public .

It is a pity that the introduction O f machine

spinning and weaving sh uld have had the e ff ect o

of almos t entirely superseding th d mestic loo m e o

and its auxiliary the spinning wheel S pinning and -

.

weaving are ideal domes t ic occupa t ions especially ,

in t he country home S ince they ceased to be

.

universally practised home industry at all

,
no

approaching them in usefulness interest has or

taken their place It is true that some branches

.

of the art such as the weaving f fine silk int

,
o o

elaborate damasks br cades require special

or o
,

training and c nstant application in the w rker

o o .

This has always been so but the weaving f linen o ,

cott n woollen and the c arser silk threads into

o , ,
o
,

materials of s t rength and beauty f r d mestic use o o

,

can quite well be carried on intermittently together

with ther h usehold ccupations
o o o .

T h ere can be n d ubt of the superiority of well

o o

made hand woven webs whether they be of the

-
,

finest silk or f the coarsest w l

o This is plainly oo .

shown if the b est hand made and t h e best machin

-
e

made productions be compared .

Hand loom weaving too is superior to machine

-
, ,

weaving if judged by the e ff ect it is likely to have

on the worker The hand weaver is employed in
.
-

a pleasant ingeni us occupation which exercises all

,
o

his faculties while the attendant on a power lo m

,
-
o

is engaged in a monotonous toil in w h ich no ,

quality but intense watchfulness is required .

Th e object f the present vol u me is t inform

o o

the student of hand loom weaving f the best -

o

methods of preparing warps fitting up looms , ,

and making or selecting the vari us appliances o

necessary for the w rk as well as inventing o , ,

planning and weaving plain and ornamen tal webs

, .

The assistance of the domestic and the artistic

weaver has been particularly bo rne in mind in the
pre p aration of the book .

I h pe that this volume will also prove f use

o o

to all who are interested in tex t iles ar t istically ,

c mmercially or in any other way The principles

o , .

of weaving traced t f m their rigins to their

,
ou ro o ,

greatest perfection i the eighteenth century are

n
,

identical with th se of the most highly developed

o

—
modern inventions inventions which have suc
c eed d in accelera t ing th e speed of weaving at more
e

or less c st to its artistic perfection

o .

F or assistance in the preparation of the book my

thanks are due to the au thorities of the V ictoria
and Albert Museum the National Art L ibrary , ,

and t the authorities of the British Museum for

o
,

f acilities of r es ear c h and f permission t o photograp h

,
or

1 1
examples of choice t ex t iles & c in t heir various
,
.
,

collections to Miss C harlotte Brock and Mr Noel .

R ooke f o r valuable assistance in p eparing the r

illus t rations and to Mr W H Abbot t M A and

,
. . .
,
. .
,

o th er friends f much hel p ful advice and many

or

practical sugges tions .

L U T HER HO O PER .

Septemb er 1 91 0 .
 C O N T EN T S
PA GE

P REFATO RY NO T E W Co n te t
n s

E DI T O R S P REFAC E
’
v
AU T HO R S P REFAC E
’

P A RT I

PL AIN WEA VIN G

CHA PT E R I
THE R D ME U I NTS SPINN I N
OF WEAVI N G
G AND

Th e C o m p arati e I m p o rtan ce o
v f th W v
’
e ea er s r A t
S c o p e o f H an d- lo o m We a n ea n vi g—W v i g U i
n

e rs al—Th e C o n s tru c io n o
v a nt o f Pl i
e C l th—Th
—
Warp —Th e We f t Relati e S iz e o f Warp an dv
We f t—P rep aratio n o f re ads f o r Wea in g— la
Th v F x
an d its P re is to ri c u s e—B e in g an d S c u tc in g o f
h tt h
Flax—Prep aratio n of C o tto n , Wo o l an d S ilk
th d—Fi
,

C ardi n g i ts Pu rp o s e
. an d M e o ne S p in n in g
h
b y M ac in e r y—A n c ie n t S p in n i g with D i t fi
n s a
'

an d

S p i n dle —Th e D is tafi — Th e S p in d le

CHA PT E R II
THE I ND ISPENSAB LE APP L IANC S
E S I MP W FO R LE A I NG
E V

Th e O rigin o f th e Lo o m —Lo o m s in An c ien t A rt an d

L i te ratu re —E gyp ti an an d G reek Lo o m s —Th e

E ss en tial Part of th e L o o m —Th e Cro ss in th e

xi ii
Co n te n ts
Warp —Th e S im p les t Prac tic al L oo m—D em o n s tra
m m

ti o n o f th e C ro ss —S p ec ial N eed f o r th e C ro s s in
Lo n g Warp s o f m an y T h reads —Prep arati o n o f th e
Warp —A n c ie n t Warp in g—A S im p le M eth o d o f
Warp in g f o r D o m es ti c Lo o m s

CHA PTE R III

H WA P IN
T E OA D
R G B R

Th e Warp in g B o ard —Th e N ec ess i ty f o r S tren gth in all

Weav i n g A p p lian ce s —Th e Warp in g B o ard i n U se
—S ec u rin g th e C ro ss es in th e Warp —Warp in g
S eve ral Th rea ds at o n ce —Th e R ee l or B o b b in
c arrie r an d i ts U s e i n c o n n ec ti o n h
wi t th e W arp in g
—Th e Po rtee —Tak i
.

B o ard C ros s n g o ff th e Warp

—Th e H and s tic k -

CHA PTER IV
T E H WA P I N MI LL
R G

Th e Warp in g Mill n ec e ss ary f o r Lo n g F u ll Warp s ,

—D es cri p tio n o f th e Warp in g M ill f o r S lk we avin g i -

—Th e B o b b in F ram e—Th e H e c k b lo c k —D em o n -

s tratio n o f s p re adi n g a Warp —R egu latin g th e

Len gth o f Warp s —Th e H ec k —Th e G athe rer—Th e

C o u n t an d Le n gth o f Warp s ; h o w c alc u lated
Th readin g th e H ec k —B egin n in g a Warp—Takin g
th e C ro ss Th e R atc h e t an d Whee l O f th e H ec k
-

b lo c k —M en din g Th read s

CHA PT E R V
T R U N IN ON O R AM IN
G ,
BE G

T u rn i n g or B eam in g—Th e R a le , dd Vateau

or
—
on ,

S e le c tio n o f a Raddle f o r a p artic u lar

. Warp Th e
X IV
 PA GE
Co n te t
S tic k s — Th e R addle S an d
n s
C an e R o ller an d C an e t
f o r S m all Warps To — s e p ara e th e P o rtees —D is
t
tri b u tin g th e P o rtee s in th e R addle —T
urn i n g o n

t
in th e L o o m — P o si i o n o f th e C an e R o ller in th e
L o o m — M e an s o f tu rn in g th e R o ller— ss i s an c e A t
req u ired in urn in g o u —M e t o d o f k ee p i n g th e
t h
Warp H ard o n th e Ro ller

CHA PT E R V I
T H A M N D UM
E BE I G R

T h e E s s e n ti al P art o f B e am in g M ac in ery—Th e ru m
h D
an d i ts F t
i t in gs —F —
ri c tio n B rak e s Ro pes o f th e
D ru m — S p ac e n ec ess ary f o r B eam in g—I m p o rtan ce
o f A cc u rac y o f D e tai l i n Wea v i n g O p erati o ns

Tu rn in g o n Pos ts —Ap p lian ce f o r B eam ing in C o n

fin e d S p ac e—
o

Win din g th e Warp o n th e Dru m

B e am in g wi th th D e ru m

CHA PT E R V II

THE HAN D LOOM AUTOMATIC WEAVI NG

FOR
‘

O pe n in g o r s h ed din g th e Warp f o r Wettin g—S heddi n g

th e Warp wi th o u t A pp lian ce s —S im p li c ity o f E gy p
tian an d G reek We av in g—Th e H eadle ro d— An cien t -

H o ri z o n tal L o o m s an d A u to m ati c S heds —I n dian

an d C h in e s e L o o m s — Th e O ld E n gli s h H an d lo o m -

—Th e Lo o m Fram e—Th e Ro llers—Th e Ratc h et

an d Wh ee l— Fric tio n B rak e f o r C an e R o ller— Co m
a ri s o n o f I n d ian an d En glis h L o o m s —A u to m atic
p
M e th o d o f o p e n in g th e S h e d—Th e Lo n g C o m b o r
Re ed—Th e B atte n —Po s itio n o f th e H arn es s an d
B atte n —Pre p aratio n s fo r e n te ri n g th e Warp i n
H arn es s an d R e ed — G atin g th e L o o m
XV
Co n t ts
en CH APTE R VIII
d THE ACC SS O E AP PL IAN C S OF
RY E THE LOOM
Th e H an d s h u ttle S u p e ri o ri t
- of H an d- s u ttle y h
Wea vin g—Th e Fly- s u tle Th e B atte n f o r th e h t —
Fly-s u ttle— Th e R ace b o ard—Th e S u le- b o es
h x h tt
— —
T h e Pi c k e rs Th e P i c k in g S tick —Th e c ti o n o f
A
of th Fly h ttl —Ad v
e t g f th Fly h ttl
s u e an a e s o e -s u e

—Th T m p l —Th S k i R l —Th D b l

-

e e e e e n ee s e ou er
—Th Q ill wi d — O th T l — M th d f
e u -
n er er oo s e o o

W v i g with H d—
ea b tt n—M th d f W vi g an a en s e o O ea n

with B b att o x- ens

P ART II
S IM P L E P A TTERN WEA V IN G o

CHA PT E R IX
TAP ST W A I N
E RY- E V G

D fi ii
e n t on of v —A i t T x til
P attern we a in g-
n c en e e

D ieco ra t l—Th onO igi f T p t y w vi g

e r n o a es r -
ea n

Tp ya es r t V i ty f Pl i W v i g—Th E ff t
a ar e o a n ea n e ec

o f tigh t d l W f ti g—T p t y w v i g
an o ose e n a es r - ea n

n e c e s s ar i ly A ti ti H di f t—T p t y k i
an r s c an c ra a es r a n

to E m b ro idery

CHA PT E R x
T HE S IMP LE S I WARP AND WEPr FFECTS OF PATTE RN
‘ ‘
E

Fur th D fi iti
er f P tt
e w vi g
n P tt
on o a ern - ea n a e rn s

p i
oss b l th L m w i
e onth ly T w H d l —
e Th oo on o ea es e

S t ip d W b
r f I di —A i t U
e e f S t ip d
s o n a n c en se o r e

C tt o H gi g —P tt
on an lti g f m t i p i g
n s a ern s re s u n ro s r n

th W p — E t Af i
e ar W v D ig —V i as r can o en es n ar o u s

X VI
Co n te t
n s CH APTE R X III
S H DD IN MOTIO NS E G
PAG
E
Th e S im pl t S h ddi g M ti — T w T y pi l S h ddi
es e n o on o ca e ng

M ti o —D iff
ons b tw th Tw Ki d e re n c es e ee n e o n s Of

S h ddi g M t i
e —C h i
n f S h ddi g M i
o ons o ce o e n o t on

l ft t
e W v —S it b l D ig f S h ddi
o ea er u a e es n or e ng

t
M o io n N O . 2

CHA PT E R X IV
O U L HA N SS PATT N W A IN
D B E- R E ER -
E V G

Di p
a w vi g— E m p l — P
er- ea n i D b l Cl h xa e a ttern s n ou e ot

—I di E x m p l —U
n an f th F ig Ha e se o e u re arn e s s
—U f h seT bby H o —I m p t
t ef a arn e s s o r an c e O

th Tw h
e M h d f
o- W v i g— Th
arn e s s et o o ea n e

W v i g f S m ll D m k P t
ea n o with Tw a a as a te rn s o

H —D il f W v i g F ig d D m k
arn e s s e s e ta s o ea n u re a as

— A ly i f h Eff
na f h Tw H
s s O t e ec t O t e o arn e s se s

S h d m ki g f
e -
D m k P tt — All M d
a n or a as a e rn s o e rn

Weav in g of P atte rn b as e d on T wo -
h arn es s

Prin c ip le s —We a i ng f ro m Two S e p arate Warp s

v
— vVel e t wea i n g an d its Me t o ds —Arran ge
-
v h
m e n t o f th e L o o m f o r V e l e t we a i n g — A c u al v - v t
P ro c e s s O f V e l e t-wea in g— P ri n c ip al
v v ool for T
V lv t w v i g — T y V t S
e e -
ea n e rr e lv e u p e ri o ri t y of

H d l m V lv t — S m ll D ig
an -
oo e e a es ns in Ve lv t e

T b i W vi g
o ne ea n

CHAPT E R XV
AUTO MAT I C MA C N S HI ES H DD I N M OTI O N S
FO R E G

A u to m atic S h e ddi n g M o tio n s an d h

t e ir U se —D i s
v t g i th J
ad an a es O e ac q u ard M ac hi ne fo r Ho m e
W v i g—C m p i
ea n o ar so n o f i t wi t h S i mp l er M ac i nes h
x viii
 PA Co n te t
J k i th b —It I v t —C h t
GE
n s
- Th e ac -
n- e- ox s n en o r arac e r

o f O ld H d l m W v an —Ti p d W k i g
- oo ea e rs e- u an or n

O f th J k i th b —Th D wb y M h i
e ac -
h - e- ox e ra o ac ne,

i t D t il
s d U
e a —E x m p l f P tt w v i g
s an ser a es o a ern - ea n

with D wb y ra o

P AR T I II
CO M PLEX P A T T E RN WEA VIN G -

CHA PT E R X VI

D RAW LOOM AND TH AD MONTU RE

THE -
RE

A n c en i t O igi f th r D aw l m —It Im p t i
n o e r - oo s o r an c e n

W v i g— D
ea i p ti
n f D w l m —B ildi g
e sc r on o ra - oo u n

th eM t —Th Tw Ki d
o n u re f R p ti g e o n s O e ea n

P tta —Th C m b b d—Th P ll y b

e rn s e o e r- o ar e u e -
ox

Th T il C d —Th S im p l d G id C d
e a or s e e an u e or s

T e rm Cards in re f eren c e to D es i gn

R igidity o f Late ral R ep e ats o n a Lo o m —F ree do m

o f Ve rtic al R e p ea ts Th e rawb o —T h e raw — D y D
b o s F o rk —Th e M o s t Pe rf ec Lo o m Th e
’
y re ad t — Th
M o n ure—V ari o u s U s e s o f th e
t read M o n tu re Th
x
E am p les o f S ilk wea in g o n read M o n tu re
-
v Th

C HAPT E R XVII
THE SHAFT M O NTU RE

In v en ti o n o fth e S p li t or S h ft H
Co m b er a arn es s —Th e
b o ard f o r S af t H arn e s s B u ildin g a S af t H ar
h — h
n e s s — e s c ri p ti o n o f
D ari o u s P arts o f th e H arn es s
V
—Th e S af t H arn e s s in U se N o te o n re gu latin g
h —
th e L en gth o f es i gns D
rau g tin g D es ign s —D h
E am p les o f S af t - arn es s Wea in g
x h h v
X IX
Co n t t
en s C HA PT E R X VIII
BR OCATE LL AND T I S U W
E S E E AVI NG
PA GE

Th e T h ec n iq u e o f B roc ate lle Web s—Weavin g B ro c a

te lle s — D rau ghtin g Ti
we a in g — T wo
fo r s sue v
M e t o d s o f m o u n tin g B in de rs— O ld S p i talfi eld s
h
Ti s s u e — B ro c é is s u es h T —
Ge n eral U tilit o f S af t y h
H arn e s s —S haf t H arn es s
f o r C o arse M ate r a s i l
Ti s s u es of Wo o l, Lin en , an d C o tto n o n af t Sh
H arn e ss —E am p le s o f M o dern Wo o l i s s u e s
x T
O ld M e t o d O f h T
i s s u e wea i n g wit o u S p li v h t t
S h af t H arn e s s

CHAP TE R X IX
THE CO MPO UN MO NTU R D E

Adv an tages of div idi g th M t

n —D e o n u re es c rip tio n of

th e C o m p o un d M o n tu re—E x am p le s o f Co m po u n d
M o n tu re Wea in g — O ld
v E n glis h B ro c ade
h
E ig tee n t h -
c e n tu r y S t ip
r ed B ro c ade— Fren c h L ate
Se v en tee n th - c e n tu r yB ro c ade

CHA PT E R XX
F IGU RE D—
VE LVET WE A VI N G

P ile an d T y
e rr Figu red Velv et—Th e D h t—Th
rau g e

M o n tu re —Th e P re p arati o n of th eL m —Th oo e

B o b b in F ra m e I talian an d S p an s i h V lv t
e e s

CO N CLU DI NG N OT E

G L O S S A RY

IN DE X
 LI ST O F P LAT ES

PL A TE

1 E as t Af ri c an We avi n g ,
i llu s trati n g P ri m i i e tv
Wo rk
.

B ri ti s h M us eu m , Lo n do n

II .
A n c ie n t E g p tian We a i n g, B C 2 000 an d
y v . .

later Th e e av h y
c o m b s o wn was u s e d h
th
.

f o r b eatin g th e woo f to ge er
B ri ti s h M us eu m L on do n ,

III . I llu s tratio n of Warp an d We f t in tersec ted

IV Fragm en ts L in e n C lo t , wo e n b y th e P re
of h v
hi t
.

s o ri c L ak e dwe lle rs o f S wi tz e rlan d

-

B ri ti s h M us eu m , L o ndo n

V Figure o f
. a S p i n s te r . V as e P ain ti n g Of A n c ien t

G re ece , B C . .
500 B ri ti s h M us eu m Lo n do n , I7

VI . S p in dl es , Wh o rls , an d Lo o m We igh ts A n c ie n t ,

G reec e B ri ti s h M u s eu m L o n don , 32

V II . T t
ap e s ry O rn am en ts . F ragm en t o f a Ro b e
of Am e n h e te p , f o u n d in th e II
o mb of. T
Th o th m e s IV A m en h e te p . w o se Ka n am e
. h
v
i s wo e n in th e des ign , re ign e d in E g p , y t
B C
. . 1 5 00 Cai ro M us eu m 1 29
FR O N TIS P
IECE To PAR T 11 .

VIII . Co p y ( In
p ro gre ss ) o f a P o rtio n o f th e E as t
A f ric an W
e b , i llu s tra te d b y P late I .

B y th e A u th or
 FA CING
PA
L TE PA GE

Pi ece h
E ig tee n t -c en tu ry S ilk -wea in g
of h v
t
,

i llu s ratin g To bin e S trip e s

Vi ctori a an d A lb ert M u s eu m , S o u th K e n s i n gto n

X . Fragm e n t of v
S e e n te e n t h -
c en tu r y F re n c h
B ro c ad e, a m o s t p e rf e c t s p ec i m e n of th e
We av er s ’
art A u th or
’
s Co llec ti on
F RONTIS P IE CE To PA R III T .

XI E x am p le of Fre n c h
S ilk we a in g, tim e o f -
v
Lo u is X
.

III ”
S i z e o f d e s ign 3 0 x 2 1
.
”
,

Vi ctori a a nd A lb ert M u s eu m S o u th K e n s i n gto n .

XII Co p y ,
b y th e A u th o r, of h
E ig tee n t -c e n u r h t y
Fin e F re n c h A
.

S ilk .
p o rtio n o f th e d es i n
g
onl yi h s s o wn . Th e h
p ar t p o to grap ed i s h
th e f u ll s iz e O f th e o rigm al

X III Co p y , b y th eAu th o r o f S ix teen th c en tu ry

,
-

I tali an
.

B ro c atelle A p o tio n Of th e des ig

. r n
o nl y is S h o wn , ab o u t h alf th e ac tu al S iz e

Of th e O rigin al

X IV . S p i talfie lds is s u e i n T G ree n an d G o ld S i lk .

Date ab o u t 1 90 0 Th e A u th o r ’
s Co ll ecti o n
Th i s i s sho wn a s a n exa m p le of s k il ul f weavi n g ,

no t o f fin e des i gn

XV Wo o l H an gin g des ign ed, drau g ed , an d ht

A
.

arran ge d f o r wea i n g b y th e ut or f or v h
S t C ri s to p er s C u rc , H as le m e re Th e
h h h h
’
. .

c o lo u rs are s c arle t, b lue , gree n , an d whi te

X VI Portio n Of H an gin g o f wo v en wo o l an d c o arse

.

si lk . D e sign ed , drau g ted , h an d arran ged f o r

v
wea in g b y th e A u th o r
XVII . B roc ade , p ro b ab l O ld E n glis y
Th e lo wer h .

p o rt io n o f th e p oto grap h
S o ws th e m e t o d h h h
of b ro c adi n g wit s m all s u ttle s
'
a t th e h h
b ac k A u th or s C o llecti o n

XVIII Figu red V e lve t . Th e o rn am en ti s c o m p o s ed o f

y T hi
.

c ut an d te rr p ile . s 5 c im en is
y
b e au tif u ll d e s ign ed an d p e rf e c t wo e n y v
Vic to ria a n d A lb ert M u s eu m S o u th K en s i n gto r ,
 P A RT I

P LA I N WEA V I N G
P —Eas t
late L A
f ri c an We avm g
, illu s trati n g
 P A RT I

P L A I N WE A V I N G

C H A PT ER I
TH E R U D I M EN T S O F S P I NN I N G
AND WE A VIN G
Th e C m p ti v I m p t e f th W v A t
o ara e o r an c o e e a er s
’
r

S p
co e f H o d l m W
an v i -
g
— Woo i g U i
eav l n e av n n e rsa
—Th e C t u ti ons rf Pl i C l th — T h W p
c on o a n o e ar

T h W f t— R l tiv S i f W p d W f t— P
.

e e e a e ze o ar an e re

p arat i f T
on h d
o f W v i
re a
g
— Fl
s x d
ori t U ea n a an s se

Preh i t ri
s o — R tti g
c d S k t h i g f F l x— P
e n an u c n o a re

p arat i fonC tt o W l o d S il
on, k — C di oo
g its , an ar n ,

P p
u r o se an d M t h d — Fi Sp i
e i g by M h i y
o ne nn n ac n er

—A i t Sp i i g with Di t fi d Spi dl —T h
n c en nn n s a
'

an n e e

D i t lf —T h Sp i dl
s a e n e .

IT may be c nfidently a ffi rmed that the art of

o

weaving occup es a place f imp r tance and useful

i o o

ness t mankind sec nd only to that of a griculture

o o .

W shall reach this conclusion whether we take

e

int c nsiderati n the number of pers ns engaged

o o o o

in the various branches f the art the universal o ,

practice f w avm g n ancient and m dern times or

o e I o
,
the necessity d value f the product ons of the
an o i

Weaver s craft and i ndus t y to society in general

’
r .

A I
 Th e S pe I f n ec e ssaryit C i ld be proved by statistics tha t at
i
‘ '

co o I
an d V luaf least one fif t h of the w rking world is occupied
e o - o
t h e We v either with weaving and its allied trades or in the
a er s
’

,
A t r
distribution f its finished materials It would be
o .

f und also that a similar proportion of the general

o

expenditure is for woven g ods of one kind or o

an ther o .

It is n t nly however fr m an economic poin t

o o , ,
o

of view that the art of weaving is of such interest

and imp rtance but also on acc unt of the vast
o ,
o

amount f inventi n and ingenuity b th of a

o o
,
o

mechanical and an artistic kind that it has been ,

th means of calling f rth These qualities have

e o .

been shown during the c urse of its development o

fro m the elementary and laborious attem p ts of

primitive t ribes to the elaborately finished and
swiftly wrought though complicated webs woven on ,

the modern power lo m It is this aspect of the -

o .

—
subject viz the developmen t of textile art fro m
.
,

its earliest beginnings— that the present volume

is intended to set f rth A clear account f the o . o

princi ples and practice of the ar t of weaving and ,

the possibilities and limitations of the loom and its
accessories cannot fail to be of interest and value
,

t the antiquary and to the c llec t or of ancient

o o

textiles as well as to the designer the weaver the

, , ,

distributor and the purchas er of t he various kinds

,

of mo dern woven fabrics .

P ibilitie
o ss It will not be necessary nor indeed would it be
s , , ,

o f H d an p ssible within t he c mpass of this handbook t

o o
,
o

l m
oo foll w th subject f weaving beyond the point
o e o

W vi g when it ceased t be a handicraft wing to the

ea n o ,
o

intr ducti n of the Jacquard machine and the

o o

ap plication of s team power to the loom which -

,

2
even ts to k place at the end f the eighteenth
o o

century These changes in the c nstructi and

. o on

mecha ism of the l m did t alter the princi p les

n oo no

of weavi g in the least nadd any new e ff ects f ,

n o r o

c m bi ati ns f threads t o th se previ usly in use

o n o o o o .

The i ventions only aff ected the exact ess and

n n

speed f the weaving the motive p wer by means

o ,
o

o f which the l m was driven and rendered easy oo ,

a frequent cha ge of pattern No real advance n .

in weavi g technique has take place for a hun

n n

dred years as n thing m re perfect is possible in

,
o o

the weaver s art than the sumptu us webs f ’

o O

silk f exquisite texture which we e deliberat ly

,
o
,
r e

woven by hand on the per f ected draw l ms f -

oo o

E uro p e during the seventeen th and eighteenth

ce turies
n .

The firs t principles and practice of the art of

weaving wherever they are f und are universally
,
o ,

similar P rimitive pe ples of t day f ll w the

. o o- o o

same meth ds and use the same a ppliances as those

o

of ancien t times And as it is on these that all .

later textile devel pments are based it will be o ,

necessary in the first place to define t hem clearly .

A visit t the e thnog aphical department of any f

o r o

our museums and an examinati n of their contents ,

o
,
will prove that there is scarcely a savage tribe ,
h we v er primitive which h as no t s me more less
o ,
o or

p r ficient
o acquai ta ce w ith the art of making n n

thread and f utilisin g it in the weaving f Cl th

o o o

see
( p late I ) Als the specimens of ancient
. handi o,

craft such as th se sh wn in plate II which

,
o o ,

remain to us as well as other less direc t ,

evide ce will S how decidedly that the p e p le f

n
,
o o

antiquity were familiar with the ar ts f spi ning o n

3
 and weaving which they practised with a great
,
deal of skill and carried to a high pitch f per o

f c ti
e on.Indeed s universal and so ancient are
,
o

the occupati ns f making thread and weaving

o o

webs that they appear to be instincts as natural to

the human species as to the caterpillar and the
S pider .

I f we look carefully at a piece f p lain cl th we o o

find it to consist f a number of longitudinal threads

o

placed side by side and in t ersected or in t erlaced, , ,

by a continuous single thread This thread passes .

alternately bef re and behind t he longitudinal ones

o
,

an d has been introduced between them fr m edge o

to edge by some means and in such a manner as

,

t o bind them together and h ld them in positi n o o .

When thus united the threads are w ven int a o o

flat rderly and unif rm surfaced material of more

,
o ,
o -
,

or less durability according to the Strength of t h e

,

threads f which it is c mposed and the closeness

o o

and evenness with which the cr ssing thread has o

b n pee v
s d d wn and beaten together
res e o By means .

of plate III the arrangement of the longitudinal

threads and the continu us thread crossing and o

intersecting them sh uld be made quite clear T h e o

’

l ngitudinal threads of a woven m terial are always

o a

Th e W p called the w p because in ord r t all w f

ar ar , ,
e o o o

their being intersected conveniently by the co n

t in uou scrossing thread they have t be w p d ,

o ar e

t hat is tightly s trained in their p siti n on s me

,
o o o

kind of frame prepared f the purpose The or .

longitudinal threads are kn wn as the w p and by o ar

no other name bu t the continuous cr ssing thread

,
o

has several technical names the most usual being ,

Th We f t wef w fi
e t ,
or h t—ooometimes S pelt h t
s oo s s u e.

4
 In the magnified p iece of plain cloth (plate III) the T h R l tiv e e a e

wa p t h reads are seen at o ce to be much finer than Si f W p

r n ze o ar

the weft thread This is always the case except

. d Wft ,
an e

in the m st elementary attem p ts at weavi ng And

o .

the threads di ff er not only in si e but in the manner z ,

in which they are pre pared f r use The warp o .

threads need t be hard havi g thin strands str ngly i

o ,
n o .

twisted together The weft thread is nly slightly

. o

twisted this makes it soft and yielding and e ables ,

n

the weaver t o press it well d wn d to beat b th o an o

wa p and weft t gether int firm go d material

r o o ,
o .

The selection of pr perly prop rtioned threads is o o

o f the highest imp rtance in weaving f the good

o ,
or

appea ance of the fi ished work depends alm o st y

r n

enti ely upon i t as also d es its durability

r
,
o .

The simple methods and appliances for making V i ar o u s

thread and weaving adopted b di ff erent ancient Th d d re a s an

peoples and by primitive tribes o to day are remark th i - e r

abl similar in kind But the raw materials used P p ti re ara on

W
.

an the manner f preparing them di ff er considerably

o
f e vi g ,
or a n

and depend of c urse on the natural pr ducts with

,
o
,
o

which the particular p e ple happen t be familiar o o ,

and the inventive skill which they p sess The os .

m st O bvi us and S imple of all raw materials for

o o

weaving were the l g g asses and rushes or other on r

,

p lants wi t
,
h which the weaver was acquainted ,

which could be readily split int filaments or used o

entire But the rudest peo ple readily become aware

.

that many animal and vegetable substances are

cap able f being drawn ou t d twisted t gether int
o an o o

a continu us thread of more or less fi mness d

o ,
r an

strength and they acc rdingly soon invent f them

,
o or

selves s m e simple appliances for perf rming this

o o

operati n o .
Fl x
a an d its Previous t o t he in tr ducti n of cott n from India o o o

ti
P rep ara o n and the marvell us devel pment f the cott n o o o o
P re h l S to riC indust ry I n this c unt y during the last century the
o r
,

m st im p rtan t of all the va ious kin ds f thread

o o r o

f orweav ng purposes was obtained from the stems

i

O f the f mily of p lants known as the Li m family

a nu
,

of which the flax has alwa been the chief 3

member Animal w ol and i k — the only natural

. o S

continu us thread— have bee chi efly sed f rna

o n u or o

mental f abrics but fl xen or linen thread has always

,
a

been the most used and the most useful f ordi or

na y pur p oses The earliest s p ecimens f knitted

r . O

and woven thread at presen t k own are fragments n

that were f und amongst the remains f the lake

o o

dwellings in Swit e land and which are attributed z r ,

by the mos t reliable auth rities to the age of stone o , .

These venerable relics are theref re prehisto ic o r .

They consist f small bundles f flax fibre both raw

o o
,

and twisted into threads of vari us t hickness Some o .

are made int ropes and nets and others kni tted or
o

w ven int p ieces of l t h (see pla t e IV) In E gypt

o o C o .
,

in Greece and R ome d wit h one t wo x p ,

an ,
or e ce

ti ns i all the m re less civilised countries f the V"

o ,
n o or o

ancient wo ld flax was used and preferred above all

r
,

o ther fib es f weavi g purp ses I t is rema kable

r or n o . r

that th cultivati n and p eparation f flax even at

e o r o
,

the presen t day is almost identical with tha t in use

,

in ancient E gypt four or five thousand years g a o .

P robably the re son why c tt n has within t h e a o o

,

last century, alm st superseded the use of linen o

,
1 5

because t better adapted for p reparation and

i is

weaving by machinery d takes more kindly t o all an

s rts f ab minable adulteration so that it can be

o O o ,

more cheaply put upon the market .

6
 The valuable portions of
the flax plant are the dark
brown seeds usually called ,

li
n seed and the inner fibres
,

of the stems which by a ,

severe c urse of treatment

o

become linen thread After .

the flax has been p lled up u

by the r ots the seeds are

o

first shaken out The plants .

are then made up into small

bundles and immersed in
water until they begin to
ferment As soon as the
.

fermentation has begun they

are taken out of the water
and all wed to dry in the
o

open air This process is

.

called tti g and when it

re n
,

is complete the leaves and

ou tside membrane of the
stem are easily removed .

The roots and small stems

are next cut away and the ,

main stems a then ready re

for the next operation called ,

h nhi g
s u
-
n The purpose of
.

the Sk tc h in g process is to
u

thoroughly clear away all

remains f the outer mem o

brane and the short useless ,

veins of the leaves and to ,

straighten out the inner

fibres and lay them all in
Fl xa an d i ts one direction ready for twis t ing in to thread Sharp .

P re
p t
ara i o n t oothed combs of various sizes are used for this

FIG . 2 .
—Stri pp i n g Hem p u gu dy
in B r n .

Sk u tc h in g,coarse ones at first and finer ones after

wards . The fibres are finally made up into con
ven ie n t bundles By this process the filamen ts f
. o

8
the flax are thoroughly cleaned and separated and ,

converted into a fine silky kind O f t w This in ,

o .
,
brief is the manner in which the bes t flax is pre
,

pared for the linen thread of to day and there is -

,

evidence to S how that it was in just such a manner

that the flax was prepared for the thread f the o

state r be f fine linen given by P haraoh t

“
o o o

J seph in an cient E gypt as a mark f his royal

o O

favour .

The down of the cotton plant and the fleece of the

sheep need much less preparation t han the fibre f the o

flax The f rmer only have to be cleaned and the

. o

fibre cleared by the process of di g which will ca r n

,
presently be explained and the cotton wool is,
or

ready to be perated upon by the pi t wh

O s n s er o

makes it in t o thread .

S ilk is produced ready spun by the silkw rm in a o

continuous double thread and only requires to be ,

unwound from the cocoon as the case is called which ,

the caterpillar twists and winds curiously around
itself when ready t change into the Chrysalis form
o .

When unwound the cocoon is f und to consist o

of a continuous d uble thread of silk about

o one

thousand yards in length but of such exceeding ,

fi eness that it takes from ten to twelve hundred

n

c c ns t weigh
o oo opou d S fine indeed is
o ne n . o
, ,
the natural filament that twelve stran ds have to be
twisted t gether in order to make the finest thread
o

of silk that it is p ractically possible to use for

weaving The t wisting and Cleaning f these
. o

threads f silk is t echnically called silk th wi g

o -
ro n
,

and is a m st delicate and elaborate process

o .

The perati n f carding by hand requires the

o o o di
C ar ng

use of a pair f implements called a d (fig 3A )

o c r s . .

9
 rdi
Ca n
g

s ‘
7 ~v 6 m
m
{

FIC 3A
. .
—
Pair o d
f C ar s .
Pl III I
ate .
— llu s trati o n of W
ar p an d Wef t in te rs e c te d .

S ee p age 5 ;
Sp i i
nn ng of 1 8 5 1 It was a co tton yarn and a single pou d
.
,
n

o f it it was said would measure

,
thousand d
,
one an

t wenty Six miles in length This yarn was only

-
.

made f exhibition and was of no practical use

or
,
.

The fines t c tt n yarn Used I n weaving is spun by

o o

machinery and as i t is called three hundred

,
ru n s, ,

miles to the pound weight Needless t say the . o

,
ancient method f sp nning by ha d could never o i n

produce a thousand miles of thread from a single

p und of cotton but th hand spinners of India
o ,
e -

S pin for use in the D acca muslin industry one pound

, ,

of co t t n fibre I n to a length f thread which measures

o o

tw hundred miles The E astern spinners can

o .

als spin w ol or flax into yarn of a hundred miles

o o

t o the pound weigh t These figu es have been . r

approached if not qui t e reached by good spinsters of

E urope .

The figure of a spinster (plat e V ) 3 Copied from a 1

p ainting on a Greek vase preserved in the British

Museum I t gives a fairly g od g eneral idea of the
. o

method of Spinning by t he pr mit ve means vi ab y i i

,
z .

the use of the di t fl d pi dl It I s not W se s a

'
an s n e. i ,

however t o pu t much faith I n the details of ancient

,

pictures of this kind as we shall have occasion to ,

notice p tic la l when we come to consider the

ar u r

representations o ancient lo ms Artists and p ets o . o ,

in ancient t mes seem t o have been c ntent if

i
,
o

they succeeded in conveying a gene al impressi n r o

o f a figure or scene they intended to rep t e

sent without much regard to accuracy of detail
, .

In this case the graceful figure is h lding p a o u

stick the dista ff on which a tightly wound ball

, ,

of thread is fixed and at the end of the thread ,

which passes through the right hand of the figure ,

12
a spindle is turning All .

that we can learn fr m o

this figure is that the

dista ff and spindle were
used in a ci t Greece n en

f
or the purp se f making o o

thread bu t neither the

,
de tails of the pr cess of o

S p inning are explained nor

is the p siti n or acti n o o o

o f the fi gure suitable f or

the w rk W hen nly the

o . o

dista ff and spindle are used

for s p inning the dista ff is ,

usually fixed under the

S p inster s left m so that
’
ar
,

the prepared flax loosely ,

w und upon its end may

o ,

ect in fr nt f her
°

o o .

this met h d f fixing o o

dista ff t he hands f o

the p inster are bo th left

S

free the ,
to twis t the one

th ead and the ther to

r o

ke p the Spindle duly

e

ro tatm g.

The di t fi (fig 4 ) is s a
”
.
Th e D it
s aff

Simply a r und stick f o o

w d about fifteen or eigh

oo

teen inches i le gth at n n

,

one end f which the flax o ,

or other raw m terial pre a

pared f s p in i g is l sely
or n n
,
oo

wound in such a way that

Th e Distafl
’

FIG 5
. .
—Sp i i
nn n
g ith D i t
w s aff an d Sp
. i n dle .
 the fibres can be readily drawn ou t
and twisted together by the spinster .

The dista ff is s metimes although o

,

not generally used f cott n a d ,

or o n The D is tafI
—
w l these are for the m st part
oo o

s pu from the cardings which

n
,
are

j ined as required but the dista ff

o on

is always used for the p inni g of flax S n .

When the dista ff is fitted up the ,

o r

cardings ready to the S pinster s hand ’

,
S h deftly draws out a f w filaments
e e
,

su fli i t in her judgment f
c en , the ,
or

thickness of the thread required and ,

gradually twists them into an even
thread with ut detaching them fr mo o

the distaff or carding When a .

su ff cient length of thread is thus

i

twisted it is attached t the spindle o

,

w h ich is then made to revolve and ,

as i t Spins it assists in evenly twisti g n

the gradually drawn t thread AS ou .

the length f th ead increases the o r

,

twisted yarn is w und upon the o

spindle from time to time until it is ,

c nveniently full then the thread is

o

cut and a fres h S p i dle attached in

,
n

place f the f ll one (fig

o u .

The S pindle (fig 6 ) is sim pl .

T h e Sp i dl
n e
a Slender metal or hardwood ro

f om six t ten inches in length

r o ,
having at one end or in the centre , ,

a round weight and at the other end ,

a bo k n tch for the purpose

o ,
or o
,

of holding it in a ver t ical position

Th e Sp i dl
n e

F IO .
7 .
-
Sp i i
nn n
g wit h Wh e el.
 P late IV —
F agm
r en ts of h
Lin e n Clo t , wo ve n b y th e P re
hi t
.

s o ri c Lak e - dwellers O f S wrtz e rlan d.

S ee page 6 . B ri ti s h M us eu m , L o n don .
 P late V — FIgu re
. Of a S p rn s te r
. V P
as e ai n ti n g o f A
n c re n t

Greece , 5 00 B C . .

S ee p age 1 2. B ri ti sh M u seu m , L on do n .
when the thread is attached to it Spindles are of .

Various W eigh t s and dimensions acc rding to the ,

o

si e of the yarn for the pinn ng f which they are

z S i o

used P late v1 h ws ancient Spindles preserved I n

. S o

the Bri t ish Museum .

This meth d f S pinning with t hese m pl

o o SI e

appliances the dista ff and S pindle seems to have

, ,

been universal I t is still used by p rimitive peoples

.
,
and the best strongest and most durable thread is
, ,

even w produced by its means The method

no .

1 150 illustrates perfectly the essential p rinciples f o

t h making of all thread

e The use of machinery
.

f
or S p inning whether it be only the simple
,
pic ,

u re sq m di v l s pinning wheel (see fig

u e, e az a or .

th eelaborate machine y of the c tt n pinning i

r o o -
s n

l t y of the nin teenth century did not alter the

us r e
,

i ipl
Ir n c of the pr cess in the least These nly
es o . o

e nabled the work to be carried out with increased

Speed and wi th greater exac tness of resu l t .
 C H APT E R II
TH E I N DI SP E N SABL E A P PLI A N C E S FO R
S I M P LE WE AV I N G
Th eO i gi f r n o t h e Lo o m —L o o m s i A c ien t
A t n n r

L it tu e— E gyp ti
an d e ra d G e k L m —Th e
r an an r e oo s

E e ti l P t f t h e L m — The C i th
ss n a ar o oo ro ss n e

W p— Th S i m p le t P ti l L m —D m t
ar e s rac ca oo e o n s ra

ti
on f th e C
o — Sp i l N e d f t h e C
ro ss i ec a e or ro ss n

L g W rp f m y Th d P p ti f t h e
on a s o an re a s -
re ara on o

W p — A ie t W p i g— A S i m p le M et h d f
ar nc n ar n o o

Wa p i
r n
g f ti L m
o r Do m es c oo s .

T H E weaving of mats and baskets from natural

grasses and rushes can of course be manipulated , ,

wi thout the use of any special appliance f r holdi g o n

or s tretching the materials whilst in working But .

as soon as pliant thread has t o be woven and any ,

considerable length of web is required it becomes ,

necessary to devise some kind of frame t hold and o

stre t ch the war p threads upon so that t he weft may ,

be readily in terlaced with them The m re or less . o

elaborate frame const ructed for this pur p ose with ,

the properly arranged warp mounted on it t gether ,

o

wi th the various con t rivances added from time t o

time by th e weaver s ingenui ty has by universal
’
, ,

consen t been called a l m oo .

The represen tations of looms in ancien t sculp

18
tures paintings and drawin gs are exceedingly scarce
, , ,
and what f w there are a f r the m st part so
e
,
re o o

incomplete not to say incorrect in detail that i t

, , ,

is difli lt for the most expert weaver to see how

cu

they could have been used e ff ectively Tex t ile art .

seems to have been a more attractive and interesting

subject to the ancien t p ets than to the artists as o ,

their allusi ns to the l om the needle and the

o o ,

vari us p erations of weaving and needlew rk are

o o o

frequent and interesting d p ove beyond doubt ,

an r

that the weave s and embroiderer s occupations were

’
r
’

held in very high estima t ion and were very extensively

practised in the ancien t w rld These literary allu o .

sions to the loom and to textile art will be c nsidered o

in a subsequent cha p ter bu t a reference t o the avail

,

able p ictorial representati ns is necessary t this pointo a .

The most ancient illustrations of looms and

weaving are to be fo nd amongst the wall paintings
u -
,

in a tomb a t Beni Hasan in E gypt F ig 8 , . .

repr sen ts a warp apparently stretched on the

e

ground and a figure in an impossible attitude

,

weaving what may be supposed to be a mat F ig . .

9 S h ows an upright frame having a few threads

fixed t it at which tw w men are working
o ,
o o .

One f the women may be presumed t be i

o o - n

t d
ro uc ni g th weft between the warp threads and
e ,

the ther beating it t ge ther A la t er E gyptian

o o .

painting re p resents a l om f more elaborate con o o

struction (fig This painting is a t Thebes

.
,

and S hows a weaver very actively at work at an

upright frame on which he is eviden tly weaving
,

cloth by means of a stick having a hook at its end .

No threads however in this instance are sh wn

, ,
o
,
ei ther of warp or weft These are all the instances
.

I9
at present discovered of represen tat ions of E gyp t ian
looms exce p t that there is a kind of hier glyphic
,
o

on a sarc phagus f an early peri d which is sup

o o o

p sed t tand as a S ign f a lo m or weaving

o o S or o
,
.

The scarcity f these pictorial reco ds is rema kable

o r r

when we consider that E gypt was the seat of a great

FIG 8 . .
— E gyp ti an L o o m.

Ii
d
x
weaving indust ry which not only supplied the
nen -
,

large d mestic market with woven materials but was

g

o ,

famous through ut the ancien t world for the manu

o
”
facture of fine linen and exp rted great quan
“
,
o

tities f it t contemp rary nations wi t h whom the

o o o

E gyptians traded .

Although in ancient Greece and R ome weaving

was a comm n d mestic ccupation universally
o o o

p actised as we gathe fr m many classic literary

r ,
r o

allusi ns drawings or other rep esentati ns of lo ms

o ,
r o o

seem to be even more rare than are th se f E gypt o o .

I t appears that only in tw Greek vase paintings is o -

there anything f the kind to be fou nd One f

O o

these (fig 1 1 ) represents the loom of P l p A

.

en e o e
,
.

and the other that of C irce (fig They are .

,

20
b th uprigh t lo ms and di ff er from those of E gypt
o o ,
(Sree k
in that the warp strings are S tretched by means L o oms

of a weight being hung on each separate S tring ,

instead of the threads being tigh tly stretched all

t gether on the frame as were those of Egyp
o ,

FIG 9. .
—
E gyp tian L oo m .

There are a few other ancient drawings extant ,

pu p orting to be of R oman loom but these are
r s
,

abs lutely unreliable as they are from By antine

o
,
z

and E astern manuscripts of later periods and only ,

show the kind of weaving appliances in use at the

time when and i the places where the drawings
,
n

were made In all these ancien t pic tures of l ms

. oo

the artists have Shown the S tretched t hreads of

the warp and suggest the insertion of the weft
,

thread W can also gather that owing to the

. e
,
21
 Wh at m ay di ff eren t me thods s tre t ching the warp peculiar to
o f
d E gy pt and Greece the E gyptians beat the weft
b e le arn e
,
f ro m Afl Cl e-fl
t t og ether down from b v whilst th e Greeks beat
a o e
,
i tu
P c re s o f
L o o ms

FIG . 10 .
—E gyp ti an L o om .

theirs up from b l w This is an importan t di ff e

e o .

rence and was noticed by the Greek hist rian

,
o

Herod tus when he visited E gy p t B eyond these

o .

meagre de tails we can learn othing definitely fr m n o

the a cien t pic tures W may conjectu e and

n . e r

22
be of any conve ient i e ; f the p resen t purp se
n S z or o

we will say it is f ur inches wide by sixteen o

inches long The constructi n is shown at

.
1 o no. .

At the ends A a and b B a piece of beadi g having

, ,
n ,

a rounded edge is fixed The h di gs are four

,
. ea n

and a half inches l ng so t ha t w h en fixed on the

o ,

ends of the b ard they project slightly beyond its

o

edges No 2 is a section of the b ar d h wing the

. .
,
o ,
S o

position of the roun ded edges of th beadings This e .

F L oo m
16 . 1 2. Gree k .

board when fit t ed up with a warp is perhaps the

, ,

Simplest possible form f loom But notwithstanding o .

its im plic it many beautiful and ingenious narrow

S

webs s it b e for braiding and other trimmings may

u a

be made on it as will be hown in a subsequen t

,
S

chapter At no 3 the board has a t ing wound

. .
,
S r

upon it lengthwise I n this case it is wound S as to

. O

make a warp of ni e S trings but these may be of any

n ,

number possible to the width of the b ard Before o .

the string is wound on to the board a I p is mad oo e

a t its end which is caugh t on to the p r jecting end

,
o

O f the beading a t A no 2 The string being looped

, . .

on to the beading the winding proceeds and when

, ,

the desired number of strings is m plé t the S tring co e

is carried down the back d tied t o t he o t her an

24
pr jecting end f the beading B At no 4 the s trings
o o . .
,

on the bo rd are shown intersected by the tw rods C

a o ,

in such a way that alternate S trings go over and under

each rod In the Space between the rods the alter
.
,

nate strings cr ss each other in regular succession

o .

This cross is clearly Shown in the diagram between

F IG. 1 3.
— C ro ss in th e Warp .

the poin ts marked C D It will now be unders tood

,
.

that whilst the rods C are kept in their position

,

in the warp i t is impossible for the threads to

,

get t f place or to get h pelessly entangled as

ou o o
,

they therwise would certainly d This cross in

o o .

the warp s metimes called the l

,
o is really the ease
1

one indispensable pa t f the lo om I t is no doubt

r o
'

p ehistoric d is universally used in weaving All

r
,
an .

o ther parts and appliances of the loom may vary ,

2S
and be of ei ther the mos t complicate d and elab rate o

or of the rudest possible descripti n bu t this simple o ,

yet perfect contrivance f o r keeping the warped

threads in order cannot be dispensed with and is ,

never likely to be superseded .

The difli c lty of keeping the warp from getting

u

entangled when only a few threads are used in it ,

and when the finished work is not required to be
longer than the loom itself is not SO very a p parent , .

But when in place of the fixed bars or other limits ,

between which the war p is stretched rollers are ,

used and it is desired to make several yards of

,

material and added to this the warp is t o consist

, , ,

of a grea t number of fine threads the di ffi culty it , ,

is clear will be consider bly increased and but f r

,
a
, ,
o

the contrivance of the crossing of the alternate

threads f the warp as described above would be
o
, ,

f und to be insurmountable This would especially

o .

be the case with warps many yards in length ,

consisting as they often do of several hundre ds of

threads of fine linen cotton or wool or it may be
, , , , ,

of several th usands of threads of fine S ilk

o .

A l gt h o f w arp much longer

en t he loom
its elf cannot b p e pared upon i t as a
f q

e r
,
,
shor t one may readily be This being the case .
,
some c ntrivance has to be resort ed t in order to
o o

b ild p a series p f th gads of exact y the required

u m
u
l r

number Efid df th e le gth det f fnih d pdn and

‘ ' fi fi ' i w

n e e u
,

not o nly this bu t to keep the t h e dS as n early as

,
r a
‘
" ‘

possible at t he same tension so that when trans ,

ferred t o the loom and stretched between i ts front

and back rollers they shall give t he weave r as little
trouble as possible with loose and uneven threads .

This process of preparing the t hreads for the loom

26
is obvi usly called wa pi g and is a very impor
,
o ,
r n ,

tant requiri g great exactness a d care in the

o n e, n n

d ing— as indeed may be said of all the operations

o , ,

connected with weav ing from beginning to end , .

The an cient me th d of warping a method tha t o ,

is till practised in India where weaving as a simple

S ,

domestic ar t still survives is as follows A row f , . o

S ticks in pairs fixed upright in the ground is set out

, , ,

of the required length The wa per holding two . r

,

reels of thread in such a way that they will readily

,

unwind ties the thread to the first pair of S ticks and

, ,

then passes alo g the line from end t end back

n o ,

wards and forwards rossing th threads at each p air ,

c e

o f S ticks in order t keep t he tensi n even

,
W hen o o .

he has the required number of threads piled upon

the S ticks he inserts a cord in t he place of the last
,

pair but one at bo th ends of the w tying it up

,
ro ,

securely so that it cann t slip out f the cr ss o o o .

Fi all he binds th warp firmly t gether at b th

n e o o

ends fb s it fr m the sticks and winds it upon a

,
o se o ,

hand—stick or r lls it into a ball convenient for carry

,
o

ing it to the l m and turning it on t the rollers

oo o .

A more c mpact and convenient though similar

o
, ,

method of wa ping t the ancient one is by means

r o
,
of a board fitted up with a number of pegs in place ,

of the w of sticks p lanted in the gr und AS this

ro o .

is a very easy and E c tiv way of warping a mode e e e

rate number o f threads such as would be required ,

for a d mestic loom and at the same time p erfectl y

o ,

illustrates the p inci ples of warping which it Sr

,
I

necessary f the S tudent of weaving to understand

or

clea ly d definitely nce for all it will be well in

r an o ,

t he next chapter t o carefully describe it and demon

strate its use .
 C H A P T ER III
T HE WARP ING B O A RD

Th e Wa i
p g B rdr — T h n
e N i t y f St
oae gth ec ess or r n

i all W avi g Ap p li a c es— Th e Wa p i g B a d

n e n n r n o r

i U — S e c u i g t h e Cr
n se i th Wa p — W p
r n o ss es n e r ar

in g Se v eral Th d re a s at O n ce — T h e Reel or b i
Bo b n

i d its U s e in c o n n ec
c arr er, an ti with th
on e W piar n
g
B o ar — T h e o r ee Cro ss—
d P t T k i g ff th W
a n o e arp

d ti
T h e H an s c k -
.

T H E board with its arrangemen t of pegs f w rp or a

ing is shown in fig I 4 nos I 2 and 3 I t may .

,
.
, , .

be of any conven ent i e according to the place i S z

,
where it is fitted up but i t hould not be less than ,
S

six feet l ng by one f ot broad and it mus t hang

o o ,

fi mly on a wall at such a height from the ground

r

that the p erator can reach t o any part of it with

o

out difli lty On a b ard of the S i e indicated a

cu . o z

warp f ten yards in length and of any reas nable

o ,
o

number f threads can quite easily be wa ped

o ,
r .

A longer length may be warped either by i n

c easing the le gth o f the board or by increasing

r n

its W idth and adding to the number of pegs with

which it is f r ished One peg added bel w u n . o

each of th p gs 2 3 and 4 will add f ur

e e
, , ,
o

ya ds to the length p ssible to be warped on th e

r o ,

b ard The pegs ind cated by the letters a d

o .
,
i n

28
numerals mus t not be less than ix inches l ng and Th e
, S o

t more than nine i ches in projecti n fro m t h e W p i

,
no n o ar n
g
surface f the board T h pegs must be made of B d
o . e o ar

© c B A E D

FIG . I 4. —Warp i n
g B o d
ar .

hard w d not less than one inch in diameter as

oo
, ,

they have to bear a great strain when some h un

dreds of th ads are S tretched u p on them and they

re ,

must be well made be p erfectly smooth d have

,
an

nicely r unded ends The board its elf must also

o .

29
be strong and s m oothly finished and mus t n t be , o

less than one inch in thickness if six feet in length ,

and an inch and a half if l nge I t may be remarked ,
o r.

here— and it cannot be wit h too much em p hasis

that EVERY A PPL IA N C E C O NN ECT E D W IT H TH E LOO M
,
REQ U I RES TO B E M U C H ST RO N G E R T H A N WO U L D AT
F I RST A PP EA R N ECESSARY T H E W E I G H T O F TH E
‘

REP EA T E D B E A T I NG O F TH E WEFT T O GET H ER AN D ,

TH E M U LT I P L I ED ST RA I N O F TH E M A N Y T H REA D S
O F WA RP A RE M U C H GREA T ER T H A N WOUL D B E
,

SU PP O SED The pegs marked A and E and filled

.
,

in s lid black must be mo v able but all the others

o , ,

should be firmly fixed in the board The space b . e

tween the pegs A and B must not be less than one

f t and the space between B d C six inches

oo , an .

The S pace between pegs D and E S hould also be

one fo t o .

The board being ready and fixed in its place on a

wall we may w proceed to use it W will sup
,
no . e

pose that we require quite a small warp f say ,

o

twen ty threads ten yards long W take a reel f

,
. e o

thread and placing i t on a short rod of thick wire in

, ,

order that it may turn freely we begin operati ns by ,

o

tying end of the thread t the movable peg

o ne o

A (no 2 fig .
,
N w holding the wire with
. o ,

the reel on it in our left hand wi t h our right ,

hand we guide the thread d peg B an d v r un er o e

peg C Then f llowing the d tted line S hown

.
,
o o
,
we carefully guide the thread outside pegs 1 2 , ,

and 3 back to peg 4 then to pegs 5 6 and 7 in , , ,

Succession until it reaches peg D which it g es ,

o

un der . The thread mus t w be carried v and no o er

un der peg E and t hus begin its re turn Before

,
.

returning however i t will be well to compare the

, ,

3 0
Be t ween C and B and D and ,
E are the tw important
,
o

cr ssing places f the alter

o o

nate threads The thin lines .

represent two pieces of strong ,

pliable cord each about two ,

yards long which have been ,

inserted from the front in the

openings of the warp made
by the p egs C and E These .

cords have then been passed

between the firs t thread
and the boa d and brought r
,

through fr m the back in the o

Openings made by the pegs B

and D The ends of the .

cords have been firmly tied

together and by their means ,

the cross is perfectly secured ,

whatever may happen t the o

war p It will be no t iced

.

that there is another cr ss in o

the warp between p egs B and

A but this is not
,
impor so !

tant It is useful however

.
, ,
to pass a h rt cord through S o

the loop a t peg A and tie the

threads all together If . o ur

small warp of twenty threads

were w taken ff
no the O

board and the c rds which o

secure the cr sses stretched o

ou t the two ends of the

,

warp would be represen ted

by fig 1 6 . .
 P late VI — S p In dles , h
W o rls , an d Lo o m h A
Wei g ts , n c re n t Gre e c e .

S ee p age 1 3 .
B ri ti s h M u s eu m , Lo n do n .
S e ti
c on

F IG I6 —T h e War di s l aye d
. .
p p .

C
 Itwould be a very tedious proceeding to warp
a great number of threads at a time and it was
,
o n e ,

o nly suggested as advisable to do S rder tha t O in o

the principle o r warping might be made Clear .

E ight threads can quite easily be warped t gether o ,

so that when the warper has carried them once

from the peg A t o peg E and back again sixteen ,

FIG . I 7 —B o bbi n
.
-
ier
c arr .

threads will be placed I n o der To e ff ect this saving

r .

of time and labour w mus t use a l e b bb i ree or o n

i
ca rr er
(fig . The bobbin carrier is an obl ng -
o

frame I n which there room f eigh t b b

,
13 or o

stand and turn when they are fitted up wit

,

for the purpose A convenient handle for

.

the frame is firmly fixed to it a t the

The t op of th e frame is pierced with e
and in the bottom c rresp nding holes are
,
o o

abou t half through the thickness f the wood s o

,
to fix the eight wires and not all w them to o

t hrough The wires are passed th rough the

.

34
edge of the frame through the b bbins and are then
,
o , Th e
caught and fixed by the h les in the bottom edge o .

AS the frame is held upright the weight of the bobbins ,

standing in the frame will be found to give the

tension to the thread which is req ired f warpi g u or n .

When placing the reels in the carrier care must be

taken so to fix them that the threads all unwind on

FIG . 1 8 .
—T wo P iti
os o ns o f Bo bbi n - ca rri r
e .

the same S ide and cause all the reels to revolve in

,

the same direction .

Having g t the b bbins p r p erly set up the

o o o
,
ends of the threads must be gathered together and
tied in a c nvenient way for fixing on to peg
o

A of the wa ping board (fig r The threads .

being fixed to the peg A 1 fig 1 8 and the ,

no .
, .
,

carrier held in the left hand of the warper in an ,

Up ight p sition it must be taken past the pegs B
r o
,

and C and held there a little above their level ,

so that the threads are well separated and taut .

Then W th the first finger an d thumb of the righ t

I

35
Th e hand the warper mus t p ick ou t and draw down
wa ds the second fourth S ixth and eighth threads
r
, , , ,

as numbered in no 1 fig 8 and place them .

,
. 1
,

b l w peg B in the sam e p siti n as the fi st thread

e o o o r

in the warp of ten was placed This will leave .

t hreads 1 3 5 and 7 above the peg Again

, , , .

t ightening the threads by a S light further movemen t

of the carrier taking care that they do not slip Off
,

peg B the first third fifth and seventh threads

, , , ,

must be picked t and pulled downwards so as t o

ou

place them b l w peg C leaving threads 2 4

e o
, , ,
6 and 8 above it
,
I t will now be f und that . o

we have a crossing of alternate threads between

pegs B and C After making quite sure that the
.

crossing is correct the eight threads must be grasped

,
by the right hand of the warper and carried steadily
rou d the seven pegs in exactly the same course
n

as the S ingle thread was carried when guided by

the dotted line 2 fig 1 4 After having
,
no. ,
. .

traversed the seven pegs the car ier arrives at the r

peg D It is no t necessary to take a cross of single

.

th eads here as a t B C bu t altogether the eight

r
, , , ,
threads must be taken b l w peg D v and d e o
,
o er un er

peg E then v r peg D and s back again th e

,
o e
,
o

wh le round to peg I When arriving at peg I the

o .

carrier must be transferred to the right han d with ,

out twisting the threads s as to leave the left ,

o

hand free to manipulate the return cross between

pegs C and B The position of the carrier and
.

threads is now represented a t no 2 fig 1 8 .

,
.
,
and the threads marked I 3 5 and 7 must be , , ,
pulled down and placed b l w peg C leaving e o
,

threads 2 4 6 and 8 above i t

, , ,
Again with a Sligh t .

movemen t the t hreads mus t be t ightened and

, ,

3 6
finished and the crosses se cured as directed at ,
p 3 2 i t may be taken ff th b ard and w und
.
,
o e o o

on t a stick for convenience in transferring it

o
,

t o t he lo m For reasons which will afterwards

o .

be explained it is necessary in winding on t a

,
o

h a d tic k to begin at the beginning of the warp

n S , ,

p g
e A fig 1 4 ;,
this will leave
. the portee cross “

FIG . 19 .
—Tak i n
g o ff t h e Warp .

ou tside when the warp is all wound on t o t he

stick T h e h d tick S h uld be a short round
. an s o

stick m Oth ly finished and with r unded ends in

,
s o o
,

si e about an in c h and a half in diameter by eighteen

z

inches l ng Thi being ready the warp must be

o . s ,

firmly held by the left hand f the warper at the O

p int S h wn in fig 1 9 The peg A is then to be

o o . .

removed aQ d the loop of wa p taken in the ight r r

hand the fi g s being thrust t h rough it The

,
n er .

loop being securely held the left hand is free t ,

o

rem ve the wa p from pegs C and B and f om

o r r

peg I The cross having been previously secured

.
,

the loop be tween A and B may be made f a O

3 8
convenien t leng th f r the next operat ion which a o ,

careful study of figs 2 1 and 2 1A will make quite .

clear so that it needs no verbal description It

,
.

may be remarked that the loop shown in this

figure is a m st usefu l one and is much used in
o ,

the fitting up of looms ; it sh uld therefore be well o

mastered O nce for all The loop having been .

f rmed the h d tic k mus t be inserted and the loop

o ,
an s

tightened as indica t ed in the bottom compartmen t

F IG . 20 .
— Han dstic k an d Warp o ff P e gs A, B, C,
I f W pi g B d an d 2 o ar n o ar .

of fig 2 1 A The warp looped on to the h d ti k

. . an s c

ready for winding ff the pegs is sh wn at fig 2 0 o o . .

It may be f und advisable to enlis t the help of

o

an assistant in taking ff the warp especiall t o o ,

hold i t at the pegs and prevent its c ming too o 0

freel The warp may now be grad ally and u

fi m y wound up n th e stick care being taken t o

r o
,

start the winding in t he direction of the arrow ,

b tt m compartment fig 2 I A If wound in this

o o
, . .

direction the warp will t lip round the tick no S S or

c me loose When t he p rtee cross is reached

o . o

the warp may be taken ff t he pegs D and E o ,

carried away and kep t qui t e saf ely t ill t he loom is
ready t o receive i t .
FIG
.
—M ak i n g t h e Weaver s
2 1.
’
mos t u ef l L
s u oo
p .
 C H A PTER IV
THE WA RP I N G M I LL
T h e Warp n g i M ill
n ec essar f o r o n g, Warp s
y L Full
— De sc r p o n o f i ti Warp n g the i M ill
f o r S k we av il -

in g—T h e B o b n ram e— b i F H ck b o ck Th e e l
D e m o n s ra o n o f sp re a n g a Warp—Regu a n g
t ti di l ti
th e eng o f War s— T h e H e c k—
L th G er r Th e th e
p a
—T h e Co u n an d en gt o f Warp s ; h o w c alc u
t L h
a e —
l t d Th di re a th e H i i
e c k — B e g n n n g a War
p
n
g
T i the
ak n g Cro ss—T h e Rac e an d W e o f
ht h e l th e
H e k b l k—M e di g Th e d
c -
oc n n r a s.

A LT H O U G H the warping board described in t he las t

chapter is very useful for small warps of moderat e
length such as would be used in a domestic loom
, ,
it would no t be convenien t for very long warps or .

accurate enough for warping several th usands of o

fine silk threads F or such wa ps as these a warping

. r

mill is necessa y on which if need be, as many as

r
, ,

twenty thousand threads can be made n t o a warp i

O f a hundred yar ds I n length .

The warping mill now t o be described IS of t he

kind used in conjunction with the silk weaving -

d aw looms f the seventeenth eighteenth and part

r -
o , ,

of the nineteenth centuries It is perfectly adapted .

to its purpose and like the draw l om itself was the

, ,
-
o
,
result of centuries of gradual development .

The warping mill fig 2 2 is made entirely Of hard

,
.
, ,

4 2
tough wood perf ec tly smoo th d st rongly fit ted
,
an Th e
together Its chief feature is a la ge keleton reel
. r S ,

AA AA g llyfiv yards in circumference though

,
e n era e ,

sometimes seven and a half yards and about two ,

yards long The reel has an axle B which has a

.
, ,

long ir n pin at each end h wn plai ly at no 2 A

o
,
S o n . .

str ng frame c nsisti g of two u p rights C C and

o ,
o n , , ,

t w cross pieces D D is very firmly fixed up and in

o -
, , , ,

the centre of t h e bott m cr ss piece there is a socke t o o -

to re c e the iron pin E ofthe axle when the reel is

e , ,

set on end in its place as in t he diagram Th e ,

.

reel is ke p t in an upright position by the pin E ,

which passes through the up p er cr s s piece and t er o -

mi t about t inc h es b v it This arrange

n a es en a o e .

ment allows the keleton reel to turn freely on its axle S .

A gr oved wheel G is s trongly screwed to the end

o
, ,

of the axle where the pin E enters it and another ,

wheel H als grooved is a ttached to a handle which
, ,
o
,

can be turned by the warper who its on the seat I ,

S .

T h seat I is m vable and may be p laced in any

e o ,

c nvenient positi n being kep t there by heavy

o o
,

weights J The grooved wheels G and H are

,
.

connected by a c ntinuous cord as indicated in o

,
the ground plan no 3 It is w obvious that -
, . . no

the wa ping reel may be turned a t any required

r

s p eed and in either direction by means of the

, ,

handle K .

The front upright of the frame C is divided into , ,

tw o f the greater pa t f its le gth and a solid
or r o n
,

bl ck f w d L is fitted to it so that it
o o oo slide
, , , c an

u p and down the frame opposite t any part of o

the reel F ig 2 3 which is an enlargement of

. .
,

the liding block will explain this mec h anism

S , .

Be tween the up igh ts a pulley M is attached r

, ,

43
Th e so tha t i t will revolve with the reel A hole is .

made in the cylinder near one d a strong smooth en , ,

cord being passed through it and a knot tied to ,

preven t its lipping out This cord is next passed

S .

over the pulley N d wn to the pulley M in the ,

o

block then up again to the staple O and tied

, ,

there .

The side elevati n f a frame made t o hold a o o

large number of b bbins of S ilk or other thread is o ,

S hown at Q Q no 1 fig 2 2 A fr nt view f the,

.
,
. . o o

frame is given in fig 2 4 The wires on which the . .

reels are p laced are fitted into holes d illed half r

through the sides of the uprights f the frame o .

O n side a gro ve of the same depth as the

o ne o

h le is cut o f the sha p e indicated at RR so that

o , ,

the wire can be rem ved by lifting it at end o o ne

and drawing it backwards This is necessa y for . r

changi g the bobbins as they become empty The

n .

position of the frame in regard to t he warping ,

mill is clearly S how in the drawing S fig 2 2 is a

,
n .
,
.
,

s trong sta p le screwed t the mill frame from which o

,

a cord passes to a similar staple fixed in the centre

of the b bbin frame fig 2 4 S This cord keeps
o , .
, .

the frame fr m falling backwards and at the same

o ,

t ime all ws it to be readily adjusted T h e frame

o .

s tands freely the ground inclining backward

on
,
s
,
and the weight of the b bbins of silk added to that o ,

of the frame itself gives just su fficient tension to ,

the t hreads when in pr cess of warping Bef re o .
‘

going into f rther details the acti n of the war p ing

u
,
o

mill in so far as it has been described must o w be

, ,
n

n ticed
o .

In the bl ck L figs 2 2 and 2 3 centres the

o
, .
,

whole mechanism f the warping mill On i t the o .

4 6
appliance for t ki g th r s is f as t ened I t is
a n e c o s Th . e

also t he means of S preading the warp truly and Heck blo -

ck

FIG . 2 4. —Bobbi F n ram e

.

evenly up n the large reel of the mill The

o .

appara tus for taking the cross will require careful

4-7
C xplanation of fur ther de tails bu t everything f r , o

spreading and regulating the warp has been de

scribed and is ready for demons tration F or this .

purpose a S i ngle reel of stout thread must be placed

on the reel frame fig 2 4 at about the cent e T , .
, r
,

(see also 1 fig no The dot

. t ed line
,
passing .

f rom t he reel at T fig 2 2 indicates the course f the ,

.
, o

t hread At the point in the bl ck marked U (no 4 )

. o .

a t emporary screw eye is fixed Through this the -

.

thread is passed and tied to one of the S taves of the

,
mill reel a t V By the turning of the handle K
.

the mill reel will be made to revolve winding t he ,

thread upon itself The thread will not be wound .

hori ontally but rather diagonally and will gradually

z , ,

rise on the reel u til it will be found on the comple

,
n
,

ti n of one revolution that the second round f thread

o ,
o

will begin a little S pace above the S tarting point of

the first V This is owing to the cord on which
,
.

the block is suspended by the pulley M (fig 2 2 .

,
no 4).having been shortened by being wound u p on
the cylinder P at the top of the axle The
, , .

shortening Of the cord has gradually raised the block

L and if th cord and cylinder are pro p erly adjusted
,
e

the block will have risen an equal distance at each

revolution Consequently the thread will be exactly
.

distributed over the mill Now if the thread be .

,
fixed a t the t p of t he reel and the ha dle turned
o n

backwards the reel will revolve in the p posite

,
O

direction the cord unwind from t he cylinder the

, ,
heavy block descend a d t he second thread will ,
n

follo w exactly the same course as the first until i t

reaches the bottom In th same manner if a . e ,

hundred bobbins were placed in the frame and all

the threads drawn t hrough the eye i the bl ck and n o

4 8
t ied t ogether t o the mill reel they would be laid and De m o n stra
Spread as easily and evenly as the ingle thread S . ti on O f
Again any length of warp des red from two
,
i
,

yards to a hund ed be measured and dete mi ed

r
,
c a n r n

at the begi ni g by the rev lutions of t h e mill reel

n n
,
o .

F or instance we will su ppose th e bl ck carrying

,
o ,

the warp is wou d to t he t p of the mill This is

,
n o .

always its positi n starting L t the warp be o on . e

tied to one of the pegs the t p of the reel at X on o

,

no I and the handle K turned so that t he block

.
,
descends The mill being five yards round a t the end
.
,

of one rev lution there must be five yards of warp

o

on it It f llows that we have only to count the

. o co n

v luti ns the vertic l line from the starting poin t

o o on a

and multiply them by five to ascertain the length

wound upon the mill reel For instance if twenty .
,

fiv yards of warp are required five rev lutions of the

e ,
o

reel mus t be com p leted in each direct ion In order .

to make di ff erent lengths of warp a t will there ,

must be provided some means of holding the threads

at the beginning and end of th length required e .

The first and last of the p egs five in number , ,

Sh wn in fig 2 2 no 1 at Y W and X answer
o .
,
.
, , , ,
this purp se The three pegs at the top of the
o .

mill Y and X are fixed in that position as the

, , ,
warp always begins at the same p lace The .

b ard in which pegs W are inserted is movable

o
, ,

and is made th t it
SO be fixed by a wedge a c an

at any height on the reel be tween any two of the

staves The threads are first looped on to peg Y
.
,
and the mill caused to rev lve in the direction o

o f the arr w ! When a place on the mill is

o .
’

reached Whe e i t is wished to terminate the warp

r
,
the peg board W is moved t o the spo t the ,

n 49
 threads are looped round t he righ t hand peg and -
,

the m ti n f the reel reversed As the block

o o o .

c ontinues to fall and rise between the t p f the o O

mill and peg W the threads f the warp will all be ,

o

laid f an equal length

o .

The spaces between the r unds of thread f rmed o o

by each rev lution can be regulated by altering

o

the i e f the cylinder P no 1 fig 2 2 An

S z o ,
.
, . .

increase in the i e of the cylinder causes t he S z

bl ck to rise quicker This lays the thread i a

o . n

stee p er diag nal and inc eases the pace between

o r S

each round A smaller cyli der of course has the

. n
, ,

reverse e ff ect The pegs X 1 fig 2 2 corre

.
,
n o .
, .
,

s p d with
on the pegs B and C in the diagram or
t he wa ping b ard fi g 1 4 and the p gs W
r o , .
,
e

with the pegs D and E f that ap pliance The o .

f rmer are f
o in building the cross f alternate
o r u se o

threads at the beginning f a war p and the latter o

,

f ormaking and prese ving the portee cross a t its r

end .

Th e H e ck The next detail of t he warping mill to be

described is t he important fi t ting w h ich gives the
name t o the bl ck L fig 2 3 by means of which the
o , .
,

cr ss in the warp is made quite easily h wever

o
,
o

many t hreads are used F ig 2 5 is a represent . . a

ti n of the H ECK which is t he name given t o

o ,

this useful ppliance There are variously con

a .

s t ructed hecks in use but they are all made on ,

the same p inciple The drawing sh ws one of the

r . o

simples t both to make and keep in repair It con .

sists of a s trong hardw od frame of an oblong hape

,
o S ,
ha ing an attachment at the b tt m pierced with a
v ,
o o
,
hole by means of which it is firmly fastened with a
,

thumb screw to the heck block as at N fig 2 O fi

3
- -
, , . .

5 0
the inside at bo th ends the heck f ame is grooved
, ,
r Th e H ec k
(B,
fi g . and two smaller frames are fitted
int the g o ves l sely enough t o be easily m ved
o r o oo o

up and d wn in them separately or together Tied

o .

FIG . 25 -
Th e Hec k .

at re gular intervals on the two small frames are a ,

number of loops of fine strong thread as in , 2 ,
no.
,
which sh ws one frame detached The lo ps are f
o . o or

the purp se f holding a w of eyes in the centre of

o o ro

the frame These may be either smaller l ps f

. oo o

string as in
, 4 nosm oth.glass
,
beads
or or m il aso
,
a s,

th ey are called in weaving ( These can be no.

obtained perf rated with three holes one large for

o
,

5 1
Th e He ck the thread t o pass t hr ugh and t wo smaller ones o

for attaching them to the loops (no F or the .

sake of clearness only seven l ops are hown on the

’

,
o S

f rame in the illustration Any number h wever .

,
o ,

m y be used bu t each frame mus t have at leas t half

a ,
as many l ops as there are reels of thread on the
o

bobbin carrier T h s if eighty bobbins are to be used

-
. u ,

in making a warp there must be forty eyes on each

frame The position of the e es and loops on the
sec nd frame is S hown by the d
.

o otted lines in no 2 . .

The next appendage t o the heck block to be -

described is placed at the back of it pp site t he ,

O o

centre of t he heck frame I t is shown screwed .

t o the block in fig 2 6 no 1 A No 2 is .
,
.
, . .

an enlargemen t of it It will be seen to consist .

O f a block of wood it should be boxwood very

( ) ,

smoothly finished abou t five inches by three inches

, ,

and an inch and a half thick P rojecting from .

the t op edge are two Strong s t eel p ints about o

,
three inches long and two inches apar t U pon , .

these points two r und hollow boxwood pegs are o , ,

made to fi t In the drawing one Of these B is
.
, ,

represen ted in i ts place on the point but the other ,

is sho wn sepa ately at C The pegs are no t fixed

r .

on the p in ts but are fitt ed so tha t they will easily

o ,

revolve on them The reason for these pegs being

.

loose is to preven t friction when a large number of

,

t hreads gathered together is pass ing quickly between

them from the reel frame through the heck t o be
, , ,
spread upon the revolving m ll I .

In the cen tre of the heck block S hown in fig 2 3 -

.

a t O a ratche t and wheel will be O bserved This .

is t o enable the warper t o re gulate t o a greater

nice ty the Spreading of the wa p on t he mill reel r .

5 2
warp f rom l ing up in one place on the mill as ,

they w uld therwise do

o o .

The desc i ption of the warping mill is now

r

com plete and it only remains to dem nstrate its

,
o

use in the preparation of a large war p of fine S ilk ,

say of twenty th usand threads fifty yards long

o .

In warping the fi st thing t determine is the

,
r o

number f b bbins of silk t be used and to arrange

o o o ,

them on the b bbin frame fig 2 4 The frame must

o ,
. .

be fixed in the position S hown at Q Q fig 2 2 ,

.
,

no 1 and all the other fittings of the mill must

.
,
be in working order F i fty bobbins will be a .

convenient number as twenty th usand divides ,

o

equally by fifty T h is number of b bbins will make

. o

each p ortee consist of one hundred threads (see

pp 3 4
. It must next be calculated h w many o

p t
o r ee
s of one hundred threads each will make up ,

the number required f the whole warp or .

1 00 2 00 .

Two hundred p t then will be needed I n o r e es, , .

or de t o build this number up on the wa p ing mill

r r

the heck bl ck must be caused to travel d wn a d

-
o o n

up the mill frame tw hund ed times a cross o r

,

being taken at the beginning and the end of each

j ur ey
o n .

The b bbins of silk must next be arranged on the

o

frame which is S hown to be capable of h lding a

, o

hundred so that th fifty we p r pose to use will just

,
e o

fill the upper half of it I t must also be noted .

that the reels a counted in rows begi ning re

,
n

at the t op f t he left hand row This rder

O -
. o

must be maintained in threading them through the

54
heck When placi n g t he bobbins on the wires care
.

must als be taken that they will all unwind in the

o

same direction (see p .

The bobbins being ready on t he frame t he warper

must S tand between it a d the mill with the righ t n

hand to the bobbin frame The end f silk hang . o

ing from the first reel must be taken and threaded

through the first eye f the heck which will be o
,
seen by reference to fig 2 5 no 1 to be on the .
,
.
,

front f ame of tha t appliance The thread mus t

r .

be drawn well through the eye tak n between the ,

e

rev lving boxwood pegs and left hangi g there

o
,
n .

I n like ma ner the sec nd thread must be passed

n o

thr ugh the second eye of the heck which will

o
,

be f und on t he back frame The silk fr m the

o . o

third bobbin must then g through the third eye o ,

which is on the front frame and this orde f ,

r o

alterna t e t hreading mus t c ntinue u til all the o n

threads pass in regular order from the frame

through the heck and hang all t ogether between
,
the b xw od pegs
o o .

The heck bl ck which has been standing a t any

-
o ,

convenient height f threading the silk must now or ,

be w rked gently up t o the level of the pegs at

o

the t p edge of the mill and all the l ose en ds f

o
,
o o

S ilk hangi g fr m the heck being tied together

n o
, , ,
must be lo p ed on to the peg Y fig 2 2 no I
o ,
.
,
. .

On the mill being w m ved a few inches in no o

the direction of the arrow ! all the threads will

be tightened and the heck must be examined in
,

order t see t h at they all pass in regular alte nati n

o r o

through the eyes of its front and back frames .

A y error in the th eading will be a t once detected

n r

if t he frames are lifted in succession S as to raise O

55
firs t one half d then the other of the fiftyan

threads This being found correct t he collection

.
,

of threads which passes between the frame and the

heck must also be examined They sh uld come . o

o ff the b bbins in five distinc t vertical rows s

o that ,
o

the warper may be able to see at any moment that

the reels are all rev lving p r perly and detect at o ce
o o
,
n

t hreads that require me ding or any other att t o n en I n.

It will next be necessary t rem ve the silk o o

f r m between the rev lving pegs of the heck bl ck

o o -
o ,

gently turn the mill by hand u til th peg Y S tands n e

ab ut tw feet to the left f the heck and then all

o o O ,

will be ready for the imp rtant operation of t ki g o a n

th e which is d ne in the f ll wing manner

cross o o o .

C are being taken t keep the threads all taut the o ,

fron t frame o f th h k must be first raised This will

e ec .

lift half of the threads and make an opening through

which a S hort gl ss rod or th finger and thumb a e

of the war p er s left hand must be passed The

’
.

Opening thus made can then il be m ved al ng e as o o

ds and transferred to th first peg X which

'

th th
e re a e
,

is nearest to Y By another S light m vement of . o

the mill the silk mus t again be tightened the b k ,

ac

frame of the heck raised and the rod inserted in the ,

O pening which is then t o be t ansferred in like

,
r

manner to the second peg X The cross h ul d . S o

n o w be c mplete and perfec t o and as soon as i t is ,

seen t be so the silk mus t be replaced between the

o

rev lving p egs f the heck and t he warping may

o o
,

proceed The length of warp is ext to be arranged

. n

for and spread as described at p 4 8 The fifty yards . .

will need ten revolutions f the mill to S pread and o

,
these are t o be made by tu rn m g the handle K ,

no 1 fig 2 2 Great care mus t be exercised

.
, . .

5 6
in order t o turn the mill s t eadily and firmly and
keep an unrelaxed tension on the threads O f silk .

When the ten revolutions are complete the movable

bo rd holding the pegs W mus t be wedged
a

bet we en the s s f the mill jus t below th e

e O

termination of the tenth round of the warp Here .

,

as previously explained (p o l the portee . n

cross is required Acc rdingly the

. threads
o ,
taken all together will pass above the firs t peg W
, ,
below the last one then round i t and under the
, ,
first which com p letes the por tee cross The revo
,
.

l ti
u on of the mill must n w be reversed the silk o ,

being wound upwards in the same course until the

heck block again reaches the pegs at the top and
-
,

the mill is stopped gently f taking the return or

cross This time as the firs t pening has t o be

.
,
O

transferred to the second peg the b k heck frame ,

ac

must be the firs t raised for the insertion of the glass

rod When t his has been d ne the front frame
. o

will be lifte d the pening transferred t o t he firs t

,
o

peg X and when th warp has been looped round

,
e

peg Y the firs t p rtee will be finished and a

o ,

hundred and nine ty nine thers will have to be

-
O

done in exac tly the same manner An excellen t .

way of kee p ing account f the p t s as they are o o r ee

warped is shown at fig 2 7 A s tr ke is made f r . . o o

every portee c mpleted until nine are reached and

o
,
at the tenth one the nine are crossed t ou .

On arriving at peg Y fig 2 2 after the las t ,

.
,

portee has been warped the half portee must be -

divided and the threads cu t fro m the heck and t ied

in such a manner as to loop over the peg .

AS the wa ping proceeds it will be f und

r o

necessary to make use of the ra t che t and wheel

57
marked O in fig 2 3 Without t he help of this
. .

extra means f regulating th length of the cord by

o e

which the block is suspended the threads would be

piled up in one place I n an unmanageable heap and ,

when stretched t in the l om w uld be f various

ou o o o

lengths and cause great inconvenience to the weaver .

After a few p t s have been laid o r ee the m ill on

,

therefore the cogged wheel has to be turned so t h at

,

the ratche t may catch the next tooth This will .

FIG . 27 .
— M et h o d o f Co u n ti n g P o rtees .

obviously raise the block a little and cause t he nex t

round f warp to be laid a trifle higher on the mill
o .

A S this m vement of the ratc h et wheel is repeated

o

from time to time the warp will gradually fill in the

space between the rounds and lie flat in a S piral
band on the mill This filling of the space needs
.

to be done judiciously and must never be carried ,

so far as to merge one round into the nex t Warps .

of a high c un t naturally require greater S pace

o

between the rounds This S regulated as has been

. I
,

de cribed (see p
s by th S ize of the cylinder P
. e
,
fig 2 2 no 1
.
,
. .

However grea t th care taken by the warper may

e

be it is im p ssible to prevent threads occ s ionally

,
o a

breaking These must be m st carefully watched and

. o
,
I f p s b l detected before the broken thread has passed
o sI e

away through the heck To find and mend threads .

58
be tween t he b bbin frame and the heck is an easy
o

matter if done in the right way The warper mus t .

reach down fr m the t p between the vertical row

o o

o f threads in which the b oken one sh uld be and r o

the w nearer to him bring both ends p seeing

ro ,
u ,

that th ey c me direct from the bobbin the frame

o on

and f om the heck and tie them together If th is

r , .

has been rightly d e the thread will fi d its proper

on n

place as soon as the mill begins to rev lve again o .

Sh uld the thread have passed the heck it is more

o

di ffi cult t find and mend In this case the end

o .

must be br ught from the bobbin and threaded thr ugh

o o

the vacant eye in the heck If the end t be j ined . o o

has disappeared as will be most likely the case the

, ,

half po tee must be unwound with the greatest care

-
r

and searched for the missing end A S the silk is .

unwound from the mill the war p er temporarily

winds it upon his hand until the missing t h read is
disc vered When f und it is tied t o the l ose end
o . o ,
o

from the reel and the half p rtee replaced gently

,
- o

and accurately in its proper p sition as the mill is o

turned by hand until the heck is again reached and

, ,
the warping proceeds This is ather a di ffi cult and . r

t ires me p rocess and needs to be av ided as much

o ,
o

as p ssi b le by watchful care Immediately the

o . on

wa p being finished the cr sses mus t be secured in

r o

the man er described at p 3 2 the greatest care

n .
,
being taken that the cords p ass clearly through the
O pe ings kept by the pegs
n .

There are of course numberless poin ts wi th

, ,
rega d to warping which only experience will
r

teach but en ugh h s been advanced to explain the

,
o a

method itself and t indicate the uses of the various

o

parts of the warping mill .

 C H AP TE R V
T U RN IN G O N, O R B E A M I N G

T i
u rn n
g o n, o r B e am i g— Th
n e Ra ddl e, or Vate au
—
Sel e c ti o n f R dd l f ti ul Warp
ti —
o a a e or a ar c ar
p
e l
T h e Can Ro le r an d C an e S c ks T h e Raddl e

S an f o r S m al Warp s — T o se p ara e th e P o rte es

t d l t
i t ib ti ddl Tu i
D s r u n g th e P o rte e s in th e Ra e— rn n g o n

in o o m— Po s
th e L iti l
o n o f th e C an e Ro le r in t h e

Lo o m— M tu i
e an s o f rn n g t h e Ro er—
ll A i t e ss s an c

qui d tu i
in rn n g o u —
M th d io f k ee n t h
re re e o p g e

Warp ar o n th e Ro e
h d ll r .

I N order tha t the warp may be s tre t ched in the

loom ready f the weaver to make into cl th it has
or
’

o
,
to be attached to a roller and Spread ou t and w u d o n

evenly and tightly up n i t This roller fits int the

o . o

back top of the loom frame and when spread t

or
,
ou

up n i t the warp has to be a little wider than the

o

web is in t ended t measure when finished This

o .

process is called t i g or b mi g— beaming

u rn n on ea n
V
because beam is the ld name f the roller of a O or
‘
loom When we read in history or poe try of a
.

“
Weaver s beam we may know tha t the roller is
’

t he part of t he l om referred to
o .

In C hap ter III t he use of t he warping board

.

was demonstrated and a finished warp with the

, ,

crosses properly secured was described as left W I d , O ln

60 ‘
'
S pread ou t t o a t leas t t wenty four inches in t he -
ti
Selec o n o f
raddle . th e Ra ddle
60 I -
24 2 5 f o r a Warp

We find then that every inch of the raddle must

have two p t s and a half distributed O it A
or ee II .

raddle having five paces to an inch will accord

S

i gly suit our purpose and in every Space we

n ,

FIG . 29 .
—T h e C an e R ll ro e .

mus t place half a portee This can be qui te readily .

done as each portee is divided into two at the

,
cr ss
o .

F ig 2 9 represents the back or top roller f a

. o T h e Can e
lo m such as th wa p is to be spread and wound
o e r ll
Ro er { 11 d
upon I t is called the
. roller t distin guish it from
ca n e
,
o e
Can sad “
the b t r ller in f 6 ri t 0f the l m
reas o
,
rwhich the “

oo
,
on ,

is wound I t has a groove pl ughed . o

in it from end to d dee p en ugh for tw sm th

en o o oo ,
w od or m etal sticks t be placed easily one above
o o

the other in it One f these rods w S hall require

. o e

t o use at once in spreading the warp .

Th e C e
an The warp is shown on t he hand s tick in -

R ller
o an d fig 3 0
. Into t he Opening a t A the cane s t i k
. c

C e S ti k
an c s must be inserted and through the opening B
, ,

another cord little longer than the cane stick has

,
3 .
,

FIG 3 0. .
—P o rtec r
C o ss in U se
.

t o be passed and t ied securely t o the ends of the s t ick .

A soon as this is done the first cord may be cu t away

s .

The portee cross will now be safely kept by means

of the cane stick and the cord as a t no Two . 2.

little supports f t he raddle will now be required in

or

order to fix it in an uprigh t position on a t ble as a

,

s hown in fig 3 1
. F ig 3 2 shows the w rp in the
. . a

proper position for distribution in the raddle A .

64
Raddle heavy weight of some kind B is placed the warp , ,
on

S t d
an s three or four feet from the raddle and the p rtee ,
o

cr ss secured by the cane stick and cord is on the

o , ,

op p osite side A piece of card folded as a t A and

.

placed on top of the teeth of the raddle makes a ,

handy rest for the warp while the p t s are bei g o r ee n

picked t and placed in order It will now be

ou .

found that taking the cane s tick in hand and

on

gently pulli g the warp tight the p o t s can readily

n r ee

be se parated and entered in regular succession along

it By this means the war p er is enab led to distribute
.

t he p t s at will in the raddle spaces

o r ee .

The raddle will probably be more than twe

four inches l ng but tha t is qui te immaterial qiye
o ,
.

mus t first find the central space and count f? twelve o

inches to the right of i t marking it as the starting ,

place of the distribution The folded card may be .

m oved to within a few inches of the ma k with the r

,

warp resting upon it The first portee mus t now be

.

separated fr m the bulk of the warp and divided the

o
,

first half of it which will come out ofthe cross natu

,
rally being placed i th first space and the second
,
n e ,

half in the second space The second portee in like .

,
m anner will fill the third and fourth S paces and so
, ,

each portee will foll w in succession until all are

o ,

distributed It will be found necessary during the

.
,

distribution to keep t he cane stick as much below

,

the level of the raddle as possible If this be t . no

do e the distrib te d p t s are ap t to escape fro m

n
,
u o r ee

their app inted spaces and the w rk f distribution

o ,
o o

has all to be do e again As soon as the whole

n .

warp is in the raddle the c p must be fixed securely a

in its place and then all will be saf e and ready for
,
the actual turning on .
 Such a warp as the one we are dealing with ,

made on the warping board is just suitable for a ,

d mestic l m so we will suppose it has t be

o oo , o

turned on in the loom with the roller n

, , ,
o

which the warp has been wound fixed in its place ,

.

This can readily be done but an important silk ,

warp such as the one described as made on the

,
warping mill requi es the use of a special turning
,
r

on machine with facilities for very heavy weight

,

ing and a means f keeping a steady and even o

tensi n on the multitude of fine silk threads

o .

This is t the place to explain the method of

no

fixing the r ller to the l om that will be done when

o o ,

the whole construction of the loom i tself 5 treated 1

of W must therefore f our present purpose

. e ,
or
,

imagine it bracketed to the l om p sts as shown o -

o

in fig 3 3 in which A A are the back pos ts

.
, ,

of the lo m B the cane roller and C the groove

o , ,

in the roller into which the cane sticks fit Two .

assista ts will w be required one to turn the

n no
,
r oller and the other to hold on to the ha d n

stick ,
which the warp is at presen t wound
ou .

Before we can actu ally begin the turni g on how n

,

ever s me means of turning the roller mus t be

,
o

devised .

I nto t he r ller a t the place marked D fig 3 3

o
, .
,
a very s trong short screw r nail must be driven
,
o
,
deep enough to take firm h ld but a t the same time o

to leave th head about an i nch t of the wo d

e ou o .

Abou t six fee t of str ng cord will als be wanted o o

this must be tied together at the ends s as t o form o

a long loop One end of the loop must be caugh t

.

on t t he screw head and the d uble cord wound

o -
,
o

round the roller two or three times cross ing itself ,

67
 as it winds It must be wound in the direc t ion
.

shown at fig 33 A.
leaving the
,
l p E for the inserti n
oo o

of the stick as at F ,
fig 3 3 B By mea s . . n

of t his stick and cord ,

the assistant will be

enabled t o turn the
r ller hand over hand o , ,

and W ind the warp

upon i t quite easily ,

although a good deal f o

strength be exerted a t
the other end in order
t pull the warp tight o

on the roller .

Tr i
u n ng o n The actual process
of turning on will be
readily explained with
the assistance of figs 3 4 . .

and 3 5 At fig 3 4 no . .
,
.

I the warp is s h own ,

with the raddle G G , ,

and the cane stick HH , ,
in their proper places
in the warp One assis .

tant we will suppose , ,

holding the hand

F 33
ro . L m P t
,
_
oo
stick with the
os s
bulk of ,

wit h R ller o the warp p n it a t

.
u o
,
some l ttle d st c ff i 1 an e o

in the direction r the arrow The other assistant is

o .

holding the raddle G G and the cane stick HH in

, , , ,
t he relative positi n with regard t o the loom posts
o
,
-
,
show in the drawing The warper mus t no w
n .

68
back al though the t ension b e kept on i t This m y . a

be d ne at any time by placing the t

o g
,
stick F u rn 1n , ,

in the position S hown in fig 3 5 This drawing . .

(fig 3 5)
.
represents the stage of th peration now e o

arrived at The warper must take the raddle in

.

hand and see tha t all the p o rt s are in their proper ee

FIG 3 4 . .
—Warp re dy f a or i
fix n g in Can e R lle
o r.

places and that th raddle can be moved e asily and

,
e

without obstructi n along the threads All being

o .

in order the turning on may w proceed The

,
no .

warper must guide the warp as it is turned on by , ,

means of the raddle gently shifting it about so as to

,
lay the threads on the roller as evenly as possible round
by round All the time of turning he must lo k out for
.
o

broken or tangled threads being careful to place any ,

that have t o be mended in the por t ee to which they

belong If all goes well and the warp is turned on
.

easily i t will pr ve that the warping has been properly

,
o

done All this time from th e firs t t urnin g of the roller

.
, ,

7 0
th e assis t ant holding t he hand stick with
-
the Warp
u pon it must have been pulling with all his f rce o

and steadiness against the turning If indeed the .

, ,

war p is of any c nsiderable size the services f

‘
o ,
o

two or three p e p 1e are necessary in order to give

0

su fficient tension t o i t When a few turns have

.

thick paper or t ough card underneath the warp ,

between it and t he roller This being wound on

. ,

will prevent any t hreads sinking in and giving

f ture trouble as they would otherwise be apt t
u ,
o

do .
A long war p may require several of these pro
tec ti g cards to be wound in with it but the need
n ,

f
or them will de p end very much upon th weigh t e

and evenness of th tension kept during the turning

e

on If the warp on the roll begins to feel s ft and

.
o

flabby i t may be known that a card is required

,
.

As soon as the im portant cr ss is exposed on the

o

h and stick the warper must call a halt leave th e

-
, ,

7 1
raddle and spread the crossing t hreads out on the
,

S ecuring cords This will not be found di ffi cult t

. o

do if the weigh t be kept well on W hen the cross .

is S p read t clearly tw sm othly polished round

ou ,
o o
, ,
w den rods pointed at
oo
,
end abou t an in c h one ,

thick and six inches longer than the width of the

warp must be put into it in t he penings made
, ,
O

by the securing cords and left there together with

,

them When t he rods are safely in place the

.
,
turning must proceed and con t inue as before until ,
the rods are cl se up t the raddle As so n as
o o . o

they are in this position the c ap must be taken o ff

the raddle and the raddle itself rem ved its work o
,

being d ne One tw more turns will wind the

o . or o

cross and the rods on t the roller The h and stick

o .
-

may t hen be detached from the war p and the ,

turning on or beaming will be c mpleted the

, ,
o
,

warp being quite ready to be en t ered n the loom i .

 The silk thread being caugh t or br ken on any part f it o o .

B mi g
ea The two stands on w h ich i t rev lves must be firmly
n o
Dru
m {
“ F tt g
d bolted t the fl or of the worksho
1n o p as the strain
o ,
3 1 they have t bear is very heavy and continu us and
1n s
o o ,

th ey mus t be carefully adjusted in or der that the

FIG 3 6 . .
-
T h e B eam i ng D rum .

revolu t ions of t he drum may be level and true .

The drum itself must be p rovided with two f iction r

br kes (figs 3 6A and 3 6 3 B B) E ach f these brakes

a .
, , . o

consists ofa S trap oftough leather abou t tw inches in ,

o

wid th a d lo g en ugh t o reach from the gr und at

,
n n o o

the back of th drum— where they are fixed by strong

e

t aples C fig 6
3 ) — to t he bar D D a t the front
S (C ,
A , .

(fig . I t is by means of t hese straps that the

tension is given to the warp as i t is being turned on .

74
Weigh ts are hung on th bar and the tension e ,

given to the warp can be regulated to a nicety by

th eir means .

The drum must also be furnished wi th two well

made ropes capable of bearing a heavy strain and ,

long enough to reach from the drum after going ,

once round i t t o the frame on which the roller

,

Fro .
3 6A .
—Th e Drum Bac k V iew .

fo r turning on is fixed These ropes mus t b . e

permanently fastened at one end t o the drum as

, , ,
near as possible t the s traps of the fricti n brakes
o o
,

but not so near as to interfere with them when

w rking The ropes are wound on t o the drum
o .
,
care being taken to av id crossing them as shown at
o
,

E E figs 3 6A and 3 63 The free ends of the ropes

, ,
. .

must be looped in order that a thick round stick , ,

almost as long as the width of space between
the straps may res t in them (F fig
,
To , .

75
this s t ick one end of the warp to be turned on is
attached as shown at fig 3 6 . .

The next necessity f good beaming is a long

or

workshop in which a clear space of thirty or f rty

, o

feet is available Where such a space can be had

.
,

the drum fit ted up in the manner described is the

, ,

FIG 3 6 3
. .
—Th e Dr m u F t View
ro n ) .

only apparatus that is required with the excep t ion ,

of two p sts answering to the back posts of th

o ,
e

lo m on which the cane roller is p laced for beam

o ,

ing the warp as described on p 68 and shown in

,
.

fig 3 3 The pos ts specially made for turning

. .

on must be fitted up exactly opposite t o the

drum and as far f rom it as convenient They
must be adjustable —that is to say Whatever width
.
,

a part they may have t be in order to accommodate

o

di ff eren t lengths of r llers the cen tre of the space

o
,

between them mus t be exactly opposite to th e

7 6
 and a line may be pain t ed on the flo r also marking o

the centre f the space fr m the dr m to the beam

o o u .

This line and mark will make the nice adjustment

of the posts when they are fixed up quite easy
, , .

The two posts need to be very strong and should be ,

about six inches wide by three inches thick Their .

length will of course depend on the heigh t of the

, ,

worksh p as they must reach from the roof to the

o ,
floor I t will be seen fr m the diagram that the
. o

p sts do not stand quite upright but lean agains t the

o ,

beam in th direction of the drum so that although

e ,
when no t in use they can easily be rem ved when o
,
the tensi n is on the warp they are firmly fixed
o

in their places I n order to make the posts stand

.

firm when the weight is no t on their ends are ,

accurately cu t to the angles of the beam and ro f o

and f the floor so that when in position a tap with

O ,

a mallet at the place marked C fig 3 7 will a t once ,

.
,
fix them It will also be seen that the roller simply
.

rests upon bracke ts fi tt ed to the pos ts a t a convenient

height for the turner o to work at -
u .

I f a space of thirty fee t is not available f the or

beaming it is p ssible to do it in a much smaller one

o

by means of rollers fitted in a frame The frame .

with rollers is fixed t o the wall or placed opposite the ,

turning -
pos ts as far away from them as possible
on , .

The drum with i ts front facing the rollers stands

, ,

between them and the posts as near the latt er as ,

convenience will ll w This arrangement of the '

a o .

beaming machinery is shown a t fig 3 8 The warp . .

in this case unwi ds fr m the drum A passes under

n o
,
t he roller B over C and then tu rning back escapes
, , , ,

t he top of the drum and is turned on at the o p po

si te pos ts The simpler arrangemen t withou t rollers
.

7 8
is better f r several reasons the principal one being
o ,

that when the silk goes direct fr m th drum o e

to the cane roller there is much less friction and

strain on it .

The process of beaming when the drum is used

is exactly the same as that described in the last
ch pter except for the management of the drum
a
,
itself which takes the p lace of the assistant who
,
holds the hand stick and pulls in order to give the
-
,

FIG 3 8 . .
— B eam i n g in a Sm a ll er Sp ac e
.

necessary tension to the threads I t will only be .

needful therefore to give instructions f r the

, ,
o

management of the drum and refer to the previous

explanation for the rest .

In taking the warp ff the warping mill on t o the o

hand stick when a beaming drum is to be used the

-
, ,

p t
or ee cross end of the wa p must be looped first to
r

th hand stick so tha t when it is all wound on th

e -
, e

porre
y (see
cross fig 1 4 ) will be left ou tside
. This .

is the reverse of the former direction (p and is .

necessary because the wa p has to be rewound on r

to the drum When this has been done the warp

.

will be found in the same position on the drum as

regards the cros es as it was in the f rmer case upon
s
, o

th ehand stick In order t o wind the warp on to the

-
.

79
drum the s t ick C fig 3 6 must be de tached fr m
, ,
.
,
o

the r pes E E and placed in the pening made

o ,
o

by peg Y fig 2 2 no I The stick must then

,
.
,
. .

be reattached to the r pes and the d um turned so

’
o ,
r

as t wind the war p tightly and evenly up n it

o o .

Of c urse while this is being d ne the weight must

o o

be taken ff the bar f the friction brakes the stra ps

o o

themselves may even have to be removed As so n as . o

the warp is all w und on the drum the friction brake

o ,

must be re placed and a light weight put on the b ar .

The warper must then take in hand the p ortee end

of the warp and carry it over t o the ca e roller p osts n
,
where the raddle is f the present fixed in a con or
,

v i t manner in the place that the cane roll will

en e n , '
eventually occupy He will then pr ceed to inser t . o

the cane S tick in the warp distribute the p t s in the ,

o r ee

raddle and fix the cap

,
Then the r ller will take on. o

the place of the raddle and the cane s t ick be dropped

into its gr ove One turn given to the roller will
o .

fix the cane stick and the necessary weight being ,

pu t on the drum the beaming may p r ceed ,

o .

W hen th e warp is all ff the drum and the stick o , ,

to which it is l p ed is in the p siti n h wn at oo ,

o o S o

fig 3 6 the weight must again be taken ff the brakes

.
,
o
,
in orde r to allow f the s preading and straightening o

ou t of t he cross and the cords securing it When .

this is done and the two rods inserted as directed at

p 72 the weight must be again put
.
,
and the on

beaming can be comple t ed the tensi n being kept ,

o

even by means f the unwinding r pes o o .

The directi ns for finishing ff the b m m g which

o o ea
,
are the same in large or small war ps are also given ,

at p 72 . .
So much is this the case th t i st d ofbeing altogether a , n ea

a sim p le art weaving i its highest perfecti n is per

, ,
n o ,

ha p s the m st complicated f all the arts f life

o o o .

I n der t ex p lain the meth d of p ening the

or o o o

warp f i serting the weft it will be necessary to tu n

or n , r

back to fig I 3 no I I n this drawing as was inti

.
, . .
,

mated r p 2 4 is represented the simplest possible

a .
,

f rm o f lo m The meth d f weaving plain cl th

o o . o o o

is all th at must concern us at present the weaving ,

of p atterns being left for later consideration The .

t o ls required are as sim ple as the l m itself being

o oo
,
only the s p indle with the weft wound up n it as , o

it was spun (see pp 1 4 and I and a flat stick t be . . o

used for kee p ing the penings wide and clear f the o or

passing of the weft and f beating the weft itself ,

or

t gether
o .

The loom for t he demons tration of weaving being

prepared as directed at p 2 5 the c ss d m t .
,
ro -
ro sx us

fi st be secured in their place a t the t p of the

r o

loom This may be done by attaching loops of

.

string to the pr jecting ends of the beading and o

,

twisting it rou d the two rods as sh wn in the end

n o

View of the r ds fig 3 9 The fla t rod E musto

,
. .

next be placed in the p ening made by the l wer o o

cro d b ought a little way down and t urned

s s- ro ,
r

edgeways as shown in the secti of the l om

,
on o
,

fig 3 9A This flat rod is usually called the h d sti k

. . s e -
c

because it is used for wideni g the shed shed being n

,

the technical name f any opening made f r the or o

passing f the weft Through the pening F

o . o
,
fig 39A the s p indle G with the weft up n it must
.
, , , o ,

now be passed after su ffi cient thread has been m

, u

w und t each acr ss the war p and leave the end

o o r o ,

of it pr jecting a t H All t he war p threads a t the

o .
back of the shed will now be covered by the weft ,

whilst those in front are still ex posed The latter .

must now be covered by the return of the spindle

and weft F or this pur
.

pose a di ff erent pening o

or shed must be made as

sh wn at I fig 3 93
o ,
. .

This is e ff ected by
pressing back the fr nt o

threads with the t p joint o

o f the forefinger of the

left hand a d hooking ,
n

each back string to it on

in successi n To d o . o

this quickly requires a

go d deal ofp ractice it is
o

well theref re t begin

,
o ,
o

by raising and passing “

the weft thr ugh only a o

v ery few threads at a

time F example let
. or ,

the warp cons st of i

seventeen threads nine ,

being in front B . e

ginning at the fi st —
r

th ead
r t he left hand
on
F 3 9 P i m itiv L m -
IG .
‘
. r e oo

d Sh d ti c k
side and pressing it
,
an e -
s s
.

back the back th ead

,
r

can easily be caught on to t he finger which ,

must next p ress in the same manner the seco d n

fr nt thread and catch up the sec nd back

o o o n e.

Next the third fr nt and the third back and lastly o

,

the fourth front and the f urth back threads must o

be taken up It will now be found that four

.

83
of the back threads neares t the left h and side of the -

loom are on the finger an d if the S hed stick be

,
-

placed flat in Its gi l position E fig 39 they

o r1 na , , .
,

can easily be raised suffi ciently

high for the weft spindle to be
passed through the opening .

When this is done and the

S hed stick again placed edge
-

ways the remaining four back ,

threads have to be raised in
the same manner and the ,

weft passed through After .

the weft has been drawn

straight the shed stick being ,
-

again in a flat positio its edge n

,

may be brough t down smartly

upon the wh le weft in order o

t beat it together The t wo

o .

shoots f weft will w ap pear o no

as drawn between H and J ,

fig 3 9 and the shed Stick being

.
,
-

returned t o its position at F ,

fig 3 9A the p ening for the

.
,
O

F F
third shoo t will be ready The .

IG
39
. A .
39
IG 3
fou th pening is made by
. .

r O

picking up in the same way ,

as the second and so shoot by shoot the weaving

,

may be regularly continued After a little practice .

the picking up of t h e back threads f every second or

sh ot will become quite eas and may be very

quickly done It will also be fb d that if t he cross
o

. un

rods are of a good size the shed stick may be dis -

pen e
s d with The
. weft too may be wound
,
in ,

convenien t balls or skeins small enough t o pass ,

84
opening thus ma de th Hat she d stick is care f ully
e -

thrust When quite through the warp it is turned

.

edgeways and e ff ectually lears the opening f the

,
C or

passing of the weft .

I t is imp sible to say how early in the his

os

tory of weaving two mos t importan t steps in its

FIG 4 o
. .
—He adl e Ro d .

developmen t were made These steps were .

()
1 placing the W arp horizontally ()
2 arranging an
automatic m tion by which both the necessary
o

O penings sheds can be made with equal speed

or

and certain ty There is little doubt that it was

.

in China that these improvemen ts were first made .

From that c untry they S pread to India and the E as t

o

generally There are in existence very ancien t

.

86
re presen tati ns f C hinese d Ind an h ori on tal H i t l
o o an i z or zo n a

looms with such aut matic arrangements M reover L m d

o . o ,
oo s an

the fi silk webs f C hina and I dia s much Aut m ti

ne o n
,
o o a c

valued in ancient Greece and R me c uld hardly Sh d o o e s

,

have been made in the S imple manner described above .

FIG 4 I
. .
— I n di an L oo m.

Fig 4 1 is a drawing of an I ndian l om made for

. o

the weaving of fine muslin Such l ms as this . oo

have wi thout doubt been commonly used in India

fr m a time l ng an terior to the C hristian era The
o o .

framework is of bamboo and the warp is stretched ,

between bamboo r llers There are many details

o .

lacking as we ha e seen is usual in these ancient

,
v

drawings but the automatic motion for opening the

,

87
shed jus t referred to is quite clearly s h own
, , .

Altogether in its general arrangement the Indian

loom bears a close resemblance to the hand lo m -
o

of old E nglish pattern (fig 4 2) a d the d mestic . n o

lo m in the old F rench w dcut f the frontispiece

o oo o .

The stu ff s carefully made by hand on such looms

as fig 4 2 cann t be equalled either in ppearance
. o a

or durability by the p d t of the power ro u c IO n S

loom n twithstanding all its claims to perfect ion

,
o

of mechanism .

A careful study of this old E nglish loom in all i ts

parts will now be both useful and interesting .

The hand loom like the warping mill was the

-
, ,
result of t he ex p erience of many generations of
craftsmen Sim p le as i t may appear it is perfectly
.
,

adapted for use either in t he weaving of the finest silk ,

or of the coarsest linen woollen or co tton materials ' , , .

The par ts al ady d sc ib d will be a t once rec g

re e r e o

n is d— vi
e the back or cane r ller t he war p with
z ., o ,

its cross or lease and the cross sticks pro tecti g it

,
-
n

but the new features the loom frame and i ts ther ,

o

fittings now claim attention

,
.

Strength and igidi t y are the chief qualiti es r

requisite in the lo m frame in order to enable i t o ,

to withstand the c ntinual heavy beati g do wn f the o n o

weft on which the maki g of good cloth so largely

,
n

depends The f ur posts must be made of sound

. o

w d and be about six inches wide by three inches

oo ,
thick and t less than six feet in height The posts
no .

must be joined together in pairs by being mortised

into the l ng ide pieces f w d D D which o S -
o oo , ,

should measure in length not less than eight fee t .

The cross pieces E E need t be mortised bu t

-
, , ,
no ,

m a b simply fixed in their places by screws in

i e

gS
,
 th e way sh own in th drawing The length f the e . o

cr ss p ieces will d pend on that f the r llers and

o -
e o o
,
the length of these depends on the width of the web
to be made F or atwenty three inch war p the rollers
.
- -

sh uld be thirty six inches long There is no

o -
.

necessity for cr ss pieces to j in the p sts t gether

o - o o o

at the bott m These would in fact be rather in

o .
, ,

the way f the weaver wh should be able t get

o ,
o o

c nveniently to any part of the warp I n order

o .

to fix the frame solidly in its place and p revent

the p sts from shifting f ur little bl cks can be
o
,
o o

nailed t the fl or at the f t of each post as shown

o o oo ,

in the plan F fig 4 2 In erecting the lo m frame

, . . o

care must be taken t fix it exactly square (see o

N te I a t end of chapter) so that the fr nt and

o
,
o

back rollers are perfectly parallel to another one .

Stays also sh uld be fixed between the top p ieces

o -
,

fr m the ends marked with a cr ss and the nearest

o o ,

s lid beam or wall above behind the weaver who

o or ,

sits to work facing the front roller C onstructed .

in this manner f well seas ned wo d the lo m ,

o -
o o ,
o

frame will be found t resist any amount of strain o

it may have to bear .

Th e Ro ll ers The back or cane roller A has already been

, , ,

described (p and the front or breast r ller B

. o
, ,

is exactly like it having a gr ove in which two ,

o

cane sticks are p t in order to fix the warp

-
u , .

The breast r ller has in addition a ratchet and

o

wheel attachment (C fig which all ws it ,

. o

to be t rned only in the direction indicated

u

the arrow The back r ller is not so rigidly fix

. o
‘

but is weighted by a f iction brake at each end r

,

the arrangement of which fig 4 3 nos I and 2 .

, .
,
will readily explain A is the roller with the rope .
,

go
wound t hree times roun d it at each end B is a .

b x suspended between the t wo ropes in t o which

o ,

any am unt f weight o o ,

that may be required ,

can be put C is a .

small weight just heavy

en ugh to p revent the
o

r p Sli pping t freely

o e oo

when the box is heavily

weighted a d set in the n

p osition sh wn The o .

war p being p laced in

the l om is first S ffi
o ,
u

ci en tl
y unw und for o

its end to reach to the

front r ller where it
o ,
is fixe d in the same,

manner as in the cane

re li s b y t w
e ds It F 4 3 — C e R ll r d
o ro IG. . an o e an
will w be obvious
no W i gh ti g e n .

that the warp will be

S tretched in proportion t the amount of weigh t put
o

int the box suspended from the back roller

o .

Tapestry lo ms and some other simple looms f

o or

coarse weaving are made with a ratche t and wheel

on the back roller instead of the fricti n weight
, o .

This arrangement would not do for the weavin g f o

fi ne threads especi ally if they be silk as the tens n

, ,
io

o btained by tw ratchet wheels S rigid ins tead f

o I
,
o

being el astic W hen the friction brake 5 used no

. 1
,

m tter how heavy the box may be made the

a
,

weight will give slightly at every blow of the

beating d wn This kindly giving prevents the
o .

breaking of the slender threads The friction brake .

91
Adv t g an a e s also admits of a nice adjustment of the t ension t o
f the
o the requirements of the weaving and has also many ,
Fric tio n minor advantages unnecessary to mention here .

e
B rak o n th
i If the Indian loom fig 4 1 be compared with the .
,
C an RO 11“e E nglish one fig 4 2 i t will be a t once noticed that
, .
,
,

i
C o m p ar so n th ey are b th alike I n t wo m s t im p orta t
o o n

f th e
o particulars Both have the warp arranged in a
.

I di
n an an d h ri ntal positi n and the contrivance used for
o zo o ,
En gliSh making the pening or S hed in the warp is the
o
L ooms
same in each .

The horizon tal position of the warp in t he lo m o

was no doubt riginally adop ted because in the

o
,

first place i t enables the weaver t o thro w the weft

,

swiftly through the opening by means of a shu t tle ,

instead of sl wly passing the ball or S pindle across

o

t he warp ; and in the second place because it is

, ,

easier t o arra ge f r the aut matic opening of

n o o

the al t ernate sheds In fac t if the in terlacemen ts

.
,

of the warp and weft required are a t all com

plicated i t would be practically impossible to
,

arrange mechanically for t he necessary succession

of O penings on an uprigh t loom .

M th od
e O f In fig 4 1 and at letter G fig 42 the simples t
.
,
.
,
°
P em n 8 possible automatic arrangement for opening the sheds
th e Sh e d is represented It consists f four laths of wood H H
. o
, , ,
H H fig 4 2 joined together in pairs by threads
, ,
.
,

passing from those above the warp t o those below i t .

E ach pair of laths thus joined together is called a

h d/ or h dd/
ea e, The threads joining the laths
e ew

together are not simply S ingle ones but made up ,

a re

in th same manner although on a larger scale as the

e , ,
loops of the p art of the warping mill alled the heck c
,

shown at fig 2 5 nos 3 and 4 These compound

.
,
. .

loops are known as l a h and any n u mber of e s es

,

92
M th d
e o of the loom frame jus t above the ends of the two
,
o
p i en n g beadles A cord passes from the fr nt headle ver
. o o
t h e Sh d e the pulley and is tied to the t p lath of the back
,
o

headle The c
. made just l ng en gh to o ou

allow whole when the beadles are at

FIG 4 4 — S ec
. . ti on o f O p ed W rp
en a .

t o lie flat as shown in fig 4 2 and re p resented by

,
.

the do tted line in fig 4 4 At E are the treadles of . .

the loom tied separately to each of the lower laths

,

o f the h dl ea es .

The pening F shown in fig 4 4 is ob tained by

O .

pressing down the right hand treadle and allowing -

the left hand one to rise The falling treadle

-
.

draws down the fr nt headle with all the threadso

of warp carried by it and at the same time by , ,

means of the pulley D draws up the back headle ,

94
 with all its threads t he result being a clear pen,
O

shed as depicted In like ma ner the second shed

. n

is made by releasing the right ha nd treadle and -

pressi g down the left

n .

I t s imp ssible t say a t what period the im

i o o

p ortant impr vement in the

o apparatus of the loom
was made which c nsists in lengthening the short
,
o ,

heavy independent comb by which the weft had

, ,
hitherto been beaten together and attaching it to ,

the loom I tself enclosed I n a heavy swinging frame

, .

I t may be that at first the long comb was only

fixed in the l m near the fr nt r ller I n order to
oo ,
o o
,

keep the warp threads f m gathe ing together in ro r

places as they are s apt to d I t is still used f

,
o o .
,
or

this purpose nly in lo ms built f the making

o
,
o or

o f tapestry When the long comb is fixed in this

.

manner the short c mb has to be used as well f o or

beati g down the weft It led however t a great

n .
, ,
o

advance in the weaving process when the idea ,

occur ed of hanging the l ng comb lo se in the /

r o o

l m in rder that it might be used not only for

oo o
l
, ,

keeping the warp threads evenly distribu ted but also ,

for beating the weft together .

By the adopti n of the long s winging comb

o
,

needless t say much time is saved But more

o , .

im p tant than this the bl w of the c mb is by this

or ,
o o

means evenly distribu ted acr ss the whole width f o o

the warp and is so equalised that even the most

,

delicate threads f silk or cott n c mp sing the

o o ,
o o

warp are t unduly S trained although a su prisi g

,
no
,
r n

amount f f rce may be used after each shoot of

o o
,

weft to beat the cl th t gether

,
o o .

The name given t the l ng c mb by weavers is o o o

th d bec use th divisions were originally made

e ree , a e

95
Sign ific atio n of fine s tr ps of cane or reed mos t carefully pre
i ,
1 am ? pared and fixed be tween four half round laths in the
;3
o f t] -
,
as

F IG .

45
.
—M eth o d of Re e d m ak i n g
-
.

manner shown at fig 4 5 A A no I are the ends

. .
, , .
,

of f our half round laths shown also in the secti n

-
,
o

n o 2 bound together in pairs by a fine waxed co rd

.
, ,

one end of which appears loose a t B .

96
 O
F 6 — H an d b tte
IG.
4 a n.
-
.
reed and of the shape shown in the sec t ion a t B
, .
tte
Th c Ba n
It also has a piece of p lished beading along the t op
o

f ront edge This is for the shut tle t run on (le t ter
. o

C in section) as it is t hrown through the shed of

warp which is so regula ted that th threads held
,
e

down by the treadle press upon the beading and allow

the S huttle to pas s over them D D are called the .
,

swords f the batten and are mortised into the race

o ,

bl ck E is a grooved cap als sh wn in the section

o .
,
o o

it is movable and its use is to fix the reed in i ts p la f

,
ce
’

F is the rocker by means of which the batten is hung

in the l om as shown in fig 4 2 When the batten
o . .

is a ttached t o th e rocker by a double cord as indicated ,

in the S ide View G its heigh t can be nicely regulated

,

by means of the peg a t the back which shortens or , ,

lengthens the c o d b y t wisting or untwisting it
r , , .

In order to complete the descripti n of the old o

E nglish loom it only remains to point out t hat the

,

cross—piece fr m which the beadles are suspended is

,
o
,
movable and may be fixed a t any distance fr m the
,
o

f on t of the loom necessary for the regulation of the

r

shed The nearer to t he reed the beadles are hung

.
,
the clearer and wider the pening in the warp will be o .

The position of the batten can be regulated by

moving the rocker backward or forward in the
bracke ts on which it rests (fig 4 2 I) W hen the right .
, .

place f it h as been dete mined it is fixed there by

or r

means of small screws being partially driven into the

bracke t a t the f ront and back of the rocker pins .

All t he essential par ts of the l om for plain o

weaving are w described and i t is nex t necessary

no
,
t ex p lain the method of entering the threads of the
o

warp in the h as a c llec tion of two or more

a rn ess
,
o

b eadles is called and the reed , E ntering has t be . o

S ee A dden d a , p age 3 40 .

99
done wi th great care and accuracy as one mis take ,

will thr w ou t t he whole succession of remaining

o

threads It is also very di ffi cult to rectify mistakes

.

when the entering is finished In some cases the .

whole of th warp beyond the faulty place has to

e , ,
be drawn out and entered re- .

F ig 4 7 shows a warp in the lo m prepared for

. o

en tering At p 7 2 the turner o is described as

. .
-
n

finishing his w rk by winding the cr ss rods with the

o o -

warp on t the cane roller If not tu ned on in

o . r

the loom itself the roller with the warp on it was

, , ,
brought t o the loom and placed on the bracke ts
of the back l m p sts Two str ng side cords
oo -
o . o , ,

A C C C were then firmly attached t the front

, , , ,
o

posts f the l m and bei g carried over the ends

o oo , ,
n

of the back roller were rather heavily weighted , .

The war p was then gently unw und and the ends o ,

of the cr ss rods were all wed to rest on the side

o - o

cords a t A The unwinding was continued until

.

the rods rested at B The side cords were then .

twisted nce round the ends f the r ds as sh wn

o o o
,
o

in t h e drawing and by this means they were ,

securely fixed at tha t point bu t at the same time ,

could be readily m ved backward or forward on the o

side cord weights being lifted The warp now . c an

be regulated so that the lo ps hanging below B o

will reach t the fr nt of the l om o o o .

The beadles had nex t to be specially fixed f or

entering and f r this the short pieces f wood D

,
o o

were provided These were tied as indicated in the

.
,

drawing to the top of the loom frame and t o tem

,

p o rar
y staples d iven into the f loor Ther ends of .

the top shafts ofthe harness rest upon the upper pieces
of w od and the bottom shafts are ti ghtly held down
o ,

1 00
by the lower pieces which are a ttached by Slip loops
,
-

t o the staples in order to re gulate them By this .

means the leashes of the beadles are rendered quite

tau t and the eyes can be readily selected in due
succession by the enterer To make them still m re . o

secure which is necessary in the case of a rich full

, ,

harness f many beadles lit tle bl cks f wood may

o ,
o o

be placed between the ends of the shafts and the

la tter may be bound together with cords .

Nos 2 and 3 are th e hooks necessary for enter

.

ing No 2 mus t be slender enough to pass easily

. .

through the eyes of the leashes and the flat hook ,

N 3 must b thin enough to go through the fine
o. e

dents of the reed .

I t may be noted here tha t en tering only needs to

be done when the loom a t any rate the harness
,
o r
,

is new After a length of cl th has been woven

. o ,

suffi cient of the ld warp is left in the l om with

o o
,

th e cr ss rods in it t o all w f a new one being tied

o -
,
o o

on t o it thread by thread When the threads are .

all joined the old piece of warp is drawn f rward o

,
and of course the new threads f llow the old ones o

t hrough th headle eyes e -

.

These pre p arations all being made the en t ering ,

can pr ceed The enterer s assistant sits in the

o .
’

space D between the warp and the harness B

,
. e

ginning at one edge he takes up a small bunch ,

o f the lo ped threads and first cuts ff t he lo ped

o ,
o o

end ; he gives it tw or three sharp firm pulls o , ,

which clear the cross between th r ds and make i t e o

quite easy to select and separate the first thread .

When this is d ne the thread is held ready to be

o

hitched to the en t erer s hook as soon as i t is

on
’

pushed t hr ugh the firs t eye in the harness

o .

1 02
 The enterer himself sits in th loom in front of the e

harness with the slender hook

,
2 ready for use ,
no. ,
.

He selects the first eye in the front or back headle

and pushes the ho k through ir The assistant places
!
o .

the first thread on the hook which as it is drawn , ,

back takes the thread with it The enterer holds

, .

the thread in his left hand and repeats the opera t ion
with the hook only selecting the first eye on the
,

nex t headle and draws thr ugh th second thread

,
o e ,

which his assistant has picked t at the cross and ou

placed on the hook However many beadles there .

may be in the harness the first hook in each is filled ,

before the first headle is returned to f the b or e

ginning f the second course The keeping of this

o .

regular course all thr ugh the harness is of the o

utm st importance As the entering p roceeds the

o .
,

entered threads are loosely tied together in small

bunches in order t o prevent their slipping back
,

again through the eyes .

An ther pair of slings marked E in the drawing

o
, ,

is placed in front of the harness To these the reed .

is tied as shown at No 4 The assistan t w . . no

sits in front of the harness and the enterer s tands ,

over him The enterer thrusts the reed hook N 3

.
-
o.

d wn through the first dent of the reed The assis

o .

tant holds the first bunch of threads in one hand ,

after having untied the knot He traces out the .

thread coming through the first eye in the harness

and places it up n the hook which is then drawn
o ,

up and treated in the same manner as when drawn

thr ugh the harness The first thread in each
o .

headle is taken i succession and then the second

n
'

, ,

I E gl d u u lly th e b ck h e dle i fi t
n n an s a th e a a s rs on

C ti e t it i t h e f
on n n t s ro n .
an d soon t o the n d When the reed is all entered
e .

and the bunches of threads safely kno t ted the loom ,

will be all read for the weaver to g t as the a e

,

adjustment of e par ts of the loom f r ac tual o

weaving is called .

The gating of the loom is always done by the

person who is t o weave the material up n it as o
,

every weaver has h is or her own ideas as to the bes t

,

way of adjusting the va ious parts for th e work It r .

will therefore only be possible on this point to state

the principal matters that have to be a ttended t o.

In the first place cords mus t be attached t o the t p

,
o

laths of the beadles preferably t he back one and , ,

passed over the pulleys of the centre cross piece in -

,

order t o meet and be joined t o short s trings coming

from the other headle It is necessary that the se .
,
and in fact all th cords of a loom should be
, ,
e
,

so tied as to be easily adjusted to a nice ty as regards

length ; the manner of doing this is once for all , ,

ex plained in Note 2 at the end of this chapter .

When the beadles have been securely connected by

the cord the slings at D fig 4 7 must be remo v ed
, ,
.
,
as well as those on which the reed is resting The .

reed itself may for the moment be allowed to hang

, ,

loosely from the harness suspended by the knotted ,

warp The s pace in fron t f the beadles being
. o

thus cleared the batten mus t nex t be hung on i ts

,

rocker in the p sition and manner S hown a t o

fig 4 2 The cap of the batten E fig 4 6 being

. .
, ,
.
,
removed the reed can be fitted into the groove at the
,

back of the race block This groove must b e deep

-
.

enough for the round edge f the reed to be m o co

p l t
e e ly bu ied so thatrthe silk
,
or ther threads f the o o

warp may press on the smooth shuttle race and not -

,
1 04
p ve
ro t sbe th o m th t b tw e the
sa tw t
e h er as a e e en o o s,

th l m will b f u d p f tly qu
e oo e Th o p n t e r ec s are . e os s

sh ld b t t d wit h p lum b li f up i gh t
ou e es e a d -
ne or r n ess, an

th ll
e ro d ll h i
e rs an t l p t with p i it lev l
a o r zo n a ar s a s r -
e .

N —I
OT E 2 d t i ly dj u t t h e l gt h f th
. n or er o n ce a s en o e

v i d f t y i g p th l m v y i m p l li p
ar o u s c o r s or n u e oo , a er s e s

k ti u d
no s A f se t fig
. d
re e re n c e
pp 4 d o s . 2 1 an 2 1 11 , . 0 an

4 1, wi ll b f i de o ibi g it
u se t h fi t l
n
p f t
esc r h e n , as e rs oo o

sli p k t i t h e illu t te d I t i u u l t ti p
-
no s er s ra . s s a o e u

wit h d uble d o t h e lw y t e m i t it h i
co r s, as es a a s r na e e er n a

l p tw d b t h f whi h
oo or o en s, y f th
o o c are n e c e ss ar or e

a dj t b l li p k t Th c d t b t h j i d
us a e s -
no . e or s o e us o ne are

sh w t A fig 4 8 Th e l p f th li p k t i m de
o n a ,
. . oo or e s -
no s a

a t th e d f th e l p d
en o d i th m e h w t oo e co r n e an n r s o n a

fig s . d
2 1 an Th ugh the l p t h u m d t h e tw
2 1 A. ro oo s a e o

e d f th
n s o d p e d cort B fi g 4
are8 d ti d
asse as a , .
,
an e

t g th i
o e er i gle k t f te th l p h b e d w
n a s n no , a r e oo as e n ra n

l
c o se ro u n d th em t C By p lli g t h tw e d
, as a f . u n e o n s o

th i gl k t th l tt i d w l t t h e l p d
e s n e no e a er s ra n C o se o oo , an

it wi ll b f u d t h t wh t v w i gh t i hu g t h e
e o n ,
a ,
a e er e s n on

d t D th k t will t gi v w y i t h l t If
co r s a , e no no e a n e eas .
,

h w v th d f t h
o e e r, de en
p ull d
s o
p it be cor are e u , c an e

sh t d t wi ll d if t h e k t i l e ed t h e d
o r en e a ,
an no s oos n co r

m y b a dj t d wit h g t u y
e a us e re a ac c rac .

N 3
—
OT E A l g . m b f d f ex tly th m e
ar e n u er o co r s o ac e sa

le gt h n ft are oq i d tyi g p l m A i m p le
e n re u re In n u a oo . s

w y f m a o i g th e l gth ff t d i v tw il
e as u r n en s o , 18 o r e o na s

i t b d w ll t th
n o a o ar ,
or y di t e p t d t
a a e n e c e ss ar s an c a ar ,
an o
wi d th n d t t h m If d b l
e co r on d o w ted th e . ou e co r s are an e

sk i e n som d b a t th gh t
e c an d l y but if
e cu ro u a o n e en on ,

i gl
s n d i
e c o r s are re
q d b t h d will h ve t
u re b t o en s a o e cu .

N 4
—
O TE T h w ve
. m u t k w e h w t m ea k e t hre s no o o a

le h f th e b dl f th h
as es or ea w ll th e m ll
es o e arn e ss, as e as s a er

o n es f t h e h k f t h e w p i g m ill (fig 5 N
or ec o ar n . 2 ,
o.

as t h y ft b k d h v t b re ew d F
e o en re a an a e o e n e . o r u se

wit h w p f li e w lle
c o arse ar s o tt t h e d n n, oo n, o r co on r a s

1 06
th e l h e as t quite
es ac as w ll if
e ma d e se t
ara e
p l y d an No t es
si m p ly li pp d
s ti d
e , or e on t o th e b ea dl e s. Wh n u h
e s c

FIG 4 8
. .
— Kn o ts .

a w rp i e t ed th ti
a s n er e ac on of the l m in w ki
oo or n
g is

su ffi ie t t k eep t h le h e
c n o e as s in t h ir p r p p l
e o er ac e s o n

10
7
No tes th e b ea dl
l h are thu p r te d
es . When th e e as es s se a a an

m v bl t h h e d p t d f difi t u t '

o a be e arn ss c an e a a e or eren co n s

and widt h f w rp t h t wh e p ti bl it i
s o a , so a , n rac ca e, s as

w ll t h ve th m
e o B t i the a f fi il k e so . u n c as e o ne s or

cott w p f g e t um b f t h d th l h
on ar s, o a r a n er o re a s , e e as es

m u t b fix ds d r f lly p
e d d k itt d t g the
e , an ca e u s ac e an n e o e r

on t h e h dl Th e p pli e f m ki g t h e ep t
ea es . a an c or a n s ara e

FIG 49 . .
—H e dle a or L h e as Ga g u e .

l h i h w t fi g 49 I t i l y b d b u t
e as es s s o n a . . is s mp a o ar a o
J

f u t e
o i h l g
r e n i h t h i k d ix i h e
nc es on , one nc c , an s nc s

de p O th t p d g
e . f u m th m t l
n e O t g e e are o r s oo e a , o r s ro n

w d pg
oo eng d i teh e d wi
s,
g T
arranh h t e as n ra n . e s or

l pAi md fi t
oo the p g
s d I
a e Th e th d rs ,
on e s 2 an . re a

i p
s d t h ugh it d th
asse t e l p B i ti d
ro , an e c en r oo , ,
s e

r u dp g
o n d 3 b i g d b l k tt d t p v t it
e s 2 an
’

, e n ou e- no e o re en s

sli pp i g T h l h i fi i h d ff by th
n . e d f th e
e as s n s e o e en s o

th d b i g ti d t g th r u d p g 4 Th e i e f
re a e n e o e e ro n e . s z o

th m ll l
e s
p y B
a i gul t
oo d b y t h e p iti
or e f e , s re a e os on o

t h e p g 2 d 3 Wh e s l g um b f l h
an . en a ar e n er o e as es are

w t d ti m m y be ved by tyi g ver l A l p

an e ,
e a sa n se a oo :

1 08
N o tes p pur i w
o se , d up s m ll
o unm a u h i u ed f
on a s r a es ,
s c as s s o

t h e m ki g f t i g a n o s r n n e ts .

Th e l h k e astted t t g t h i
e s are d wh i h
no o a s ro n , n co r , c

i tied
s dw and v l ti m o un d sed f e hera e s ro u n one en o ac

l th d ti gh tly t t h d l g th
a an t dg f th e
s re c e a on e o u er e e o

f m e t th
ra th o d wh e o it i l w u d d ti d
er e n ,
e re s a so o n an e .

A i th s n e f th p te l h th m ll l p f
e c as o e se ara e as es, e s a oo s o

th e conti u l h n m d fi t
ous e asTh t h d mu t
e s are a e rs . e re a s

be d ub le k tt d t t h e d b y m e
o -
no e f th e m h t
o co r an s o es a

th pe l w h th
ac e h dle i t b gi
e re T h em h m
ea t s o e n. e es us

th b p d r d th e b
en e ass e d u de e t h th l th
o un rass ro , n rn a e a ,

an d th e th d g i ti d t t h e d A th l p i
re a a a n e o co r . no er oo s

m d i tha e m m
n wit h ut v e i g th t h e d
e sa e an n e r o se r n e r a ,

an d sou til h i gh t um b
on n tm de t t h e fi t
e r n er are a o rs

i h Th b i g dj t d th
nc . ese e n di h b m d
a us e ,
e sec o n nc c an e a e

i th e m w y
n sa d e till th m p l t um b
a , an so on e co e e n er re

qui d h b re h d I t h e d wi g th e l p
as ee n re ac e . n ra n oo s are

s h w l e i d th t t h i i t l m t m y be
o n oos n or er a e r n e r ac e en a

i di t d b t t h y m t tu lly be j t ti gh t e gh
n ca e ,
u e us ac a us no u

t o li t i gh t
e s ra th f m e wit h ut b di g t h e
on e d ra o en n ro .

Th t h e d f t h e d bl l p m u t b ti d t t h e b
re a or ou e oo s s e e a e

g i i
nn ng t t h p p it
o l t h ie t h e
o m w os
y f t h
e a n sa e a as or e

i gl
s n T h m h m u t th
e o n es . b pe d u d th es s en e asse n er e

f m
ra d b ugh t p t h
e an g t h e p p ite l p
h
ro u
h
t e ro u o os oo , o ve r
f

ro d ,
d u u lly d u b le k tted cl
an ,
s a , by it t h b i g
o -
no o se en , e n

b ugh t v t h e l t h it m t b k tt d t th p l e
ro o er a ,
us e no e a e ac

it t t d f m T h fi t le h wi ll w be m p let
s ar e ro . e rs as no co e,

an d ll t h e t h e
a m t b fi i h d i th e
o rs me w y us e n s e n sa a .

Th y f th l h f il k we v i g
e e es o e e as t lw y es or s -
a n are n o a a s

d bl k tt d m y we v p f i gl k t
ou e- no e an a e rs re er s n e no s as

b i g l bul ky S i gl k t
e n e ss . h w ve p e i ll y n e n o s are , o e r, e s c a

wh th h e i w v e y p t t li p t f p l
en e arn ss s ne ,
r a o s ou o ac e

an d gi v t ble Wh fi i h d the e t e d i d w
e ro u . en n s e c n r ro s ra n

ou t f th o f m th e
p g m
ra v d f
e, m th ee de s re o e ro e c o rn rs, an

th e ll ti f l h th f d i tied by t h e d t
co ec on o eas es us ree s , cor o
wh i h th y k tt d t the l th f the h e dle
c e are no e , o a s o a .
 CH A PT E R V III
TH E AC C E S SO RY AP P L IAN CE S O F
T H E L OOM

Th H d h uttl — Sup i it y f H d h ttle

e an -
s e er o r o an -
s u

W v i g—T h Fl y h ttl —T h B tte f th

ea n e -
s u e e a n or e

Fl y hut tle— Th R b d— Th e Sh ttl b x

-
s e ac e o ar u e- o es

Th P i k
- —e T h P i i g ti
k
c S k —
ers T h A ti e c n c e c on

o f t h Fl y h uttl e — Ad v t g f th Fly h ttle

-
s e an a es o e -
s u

Th
-
T m p l —
e T h Sek i R l — T h De u b le e e n ee s e o r
—T h Q ui ll wi
e d — O t h T l — M h d f
-
n er er oo s et o o

W v i g wit h H d b tte — M th d f We vi g
ea n an -
a ns e o o a n

with B x b tte o -
a ns.

T H ERE can be doub t t ha t as long as the upright

no

lo m nly was used the Weft was passed through the

o o ,
opening in the warp in little skeins wound on the
hand on the l ng S pindles on which it had been
,
o r o

spun But as s n as the h ri ntal p siti n of the

. oo o zo o o

warp was ad pted especially f plain weaving it is

o
,
or
,

certain that some kind of shut tle f carrying the or

weft came into use The advantage given by the .

inventi n f the shuttle was that it could be

o o
, ,

thr wn swiftly by the weaver through t he pe ning

o o ,

from edge to dge of the cloth The ease and e .

speed of the work w uld thus be considerably o

increased .

The hand shut tle now used for ilk weaving is a

-
S -

1 1 1
very di ff erent tool from the shuttle of the anc ien ts ,

if we may judge from the few S pecimens preserved

in th e British and other museums The general .

shape of i t is however very similar The chief

, , .

qualities required in the shu ttle are Slenderness com

b i d with a capacity for carrying a great length of
ne

thre ad weight in order t o s teady it in its rapid

, ,
movement and perfec t sm othness of finish so
,
o
,

that i t may run from side t o side over the mos t

delicat e threads withou t catching up or fraying
t hem .

The bes t hand shu ttles are made of good hard

-
, ,
boxwood They are about eight inches long and
.

on e inch wide by three quarters of an inch deep -

.

The general shape and secti n are shown in fig 5 1 o . .

The fron t edge l wer line ,

I is straight and th
o
,
no .
, ,
e

back edge which when the shuttle is thrown is

, , ,
t owar ds the reed is curved near t he ends A t the
,
.

ends which are sharp and smooth slips of metal are

, ,

inserted in order to protec t the p ints from damage o

should the shuttle fly out and fall The curved .

shape of t he ends is beautifully adapted for d eli cate

throwing and catching The t p of t he shuttle is . o

fla t with rounded edges bu t the bo t tom has t he

, ,

edges no t only rounded bu t slightly raised in order to , ,

present less surface for friction wi th the threads over

which i t slides The shape of the bottom is sh wn
. o

by the section a t no 2 In the centre of the t p of the

. . o

shu t tle an oblong hollow is carved as deep as i t is ,

wide This is for the reception of the q ill as it is

. u
,
called on which the weft thread is wound At each
,
.

end of t he hollow a small flat hole i made and into , s ,

one of t hese a minute S piral Spring is fixed By means

, .

of t his S pring a piece of thin hard s teel wire ben t , ,

1 12
ev r skilfully i t may have been pu t on to the
e

quill .

F ig 5 2 represen ts t he hand shuttle in use I t is

.
-
.

lightly held in the righ t hand f the weaver partly o

,
within the pen shed and res ting on the race b ard
O ,
-
o
,

ready to be thr wn by a slight quick w ist move

o ,
r

ment The thr w causes it t glide along the

. o o

beading ver the l wer warp threads t the pp site

,
o o ,
o o o

edge where it is caught by the fingers f the left

,
o

hand and guided into the p alm As soon as it is .

ou t of the shed t he hand is wi t hdrawn from the

bat ten This all ws the reed fixed in the batten
. o , ,

which has been held ff by the thumb of the left O

hand t o fall against the weft and press it home I n

,
.

the meantime the right hand thumb is prepa ed as -

r
,

s on as the bl w has been given to push t he batten

o o ,

away for the next throw of t he S huttle fr m left o

to righ t In gating th l m the batten is so hung

. e oo
,
that when a t rest the reed is just a t the place where
,

the weft is t o lie T H E Q U A L ITY O F TH E WO RK

.

DEPE N D VERY M U CH UP ON TH E WA Y I N WH I C H TH E
S

S H U TT LE IS CAU G HT AN D T HE TH RE A D DR A WN

TH RO U G H TH E S H ED I N FA CT I T IS TH E D ELICAP E
.
,
'
’

M ANN ER I N WH I C H TH I S CA N B E D ON E WH I C H
M A KE GOO D
S HAN D S H U TT LE WE AV I N G S UPER IO R
,
-

T o A LL OTH ER K I N D S WHAT EVER .

The simple inven t ion of the fly shu ttle in the -

,

eighteenth century was an extremely importan t ,

even t in the histo ry and development of weaving .

Its e ff ec t will be referred to later on but i t will be ,

b es t to describe i ts construction in the presen t

chap ter in which the weaver s t ools are e specially
,
’

being dealt wi th .

The fiy sh uttlg di ff ers from the hand shu ttle

; _
-
FIG 5 2
. .
—M et h o d h dli g O
o f an T w Sh ttle
n n e, o r o, u s.

If m o re t h tw h ttl
an o s u d th y
u es are se e are

l id i de
a n orth e w b
r on e .
bo th in form and in the manner in which i t is
m m dm a glr T h e Shfi tm
” ”

t; is
“

p
The die re n c e in its form will
‘
'

s efi tE Tfi gT B3
dfi r
‘

be at once perceived The fly shuttle has both .

-

sides curved exactly al ke and the metal points a e 1

,
r

set exactly in the centre of the ends ; they are also

heavier than th se of the hand S huttle The S huttle
o -
.

i tself is longer and deeper and broader in proportion

,

FIG .
53 — Fl y .
-s h uttle .

to i ts length The weight of a fly shuttle

.
-

weaving is from three t o four ounces but for heavy ,

work and power lo m weaving it is made much -

o

heavier The blong h ll w for the reception of

. o o o

the quill sp ol is in the same position as in th

,
o r o
, e

hand shuttle but di ff ers in that i t is cu t right

-
,

through The Opening at t he bottom however is

.
, ,
not so large as at the top I t is sh wn in the . o

section between the runners b b and also in no 2 , , . .

In the hollow a t no 1 instead of the bent wire .

,

on which the quill is fixed a thin metal S pike is ,

securely fastened This spike is hinged at th e end

.

near where it joins t he shuttle so that it can be ,

1 16
such a manner that it unwinds unin terrup tedly f rom
the end is threaded through the e dmost h le
,
n o ,
no 3 and in and ou t of the other h les according
.
,
o ,

to the degree of tension desired by the weaver In .

order t o increase the weight of the boxw d bo t h oo

,

the fly and hand shuttles often have holes drilled -

into them which are filled with plugs f lead The

,
o .

ingenuity f the fly shuttle invention d es not h w

o -
o
,
o

ever lie in the shuttle itself bu t in the Contrivances

, ,

for throwing and catching it These c nsist f th . o o e

S huttle box the picker or pr peller and the picking

-
,
o
, .

stick .

The h ttl b x is cons truc ted on the race bl ck

s u e- o -
o ,

extended for the purpose t ab ut f ur teen inches

, , ,
o o o

beyond the swords on b th sides f the batten ,

o o

fi
(g . The S huttle race in a box batten instead -
,
of being merely a small r unded beading as in the o

hand batten is a perfectly even strip of hard w od

-
,
o
,
n t less than tw and a half inches wide , d l g
'

o o an on
v

enough to reach fr m A t A fig 5 4 I t is lightly o o

,
. . S

bevel le d and when glued firmly to the race block

,
-

the su face gently sl pes t ward the reed It is

r o o .

bevelled at such an angle that when the bat t en is

pushed back the race cann t sl pe outwards and
,
o o

cause the shuttle to fly ff as it passes along The o , .

S huttle race has to be most truly and v l made e en

,
as th least irregulari ty its surface is fata t the
e on o

action f the shuttle No 2 is a s ction of the race

o . . e

bl ck the race i tself b ing indicated by solid black

o ,
e .

The shut tle box is shown in secti n at no 3 -

o . .

I t will be seen that i t has a high back an d a

low front C and B Also that a groove is cut in
,
.

the race This groove extends from the end of

.

the box t o the edge of the sword D no 1 , . .

1 18
Immediately over t he gro ove an d a tri fle longer ,

than the groo ve itself a t hin metal rod having , ,

a small fla t head is fixed It is passed through

,
.

a screw staple which projec ts from the sword to a

h le in the end f the S huttle box where it is fastened
o o -
,

by a screw and wing nu t E -

, .

The p i ker is represented a t no 4 It is The P i k

c . . c ers

usually made f bu ff alo hide which is very t ugh

o -
,
o

and hard qualities m s t necessary f r th purpose

,
o o e .

Two pieces of hide cut t o the S hape of G no 4 ,

.
,
are j ined t ogether by a piece f hard wood
o o
,
strengthened with twisted wire as at F The ,
.

tongues a t the bottom of the pickers fit easily into

the gr oves in the bottom f the shuttle boxes
o o -
.

The ir n rod E no 1 passes t hrough the h le

o ,
.
,
o

at the t p of the picker indicated by the d tted

o o

line ( no . No I sh ws b th boxes fitted up

. o o ,

each being furnished with a picker The pickers .

have t o m ve freely and firmly from end t o end

o

of the S huttle box t o the fullest extent allowed by

-

the ir n rod
o .

The pi ki g ti k is represented at
c n s c 1 The P i k i .
c n
g
It is simply a c nvenient handle atta o S ti k c

centre of a s trong cord which is l ng h to ,

o

j in the tw pickers t gether lo sely as in the

o o o o

drawing I t will now be readily understood that

.

IF TH E P I C K I N G S T I CK B E PULLED WI TH A S L I G HT

j ER K T o TH E LE FT TH E H U TT LE I N TH,
E R I G HT S

HAN D B o x WILL B E DR I VE N O U T B Y TH E PICK R E ,

A CR O S TH E RA CE I NTO TH E O PP OS ITE B o x I T
S
, .

WI LL TH ERE BE CAU G HT B Y TH E OTH ER P I CKER ,

AN D ANOTH ER J ERK FR O M LE FT T o R IG HT WI LL
B R I N G I T B A CK A G A I N This roughly speaking is .
, ,

t he method of using the fly shut tle -

.
 The advan tages f the use of the fly shut tle are
o -
,

mainly two : (I ) The weaving can be done wi th

,

increased speed One hand only is required t o

.

Work the picking stick t he other being left free t o ,

manipulate the batten the bea t of which may con ,

sequently be made much more rapid (2 ) Webs .

of great width which would be impossible to weave

,
with a hand shuttle can by means of the fi shuttle
be as quickly woven as narrow ones g
- -
, , ,

t is very .

rare to find any w ven stu ff more than thir ty inches

o ,

wide made bef re the inventi n of the fly shuttle

,
o o -
.

If ever such wide work were attempted two weavers ,

were employed one t throw an d the other to catch

,
o ,

the shuttle .

It should also be no ted that the invention of the , ,

fly shuttle rendered that of the power l om possible

- -
o .

the throwing f th shuttle being the chief di ffi culty

o e

which the inven tors who attempted to apply steam ,

power to t he loom had to overcome , .

The Tem ple The temple is an appliance tha t should not often
be required in hand lo m weaving If th warp and -
o . e

weft are properly proportioned one to an ther the o ,

Cloth as it is woven will

,
ot draw in narrower , ,
n

than the entering f the warp in the reed t o anyo

,
appreciable extent When however it is found .
, ,
that this drawing in takes place it may be ,
readily corr cted by the use of the temple
e .

The t emple for hand l om weaving is qui te -

o

simple in construction T w pieces of hard wood . o

are u t t o the shape shown in fig 5 5 no 1

c .
, . .

At the broad end of each f these a row f fine o o

poin ts is set These when joined t gether are for

.
,
o
,
the purpose of h lding out the edges of the ma terial
o
,

being woven t o the required width The means

,
.

1 20
firs ton t o bobbins and f rom the bobbins on t o th e
,

quills or plugs ready for filling the shuttle .

S everal t hreads weft often have t o be sligh tly

twisted toge ther I n
order to make up the
required thickness for
each S hoot It is .

seldom indeed that a , ,

weft is made up ofless

than tw ends The o .

little contrivance
generally used for
this d bli g as it is ou n
,

called is sh wn in ,
o

fig 5 7 It has a . .

s lid square stand , A

o
,
and an uprigh t B , ,

from the top of which

a sh rt arm extends o ,

having a smooth
h k C at the end of
oo , ,

it A b t f t b v . ou a oo a o e

the stand there is a

shelf D in the centre , ,

of which a thin tube

f glass o me tal is ,
or
,
fitted into a h le o .

The tube is small

F 56
IG— Sk
. ei.wi d n-
enough
n er
.
to go through
the hole in a bobbin
when one is s t od over i t in the centre of the
o

shelf F or example let i t be supp sed that f ur

.
,
o o

threads of weft have t o be wound together on a quill .

Three bobbins mus t be placed on end near t ogether , ,

1 22
 on the s tand in such a position tha t the silk upon
, The
them all unwinds in t he same direction The three . D ble
ou r

ends of thread from these bobbins have to be carried

up through the
tube in the shelf
D on which the
,

full bobbin E has , ,

previ usly beeno

placed as shown ,

in the drawing .

The ends of the

threads fr m the o

four b bbins are o

then taken over

th h ook C and
e
,
as the S ilk is
drawn ff the o

b bbins t ha t from
o
,

E gently winds
round the other
three threads and
l ose l y un i te s
o

th em N o 2 . .

sh ws the shape
o

o f the rimless
bobbins used f or

weft .
F 5 7 — D ubli g St d IG . . o n an
The
.

q ll ue

wi a n is a ve y importan t adjunct t the loom as

’
er r o
,
g od winding is very necessary for successful weaving
o .

This is specially the case when several threads are

C

w und toge ther on the quills A drawing of the

o .

m st useful kind f winder is given in fig 5 8

o o . .

A small low table about two feet long has t wo

, , , ,
1 23
Th e Q uill firm uprigh ts fixed near the righ t hand end Be tween -
.

wi de n r these a small heavy wheel having a broad shall w

, , ,
o

groove on its edge is truly poised on an axle which

, ,
terminates in a small handle By means of this .

handle the wheel c an easily be made t o revolve wi th

,

FIG 5 8
. .
—Q u ill or P lug wi -
n de r .

great rapidity At the opposite end of the table a

.

S lot
,
A is cut and into this a shaped block is
, ,

made t fit The large screw C which after passing

o .
, ,

thr ugh the edge of the stand into the sl t runs into
o o ,

the block t nly secures it firmly in position but

,
n o o
,
is used to regulate the distance between the block
and the wheel D D is a p air of thick lea ther
.
,

h a in gs in which a metal spindle having a pulley i

e r , ,
n

its cen tre is carefully fitted The pulley is connected

,
.

by a cord to the large wheel and the latter being ,

‘

turned causes the spindle to revolve with great rapidity .

The elongated end of the Spindle E is tapered so tha t ,

t he holl w plugs or quills can be fixed on it and on

o ,
these the weft is wound very carefully as the spindle
I 24
ligh tly res t ing on th treadles He begins by e .

pressing with his left foo t the t readle on which

it rests This immediately raises the back headle
.

and depresses the fr nt The result of this o o ne .

action is the first pen shed On pushing back t heO .

batten a few inches by pressing the thumb of his ,

left hand again t it a part of the shed appears in

s
, .

front of the reed and if the l m be properly gated

,
oo
,

the opening will be f und large en ugh f the o o or

insertion f the shuttle The meth d of thr wing

o . o o

the hand shuttle has already been fully described at

-

p I I 4 and hould here be referred t together with

.
,
S o,

fig 5 2 which shows the hand shut tle in use It

.
,
-
.

must be added h we v er th t as s n as the shed

,
o
,
a oo

is free fr m the shuttle after every sho t and the

o o ,

batten is released in order to beat the weft in t o

place the opposite treadle must simultaneously be
,

used and the shed changed This prevents the .

newly laid weft fr m springing ou t of p ositi n ando o

,
makes all ready f the following S h o t It mus tor o .

als be emphasi ed that when catching the shu ttle

o z , ,

after the second and foll wing sho ts the weaver o o ,

gives a S light pull t it which causes the weft to lie o ,

straight in the wa p and brings it exactly to the edge

r , ,
where it turns in at the opposite S ide U nless this
,
.

is pr perly done the lv g will be disfigured either

o se a e

by a pucker a l ose loop or o .

A the weaving progresses the breast roller has to

s

be t rned fr m time t time in rder to r ll the

u o o ,
o o

newly made l th up n it This is d ne by means

C o o . o

of a short strong stick which fi ts int the h les in

,
o o

the r ller one f which is shown near C fig 4 2

o ,
o
, . .

(S t k
ee p m ti
a e- u n te 2 at end
o of chapte
on
) ,
o ,
r .

With regard t o the frictio n brake on the cane

1 26
roller bo th the heavy and light weigh ts mus t be
,
kept suspended Neither must be allowed to .

appr ach too near ei ther to the roller or the floor

o ,

or their e ff ect will be marred .

W hen the b x bat ten and fly Shu ttle are used o - -
,

the left hand of the weaver is kept on th cap of e

the reed (fig near t o its cen tre and the righ t
.
,

hand holds the picking s t ick The way the box .

batten is balanced in the loom is rather di ff eren t

from that f the hand batten Instead f the weaver
o -
. o

merely allowing the batten to fall against the weft

t bea t it t gether in this case he pulls the ba t ten
o o
, ,

towards him with his left hand with whatever ,

f rce is required for th bl w The box batten

o e o .
-
,
therefore is not hung so near to t he fr nt f the
,
o o

loom as the hand ba tten The quality of the work -

.
,

when the fly shuttle is used depends of c urse -

, ,
o ,

m stly upon the way in which th picking S tick is

o e

manipulated The shu ttle has not only to be .

driven by a jerk of the hand bu t to be caugh t on ,

the picker at the ther edge in such a way as to o

cause i t gently t slide int the shu ttle box withou t o o -

any rebound The knack f d ing this as i t sh uld

. o o
,
o

be d ne by a simple drop of the hand is nly to be

o , ,
o

acquired after a great de al of practice The even .

ness f the selvages of the web which is the final

o ,

test of g od weaving depends almost en t irely upon

o
,

the manner in which the S huttle is caught in the box .

N — Th wi di g f th p lug
OT E 1 . quill f the n n o e s or s or e N o tes
sh ttl i m t i m p t t If it b b dly d it i im
u e s os o r an . e a o ne s

p ibl
o ss t d g d
e w a
ov i g T h i io
p ti ul l y t
oo h e e n . s s ar c ar c ase
with g d t wi di g f th fly h ttl L e ev
re ar o n n or e -
s u e . oo s , un en

sh t k t l p d ll t f di fig m t i the
o o s, no s, oo s , an a so r s o s u re en s n

w be t h e re lt f
,
are l wi di g ; t y th i g su o c are e ss n n o sa no n

12
7
N o tes of g b e ki
r a t h en fl y it h re d
g t f t h
a se huttl an d n ou o s e

f m th l m
ro Fig 5 9 will h w th p r p
e oo . m th d . A s o e o er e o

o f wi di g t h e w f t
n N n I i th t hp fe . o . s e c o rrec s a e o a

w u d qui ll N 2 h w th w y it h ld b t t d
o n . o . s o s e a s ou e s ar e .

Th e th d m t fi t b w d f m A t B d h
rea us rs e o un ro o ,
an e ac

l y h ld g du lly di m i i h i le gth t il t h h p e
a er s ou ra a n s n n un e s a

of No I i tt i ed d i fi i h d ff i th
. s a a n t , an s n s e o n e c e n re .

FIG 59A — Q u
. . ill s an d Pl u gs .

Th e p lu g f o r ( 3th e
) m s fly
b e so huttle
o -
n s
,
no . ut wu d
t h t it will
a ru n o ff c ear o m th e po n l ly fr
I m us b e i t . t t
fill ed u
p t i
at th e h c k e n d, to i ts f u s z e , an d s a
p ll i th e h e
of no 4 m s . be e a n u t r t i ed
n is fin s e o ff at t h e u til it ih d
th i n en d e o n
. A w ll w u d
p g u l ru n o ff
-
u e f re e l wi l q it ly
f ro m th e fi e p g, in a s n g x d lu rea , f ro m b e g n n n
g i le t h d i i
to e n d a
y
. A b dl w d
o u n , so f u o r p ug w co m o ff t q ill l ill e
l t ld
in u m p s, ge t e n an g e , an d g e m c ro u b e to t h e iv u h t l
we v a er .

N O TE 2 .
— Wh at is ca lled a take- up m otion is so m e

ti m e fitt d t h d l m Th i i
s e o a rr gem t f
an -
oo . s s an a an en o

co g
—wh el w m dew h e l w h i
s, o r h u ort h e l t h t
an e , c c a ses c o o

wi d t th b t lle t m ti ll y it i w v
n on o e reas ro r au o a ca as s o en .

Th t th i i t e
a i
y p s v d b
s no y t h f t
n th t w
c e ssar v e s ro e e ac a ea rs

u u ll y wi d th e m ti by h d i t d f
s a n oti g on an ,
n s ea o c o n n ec n

it t t h i t eadle j q u rd m h i e i i t d d
o e r r s or ac a ac n ,
as s n en e .
 p
‘

Pl ate VII — Ta es try O rn am en ts Fragm en t o f a RO

f o u n d In th e To m b o f Th o th m e s IV
b e o f A rrie n h e tep
h
Am en h e te p , w os e K a n am e
II .
,

Is wo v en In th e d es I n , re1 n e d In E
g g g yp
t, B C 1 5 00. .
‘

S ee p age 1 3 3 . FRO NT IS P IE C E To P A RT II . Ca i ro M us eu m .
 PART II

S I M P LE PA TT E RN WE A VI N G
have been preserved to the presen t t ime there have ,

been found no pecimens f mechanical pattern S o

weaving It is true tha t a few trifling attempts seem

.

t o have been made to vary the texture and appear

ance of these ancient weavings by means of the use , ,
both in warp and weft of di ff erent si ed and difi r n t
'
- z e e
,
coloured threads bu t even these are extremely rare
, ,
and in some cases ma even be accidental
Al though t he mechanical weaving of design d es
.

no t seem to have been practised by th e ancien t

E gyptians it must not b supp sed that the plain
,
e o
,
fine webs made by t hem remained undecora ted for , ,
on the contrary many of t hem were highly orna ,
m en et d Such ornamentati n h wever was n t
. o ,
o
,
o

produced in the l m automatically or in t he actual oo

t exture of the fabric It was added t o the .

material either when in progress or after i t was

finished and was done by means of painting
, ,

dyeing s t encilling stamping printing or em

, , , ,

br idery wi th or without a needle The designs

o
,
. ,

thus a p plied t o t hese ancient textiles consiste d for ,

the m st p art of bands of ornamen t and detached
o ,

spots powdered over the ground .

Towards the middle f the dynastic period in o

E gyp t (B C 2 000) the fine linen mummy l ths

. .
-
C o
,
which had hitherto been quite plain are found to ,

have s tripes of di ff erent coloured weft occasionally -

,

S hot across them They also ften have short . o

S paces of warp left unwoven forming bands across ,

the material It may well be assumed that the idea

.

of darning in a pattern on these bare spaces of warp ,

in imitation of the applied b rders f ordinary needle o o

work would ccur to some enterprising embroiderer

,
o
,
and being carried ou t would be the beginning f a
, ,
o

1
3 2
new f orm of textile decora t ion This in turn might .

lead t o the cutting away of the weft in spots and

S p aces as in drawn thread work and to these being
,
-
,

filled in with darning in a S imilar manner A t any .

rate whatever may have been i ts origin there is

, ,
now evidence that such work was done in great
perfection as early as B C 1 5 00 I t was practised . . .

as a traditional method for the ornamentation of

w ven materials in E gypt until the P tolemaic period
o

( B C. was
. c ntinued thr ugh the R oman
o period o

and during the early cen turies of the C hristian

era The British Museum and the V ictoria and
.

Albert Museum a t Sou th K ensington are par

ti l ly rich in specimens of t he E gyp t o R om an
c u ar -

wo k but at present there are only three samples

r
,
of ancien t E gyptian w av g of this kind known to e 1n

exis t These are in the museum at C airo They

. .

were found in 1 893 in the tomb of T h o th m s I V ,

e .
,

who reigned in E gypt B C 1 4 5 0 The smallest . . .

and oldest piece 1 the three has worked into 0 ,

it the car touch of A m h t p I I who reigned

,
en e e .
,

fifty years earlier than T h o th m s I V They e .

are fine delicate pieces of workmanship and m u st

, ,

be typical of the bes t textiles of t ha t period

( plate
W ith regard not only t o E gyp t ian bu t to almos t ,

all ancient ornamental textiles of earlier date than

,
A D
. 6 00 it may safely be said that h owever
.
, , ,

elaborate they ma seem to be they exhibi t only

two so ts of sim pfeplain weaving and that these
,
r
, ,
two sorts of weaving only di ff er in t he m anner in
which th weft is laid in the warpe .

F full d i te ti g de ip ti f t h p r i u”
or a an n res n scr on o ese ec o s

f gm e t
ra M r W G Th m
n s se e H i t ry f T p t y
. . . o so n s
’
s o o a es r .

1 33
 In the plain ground of these ancien t webs the ,

weft is passed across in the S hed with su ffi cient

tension to pull i t straight as has been fully ex ,

plained in P art I on plain weaving The e ff ect .

,
.

of this is that the warp and weft S how in almost

,

equal prop rtion in the finished material F or the

o .

o rnamental parts howeve the weft is placed quite

,
r
,

slackly in the shed with the result tha t when it is , , ,

pressed down the warp is c mpletely covered p
,
o u

and hidden by i t F or example if a white war p be

.
,

shot with white weft in the ordinary way white ,

cloth will of course be made But if the weft be

, ,
.

changed t black for say twelve Shoots a grey stripe

o
, , ,
or band across the material will be made by th e
, ,

mixture of the black weft with the white warp ,

each showing equally If instead of the black .

,

weft being sh t in the usual way i t be pu t in quite

o ,
l osely the first sh ot when pressed down will cover
o
,
o , ,

the first third and all the odd numbered threads in

, ,
-

the front and the sec nd and all th e v en numbered

,
o e -

ones at the back The next shoot will cover the .

even numbered threa ds in th front and the odd

-
e

numbered ones at the back so tha t the two shoots , ,

together will m ak a continuous line of black weft e .
,

right across the Cloth If the l se wefting be . oo

continued for twen ty four shoots the result will be -

,
a band of solid blac k of about the same measure ,
ment as the grey band obtained by the ordinary
manner of w v g e a 1n .

In fig 6 0 a piece of Cloth worked in the above

.
, ,

manner in two sor ts of tabby weaving is shown

, .

At A A A A the whi t e warp and weft are in t er

, , ,

laced i the usual manner A t B the white warp

n .
,

is shot in the same way bu t wi th a black weft th us , ,

1 34
f orm ing a grey b an d At C the wh it e warp is .

sho t loos ely with black weft so tha t the warp is ,

entirely hidden At D the lo se weft instead

. o
,
of being carried righ t across is worked up in ,

pyramidal shapes f rom their bases on m n e threads

,
t
o their p int on one thread In to th spaces
o . e

between these p am ids diamond shapes in some

r

other colour are fitted Still with loose weft They

, ,

.
,

begin on a single thread and after filling the , ,

S pace,
are diminished again to a p oint The .

triangular shapes now remaining are filled in with ,

black until a line is reached a t which the ordinary

,

white ta by weaving again begins .

This is precisely the me thod in which all the

beau t iful t extiles of ancient product ion that ,
re

main t o us were woven F igs 6 1 and 6 1 A are

,

xam m
. .

e es copied from the borders of a C optic textile

in the V ictoria and Al b er t Museum The exquisite .

designs of these tapes try woven ornaments in plain -

linen webs have often been commented on but the

, ,

t echnique of the work has seldom if ever been , ,

described The S paces for t he pa tterns were either

.

left unwoven or the weft was cu t away in the desired

, ,

sh apes after th
,
length of fabric was taken out of
e

the loom as in drawn thread work On t he warp

,
-
.

threads thus laid bare the pattern in two or more , ,

colours was darned by means of a needle or worked

, ,

in with the fingers the loose weft being passed,

backward and forward between alternat e threads in

the manner above described .

There are no examples remaining f rom classic

t imes of tapestry hangings of any considerable si e z
,
but it may be assumed tha t the f amous picture
tapes tries so often referred t o in Greek and R oman
,
1 36
 FIG 6 1
. .
— Co p ti c B o rd e r .

histo ry and poe try were made I n th same manner

,
e

as th tex t ile ornaments of these E gypto R oman

e -

and C optic web s —that S they were a mosaic f many

I , o

coloured pieces of simple weaving with a loose weft ,

the plain ground between the ornamen ts probably
being entirely dispensed wi th W hatever may have
.

been the technique f these ancient works there is

o ,

no doub t that this was the simple method used in

weaving the wonderful Medi eval R enaissance anda , ,

later tapestries with which our museums a d private n

collections abo und It is an interesting fact that

.
, ,

the l o ose weft can ot be pu t in by machinery or

n
,

FIG 6 1 A
. .
—Co p ti c B o rd er .
t hrown swiftly across the web in a Shu ttle As this .

must always be done with judgment tapestry ,

- v

weaving is likely to remain a purely artistic handi

craft as it has ever been .

Ta p estry weaving is really as has been poin te d

-
,

out akin to embroidery and only di ff ers from i t in

, , ,
tha t it is freely darned or woven in the simples t
manner a bare warp instead of being wrough t
on ,

upon an already woven material I t was therefore .

quite appropriate that it should have been treated

,
of in the v lume of the presen t series devo ted t
o o

needlew rk To that book any reader desirous f

o . o

f ll wing out the subjec t in detail must be referred

o o
“
.

It was necessary however to give some little , ,

attenti n to the matter here in rder that the

o
,
o

automatic weaving of repeated pat tern might be

C learly distinguished from tapest ry weaving -
.

“
E m br id y
T p t y w vi
o er an d a es r -
ea n g, by Mr .

A H Ch i ti A ti ti C f t Se i
. . r s e . r s c ra s r es of H an db o o k s
(j hoH gg p bli
n h ) o , u s er .
shu ttling the design will be wo v en and repeated
,

automatically in the lo m as the w rk pr ceeds

,
o
,
o o .

This being so the W eaver s wh le atte ti n can be

,
’
o n o

given to the keeping his l m and all its fitti gs i

i

oo n n

o rder and his threads f fine silk or other material

,
o
, ,

m nded d even both in warp and weft In a

e an , .

fine silk l m of thirty or f rty thousand threads

oo
,
o

in the width this is quite su ffi cient occupation f

,
or

one man or woman .

Needless to say the mechanism by means of ,

which the pattern is worked out which is often a ,

marvel of ingenuity was no t all invented a t one ,

time In fact every weav er is continually devising

.
,

little he lps and dodges f r his own use But the o .

m st importan t contrivances were invented very early

o

in t he history of the loom and succeeding ge era ,

n

tions of craftsmen h ave only ex t ended and developed

t em It must never be f rgotten ho wever that
h . o
, ,

E ACH S TEP TOWARD S T H E M E CHA N I CA L PER FE CTION

O F TH E L OO M I N C O M M ON WI TH A LL M A C HIN ERY
, ,

I N IT S DE G REE LE SSE N S TH E FREED O M OF TH E

,

WE A VER AN D H IS CONT R O L OF TH E DE SIG N I N

,

WO RK I N G .

W must now re turn t o c nsider the old E nglish

e o

loom fitted up as represented in fig 4 2 and inquire as

,
.
,

to the possibility of designing patterns which can be

—
woven auto m atically upon it patterns that is which , ,

will work out as the weaver pr ceeds shoot by shoot

,
o , ,

as if he were makin gplain Cloth It is obvious that .

such designs must be very simple in Char acter and ,

must depend entirely on some arrangement or ,

diversity of t he threads in warping It is in t erest ,

.

ing to find that a great variety f pat t erns c an be o

designed to work out in this simple way .

1 40
 The Indian weavers of fine co tton fa
always been famous for warp pattern e ff ec ts .

were perhaps the first to make use of broad and

narrow stripes of c n trasting col urs in their webs
o o .

This 5 of course the simplest of all pattern e ff ec ts

1

t
o be ob tained Many f these Indian fabrics by
. o
,

reason of their finely c ntraste d c lours and the

o o

pleasan t proportion of their stripes are very beautiful ,

in e ff ec t and can be used with great advan tage in
,

personal and architectural dec rati n o o .

The garden cour t of the palace of Shushan Where ,

the lit tle dram a of E s ther an d Ahasuerus began ,

was hung no doubt with material decorated wi th

, ,

coloured S t ipes The hangings are described as

r .

of white green and blue fas tened with c rds

“
, , ,
o

of fine linen and purple by silver rings to pillars

, ,
”
of marble (Book of E s ther ch i v This ,
. . .

account of an an cient decora tive scheme f ish es us ,

u rn

with another evidence of the frequen tly remarked

unchangeableness of the E ast f just such s triped ,
or

and coloured webs are being made by the Indian

,

weaver of to day on his S imple hand loom a

- -
,
counterpart of the ancient loom on which the , ,
hangi gs f the P ersian palace court were woven
n or

so long ago .

By means of striping the warp in qui t e a diff n t , ere

manner from the above a large range of small ,

patterns can be made which are very interesting .

As these are constructed on the same principle as

tha ton which suitings and homespun Cl ths are o

d signed it will be well to devote some little space

e ,

to their particular considerat ion .

A delicate and pretty example of this simple

kind of pattern weaving may be seen in a case of
141
 personal ornaments made by the natives of E as t
A frica exhibited in the ethn g aphical galleries f
,
o r o

the British Museum (see plate I) The pattern is .

in very dark blue (alm st black) and bright red on o

,

a white ground This design in common with

.
,

th se just referred to is made by taking advantage

o ,

o f the fac t tha t in plain or “

tabby weaving , , ,
one shoo t of weft has all the odd numbe ed wa p -
r r

threads above it and the even ones below while ,

in the next sho t the order is reversed the eve
o
,
n

threads being above and the odd ones below .

The c llo type illus tration plate V III is taken from

o

a woven copy of the edge f the E as t African web o

jus t mentioned I t is shown in process f making

. o .

The loom is simply a small board with a war p

stretched it The sheds are opened b y a shed
on .

s t ick and leashes as descri b ed a t p 85 The actual . .

width of the web is an inch and a quar ter in which ,

S pace there are six t y threads eighteen being black ,

and for ty two white -

.

I t certainly appears curious that if whi te and

black threads are warped alternately rather cl se o

t gether so as to well cover up the weft the e ff ect

o , ,
of black and white lines running as might be ,

expecte d in the direction of the warp will no t

, ,

result when the web is woven Instead f r nning . o u

longitudinally th black and white lines will be

,
e

across the web as in no 1 fig 6 2 In this

,
.
,
. .

diagram the black vertical lines represen t the dd o

th eads of a warp and the white lines the even

r ,

ones If a shed be made by raising the dd threads

. O

and depressing the ev en ones it is manifest that ,

only the black portion of the warp will S h w o on

t he front of the material The nex t S hed being .

142
uniformity or proporti n in the stri p es A S already o .

n ticed by st iping the weft the Egyptians first

o
,
r
,

began t rnament their plain weaving I t I s quite

o o .

pr bable that the stri p es f red blue white and

o o
, , ,

purple in the hangings made f the Hebrew

,
or

tabernacle were weft e ff ects I f these were so

,
.

the S triping w uld be h ri ntal and w uld form o o zo

,
o

a fine backgr und f the gold figures of cherubim

o or
,
which we are t ld were wrought cunningly on
,
o ,

them with the needle .

By means f striping b th the war p and weft

o o

in various c lours the well kn wn t t e ff ects

o ,
-
o ar an

are pr duced The tartan is a very ancient kind of

o .

ornamental weaving and is c pable f infinite ,

a o an

number f c mbinati ns This is pr ved by the

o o o . o

variety and individuality of the Sc ttish pl id I t o a s.

has been su p p sed that the variegated webs made

“
o
”
by Sid nian women mentioned by Homer were
o ,

a kind of tartan mix ture f col ur o o .

F ig 6 3 sh ws the man er in which tartan

. o n

striping is arranged In this case b th warp and . o

weft are variegated by stripes f blue red yell w o , ,

o
,
and white .

At the crossing f the stripes the additional mixed o

col urs made a dee p red deep blue orange

o re
, , , ,

green and pu p le W hen fi rich c l urs and

,
r . n e, o o

go d yarns are made use f very g rgeous e ff ects

o o , o

can be obtained in this Simple manner .

There are many other easy methods for orna ,

m en ti g plain woven we bs
n such as the use f ,
o

di ff erent si ed threads both in warp and weft the

-
z , ,

use f di ff ere t materials such as gl ssy ilk r

o n , o S o

cotton in c ntrast with linen woollen yarns the

o or ,

use f threads of di ff erent twist texture & & c

o ,
c ., .

1 46
O th er so that even with quite the simplest l oms plenty o
,
of scope is given f the exercise of ingenuity and or

design .

An ancient and favourite meth d of decorating o

woven fabr ics was b inserting in additio to the

rdina y weft sec n d a
, n

o r ry wefts f rich threads such,

o o
,

as g ld silver silk or rich c l ured w ls These

o
, , ,
o o oo .

additi nal wefts were s arranged as t f rm sp ts

o o o o o
,
or detached rnamental shap es dist ibuted ver o
,
r o

the g ound This decorati n is called i l y

r . o n a or

b di g
roca At the beginning b caded r aments
n . ro o n

were t w ked aut matically in the lo m as

no or o o ,
they afterwards gradually came t be It will be o .

necessary theref re as well as advantage us t

,
o , o
,
o

trace as n early as possible the manner in which the

, ,

b r cading proces s was developed E sp ecially as it

o .

led to some f the most imp o rtant inventions in the

o

hist ry f weaving and moreover many sugges ti ns

o o , , , o

useful t the artistic Craftsman m ay be gathered by

o

the way .

A m st p imitive manner f br cading is desc ibed

o r o o r

by D J F bes Wats n in his b k on the textile

r . . or o oo

manufactu es f I ndia as f ll ws r o ,
o o
“
T w weavers sit at a l m
o They place the oo .

p attern drawn up n ,p aper bel w the w r p and o ,

o a
,

range al g the track f the weft a numbe f cut

on o r o

threads equal t the fl wers parts f the de ign o o or o s

intended t be made The with tw small fi o . n o

,
ne

p inted bambo s ticks they d aw each f these

o ,
o r o

threads between as many threads f th wa p as may o e r

be equal t the width f the figure which is to be

o o

f rmed When all t h threads have been br ught

o . e o

between the warp they are drawn cl se by a str ke o o

of the reed T h e shut tl e with dinary weft is

.
,
or
,
1 48
 then passed by of the weavers thr ugh th hed o ne o e S

or O pening in the warp and the weft having been ,

d iven h me it is returned by the ther weaver

r o ,
o .

The weavers resume their w rk with the bamboo o

d re p eat the operation f the reed and

’

s ti k sc ,
an o

shuttle in the manner ab ve described observing

,
o ,

each time to p ass the cut th eads between a greater r

or less number f the threads of the warp o

p ,
in ro

porti n to the si e f the design t be fo med

o z o o r .

Alth ugh br cading is s metimes d ne in the

o o o o

way described ab ve— vi by using sh rt pieces o z .

,
o

o f c l ured th eads cut t the required i e — it is

o o r o S z s

much m re usual t fi d a c ntinu us thread

o o n o o ,

car ied in a small shuttle made use f f the

r
,
o or

pu p e e ch c lour and each sepa ate piece f

r os , a o ,
r o
~
desig h aving its w shuttle and being w ked
n o n or

backward and f rward to the shape f the rnament o o o .

The w rking f br caded rnament int a

o o o o o

p lain warp between the di ary S h t d es very or n oo , o

well l g as the warp is fi and ve y

so on ty as ne r s c an ,

is the case with that used f the g uze like I ndian or a -

musli s T h se n
p
. en enough t lle w the are O o a o

sp arkli g g ld d bright loured ilk t S hine out

n o an co S o

fr m bet ween their threads but in denser warps

o ,

the namentati n would be buried and alm st

or o o

invisible if m erely p laced between the rdinary o

s h ts f weft
oo o .

I de t make these i laid ornamen ts have

n or r o n

their p p r e ff ect in a cl se warp the br cading

ro e o ,
o

weft must be made t p ass der nly in every o un o one

three w p th eads inst ad f bei g tied

“

m or o re ar
‘

r e o n
,

d wn l sely like the rdinary weft By this

o C o o .

means the ich g ld c l ured weft t nly

r o or o o no o

shows f all it is worth but being tied down by

or , ,
14
9
only one in every three m re threads stands or o
,
clearly and b ldly p th e surface f the clo th
o u on o .

This e ff ect can be t ie d the weaving b a d r on

‘

o r
,
fig 3 9 and a practical expe iment will best dem n
.
,
r o

strate the the ry f ties and binder The mecha

o o s .

n ic al c ntrivances f
o bin di ng the br caded ornament
or o

in the l m can then be readily exp lained

oo .

F or this expe im nt the b ard must be set up

r e o

with thirty S tri gs and plain weaving with self

-
one n ,

coloured weft begun it as in fig 64 AA At B on .

,
.

brocading c mmences I t will be seen that the

o .

b caded f rm i the illustration is drawn in two

ro o n

S hades half t ne d black These hades may

,
-
o an . S

rep esent any tw c lou s that may be selected

r o o r .

Beginning with the lighter c l ur and c unting o o

,
o

fr m the right hand the weft m st be b ught fr m

o ,
u ro o

the back between the seventh and eighth strings f o

the wa p passed unde neath the tenth and ver the

r
,
r
,
o

eleventh and t welfth strings The brocading weft .

must now pass at the back f seven strings and o

re p pear in the fr nt between strings ninete n and

a o e

twenty The c l u ed thread must then be carried

. o o r

over tw strings und r o ver tw m re and

,
e one
,
o o o ,

between strings twenty four and twe ty fiv pass to -

n -
e
,

the back and be left hanging there while the rdinary

, ,
o

weft is thr wn twice acr ss the warp after the usual

o o ,

sheds have been p ened f it As s n as th sh tO or . oo e oo

has been p essed d wn the br cading may proceed

r o o
,

beginning this time fr m the left The coloured o .

weft must w be b ught f ward bet w n the

no ro or ee

twenty f ur th and twenty fif th s trings and taken

-
o -

back over and under the same strings as in the first

,
line until it reaches th p oint f starting Here it
,
e o .

must be again taken to the back and the two shoots ,

1 5 0
of ordinary weft repeated This will complete the .

space marked B in the d awing It will be seen r .

that th brocading in p ace C must appr ach three

e S o

s trings nearer to the right and left edges of the web

than that of B I n all other respects the Sp ace .

C mus t be w rked in exactly the sa m e manner as

o

B In space D h wever two brocading c lours

.
,
o , o

are indicated The new colour represented by

.
,
black S hould b e put i first It wil l be seen that
,
n .

the black only covers four s trings tw each S ide ,

o on

of the centre with a S pace f seven strings between

,
o

them As s n as the da k weft is in its place the

. oo r

lighter col ur may be filled to right and left f it and

o o ,

this being repeated twice the space D will be filled , .

At E only th dark c l ur occurs and that in the

e o o ,

centre of the web where it c vers tw s paces f ,

o o o

two strings each wi th one string between t bind ,

o

t hem Fr m this point the brocaded figure can

. o

readily be comple ted without further instructi ns o .

In rder more clearly t illustrate the pr cess at the

o o o ,

top right hand c ner of the drawing the p rtion D

-
or ,
o

of the brocading is represented in pr g ess but o r

,

with ut the web having been beate t gether At

o n o .

the t p left hand ide f th illust ati n a part f the

o -
S o e r o o

ground and figure is sh wn as it w uld be expressed o o

or designed on weaver s ruled paper ’

.

To return to the old E nglish l m fitted p as in oo u

fig 4 2 Brocading up to this p int and in the ab ve

. . o o

ways may be d ne up n it with ut extra appliances

o o o .

The process h wever f picking up th threads f

,
o ,
o e or

the binders and c unting the spaces in the undivided o

warp would be a very tedious I t will there o n e.

fore b readily underst od that it would be a g eat

e o r

advantage if the binding threads necessary for the

1 52
broc ading could be separated in the warp a to m ati u

cally when they were required without interfering ,

with the making of t he plain groundwork of the

cloth .

The facility of selecting certain t hrea ds can be

secured if an ther headle be added t o those already
o

in the loom This additi nal headle must be so

. o

arranged that after two r m re shoots of plain

, ,
o o

ground have been made the p roper shed for the ,

brocading may be Opened This S hed may be so .

made as t act across the whole of the war p or in

o ,

particular spaces such as borders of a certain width, ,

at the cen tre f the web at any regular intervals

o ,
o r

t hat may be desired This c ntriva ce n t only . o n o

facilitates the bi din g of the br caded figure but by

n o ,
dividi g the threads nt small gr ups makes I t much
n i o o

easier to t i the hapes of the ornaments pre

cou n n S ,

vious ly designed ruled paper The meth d of on . o

drawing figures f inlaying brocading S shown

or or I

by fig 6 5 . .

The extra hea dle required f brocading has to or

be fixed in fr nt of the two already in the l om and

o o ,

through the eyes of its leashes the warp threads

must be entered after they have passed thr gh ,
ou

th e of the gr und beadles d bef re their entry

os o ,
an o

in the reed The new headle will ly requi e

. on r one

leash t every three f the warp threads for the p

o o ro

ducti n f th e brocading suggested by fig 6 5 and of

o o .
,

I d ig i g
n esm t f b di g
n n q d
o rn a en s or ro c a n ,
on s u are

a er,
p p it m t b m e m bus d t h t e h
e q re f th ere a ac s u are o e

a er
p p p t
re th re se n s
g p f th e d b t we e t h e ro u o r a s e en

bi d
n e rs,d l th t th e
an th
a so fig wi ll b wh
a si z e e u re e, en

wv dp d
o en , th e m b
e en sf ti t th
on i h nu er o es o e nc

l t lly d th t h i k
a e ra an f t h e w f t l git di ll y
e c n ess o e on u na .

L 153
 these tw must
, o

be entered to
gether in one eye
and one drawn ,

without entering ,
between the
l e a sh es The
.

e ff ect f this ar
o

rangement will
be that when the
,

new headle is
raised either by
,

an extra treadle
or a hand cord -

and pulley two ,

threads will be
raised and one lef t
down right across
,
th e loom or ,
w h e r ev e r in ,
the width spaces ,
to be brocaded
are arranged f r o .

Thus the n c es e

sary shed for the

br cading weft is
o

made W h e 11
.

on e line of the
b r o c a d i n g h as
been d ne and o

t h e f ll w i n g
o o

shoo ts f plai n o

t ab b y g r o u nd
FIG 6 5
. .
—
De s i gn f o r Bro c ad e, o n
have been m ade
Ru le d P a e r.
p
 plays a very important part in th e developmen t
of pa ttern weaving The invention of damask
-
.

weaving in particular is based entirely on i t .

FIG 66
. .
— S ec ti o n o t
f T wo S o r s o f L e he
as s.

h e
C as m er The exquisite work which may be d ne on a o

S h wl
a l om with mechanical fittings such as have now
o

We vi g
a n been described is S h wn by the wonderfu l shawls for
,
o

1 5 6
which Cashmere has been famous f many centuries or h
C as m ere
( see fig .
Sh a wl
The process of weaving the Cashmere shawls has
been instru ctively described by a traveller in India
“
Th l m di ffe oo t i p i i p l f
ers m t h tno f n r nc e ro a o

E u p b t i i f i i w k m h i p d th f t i
ro e, u s n er o r n or an s ,
an e ac o r es

t i f m t h t th hu d d f th m
co n a n ro re e o wd d ree n re o e , c ro e

t g th i t v ry m ll p
o e er n o Ab ut t h w v
e s a s ac es . o re e e a e rs

w k t e h l m Wh th w p i fix d i th
or a ac oo . en e ar s e n e

l m th p tt d w m k a d ig i bl k d
oo e a e rn - ra er a es es n n ac an

wh ite H e h w it t th
. l u i t d t h e ibe
s o s o e co o r s an scr ,

an d th y ef t g th c o n er Th l i t h vi g well
o e e r. e co o ur s ,
a n

co n s id d it p i t t th e p p ti f th l ur
e re , o n s ou ro or on o e co o s,

an d b gi ,
i g t th f t f th p tt
e nn n a h ell t oo o e a ern , e ca s ou

th e l u d um b r f t h d t wh i h h i t
co o r an n e o re a s o c e ac s o

ext d t h t by wh i h it i t b f l l w d d
en ,
a c i s o e o o e ,
an so o n n

i u til th e wh l p tt h b
s u c c es s o n n d ib d o e a ern as een es c r e .

F m h i di t ti th
ro s ibe w it d w th p ti ul r
c a on e s cr r es o n e ar c a s

i n ak i d f h th dn o d d liv
s or
p
an y f t h e ,
d
an u e e rs a c o o oc

m e t t th w v
n o e e a ers .

Th w k m e th
“
e pr p r t h e
or n dl by wi d en e a e n ee es n

i g n onh l u dye ac ,
f b co o t f g i w i ght
re arn o a ou o ur ra n s e .

Th dl wit h ut y
es e n e e es m d f m th w d
o e e s are a e o s oo oo ,

an d h v b th th eir h p d li gh tly h ed t
a e o s ar en s s c arr o

p v
re t t hen i b m i e r
g u g h t h u gh
ec o U n d the
ro ro u se . n er

sup i t de e f th l r m t th e we v
e r n en nc o xt
e co o u -
as er, a e rs n e

k t th
no
y r f
e th a ndle i t ho i p p pel t
n ee s n e r ro er ace s o

th w p e ar .

“
Th f e igh t id f th l t h i p l d xt t
ac e o r r S e o e c o s ac e ne o

th g e d th w k bei g i d
ro u n , e ort th b k wh n c arr e on a e ac ,
ere

th e dl ll h g i
n ee es w m ki g f m f
a an n t a ro ,
a n ro o ur o

fif t h d d
ee n un di g t th li gh t
re , ac c o r h vi n o e n es s o r ea n ess

o f th e m t A
o rn a th
en d i g i ti fi d
. s so o n as e es n er s sa s e

t h t th w k i
a e lior i m p l t d th
n one d i b ugh t
ne s co e e e ree s ro

M r f t T v el i C h mo o rc o
’
s
“
84 ra s n as ere , 1 1 .

IS 7
 h
Cas m ere d w up it wi th v i g
o n on d p etiti
, ppa tl y o u r an re on a are n

S h wl
a v y di p p ti t t th d li y f th m t i l
er s ro or ona e
”
o e e c ac o e a er a .

We vi g
a n It is a grievous fact tha t th is beautiful handi
craft f S hawl weavin g has alm s t died t in India
o -
o ou ,

o wing to the competiti n of the cheap meretrici us o

,
o ,

FIG 67
. .
—
Bo r d er o f an I n di an S h a wl
.

E uropean machine made imitati ns of the Cashmere

,
o

weaving d design with which th market f

an , e s o

both the E ast and West were fl oded in the l ast o

century .

Bef re leaving the subject f brocading for the

o o ,

present it may be interesting to remark that no

, ,
158
 C H A PT E R X I
SING LE -
HARN E S S PATT E RN S
Ruled P a
p er an d its U ses— Sk e tc h es o f E n teri n g an d
Tie -
u
p
— D es i n s
g p o ss ible on L m wi h f w
a oo t e

He adles— T h e P iti
os on o f Cl t h i W vi g
o n ea n

Ty i g p th L m — Pl
n u e oo an f oTi p
— S iam p l e- u e

Twill — Th B k Twill
s e ro en ,
it I m p t
s —O i gi o r an c e r n

an dP li ity f S ti w
ec u ar o a n- ea v i g— T h F h dl
n e o u r- ea e

Twill— M th d f dr wi e o o a n
g D i g f S i m
es
p l ns or e

L m — S i m p l P tt
oo s e a ern with T bby G da ro u n

t h gh ut it Ad v t g
ro u o ,
s an a es .

A N imp rtant range of sm ll patterns can be

o a

o
"
w ven by the use f a single harness c mp sed f o o o O

several beadles and the range may be very much

,

extended by entering the war p in vary ng order i

inst ead f I n regular successi n

o o .

Bef re giving a few examples f these pattern s it

o o
,

will be necessary to devote a little space to the ex

planatio f th ee thi gs (I ) The setting out and
n o r n .

use f designer s l d p p ; (2 ) the meth d of

o
’
ru e a er o

expressing paper the o der in which the warp is

on r

t
en ere d i the beadles ; and (3 ) the ti p f the l m
n e- u o oo
,
as the nnecti n between the treadles and beadles
co o

is called which renders pattern weaving automatic

,
-
.

L h e with h t ey e h v m d v t ge v
eas s S or s a e so e a an a s o er

t h with l g
o se A i gl h s th ef e h uld
on o n es . s n e arn e s , er or , s o

be m de with le h h vi g h t y
a as es a n s or e es .

1 60
 designs for weaving excep t t hose of the
All ,

very simplest description have to be worked t ,

ou

on ruled paper and i t is possible after a practical

, ,

acquaintance with th principles of t he craft has e

been btained to arrange ll the details f the most

O ,
a o

complicated webs in this manner F ig 6 8 will . .

Show the manner in which the paper is ruled .

In th e first place the paper is always se t out in

,

exact squares ruled in thick lines and these squares ,

are subdivided b th vertically and laterally To

o .

the left f the line AA the partial ruling c

o on

sisting of vertical lines only is shown and the spaces ,

between these represent the threads f the war p in o

,
some cases single and in others in grou ps of equal
numbers To the right of the line AA the squares
.

are divided laterally as well as vertically These .

lateral divisions are for the purpose of enabli g n

the designer to indicate t he weft wherever it is

intended to Show as it crosses a thread of the warp .

The pr portional thickness of the weft in relation

o

t the warp is indicated by the si e of the spaces in

o z

the lat eral divisions For instance to the righ t of

.
,
the line AA the lowes t squares B are divided into , ,

fo u r spaces both vertically and laterally ; this

,
indicates that the weft is f the same thickn ess as o

the warp thread or group f threads indicated by

,
o
,

the vertical spaces If the weft be thicker than th

. e

warp as would usually be the case if single threads

,

of the latter were intended the lateral spaces must be,

larger in order to keep the righ t prop rtion in the o

woven design In the case of the weft being one

.

third thicker than the warp the squares w uld have t o o

be di vided 4 X 3 as in the middle squares C instead

, , ,

of 4 x 4 I f this were not s the desig when w ven

. o n
,
o
,

M 161
F
IG. 68 —Ruled P apers
. .
RE GU LAR O RDER S HOWN I N TH E S KE TCH FR O M B ACK ,

T o FR ONT I F AN Y OTH E R E NTER I N G IS I NTE N DED

.

S PE CI A L I N ST R U CT I ON S A RE G I VE N FO R I T .

In rder that the weft may cross th e warp as

o

shown in fig 6 9 the cloth being made as is

.
, ,

u s u a l fa c e d ow n ,

wards ir is of course ,

n e c e ss a r y t h a t t h e ,

headle in which the

warp threads covered
by th black cross e
!

are entered mus t be

raised so that the ,

shuttle carrying the

weft ma pass beneath
them t has already .

been explained tha t the

F — S k et h f t i
beadles are raised by
IG 7
. 0 . c g
means o e n er n
o f t r adles which
i H f F u H dl
e
n arn e ss o o r ea es. ,
the weaver controls
with his feet and t he S implest way of connecting
,

the beadles and treadles for t his purpose is S hown

by fig 4 2 There are however various ways of
. .
, ,

doing this which will be described la ter on under

, ,
the head of Sh ddi g M ti bu t they are all
e n o ons,

alike in one particular which is t ha t they all pro , ,

vide f the lifting of the b eadles as indica ted on

or

the ruled paper drawing This being so the draw

-
.
,

ing t of the design is not

ou a ff ected by the
particular kind of shedding motion with which the
loom on which the web is to be made is fitted up
, , .

Tying up th beadles and treadles is a matter f o

e r

the weaver to arrange according to the seque nce f o

rising indica ted by the design of the pat tern on

1 64
 ruled paper a d much ingenuity has of ten t o be ex
,
n er

i d in d ing this in the m st convenien t manner

c se o o

for weaving If as he were w king the weaver had

.
‘

,
or ,

to think of the pattern h wever simple and the ,

o
,
necessa y succession of treadles to form it the w v
r
,
ea

ing would be sl w and not aut matic He thereforeo o .

has to arra ge a plan f the ti p which will

n or e- u ,

allow of his treadli g in the order to which he is n

accust med and will a t the same time cause the

o , , ,

beadles to rise i such a successi n and combination

n o

as will work t the pattern c rrectly ou o .

1

The usual rder i which a set of trea dles is

o n

W rked is fr m the outside right and left to the

o o

Centre F or instance with eight treadles the t

.
, ,
ou

side right one is no 1 and the outside left no 2 . . .

Next to I is no 3 and nex t to no 2 is no 4

no . .
, . . .

No 5 is on the right by no 3 and no 6 the left

. .
, . on

by 4 N 7 is the las t t rodden by the right f ot

no . . o . o
,
and no 8 the last taken by the left Some weavers
. .

prefer to begin with the left f ot and others prefer to o

work righ t across in which cases they make out their

,

plan or draught to uit themselves ; but this does not s

al t er the meth d of tying up o .

F ig 7 1 shows two plans of t ie p t oge ther

.
-
u ,
with the e ff ect pr duced by t hem when woven o .

They also illustrate the simple meth d generally o

used by weavers t indicate the tie p on paper o -

u .

B th figures represen t a se t of eight beadles each

o
,
harness being entered in the usual straightforward
ma ner This is shown by the ti c ks to the right
n .

of the diagrams above B The vertical lines C C .

,

are the treadles numbered acc rding to the ab ve,

o o

men t ioned sequence of treading f r m the righ t o

and left t o t he centre The ti p of the treadles . e- u

16
5
to the beadles is indicat e d by t he crosses on the ,

several lines at places where they intersect In

, .

diagram 1 where only two treadles

,
necessary to are

produce the e ff ect designed at A each treadle is tied ,

up to four bead les no I t o h adl s I 3 5 and 7 ,

. e e
, , , ,

and no 2 to beadles 2
. 6 and 8 so t h at treadle 1 , , ,

FIG .
7 1 —P l a . ns o f Tie -
u
p .

will raise b eadles 1 3 5 and 7 and produce the , , ,

e ff ec t of the lowest and other similar lines i th n e

design A The second treadle will in like manner

.

raise t he h adl s f r the f our alternate lines of the

e e o

sketch nos 2 4 6 and 8 D iagram 2 has the sa

,
.
, , ,
me .

h adl s and en t ering as diagram 1 but ins t ead f ~

e e , o

only two there are eigh t treadles C C one headle

, , , ,
being t ied separately to each treadle The result " .

of t his t ie p when the t readles are used in the

-
u ,
‘

order in which they are num b ered is shown in the ,

sketch above A .

An amazing amoun t of ingenui has been

exercised by weavers in arran ging f o r e lifting of
1 66
SIm
0

the or der i wh ich th e treadles a e t o be worke d

n r .

At no 2 the tie p is seen t o be reversed which

.
- u ,

throws the twill in the opposite direction making ,

i t a left hand one A t no 3 a combination of

-
. .

both the above is shown the result being a igzag ,

z .

This is made b extending the treading as indica ted

by the numer s in the circles of no 3 i tself and .
,
may be used with ei ther the
tie p of no I or no 2 in -
u . .

di ff erently .

The nex t ground pat tern

t claim a tt ention is some
o

times called a b k twill ro en .

It is made like the ordinary ,

twill on four beadles and ,

F 7 3. B
rc .
— k T w
'
ill t
ro readles
en bu t t he tie p is ,
-
u

rather di ff erent ; fig 7 3 is a .

draught of i t I t will be seen that the direc t diagonal

.

line of the twill is broken by missing headle 2 ,

and making i t rise between t he four th and th first e

b eadles The result of this arran gement is tha t if

.

a rich close warp is being used the weft will

scarcely S how a t all the t ie being distributed so
,

evenly over the ground tha t no ribs or lines are

visible This is a most ingenious invention and
.
,
shows the principle on which t he various satins
are formed I t is said to be of C hinese origin which
.
,
is most probable as it is particularly adapted f o r
,

displaying the rich glossy quality of silken thread

, ,

which the Chinese were certainly the firs t people t o

use for weaving Before passing on i t should be
.
,
no t ed particularly that IF COUNTED I N E ITH ER D IREC
T I ON TH E SAM E N U M B ER O F TH REA D WI LL B E FOUN D S

B E T WEE N A LL T H E T I E S O F TH E B R O K E N TWI LL .

1 68
T H I S I T HE SPECIAL CHARACTER IST I C o F ALL TH E
S

S AT I N S FU RTH ER REFERE N CE TO TH IS WI LL PRE

.

S ENTLY B E M A DE .

Several more ex t ended designs may be made

on the same principle as the tW ll wi th four beadles 1 ,

and treadles only if the entering of the warp ,

be S pecially arranged f o r them A sam p le group .

of t hese designs is given in fig 74 and many thers .

,
o

can be devised both by alteration of the entering , ,

tie p or order of w rking the treadles The

- u ,
o .

en t ering necessary for the designs illustrated repeats ,

once in every twenty four threads of the warp It -

.

will be seen tha t three courses of four threads are

entered from back to front then one thread by ,

itself on the back headle followed by three courses ,

of four threads from fron t t o back the fourth , ,

thread in the las t course beginning the next repeat .

I f the treadles are t ied up and t rodden as for

ordi ary twill a large lateral ig ag will be woven
n z z

(fig . by working t he treadles in the order

S hown by the nume als in the lower part of the r

diagram no 2 will be made ; and on taking the

.

treadles i the following order I 2 3 4 I 3 1 4

n
, , , , , , ,
1 5 1 6 no 3 will result
, ,
. .

W ith the same entering and tie p plain clo th -

u

may be made at will so that la teral spaces or ,

panels of any of these small designs may be woven
by way of ornamen t at intervals in the plain
material V ery pretty fi c ts may be arranged for
'

. e e ,
especiall if the bands are sho t with gay coloured
wefts y order to make the plain cloth in alter
-

. 11

nation with the ornamental bands it is only necessary ,

to de press the first and third treadles t ogether with
th e right foo t f o r o e shoot and the second a d
,
n
,
n

1 69
Ext i f an illus t ration of a pa ttern and tie p in which one
en s o n o -
u ,
th F e two and three beadles severally are c nnected wi th
o ur
,
o
h dle Twill single t readles as will be seen by the plan
ea
,
.

The curious diag nal design fig 77 requires sixo .

treadles tied up t o f our beadles as S hown in t he ,

FIG 7 8
. .

plan The entering i this case is remarkable as

. n
,
half the warp is raised by means of the f urth o

headle and the o ther half is distribu ted equally ver o

the other three P lain ground canno t be woven

.

with this tie p of six t readles but two extra ones

-
u , ,
one on each side of the six will render it possible
, .

These tabby treadles must be tied up as shown in

th plan no 2
e . .

W ith the same entering as tha t of the las t design ,

and a t ie p t o three treadles t he pattern fig 7 8
-
u
, .

can be made and by the u s of treadles 2 and 3

,
e

plain tabby ground can also be woven in al t ernation

with broad bands of ornament .

1 72
 F ig 79 gives the plan of one f the mos t elaborate E xte i f
. o ns on o

designs workable by this imple meth d of weaving th F

S o .
e
‘
011 1

It requires t h e use f a harness of ten beadles and a h dl T WiH

o ea e

set of ten treadles t pr duce i t The entering is

o o .

FIG 7 9 . .
-
El b ti l W vi g
a o ra e i
D es gn f o r S m p e ea n .

on twenty threads of t he warp and the tie p is ,

-
u

rather complicated as will be seen by the plan

,
.

It will have been no ticed tha t this design and

plan (fig 79) are worked ou t entirely on ruled
,
.

pa p er This is a convenien t method of setting ou t

.

c m p licated weavin gs as the order in which the

o ,

treadles f llow can be marked in the line f th

o o e

design they each govern A careful study f the . o

I 7S
drawing and a comparison of the numerals will
elucidate the relation of the vari us parts to o one

another The final arrangement of th p sitio n

'

. e o

of the treadles f working is always left to the

or

weaver and is indeed quite immate ial so long as it

, , ,
r
,
causes the beadles to rise in the order set down in
the design In setting out such a drawing the
.
,

entering mus t be indicated first and then the design ,

filled in below i t on t he same number of squares as

one repeat of the entering contains The number .

in this case is twen ty The scope of t his design is

.

also further limited by th nat re of t he entering

,
e u
,

t o a figure having its cen t re line on the eleventh

thread a d both its halves alike except that they
,
n

are reversed and point in di ff erent directions In .

weaving this is technically called a p i t design o n .

The length of the design is no t limited as i ts ,

breadth is by the entering of the harness ; this

,

is decided t some exten t by the number of

o

treadles employed Any treadle however may be

.
, ,

made to rise and repeat the same lateral line of the

design any number of t imes and the whole number ,
of treadles or any portion of them may be worked
, ,

backward and forwa d or in any sequence necessary

r

t o f rm the pattern
o .

After the desig and entering are se t out the

n
,
design must be dissected in order to find how many ,

di ff erent lateral lines there are in it as the several ,

beadles forming each di ff erent line have to be tied

up to a treadle In fig 7 9 for example there are
. .
, ,
ten di ff eren t lines which necessitates the use of ten
,

treadles By repetition h wever their sc pe is ex

.
,
o
, o

tended t o twenty lines Many designs will allow .

of even a great deal more repetition than t his .

1 74
in the design If broad spaces of ornamen t are
.

desired in th is kind of weaving some means mu s t ,

be used to strengthen the cloth without interfering

with the e ff ect f the ornament This can be done
o .
,
and a simila e ff ec t obtained to that of brocading
r ,

e xcep t t hat t he ornamen ts inst ead of being in

,

FIG 8o
. .
— P attern
wit h T bby Gr und a o

detached spo ts will be repeated in a close geome tric

,

pattern all over th cloth F ig 80 is a type of

e . .

the desi gn suitable for weaving in this way and ,

will clearly exemplify t he weaving toge ther of
the ornamen tation and the ground cloth This .

design requires only four beadles en tered in the ,

order shown above the ske t ch and four treadles two

, ,

of which are used for the tabby groundwork and

two for the pattern On the two outside treadles
.

the pattern is t ied up and on the two inside ones

,
the tabby ground is tied A extra S hut tle and
. n

richer weft must be used for the d ig par t of t he es n

weaving and it is be tter for this purpose to use

,

several fine threads t ogether as a weft than one ,

1 76
coarse one as they will lie flat ter and cover the
,
P tte
a rn

ground better Ordinary plain cloth is woven by

.
We a
v i g n

using only the centre pair of treadles bu t as soon as W th T b b y

.

i a
,

it is determined to intr duce the design one of the

o
'
Gr u d o n

o utside treadles must be brought into use after y an

one f the tabby S ho ts and the pattern weft intro

o o ,

d c d in the shed made by i t

u e The next S hoot f . o

tabby ground must then be made and after i t the ,

“

same pattern treadle again depressed and ano ther

.

pat t ern shoot thrown These alter nate sh ts of

.
’

oo

gr und and pat tern mus t be repeated until the first

o

r w
o f squares is c mplete in which there will be
o o ,

f und four shoots of g und and four of pattern

o ro .

When this point has been reached t he opposite ,

pattern treadle will have to be used in the same ,

alternati n wi th the ground ones for the same

o ,

number of shoots thus making the sec nd w

,
o ro

of squares After this the firs t pattern treadle

.

must be depressed for one shoot nly in rder o

,
o

to make the thin strip dividing the squares After .

four more shoots in the shed made by the sec nd ,

o

pattern treadle the first one is re turned to and after

, ,

fo r more shoots and a single

u the first repeat f one
,
o

the design will be found to be complete It will be .

readily understo d that the squares f this pattern

o o

may be made of any si e desired by extending the z

,

entering in the harness and the numbe of sheds r

made by the pattern treadles At the same time .

this will t weaken the cl th as the same tabby

no o
,
ground will run thr ugh ut whatever si e the
o o ,
z

squares may be Whilst weaving this kind f

. o

design it will be found necessary to beat the weft

together with more f rce with a d uble blow
o ,
o r o
,
in order to keep the ground as cl se as the plain o

N 1 77
par ts of the web if t here are to be any such If
,
.

properly bea ten t ge ther the pattern woven by this

o

method should appear quite solid and en t irely hide

,

the tabby ground which is beneath it .

The grea t importance of the satin t ies in th e

development of weaving especially of fine silk
, ,
renders i t necessary that the nex t chapter sh uld be o

se t apar t for their exclusive conside ation But at

r .

the same time i t must be no t ed here that many ,

useful and beau t iful satin an d partly satin webs may

be designed for weaving on small d mestic lo ms
o o

in which either linen co tton woollen or spun silk

, ,
-

yarns can be used .

of which i t is peculia ly fit ted to display Bu t i t r .

is in the weav ng of the ex tensive and elaborate

i

pattern webs known as damasks that its chief

u t ility consis ts and that n t only for the weaving
,
o

of silk bu t for the weaving also of linen co tt on

, , ,

and woollen ornamental fabrics .

The name satin is generally misunderstood .

It is usually taken to signify some kind o f s ilk

material This is no doubt owing to the fac t that
.

this tie is for the m st part restricted to silk in the

o

case of plain materials The term however has no .

, ,

reference to the yarn empl yed in the web bu t o

,
only to the man er of weaving it n .

There are various kinds of satin in use all being ,

based on th same princi p le They are distinguished

e .

according to the number of h adl s required in the e e

harness used for weaving them The br ken twill . o

,
which we have seen requires a harness of fo r u

h dl s is not always called a satin bu t is oft en

ea e , ,

designated a satinette .

P eculiar value is given to the satin tie because

of i t s throwing a very large proportion of the
warp t o t he face of t he material w ven so tha t o ,

if the warp consists of fine rich S ilk and the weft

of common silk linen cotton or wool the ri c h
, , , ,
silk in the case of a very rich satin of say S ix t een
, , ,

beadles will almost entirely cover up t he poore r

,

weft The latter will in its turn show almos t

.

en t irely at the back of the cloth F ig 8 1 pr . . re e

sen ts the front and back of such a sa t in woven -

material very much enlarged

,
!
In the ac tual clo th .

Th q e f ixte h e dle ti p e tedw uld

e s u ar o s en - a sa n re re s n o

re
p t f
ea m i e t
rotwelve h u
n n d ed ti m i o a q e n r es n s u ar

in hc .

1 80
FIG 8 1
. .
—Sati n Cl o th (m u c h e l d
g )
n ar e .
repres en ted t he S ix t een threads be tween the t ies
would pr bably not ccupy a space of more than
o o

th th i ti th part of an inch
e r e At 2 the face . no.

of the cl th is shown and i t will be seen tha t

o ,

fifteen threads of warp intervene between each

intersection of the weft laterally and also that the ,

Warp threads each float ver fifteen shoots of weft o

between the ties vertically In the ac tual stu ff .

when l ose and out of the loom these infrequent

o

ties would scarcely be seen at all and the glossy ,

surface f the silken warp would appear to be n
o u

broken At .I the back f the stu ff is S how

no . o n.

Here the weft nly f the m s t part shows held o or o ,

t gether at regular th ugh infrequent intervals by

o o

the intersecti n f the fine warp o o .

Satins may be made on harnesses of almost any

number of b eadles fro m five to twenty four The -
.

satin most generally used is tha t made on eight

beadles and is called igh t h dl igh t l m or
,
e -
ea e
,
e -
a ,

e igh t h f t satin
-
s In s me respec ts this is the
a . o

best f all satins as in it the ties are most

o
,
evenly distributed and the twill from which i t , ,

in c mmon with all satins is derived is less in

o ,

evidence (S 3 fig
. ee n o . ,
.

F ive headle satin is more used for linen damasks

-

and other c arser woven ornamental fabrics than for

o

S ilk .A great many f the medi val silk damasks o a

e

were however made wit h this tie which gives the

, , ,

dry and more subdued e ff ect often to be seen in

them (S no I ) . ee . .

In fig 82 are given ruled paper drawings of all

.
-

the satins Many of them however are not in

.
, ,

general use as ine seven eleven and other odd

,
n
, ,

numbers of h adl s would be inconvenient in a e e

1 82
tread Such a harness can als of course be Use d
. o, ,

for the ten headle satin (no -

Nos 2 4 and 1 1 . .
, ,

would only be used as ties p ortions f a design on o

woven on a di ff erent p inciple as if made a r , on

harness they could nly be w rked with an awk o o

ward number f beadles alth ugh the eleven headle

o ,
o -

sat in is perhaps the m st well distributed of them o -

all no t excepting the eigh t headl one Nos 8

,
-
e . .
,

and 9 are only used f the very richest and nest or

silks or as ties in p rti ns of designs in fancy silk

,
o o -

weaving which will be treated of later on

,
.
Q

R eturning to the representation f sixteen hea dle o -

sa tin fig 8 1 I t will be noticed that the back of

,
. .

t he cl th no 1 corresp nds more losely with the

o , .
,
o C

sketch of the same satin in fig 82 than 2 (th . no . e

front f the loth ) does The reason f this

o C . o re

semblance is that the black squares of the ske t ch

represent the lifted threads of the warp It has .

already been s tated that m s t weaving is done with o

the face f the cloth downwards This is p tic

o . ar u

l ly the case with satin webs Obviously the lifting

ar .

of one headle ou t f many inst ead f the lifting f

o o o

all bu t one makes the work lighter for the weaver

,
.

The raising f thread instead of many causes

o one

also much less friction and wear no t only in the ,

warp itself but in the harness and general fittings
,

of the loom There are several other minor

.

advantages so that taking all into consideration the

, , ,
inconvenience to the weaver caused by no t seeing
the front of th web as the work pr ceeds is more
e ,
o ,

than compensated for Moreover the di fficulty of .

,

weaving webs face downwa ds is not so great in r

most cases as would at first appear f if the back is ,

or

right and the loom in all i ts par ts is seen to be

1 84
working properly the weaver need have little doubt
that the surface f the material will be satisfactory
o .

Alth ugh weaving is usually thus done face down

o

wards it is not absolutely necessary that it should

,

be In the case of s me complicated f ancy webs

. o ,

where two or three thicknesses of cloth are woven

t gether and it would be impossible t o judge from
o
,

the back if the surface were weaving properly or

no, it may be possible and advantageous to so
arrange tha t the fabric may be made face upwards .

This is e ff ected by tying p in accordance withu

the white spaces of the ruled paper design instead -

,

of the black ones .

When a piece of cloth is being inspected by an

expert one of the first p ints t o be examined is the
o

edge of the web generally called the lv g It

,
se a e.

may be pretty confidently expected t hat if the

edges are straigh t and even and at the same t ime
,
neith r tighter nor looser than t he body of the
e

stuff the Cloth will prove t o be well woven

,
throughou t A good selvage is th finishing grace
. e

in a woven fabric and none but good weavers can

,

keep perfect the edges of their work .

I n tabby or plain weaving when t he warp and ,

weft are properly proportioned there is no t much ,

di ffi cul ty in keeping a perfect edge and it is only ,

nec ssary t fortify the warp by making a few f the

e o o

edge threads double but in the case of the lo o ser

satin or the various kinds of fancy webs where t wo
,

or three di ff erent warps and wefts are used an ,

arrangement of the selvage warps to work i d p n e en

d tly of the main warp bec mes necessary and

en o ,
often requires a g od deal of ingenuity
o the pa t on r

of the weaver to devise Ano ther reference t o

.

1 85
Th e fig 8 1 will be su fficien t f r the p u rpose of explaining
. o

the necessity and working of the selvages on the

edges f satin webs Although there are only two
o .

threads sh wn in the drawing it is quite clear

o ,

that they make a straight tabby edge a d preven t n

the weft being drawn back by the returning shuttle

, ,
as far as the first tie of th sati This might
e n.

be any distance from the edge up to the space of

six t een threads of warp Without these tabby
.

woven threads the edges would be ex tremely

even however carefully the weaving might be
,
done The defective edge can be avoided if a
.

few strong threads are so arranged that a narrow

strip f tabby weaving may be made along each side
o

of the web There are various ways of arranging

.

f r the separate tabby shedding of the S elvages bu t

o ,

the simplest way is to provide two extra pai s of r

headle shafts at the back of the harness at the ends ,

of which the selvage leashes are fixed so tha t the ,

extra threads passing through them by the S ides of ,

the main warp may be e tered cl se to it in the

,
n o

rather wider dents usually provided for them I n the

reed These selvage h dl s are each tied up t half
. ea e o

t he treadles in such a way that they will be raised

alternately as one of the right or left half f the o

treadles is depressed In the case of satins and other

.

loosely tied webs it is found necessary to warp the

selvages and weave them ff small r lls separately
O o
,

fitted up and weighted as shown in fig 83 This

,
. .

separation from the main warp is necessary because ,

the more frequent intersection of the warp and weft ,

i tabby weaving causes the warp to be Used up

n ,

more quickly than is the case with the less frequently

in t ersected threads of the satin ground If the .

1 86
t bby selvages therefore came ff the same roller as
a , ,
o

the satin warp as soon as about half a yard of

,

stuff had been woven t he edges would ge t so strained ,

t hat the work could no t go They would then on.

break out altogether and spoil the web .

It will be readil y understood from the foreg ing o

description of sat n weaving that the back and i -

,

front of a web may be made di ff eren t in colour t a ,

o

very large extent providing the warp and weft used

,

are distinct in that respect The colour of the warp .

will pred minate in the front and that of the weft

o ,

a t the back in similar propor tion In fiv headle . e-

sa t in for ins tance the warp colour on t he face of

, ,

the cloth will be in the pr p rtion of four parts t o o o

one par t of weft and at the back the pro p rtions

,
o

will be reversed With richer satins the di ff erence

.

will be greater bu t however grea t i t may be the

,

colour of the weft will always tinge tha t of the

warp in the front and at the back th weft colour
,
e

will be modified by the ties of the warp in the same

manner In satin Weaving therefore the colours of
.
-
, ,
back and front can never be quite distinct .

There is another system of weaving however , ,

by means of which two eparate webs of perfectly S ,

distinct colours joined a t the edges may be woven

,

at the same time from the same warp in the same

, ,

loom A g eat deal of pattern weaving has been

. r -

done by taking advan tage of this possibility .

It will now b best to describe the me thod e

of weaving this double loth but its utilisat ion for C ,

pattern weaving mus t be left for considerat ion in

-

a f ture hapter
u C .

D ouble tabby loth of separa t e colours can be

C

woven on a loom wi th a harness of four beadles ,

1 88
bu t the warp mus t be specially arranged for t he
purpose If it be decided to make one cloth black
.

and the other white the warp mu st be made ,

through u t with alternate threads of those two

o

col urs The warp of black and white threads

o .

being entered in the us ual way if the first thread ,

be black the whole of the first headle will be found

to contain all black
threads the first fifth, , ,

n inth & c ; th e,
.

second headle will

ca rr y all wh ite
threads the sec nd ,
o
,

s ixth t ,
th & enThe , c.

third headle will be

all black with threads ,

1 1 & c ; and the

3 7
, , ,
.

f urth headle willtak

o
F 8 4 e
IG .

the rest of the whi t e

threads 4 8 1 2 & c In o ther words all the dd
, , , ,
.
,
o

threads which are black will be found in beadles I

, ,

and 3 and all the even ones which are white in

, , ,

beadles 2 and 4 .

W ith such a warp separate selvages would be

fitted up to work in the same way as f r satin o
,
so as to bind the double lo th together at the C

edges .

When all is ready in a l om so arranged w av ,

o
,
e

ing must begin by raising half the black threads by

means f headle 1 and throwing the S hu ttle carrying
o ,

the weft through the shed so f med The next or .

s hed is t o be made by raising headle 3 which raises ,

the second half f the black threads f the sec nd

,
o or o

throw of the shu ttle This completes two sho ts of . o

18
9
 black f ace of the double cl th For the nex t hed
'

th e o . S ,

beadles I and 3 mus t rise and lift all the black threads ,

and headle 2 must rise with them to lift hal f the white
threads The third sh t of weft having been made
. oo
,

the fourth h eadle will have t o rise as well as the ,

first and t hird again and the four th Shoot of weft

,

will complete the sec nd sh ot of the white face f

o o o

the double cloth This rder of shedding mus t be

. o

repeated and when a few Shoo ts have been made

, ,

i t will be f und that two distinc t webs nited at

o , ,
u

the e dges have been woven In order to make the .

colours distinct two S huttles must be used one f ,

or

the black and one for the white face f the loth o C
,

and when this is done the double cl th will be o

f und to be perfectly black on one S ide and p erfectly

o

white on the other F ig 84 gives the sketch

. . on

ruled paper with the plan and tie u p for double -

c loth .
To yp ic al and will present no di ffi cul t ies to the s tuden t if their
S heddi n
g principles are p e fectly understood F igs 85 and
r .

M 0 0 01“
.

85 A represen t these two typical mo t ions .

FIG 8 5
. .
—Sheddi n
g M o tIO n .

In order t o keep the diagrams of t hese shedding

mo t ions as distinct and S imple as possible the harness ,

t o which they are a ttached is only represen ted as

1 92
one of four beadles This is all that is necessary
.
Two T p
y ic l a

for the purp se f illustration but any number f

o o Sh e ddm g
o ,

beadles up to twenty even more m gh t be

or I M 0 0 0“
, ,

FIG 85A
. .
— S h eddi n g M o ti o n .

governed in the same way providing tha t the

,
n umber of levers and treadles was increased in the
sam e propor t ion In the diagram s also only the
.
, ,
0 1 93
 y i l beadles and t he shedding m t i n are shown ; all the
Two T p ca o o
Sh ddi g
e n supp rting parts of the l m which w uld only
o oo o
,
M ti
o ons c mplicate the drawing and render it less clear
o ,

are omitted The positi n of the harness in the

. o

loom is of course the same as in fig 4 2 with its

, ,
.
,

harness f tw beadles o o .

In fig 8 5 it will be seen that the beadles A A

.
, , ,

have l ng lead weigh ts B B on their l wer shafts

o , , ,
o
,
instead of their being tied directly to the treadles as
in fig 4 2 If any of the four beadles therefore be
. .
, ,

raised as soon as it is relea ed the weights on i ts

,
s ,

lower shaft will bring i t d wn again to i ts normal o

posi tion Strong wire spiral springs are sometimes

.
,

f some purposes preferred to lead weigh ts but these

or , ,

have the s me e ff ect as regards the mechanism of the

a

shedding moti n “
At letter C four short strong o .
,

laths are shown having a h le somewhere near their ,

o

centres through which an i on rod is passed The

,
r .

ends of the rod are fixed in a long wooden frame , ,

which rests on the top of the loom in th positi n e o

occupied by the centre cross piece from which the -

,

harness is suspended in the old E nglish loom fig 4 2 , , . .

Fr m one end of each of these laths just above

o ,

the centre of the beadles a double cord descends , ,

and being divided in the manner shown in the
, ,

drawing is attached to both ends of the t p haft

,
o S

of beadles This at tachmen t is made by the use

.

of the adjustable slip kn t described in Note 2 -

o
,

to C hap t er V II p 1 06 in order tha t the heigh t .

, .
,

of th h dl s in the l om may be adjusted t o

e ea e o

a nice ty A t the opposite ends of the leve rs C

.

Th e ff t f th d d w i gh t i t l e th h d
e ec o e ea e s o c os e s e

r th m e q i kly t h th pi l p i g d th re f r
a er or u c an e s ra s r n , an e o e

it i g s lly p f d
en e ra re e rre ,

1
94
same t ime This cording has to be carried all
.

through ; thus the second treadle must be con

,

n c t d with
e e the levers I 3 and 4 the third , , ,
t readle with leve s I 2 and 4 and the fourth
r
, , ,
treadle with leve s I 2 and 3 When all theser
, ,
.

connections are made the raising f any of o o ne

the four beadles will cause the remaining three

t o S ink If when this moti n is used tw beadles
. o o

are required to rise at one time the treadle must be ,

c nected with two long levers in order to raise

on

them and the remaining two levers must be tied

,
to the same treadle By this means two h adl s . e e

will rise and t wo sink In short no matter how .

,

many beadles the harness may consist of each mus t ,

be connected with all the treadles either by means
o f t he l ng levers which raise the beadles or by the
o

sh rt ones which sink them

o .

The section of the sheds below figs 8 5 and 8 5 A .

will S how th important di ff erence between the two

e

shedding m ti ns F ig 8 5 is called a i i g h d
o o . . r s n s e
,

because while the bulk of the warp is s tati n the o ar

required threads rise from it F ig 8 5 A is called a

,

. .

i i g a d i ki g h d because when certain threads

r s n n s n n s e
,

are raised all the others sink down at the same

time .

E ach of these shedding moti ns has its advantage o ,

according to the kind of weaving i t is used for .

W hen only a few threads require lifting as in the ,

case of satins a rising shed is preferable but when

, ,
ab ut half the threads f t he warp are raised a rising
o o ,

and sinking shed may be advantage ous although ,

there is always more friction when the lat ter is

used .

There are various o ther Shedding motions in use ,

1 96
bu t they are all based on one or other of these
two principles and th above may be t aken as types
, e

O f all .

Also by connec t ing the treadles t o only cer tain

,

of the remainder f the o

beadles instead of all ,

another variety f Shed o

may be made This con .

n ec ti will be described
on

later as it is required
o n,

in a particularly important
class f p attern weaving
o -
.

The sample patterns

already given can be
w ven with either f the
o o

ab ve shedding moti ns
o o ,

and the use of one f o

them would t a ff ect no

the design ruled p aper on

or the indicated tie p f -

u o

the t eadles The rising

r .

of the h adl s would be e e

the same in both bu t in ,

the second motion after

the tie p f raising the
-
u or

h dl s h d been made the

ea e a
,
h dl s corresp nding to
ea e o

the vacant spaces in the

tie p plan w uld have to
-
u o
F G 86 I . .

be c nnected by means
o

of the S hor t levers t o the several treadles T h e .

kind of shedding mo t ion most suitable for any

particular design is a poin t f o r the weaver t o se ttle
to his own satisfaction .
 F ig 86 is an example f a small design suitable for
. o

weaving with the shedding motion 2 — tha t is no. ,

with a rising and inking shed— as the ground and S

figure are exactly equal in weigh t .

Be tween A and B in the design one repeat 1 , ,

0

the p attern is shown drawn ou t on the ruled paper .

At firs t sight it w uld appear to require ten beadles

o

and ten treadles t make one repeat of the design

“

o .

But on analysing it it will be f und possible to ,

o

weave it six h dl g verned by ix treadles

on ea es , o S ,

provided the ente ing of the warp in the harness be

r

done as indicated in the ketch above le tter D S .

T h e real design is only a quarter of one repeat b t

’

II
,
”
i t is tu ned ver or p inted both laterally and
r o o

vertically I nstead theref re of containing ten

.
,
o
,

di ff erent lines f squares the desi gn has only ix

o ,
‘
S ,

f ur lines being repeated twice in it The lateral

o .

turnover is e ff ected by the entering f the harness o ,

the vertical one by reversing the order of treadling .

The tie p f this design wi th no 2 shedding

- u or .

m tion must first be made as shown in the sketch

o
, ,

to the long levers or l g m h as they e ,

on a rc es, ar

m re correctly called When this is d ne it w ill

o . o

be found that there are three connections t o each

treadle and three h dl will still remain
,
ea es un

connected with each f them These unconnected o .

beadles must by means of t he sh rt levers be

,
o ,

connected with the treadles as indica ted by the ,

unmarked crossings The e ff ect of this Second tie .

u
p has already b en fully explai ed in
e the description n

o f the second shedding motion fig 85 A p 1 93 , .

,
. .
of E nglan d were famous a t th a t t ime A great deal .

of quite large pattern weaving was f rmerly done in o

th is way but on acc unt of its being except for simple

,
o ,

designs di ffi cul t to set up as well as to manage it

, ,

was superseded by less c m p licated c ntrivances o o .

F or small patterns h wever especially in linen ,

o ,

and cot ton materials it may still be Used wi th ,

advantage I t mus t theref re w be described

. o no .

In diaper weaving t he harness is divided into sets

-
,

of equal numbers of h adl There may be any e es .

workable number of sets and these may contain any ,

equal number of beadles The treadles also are .

divided into se ts but each se t of treadles ac ts

,
on

more than one set of beadles so that whichever se t , ,

o f treadles is used the whole f the warp is acted o

up n and no gaps remain in the weaving

o ,

F ig 8 7 is a simple design which will serve well

.

t o explain the meth d Here the harness is divided

o .

into t w se ts having f ur beadles in each (nos 1

o o .

and There are als two sets of treadles each o ,

se t consisting f four The entering sh wn to the
o . o

right of the plan corresponds with the pr porti ns o o

of the square and oblong forms f which the design o

is comp sed F instance if the design be com

o . or ,

pared wi th the plan of entering it will be f und that ,

o

the warp is entered in the spaces where dark pre

dominates The second division f the harness
. o

and the bott m line of the design agree while the

o ,

first divisi n of the harness a d the fifth line of the

o n

design agree also Before proceedin g it may be

.

remarked tha t the si e and prop r tion of the squares

z o

and oblongs laterally I s de t ermined by th en t ering e .

In t he present case four c urses are en t ered in no 2 o .

harness and two in no 1 which makes t he oblong .

,

2 00
 twice as wi de as P l an o f
the square .

The plan o f
tie p for the
-
u

beadles shows ,

the second har

ness connected
with the f ur o

treadles f the o

firs t set The .

c nnection is
o

made in th e

order necessar
to form th twi ll e

tie on the p rti n o o

of wa p entered
r

in the second
h arn ess To .

the same treadles

the first har
ness is tied p u

to make the re

verse twill The .

second set f o

treadles is tied
up with the re

verse twill in
fr nt and the
.

figure tie a t the

back The
.

t of this ar
gem ent is
if weaving
done using ,
FIG 87
. .
—Ex am
p le of i er weavi
D ap -
n
g
.

2 01
t he firs t se t of treadles only a broad d narro w ,
an

stripe of ligh t and dark reversed twills will be made

on the contrary if the sec nd se t of t eadles only are
,
o r

used the broad stripe will be dark and the n rr w a o

one ligh t (see top and b tt m of fig 87 ) By o o . A .

the alternate use then of the se t of , ,

treadles I and 2 the changes from
light to dark spaces required for the ,

pattern can readily be made

,
.

By adding t o the number of sets

f beadles and extending the ente r
o

ing through them with or wi th u t ,

o

adding t the number of the treadles

o ,

a great variety f intricate designs o

can be arranged for and indeed this , ,

used t o be done but ince the same ,
S

e ff ects have been found t be attain o

able by less intricate means th m re ,

e o

elaborate forms of diaper weaving -

have been discontinued and the ,

ingenious contrivances for working

large numbers of sets of beadles are ,

only interesting from an ant quarian i

p in t of view
o .

p m 87
. A
A grea t advance was made i t he n

V i ti
ar a f
ons o weaving of pa ttern when the idea
Fig 8 7
.
occurred of p sing the warp threads
as

through t wo more se ts of beadlesor

,

each se t having its own separat e functi n to perform o

,

such as making the ground f m g the pattern or ,

or ln
,
binding a portion of the design separately as is ,
sometimes necessary .

A good example of the ac t ion of two separa t e

harnesses working toge ther is a ff orded by the Indian
,

2 02
 Patter n weaving of th e opposite colour When the web is .

we vi g
a n finished the separate clo t hs will be found t o be quite
Wit h T W O
distinct from one another except at th edges or e
H e
arn ess s
, ,

FIG 89 —
. . Pl an o f I n di an D e ig
s n.

ou tline 01 the shapes of the design where the ,

threads will be found t o cross or in tersec t one
an ther
o .

F ig 89 is a portion of the working plan of the

.

Indian design fig 8 8 The warp which h as alter

. .
,

na te threads of black and whi t e is shown at A a t , ,

the t op of the diagram .

2 04
 In fron t o f the loom as near to the reed as i t can ,

conveniently hang the tabby or ground harness ,

must be placed This c nsists f f ur beadles having

. o o o

l ng eyes
o the leashes as described at p 1 5 6
on .
,

fig 66 The warp must be entered in the harness

. .

in regular order f om back to fr nt beginning with

r o ,

a black thread (fig 89D) When the entering is . .

finished all the black threads should be found on

beadles 1 and 3 and all the white ones on beadles
,

2 and 4 Although thus men t i ned first as ap

. o ,

pe are d necessary t h ground harness would

,
n t be e o

fitted up or entered until the figure harness which ,

will presently be described was in its appointed place ,

with the warp ready entered in it .

In order to find the requirements for t he figure

harness the design fig 8 8 must be dissected The . .

result o f this dissection is shown at C fig 89 ,

. .

The design consis ts f nly four di ff erent groupings o o

of a few squares of eight black and eight white

threads arranged in lines and repeated i
,
di ff eren t n

sequence These lines are numbered 1 2 3 and 4

.
. , , ,

in the design fig 88 I t will also be seen that

,
. .

laterally there are five squares and two half squ res -
a .

The first figures indicate that four treadles will be

required for the black por t i n of t he design and o
,
four more f r the white p ortion The second
o .

figures S how that twelve beadles will be wanted six ,

for lifting the white threads and six f r the black o .

These twelve beadles are S hown at letter B in

th e diagram and their cons truc t ion and entering is
,

as follows
U nlike of the en terings shown up to the
an

presen t this yarness is entered in groups instead of

,

S ingle t hreads th e groups consisting of eight threads

, ,

2 05
excep t in the cases of the firs t black and firs t
white headle which are entered in groups of four
, .

It will be a t once seen that if any one f the o

beadles be lifted all the black or all the white

, , ,

threads in two squares of the design will be ,

raised ; also that by raising two three four or , , ,
five or even six beadles together various groups
,

of sq ares can be formed in the last case— that is

u
,
—
with six beadles solid black or solid white will be
lifted .

If this harness were made S pecially for this

pattern the leashes would only be hung the on

shafts f the beadles in the places required for the

”
o

g roups f threads o This is ca lled spacing

. the har
ness By thus spacing the leashes not only is time
.
,

and thread saved in making the harness bu t the ,

inconvenience of having unnecessary empty leashes

hanging abou t is av ided This Spacing of har o .

nesses will often be referred t o as we pr ceed in o

the subjec t of pattern weaving -

.

It will be remembered tha t in making plain

double cloth with a tabby harness of f h dl s h ur ea e

one half of the warp was raised by two of the

beadles while the plain weaving was being done by
,
the other two In the case f double cl t h pattern
. o -
o

weaving this lifting ou t f the way is e ff ected by o

means of the figure harne ss and the tabby harness ,

is only used f making the black and White plain

or

cloth in regular alternation .

The province f the figure harness is t o form the

o

design i l g without regard to the binding or

n ar e

weaving i t t gether I f only the figure ha ness

o . r

were used the design w uld b e formed bu t the

,
o
,

threads of both warp and weft would only interlace

2 06
FIG 90
. .
— P l an of Tie -
up.
of white weft thrown in This shoo t being pressed .

l se the white figure beadles 4 and 6 mus t be raised

C o , ,

and t gether with them the first tabby headle This

o .

being black must be sh t with black weft The o .

same black h adl must again rise but this time

e es
,
the fou th headle of the fr nt harness mus t be raised
r o

with them f the second sho t of white tabby

,
or o .

The same white figure beadles again rise and the ,

third tabby headle makes an pening for the black o

weft After this o der of proceeding has been

. r

re p eated six O eight times acc rding to the si e

r
,
o z

of th wefting one line of squares will be w ven

e ,
o .

The up p er and under surfaces of the cl th will be o

f u d to be exactly th same in design but the

o n e
,

colours will be reversed .

The first line f the pattern being complete the

o
,

sec nd line will proceed as indicated in th plan

o e
,
which need not be further described .

As will be gathered from the above tw shuttles ,

o

must be used if the e ff ect of clear black d an

white is desired If only shuttle were used t he

. one
,

f rm of the design w uld be quite c rrect but the

o o o
,

col ur f the weft would tinge the black a d the

o o n

white and m dify them o .

The treadles are shown in the plan and tie p -

u ,

arranged in three groups f the sake of clea ness or r

,
but the weaver w uld no d ub t rearrange them to
o o

suit his w convenience He would probably mix

o n .

the white and black tre adles up so as to bring the

fi st white next to the first black in rder t w rk
r ,
o o o

them with his toe and heel This rearrangement .

,

h wever will t a ff ect the rder of rising in the

o ,
no o

least if the tie p be made correc tly in acco dance

-
u r

It .
 ther me thod of small—pattern weaving with
A no
two harnesses by which what are known as damask
,

e ff ects are p duced is perhaps more generally useful

ro
,

than that for the weaving of double cloth patterns -

.

The material woven is als lighter and more p erfect o

in t ex ture It owes its e ff ect to the fact alread

p inted ou t that on one sur f ace of a satin or twi ll
.
,
o ,

web the wa p threads are for th most part exposed

,
r e
,

and on the other surface the weft t hreads p d m i re o

nate (see Satin p The resul t of this peculiarity

, .

is t hat if the weaving be arranged in such a

, ,

manner as to bring bo th warp sa t in and weft satin ,

as t he two surfaces may be called t ogether side b

'

side in certain shapes on the fron t of the material:

, ,

, ,

the design so w rked out will be quite distinct o .

This will be so even if the warp and weft are of

,

precisely the same si e colour and ma terial This z , , .

mos t subtle and charming of all e ff ec ts of w ven o

design results from the threads of warp and weft

running as they needs must in contrary directions
, ,

so t hat the ligh t strikes and reflec ts di ff erently on the

di ff erent parts of the pattern according as the vertical ,

warp or lateral weft threads most preponderate , .

F ig 91 is an example f a simple design which

. O

may be woven in the damask manner tha t is by —

,

means of two harnesses one for raising t he figure , ,

or design and the other for making th ground
,
e .

The ground harness mus t be fitted up with leashes

having long eyes the same as in d uble cloth pattern
,
o -

weaving The entering of the figure harness is

.

S hown above the design The harness must have .

eigh t beadles and four thre ds must be entered in a

each leash This is indicated in the ske tch of the

.
,

entering by the filling in offour small squares to each

,

210
working the figure harness t o f orm the whole design ,
although it consists of sixteen lines in the one repeat .

This is p ssible because one line is used six times

o

over one four times and three lines twice in the one
, ,

repeat The sequence in which the treadles are to

.

be depressed for weaving the pattern is indicated by

the black oblongs placed on the treadle lines at B
, ,
and level with the spaces with which they agree I f it .

were woven with this harness alone the white warp ,

and black weft would only intersect at the places

where the black shapes j in the white ones as sh wn
o ,
o

in the upper half of the drawing The white

r .

S paces would simply consist of long loops of warp

threads and the black spaces of lo ps of weft In

,
o .

the lower half of the drawing a broken twill tie is

represented binding the loose loops of warp and
weft toge ther In the case of damasks the threads
.

of the weft satin (see black spaces in drawing ) are

tied down by the warp threads crossing them a t
regular in t ervals (see white spots on black figure) ,

and the threads of the warp satin (white spaces in

design) are bound by the occasional crossing of the
black weft (see black binders on white gr und) o .

This e ff ect is the same both on the back and the

front of the material except that the white spaces of
,

one S ide will be the black spaces of the reverse It .

must w be carefully ex plained how this ingenious

no

result is btained After passing t hrough the figure

o .

harness in groups of four the warp threads have to

, ,

be en tered singly in the long eyed ground harness -

.

As the t ie in this case is a br ken four headle twill

,
o ,
-

(p. this harness must consist of four beadles .

The rdinary entering of the warp in the gr und

o o

harness is shown below the design a t C This

,
.

212
harn ess will requ ire f our treadles a d th ese would ,
n

b placed in a gr up between the S ix treadles of the

e o

figure ha ness They are so S hown in the plan

r .
,

D D
,
The twill tie p and order of treading are
.
-
u

also there given In this case the usual order of

.

working t he treadles for the twill gr und may be o

departed from because the weaver will only have

,

one foo t to S pare for t he ground as the other foot ,

will be occupied in treading and holding d wn the o

fi gure t readles W have already n ted the e ff ect

. e o

of weaving wi th the figure harness only If in like .

manner we now use the ground harness by i tself ,

the web will be a plain satin The fron t or under .
,

surface will be like the white spaces in the design

, ,

warp satin with black weft ties The back upper . or

surface will be just the reverse being black weft ,

satin with white warp ties .

Having n w a clear idea of the e ff ec t of the two

o

harnesses when used separately and all being ready , ,

let us suppose that the weaver places his left foot on

the first treadle of the ground harness This will .

raise the first of every four threads of the whole

warp If now still holding the ground harness
.
,

treadle down the first figure harness treadle be

,

depressed with the right foot groups of threads will ,

be seen to rise S imilar to the black spaces E E E

, , ,

of the first line of the design bu t more correctly ,

shown at the line F which represents the back or ,

upper side f the web whils t G gives the reverse

o
,

or un der S ide The line G should correspond

.

with the drawing bu t it will be seen that i t,

does not quite d so The whi t e ti s are missing

o . e

from the black S paces alth ugh the black ties are ,
o

to be seen on the whi t e ground At F on the .

,
213
contrary the white ties are in their places on th e
,

black portions bu t there are no ties on the white

,
‘

S paces In order to rectify this omission and c m

. o

p l t
e ethe damask fi t p of the lo m the ground -
u o
,

harness must be furnished wi th th shedding moti n e o

similar to 85 A so as t cause th missing binder

,
o e

threads to sink and be held do wn a t t he same time

,

as the thers rise The counter marches

o S hor t
.
-
,
or

levers to which the lower shafts ofthe treadles are tied

,
must be exac tly the same as a t fig 85 A The con . .

n c ti
e with the treadles however must in this case
on , ,

be somewhat di ff erent as what we now require is ,

to sink and hold down only one thread ou t of the ,

thr e stati nary ones left when one is raised as we

e o
,

have seen it The shed now wanted is represen t ed

.

at H fig 91 where the dotted lines S ho w the

,
.
,

rising and sinking threads a d the thick line the n

stati nary bottom W mus t theref re tie up

o . e o

treadle 1 to the sh rt lever connected with the

,
o

l wer S haft of the first headle The second treadle

o .

mus t be connec t ed with the f urth headle the third o ,

treadle with the second headle and the f urth ,

o

treadle with the third headle This second t ie p .

-
u

for the S inking h adl s may be S hown on the tie e e

up p lan by circles to distinguish it from the firs t or

,
rising tie p indicated by cr sses The new arrange
-
u ,
o .

ment being c mplete if ano ther t rial be made

o
,
it will be found that the S inking threads will make
the required t ies both for the warp and weft sa t ins .

In order t o make this contrary action of the two

harnesses quite lear fig 92 is perhaps nece l C

It S a most importan t point and must be p fd fitfy

.

I , er

understood for simple as it may appear t o be on

, , ,

i t the whole system of damask weaving depends -

.

2 14
 In no 1 of this figure the warp represented
.
,

by the thick hori ntal line AA is seen t pass zo , o

through a figure harness (B ) of five beadles having

S hort eyed leashes The entering in this harness
-
.

may be of reas n ble number f threads ; f

an o a o or

this i stance yt it be f ur ; and if it be deemed

n e o

desirable to keep the threads separate although this ,

is t essential the figure harness leash eyes may

no ,

c nsist of mails having four h les as shown in the

o o ,

enlargement at D Beneath letter C the ground .

harness is sh wn also consisting f five h dl s but

o ,
o ea e
,

these have long eyed leashes Between this harness

-
.

and letter A on the left a shed E is shown Open ed , , ,

by the rising f the fifth headle of the figure harness

o .

The ising f this headle has lifted f ur t h reads

r o o

t ogether ; these are represented by the line drawn

fr m the eye f the raised headle to the letters A A
o o
,
.

Alth ugh each of these five th eads may pass thr ugh
o r o

the eye f f the five ground harness beadles C

o one o
,
t he latter will t be a ff ected by them because f their
no o

l ng eyes This all ws for the f rmation Of the

o . o o

design without ties as described at p 2 1 2 At ,

. .

no 2 the same line of wa p

. AA and the same r
, ,

harnesses B and C are depicted I n this case

, , .
,

h wever the shed is much m re complica t ed The

o ,
o .

fifth headle of the fi gure harness is still up but its ,

line f our threads is divided The thread passing

o .

f om i t through the fifth headle of the ground

r

harness is n t allowed to rise as it is held down

o
,

b y the sinking of the headle The e ff ect on the .

fr nt of t h e web of this c t
o acti n is S imilar to o n rar o

that h wn at G fig 91 At in the same figure

S o ,
. .

is the back of the web as i t would appear to the

weaver providing t he warp were W hite and the
,

216
weft black Although one f the lifted th rea ds
. o

pass es thr ugh the first headle of the ground harness

o ,

it is not a ff ected by its rising as it is already up s , ,

o

that it d es not have any influence on the portion

o

of the design raised by the figure harness headle .

N 3 will explain the action f the first headle

o. o

(shown raised ) of the ground harness on t h parts of e

the warp t raised for th fi gure Here the holding

no e .

down of headle 5 will have no e ff ect as all the ,

threads of the figure harness are down as well but ,

the first headle being up will tie the figure at th ,
e

back and at the front at E E fig 91 The as , , . .

dotted lines between the two harnesses are no t really

essential in no 3 bu t are merely put in to make
.
,

easier the comparison be tween os 2 and 3 n . .

The great S cope given to pattern weaving by -

means of the ab ve ingenious invention will w

o no

be realised It will also be understood from the

.
,
f reg ing examples that all the mos t astonishing
o o ,

developments to be seen in the more or less modern

,

ornamental textile fabrics are based on this principle,

whether they be woven by hand or by power on ,

the draw loom of the seventeenth and eigh teenth
-

centu ies or by mea s of the Jacquard machine and

r
,
n

appliances of the nineteenth century .

I t has already been shown that the tabby selvage

of a satin web will use up a greater leng th of warp
than the body of the material and that this is due ,
to the fact that in tabby weaving there are more
inte secti ns of the warp and weft than there are in
r o

satin weaving
-
The same
. thing occurs sometimes
in a pattern web A la ge space or stripe of
. r

satin runni g l ngitudinally I n the web w uld on

,
n o
,
o ,

account of this di ffi culty require special consideration

,
.

217
W av i n g
e For example let us examine fig 93 Here we
, . .

f ro m TW O have a stripe f satin in a tabby gr und This

o o .
~

t
Se p ara e pattern would be woven on eight h dl s entered ea e ,
Warp s

FIG 93 . .
— Stri p e of ti
Sa n an d T
ab b yG ro u n d .

and t ied up t o eigh t treadles If only one warp were

.

used for this web it would soon be found t ha t the

, ,
t abby woven portion of the warp would begin to get
tighter than the satin s tripe and ere long the di ff e
,

rence would be so grea t that the weaving could no t

proceed This inconvenience can be obviated by
.

t he use of a separat e roller for the warp of the satin

21 8
mak e one yard of velve t th e ground will take p , u

abou t a d one sixteenth of a yard of warp but

one n -
,

for the pile no t les s than seven yards will be

,
re

quired The reason of this enormous take p of

.
-
u

the pile warp in velvet is owing to the meth d

, , o

of weaving peculiar to this sump tuous material .

V elvet weaving also requires the use of two harnesses

-
,
an d the two warps are each entered in the harnesses

FIG 94
. .
—S ti ec on of Velvet L o om.

independently F ig 94 will assist in the explanation

. .

of the arrangement .

In fig 94 A is the breas t roller a section of

.
,

which so enlarged as t how its details of

,
t
o S c o n s ru c

tion is gi ven on the next page (fig 94A ) This con

,
. .

struc t ion of the r ller is necessary because the cut

o

pile surface of the velve t cannot be wound and pressed

on the roller without injury as o ther materials may ,
be The roller is holl w and generally much larger
. o ,

in ircu m ference than ordinary breas t rollers It has a

C .

wide hinged lid running its entire le gth so haped

, ,
n
,
S

on the ou tside as not t o interfere wi th its cylindrical

2 20
f orm when the lid is Closed (fig 94 A D) The .
,
.

edge of the lid is cut away and carefully roun ded in

the centre so as to leave when i t is shu t a narrow
, , ,
opening wide enough for the velvet to pass in
and out again without crushing the pile together
,
.

I nside the r ller which must be perfectly sm oth

o
,
o
,

a second roller B is I n such a manner

, , ,

F
IG .
94 A.
—B re ast Ro ller of elvet L
V o o m.

tha t the velve t after en tering a t the narrow opening

,

C fig 94A may pass round i t and out again in

,
.
,

the same opening The inner roller has a wide

.

and deep groove in it and is covered wi th some ,

material to which th velvet clings tha t very lit tle

e ,
so

pressure by a lath in the groove is su ffi cient t pre ,

o

vent its slipping This together with the slightly

.
,

r unded edge of the narrow opening holds the velvet

o ,

tigh t enough to all w for the strain of weaving

o
” .
6

Wh t h e ien ll i v d with t h e V lv t it i
n n e r ro s co e re e e s

preve ted
n f r m tu oi g b yp i butt
rn n at th d ns o r ons e en s .

22 1
As soon as enough velve t has been made t o allow of
passing i t round the inner roller the lid is opened , ,
and after the end of the velvet is in the right
p siti n it is cl sed fastened d wn and the weaving
o o o ,
o
,

pr ceeds When the narr w pening in the ller

o . o o ro
,

C nea ly reaches the under surface of the velvet

,
r
,

the work is loosed the roller moved ro und the lid

, ,

FIG 94 B. .
—Ve l v e t Ro ll e r wit h L id O p en .

opened and the velve t being separated fr m the

, ,
o

small r ller is drawn r und it and carried under the

o ,
o

loom t o be hung on a rack or gently laid in loose

, ,

folds on a low shelf placed conveniently to receive i t

(see fig . The greatest care has to be taken t o
keep the material s traight and true while it is being
t hus m ved along As the roller is abou t ten or
o .

twelve inches in circumference it will be seen that ,

about one yard can be made between every shift .

One yard of fine velve t is about a day s w k for ’

or

a good weaver so tha t this operation of moving the

,

2 22
Vel e t
y The Special fit t ings of the loom f o velve t weaving r -

being now all described the act al p ocess claims ,

u r

our considera t ion E verything being so far in .

, ,

order the weaver would begin by making a few

,

inches of the ground raising and dep essing the pile ,

r

harness in regular order as may be indicated in the

, ,

plan The pile thus w ven in has little Visible

. o
,
e ff ect on the ground especially if the latt er be a rich ,

satin It will only give a slight lateral ribbed p

.
, ,
a

p a
e ran c to the
e material and thicken the ground to ,

a certain extent W hen all is working properly .

the pile S raised by i tself and I ts ra sing f rms a shed

I ,
i o

in fr nt of the reed Into this the weaver instead

o .
,

o f w eft inserts a finely made sm oth flat brass wire

, ,
o , ,

called a v lv t d This rod has a fine gro ve cut

e e ro . o

in one edge which when the d is placed in th

, ,
ro e

shed should be on top It is held by the weaver

, .

until the next shoot of ground is made with the pile

down ; this will fix i t in p sition Two three o . or

ground sh o ots are then made the pile rising and ,

f alling be t ween them as may be arranged by th e

designer this binds the pile to the ground more or

less securel y After these few sho ts f ground the
. o o
,

pile 8 aga n raised by itself and another rod inserted

1
.

i ,

being followed up the same manner When five in .

or six r ds are thus woven in the most delicate

o ,

operation of velvet weaving begins Vi the cutting -

,
z .
,

of the pile This I s e ff ected by the weaver wi t h a

.
,
t ool called a t tt in which a fine sharp peculiar
f
reue e
, , ,

shaped blade is mos t accurately fitt ed The n ces . o

sary perfection and accuracy f this tool according to o

,

s ome authorities gave rise to the p roverb ,

As right
as a trevette and the suggestion seems quite reas n
,
’’
o

able A drawing ofthis implement is given at fig 95

. . .

224
It is taken from a treve tte of th simples t c o n st c e ru ri ti
D es c p o n
tion and is therefore f the kind which in skilful hands
,
o O f th e

is capable of the nices t adjustment The trevette is .

T v tte
re e

made in tw parts the upper part which carries the

o , ,

knife shown open at no I being hinged to one

,
.
,
end of the lower part and grooved at its botto m
,

fit quite firmly one side of it

FIG 95
. .
- T re v ett e.

when the instrumen t is closed for use as a t le tt er B ,

and a t le tter D where the end v1 w I s given The

,
e .

knife C is shown a t A fixed in the strong staple

, , ,
by small hardwood or metal wedges an d it is in the ,

adjusting of the knife with these and keeping it sharp , ,

that a great deal f the art of velvet weaving c nsis ts

o -
o .

It is for the purpose of adjusting and sharpening the

knife that the tw parts of the trevette are hinged
o

t gether When l sed ready for work the knife

o . C o
, ,
is so placed th at its sharp end is very near to th e
o 22 5
inner edge r the straigh t steel side o r the lower
o

par t of the to l This may be seen in the end View

o .
,

D . The brass front of the lower part letter B , ,

is for the purp se of steadying th instrumen t when
o e

in use .

W must now return to the loom where we left

e ,

the first rod ready t be cut t of the pile The o ou .

weaver taking in his righ t hand the treve tte res ts i t

, ,

on the left hand side of the web in such a position

-
,
that the sharp edge of th e knife fits into the groove
,
of the fi st rod woven in to it Making sure tha t i t
r .

is rightly placed by a firm s teady rapid movement , , , ,

he draws the trevette right across the web to the
other side and if the knife be sha p and has been
, ,
r

kep t in place the rod will spring out and the line of
,

pile will stand up like a row of delicate li ttle silk, ,

brushes in its place Having cut out the first rod .

successfully the pile shed is again opened and the cut

,

ou t rod inserted ground is woven as before and the

,

second rod cut out and so on in regular s c c ess 0n ,

u 1 .

AS may be imagined great care has to be exercised ,

in cutting out the rods as an unfortunate slip may ,

result in cutting ou t more or less of the ground

warp which is most disastrous If properly cu t the
,
.
,

velve t made by hand should require bu t very lit tle

finishing when out of the loom beyond what the ,
weaver himself can do .

Terry velvet is simply velve t woven in the above

manner bu t uncu t in the pile Smooth grooveless
,
.
,

wires are used in this case and wh en h lf a do en , _

a z

have been w ven in instead of being cut out the

o ,

rod is drawn ou t from the same end at which i t was

inserted .

V elvets woven and cu t by hand in this ancien t

,

2 26
 T bi e
o n ornamen tation is called t bi and requires a separa t e
o ne,
E m b ll h
e is war p spaced out and entered in one headle in the ,
me t n s same manner as a velvet p il warp F ig 96 is a e . .

ru led paper dra wing of a t b o

-
tt s tripe and will
a re e
,

FIG 96
. .
—To bi n e St ipr es .

su fli explain the method of i t o d c rn g the

Cie n tly n r u

tobine edges P late 1 x is a good example of the s

. u e

of tobine stripes which being graduated in col urs

, ,
o
,
form the sole but very e ff ec t ive ornamen tation of a
s eventeen th century silk
-
.
 CH AP TE R X V
AUTO MAT I C MAC H I N E S FO R S H E DDI N G
MO T I O N S
Aut m ti Sh eddi g M ti
o a c d t h ei Un o o ns an r se

Di dv t g
sa f th J q
an a e s o d M hi f H me e ac u ar ac ne or o

W v i g—C m p i
ea n f it wit h S i m p l
o M hi
ar so n o er ac n es

—T h J k i th b — I I ve t — Ch
e ac -
n- e- t ox ts n n or arac er

of O ld H d l m W v —T i
an -
poo d W k i ge a e rs e- u an or n

of t h e J k i t h e b —Th e D wb y M h i e
ac -
n- -
ox ra o ac n

d U —E m p le
,

i D t il
ts e a s an f P tte se weavi g xa s o a rn - n

with D wb y ra o .

I T now becomes necessary t o describe two ingenious

automatic con trivances by means of which the ,

inconvenience of managing a large number or

treadles required for lifting the beadles in the

,

f rmation of some patterns may be obviated to a

o ,

great extent At the present time the ingeni us

. o

invention the Jacquard and the various machines

, ,

made on the same principle have taken the place of ,

all other au tomatic machines for pattern weaving -

.

Bu t the Jacquard machine al tho ugh admirable ,

in its capacity and adap tabili ty has cer tain di ad ,

s

vantages for hand looms especially if these be I n a

-
,

private house a small worksh op or a studio Not

,
.

the leas t of these disadvantages I s that the Jacquard

machine requires the constant attention of a skilled
2 29
machinis t t o keep i t in working order I t also e . r

quires to be con t inually i use F the weaving n . or

o f simple designs theref re on an is lated hand ,

o ,
o

l m the less delicat e and c mplicated machines

oo
,
o
,

invented by wea v ers themselves for t he purpose of

sim plifying t he sheddi g of the loom are preferable n
,
.

They have the advantage too that the weaver himself , ,

can repair and keep t h em in order as like the lo m , ,

o ,

they are chiefly made f wood and S tring They o .

are also less heavy and noisy in working than the

Jacquard machine and being placed by the side f , ,
o

the loom instead of at the top no extraordinary

.
,

height is required in the place where they are set

up F or ra p id c mmercial work in a fact ry where
. o o ,

a great number of looms are set p and in constant u

use the Jacquard machines are of course superior

, , ,

and o ff er many advantages but i t can be readily ,

understood tha t di ff erent q alities are desirable in a u

machine for home weaving .

The two machines we have to examine are the

th h x or Jennings shedding m tion and
y k iae -
n- e- o , o ,

the D wb y machine which latter was intended

ra o ,

f
or drawing the cords of the draw loom but was -
,

f und t be equally useful for drawing up any

o o

number or c mbinati n of h adl s required for

o o e e

small pattern weaving

-
.

The Jack i the b x was chiefly used for making

-
n- -
o

rich satins and very small figures F or this purp se . o

many hand l m weavers prefer I t to a small Jacquard

-
oo

machine it being so p f tl reliable I n its act on

,
er ec i .

It was invented about I 4 0 by a working silk

weaver f Bethnal Green named The dore Jennings
o o

and it is interesting to notice by the way how many , ,

of the valuable inven t ions of weaving appliances I n

230
FIG 97
. . The J
- ac k- in - the b o x
-
.
FIG 98
. .
—
Det ail s o f th e J ac k-in -th e-
box .
four holes in each row Inside i t has a S helf B .
, ,

placed across it at ab ut one third of the distance

,
o -

from the top to the bottom ends This shelf has .

transverse slots cut in it to corresp nd with the ,

o

eight holes with which the top is pierced These .

transverse slo ts are cut in such a position that ,

one

of t he top holes is over the centre f each slot The o .

box has also two long slo ts cut in each of its sides ,

and above these pulleys are fixed One of these is .

S hown in the drawing and marked C J ust below .

the shelf in front a bar D is fixed from side to S ide

, , , , ,

and this bar is made to S tand an inch or two in f ront

of the box by means of two shor t arms which
,

project from its sides .

No 2 shows an elevation of one side of the box

. .

Both sides being exac tly alike the descripti n of e ,

o on

will su ffice Here we have again t he two long slots

.

and t he p ulley C In addition to these the elevation

.
,

shows the sections of two long bars numbered 1 and , ,

2 which are fitted to the S lots and are l ng enough to

,
o

reach from side to side of the box and after passing , ,

through the slots t o pr ject not less than three

,
o

inches beyond them To the t p f one bar a . o o

strong c rd is tied carried over the pulley C and

o
, ,
t hen fixed to the other bar The cord is of such a .

length tha t when one bar is near the to p of its slot

, ,
the other bar will be at the bottom f the o ther o

S lot . Two oth er cords are fastened to the bottom

edges of the two bars and c nnect them with the ,
o

two t readles of the loom in a manner which will

presently be explained It will now be perceived .

tha t when one bar is pulled down the ot h er must ,

rise and reverse the position sh wn in the drawing o .

Also that by working the two treadles wi th which

, , ,

2 34
box is S hown fitted in the loom the eigh t b eadles ,

suspended from the eight levers will be recognised ,

as similar t o those seen in th illustration of the e

S hedding motions in C hapter XIII The cords .

,
however which in those passe d down from the ends
,
of the levers and were fastened to th ends of the e

long marches are now seen to pass into the b x,

o

and terminate in the hooks hanging there In this .

case only tw long march es and two treadles are

o

needed ins tead of as many of each as there a

,
re

beadles in the harness The long marches are .

connected wi th the two rising and falling bars ,

whose ends projec t from the S ide slo ts in the
box .

The machine i tself is now comple te and if the , ,

treadles of the loom are worked alternately the

result will be that the two sliding bars will rise and
, ,

fall regularly but no thing else will happen as the

, ,

hooks a t present are all held back by the rings and

S prings as a t No 4 fig 8
9 .
,
. .

The t ie p t o the beadles in accordance with the

- u ,

design must next be e ff ected F rom the ends of

,
.

the levers jus t above the headless even loose cords

, ,

and one tight one are seen to pass into the back of
the box and it is by means of these cords tha t t he
,
t ie p is made AS the tie p has to be made wi t h
-
u .
- u

very great nice ty all the s trings mus t have adjustable

,
loops as well as the cords by which the hooks are
,

suspended .

Al though any t ie p can be arranged f o r i t will - u

,
be best for the purpose of illustration t o take the
, ,

S imples t one possible which is tha t f o r an eigh t ,

headle twill F or the formation of t his the beadles

.
,

will have to ris e in regular succession from back to

2 36
f ron The cord from the first or back lever there
t .
,
fore must be tied to the ring of the second ho k
,
o ,

which is the fi t in the back w of hooks The

rs ro .

sec nd lever cord must be t ied to the third ring the

o ,

third lever to the f urth ring and so on till the last

o ,

lever is reached This cord must cross over and be

.

tied t o the first ring in the box Now if the cords .

ar e all f the proper length — which an only be

o c

ascertained by xp im n t th result of drawing e er e w

e

d wn any one f th hooks will be that the lever to

o o e

which it is sus p ended will be drawn down wi th it ,

and its o ther end to which the headle is suspended
, ,

will be raised rai ing th headle wi th it The

,
s e .

lever rising will also tighten the c rd which is con o

n ec et d wi th the ring of th next hook t be drawn e o

down and pull i t forward so that it catches on th e ,

sliding bar which is at presen t up When this bar is

, .

drawn down by the treadle it carries the hook down ,

with it ; this raises the headle and draws f rw d o ar

the next ho k and s they all f llow in succession

o
,
o o , ,

t ill the las t is reached which being co nec ted wi t h , ,

n

the first ring draws it f rward and the same course is

,
o ,

repeated again and again All tha t is now required .

to start the m tion is for any one of the hooks t o

o , ,

be placed under the sliding bar and drawn down by

one of th treadles all the thers will then f llow
e o o

in proper order if the t ie p be c rrect The tie -

u o .

u p always has to be arranged so that each succeed

ing hook is i the oppo ite row in order that i t may
n s ,

be drawn d wn by the alternating bar This can

o .

always be pr vided for by altering the tie p of the

o -
u

ho ks t t h e levers above the box if it cannot be

o o
,
d ne with ut
o o .

The action of this li ttle machine especially when ,

2
37
used f r the weaving of light webs such as twills
o ,

and satins is most neat cheerful quiet and altogether

, , , ,

admi abler .

The D w b y ma h i is of much greater capa

ra -
o c ne

city than the Jack i —th box and more adapted -

n e-
,

f
or heavy and c mplicated work Any number of o .

beadles or cords singly or in groups up t o as , ,

many as four hundred or more can be managed ,

by its mea s and only two treadles are required

n
,

to keep it in motion It was originally in tend d . e

for use with the draw loom in place of th -

,
e

boy empl yed by the weaver t o draw t he cords

o

necessary for the successive lines of the design ,

as will be explained la ter n It was however o .
, ,
soon adop t ed for the purpose of drawing the com
plicated systems and sets of beadles f pattern or

weaving which had till then been drawn by a

,

large number of treadles brought in and ou t of ,

acti n by various levers and cords I t is said that

o .

when n t roduced in S p it lfi lds the weavers hoped

i a e

to reap great advan tage from them ; for ins tance ,

they would save the draw boy s wages Bu t they -

’
.

began t o find that t hey had adopted a mistaken

notion They f und that if they had not to pay
. o

the draw boy they had to pay the manufactu ers for
- r

the use of the machine and m reover the work itsel , ,

o
, f
”
was heavier The complaint that the work was
.

harder would refer only to the draw loom as the -

,
simple management of two treadles must be much
easier and lighter than that of twenty .

F ig 99 is a representation of a drawboy machine

. .

I t is shown a ttached to a set of c rds A These o

, .

c rds may in their turn be connected with any

o , ,

system or sets of h dl s Twenty cords are shown ea e .

,

23 8
D et il de tail No I is the framework which cons is ts of
a s . .
,
of th four strong wo den uprights about two f eet six
e o ,
D wb y
ra inches long D D D D
o
These a e set firmly in . r
, , , ,
M h eac in

FIG . l ea —Detail s o f t h e D wb y M chi e

ra o a n .

pairs on two cross p ieces E E which are screwed

-
, , ,

to the ground at the side of the l om near the front o

and about tw feet apar t Each pair of uprigh ts is

o .

joined toge th er a t the t op by a strong cross piece -

, .

and there are also cross pieces F F jus t above the

-
, , ,
centre In these cen tre cross pieces on t he insides
.
-
, ,

24 0
there are socke ts made t o hold the end pins of a ,
De t il
a s

rocking shaft which when placed in them reaches

,
from one end f the frame to the other On the o .

cen t re f the ou tside of the cross piece F a t t he end

o -
,

shown in the drawing a pulley may be seen raised ,

a little above its top edge T h tw pairs f p . e o o u

rights j ined together by four side cross pieces ;

are o -

G G G G Two of these are fixed at the t p

, , ,
. o

and two at the sides a little lower than the end

centre cross p ieces F F The cross pieces G are
-
,
.
-

made f hard wood and have a number of holes

o ,

(in this ca s e ten in each

) accurately and smoothly
drilled in them not more than an inch apart , ,

The row of holes must begin d end abou t six an

inches from the four uprigh ts .

At H no 2 a rocking shaf t is shown which

,
.
, ,
fits into the sockets on the inside of the cr ss pieces o -

F F The shaft is made of hard wood and must

,
.
,

be exactly the same si e and perfectly square fr m z

,
o

one end t o the other so tha t the pecker I when , , ,

fi t t ed on it may be made to slide easily backward

,

and forward along its whole length At one end .

of the r cking shaft a large strong deep gr ved

o , ,
-
oo

p ulley K ,
is firmly fixed,
Through the pulley a .

segmental hole is cut just above t he cen tre where , ,

the shaft joins it .

The p ecker I no 2 sh wn in position on the

, ,
.
,
o Th e Pe c k er

shaft and in side elevation on the right is also ,

generally made of hard w od although sometimes o
,

partly of metal The p ints a a and the t p edge

. o
, ,
o ,

have a deep bu t narr w groove cut in them j ust o ,

large enough to allow a fair si ed c rd t slip in -

z o o

them The pecker has also a hole pie ced through it

. r
,

just above the shaft as well as the square hole thr ugh ,
o

R 2
4 1
Th e P e which t he shaft i tse lf passes When the rocking
c k er .

shaft is in its place (see fig 99) the pulley K is near .

the end f the shaft towards the back f the l m

o o
“

oo .

In the gr ve of this pulley a strong c rd is placed

oo o ,

i ts ends being tied separately to each of the two

long marches of the l m B which are made long oo
, ,

enough to enter t he frame beneath the end of the

shaft where the pulley K is fixed .

T h e Co r d s No 3 fig 1 0 0 shows a section of the machine

.
,
.
, ,

with the pecker also in section in position G

, , .
,

G G G are the perforated side cross pieces the

, ,
-

pecker S seen moun ted on the rocking shaft L L

I , ,

are two of twenty cords having weights at their

, ,

ends which are seen in fig 99 t o hang in the , .

,
h les f the side cross pieces a row of t en being on
o o -
,

each side of the machine Near the poin ts of the .

pecker a a a hard kn t or bead is so placed tha t

, , ,
o
, , , ,
when the rocking shaft 8 set in moti n by the long 1 o

marches being pulled down al ternately the pecker ,

will rock from side to side and ca tching t he cords , ,

in the groove at its points just ab ve the beads o

,
will pull the cords downwards first on one side and , ,

t hen on the other It will now be seen that if the

.

pecker be caused to slide along the bar rocking as ,

it goes its movement being properly regula ted as

, ,

it comes op p osite to each pair of cords they will be ,

pulled down as described and tha t by th e t ime t he ,

pecker has passed the twenty cords they will all ,

have been pulled down in regular succession If .

t hen the side cords of the drawboy m achine are

t ied up to a set of t wen ty beadles the latt er may ,

be caused t o rise in any grouping and sequence

desired .

In order to complete the descri pt ion of the draw ,

24 2
pecke r has drawn all the cords if the ratche t ,
-v

pulley be released the weight N fig 99 will bring

, , .
,

the pecker back t o its original position in the

machine .

The ra t chet wheel itself is governed by means

of t wo catches P and Q The catch P is t o pre
,
.
,

ven t the ratchet wheel turning back before the pecker

has finished its c urse The other catch Q is to
o .
, ,

move i t gradually tooth a t a time The catch

,
o n e .

P has a thin cord attached t o i t which may easily ,

be guided by pulleys t o the fron t of t he loom and

enable the weaver t o release the ratche t at the
completion f one repeat of the pattern This of
o .
,
c urse c incides with the pecker s arrival a t the
o ,
o
’

st p on the r cking shaft The catch Q which

o o .
,

moves the ratchet is connected with one of the ,

marches by the c rd which passes ver the pulley R

o o
,
and its length is so regulated as to raise the ca t ch
jus t enough t o move the ra tchet one t ooth a t a time ,

or as may be desired The mechanism of the ca t ch .

Q is sh wn above no 2
,
o It is s im ply a piece of hard
. .

w od having a long slo t into which the rat che t

o ,

wheel partially enters It is s hung tha t the pin S . o

,
will be when the cat ch is at rest jus t underneath
, ,

one of t he teeth and as the ca t ch is raised by the

,

cord a t tached to the march it will move the ,

W heel which when moved is preven ted from

, , ,

returning as the catch Q falls by the second

, ,

catch P ,
.

Any of the designs previ usly given could be o

woven with two treadles if the drawb y machine o

were used F ig 1 0 1 is however an exam ple f

. .
, ,
o

t he kind of design f which it is specially adapted or

,

an d the way of tying it p t o t he c rds is shown u o

2 44
above the machine (fig This design might . U tility
be woven in various ways bu t it will only be ,
f h
necessary to give two of the mos t useful workings
as s p c m s e 1 en .

()I The warp might be fine co t ton or linen ,

entered in the back or figure harness in the order

shown above the design tw threads being entered ,
o

t gether in each headle eye for each square f t he

o o

drawi g I f in the reed there were f rty threads

n . o

to an inch the w ven design would be about twice

,
o

the si e of the d awing The kind f weaving

z r . o

suggested in this case would have the same e ff ec t

as t h at described at p fig 80 being a tabby . .
,

ground with a floating w ven by alternate a re o

sho ts with two shuttles In addition to the figure

o .

harness a ground harness having l ng eyes must

,
o

be used It would be advisable to make it f eight

. o

h adl s as such a harness w uld be most generally

e e
,
o

useful and it could just as well be used with only

,

tw treadles as a harness of sm ller capacity

o a .

The warp would be entered in the front harness

singly in regular order and the eight beadles w uld
, ,
o

be tied up to the two treadles in the usual way

(see fig 7 1 I p
.
,
no .
, .

The length of the desig would be re gulated by n

the number f times the depressi n f each treadle

o o o

was repeated P r bably two treads f each line . o or

of the design would be suffi cient bu t this depends ,

T h ti p f t w lie f t h d i
e- u
g t t w d w
o o n es o e es n o o ra

d f th d wb y ly
co r s o h w (fig 99 p
e ra o on are s o n .
, .

Th e e w uld f
r b a mu h g
o , t p b
o c o u rse, e c re a e r s ac e e

tw th t p f t h e d w rd d th h dl
ee n e o o d ra -
co s an e ea e co r s

t h it i p ible t h w
an s th li m ited p e t
o ss o s o in e s ac a

di p l
s o sa .
 Ex m p le
a s en t irely on th e size of the warp and weft used in
o f t lx the weaving E ither a fine coloured tussah silk or
t
se .
,
0f t e
wb y
D ra o

M hi
ac ne

FIG 10 1 .
— De si gn f o r
Fl ti g Fi gure nT bby Gr u d
oa n o a o n .

fine wool would be a very sui tabl e wef t f o r th e

,

patt ern shoo t of this material .

2 46
Ex floor which will al low of their being convenien tly
,

held down while the necessary number of ground

,
treadles are w rked over In this pattern each line
o .

of the design would require about s x sh o ts of weft

i o

between t h e change of figure treadles I n damask

.

weaving the length o f a design can be perfec tly

regulated by the number of times each line of the
ruled paper is worked over It is necessary t add
. o

tha t in the case of damask weaving the drawboy

-

machine only ac ts on the figure harness the ground

,

harness having to be governed by treadles i n the

usual manner .
 P late IX — P
. 1ec e of h h y
Ei g tee n t - c en tu r S 1lk - we av1n
xll us trati n
g,
g Tab w e S tr1p e s .

S ee p age 2 2 3. Vzclo rza an d A lb erl M u s eu m S o u th K ens m glo n

,
 h y h
P la te X — Fragm en t o f S e ven teen t c e n tu r Fre n c B ro c ad e
p
-

erf e c t s p ec 1m e n o f th e We av er s art
,

a most
’

S ee p age 3 16 A u th or
’
s Co llecti o n .
 P A RT 111

C O M P LE X P A TT E RN WE A VI N G
capacity of t he headle harness led no doubt t o the , ,
inven t ion of the d w l m which in p lace of the
ra oo ,
1n
,

h dl s a narrow p erf rated board 8 fixed across the

ea e , o 1

loom in the holes ofwhich sep arate leashes are hung

, , .

They are so arranged that a design which oc cupies ,

t he wh le width f the l om f one lateral repea t

o o o or
,
takes up no more space than a harness of eight or
ten h adl s on which number only the very smallest
e e ,

pa tterns can be woven as we have already seen , .

It 3 imp ssible t fix the date f this ancient i

1 o o o n

ven ti
on. The earliest specimens f what are with o
,
out d ubt draw—lo m webs are of ab ut the sixth
o o o

century aind are of Asiatic origin But when or

, ,

,
.
,
wherever it may have first been made TH ERE CA N B E ,

NO D O U B T THAT T H I S INVEN I ION IS TH E M OST IM ’

P O R TANT I N TH E WHO LE H I TO RY O F T E X TILE S

DEVEL O PM E NT All the finest pattern weaving f the

.
-
o

E astern as well as the Western world ancient and

, ,

modern has been done on the draw loom pri ciple

,
-
n
,

and even the in vention of the Jacquard machine ,

which is often supposed to have superseded it did ,

not alter the essential p inciple of draw l om weaving r -

o

in the least Jacquard s invention o ly rendered

.
’
n

t he tedious process oftying up th design on th cords e e

of the loom itself unnecessary Jacquard substituted .

for the t ie p an endless band of cards on whi c h the

-
u , ,

pattern to be woven was punched line by line The .

design for t he tie u p f the cords of the draw l m

- o -
oo

was worked out or draughted on paper ruled out

, , ,

in squares in exactly the same way as is requisi t e

,

f
or the p unching of the cards used in the Jacquard
machine In some of the early accoun ts of its
.

in troduction in t o this country Jacquard s invention ,

’

”
is called the new draw loom engine -
.

252
 The essential par t of the draw lo m is the per -
o De ri p ti
sc on

fo t d
ra e mb b d in and about which the
ca er- oa r f th e
O

mo t
n u re as the draw loom ha ness is called is built
,
-
r ,
.
Dr w l m
a -
oo

F ig 1 03 is a representation of a draw loom

.
,
-

monture very
much simplified
for the sake of
clearness A .

headle harness is
draw below it
n

for comparison .

A is a harness
of six beadles ,

en tered in the ,

way before de
scribed as c ,
ne es

sary for a design

having q d e u

sides pointin g
di ff erent w ys
'

x a ,

and w ich re

quires eleven
threads o f warp
for rm lateral
N
o
-

repeat B is the
”

comber board of -

a draw F O3 — D i g m f M t e 10 . I . a ra o on ur
perf rated W th
o d H P i t R p t
I an arn ess, o n e ea .

eleven holes in a
single row C is the bottom b a d f a b x pierced
. o r o o

with six holes through which the cords D are ,

seen to pass , These answer to the c rd s from o

which we have hitherto seen the beadles suspended .

W need no t trouble at present about the m eans of

e

2 53
governing them whe ther by treadles drawbo y or
, , ,

Jacquard machine All tha t concerns us now are .

the de tails of the monture below the board C .

Hanging in each of the eleven holes of the

c omber board a separately weigh t ed leash may be
-

se en The weigh t itself consis ts of a thin s t rip o f

.

lead wire having a hole a t one end by which a loop

, ,

of harness thread about six inches long is a ttached

to i t These strips of lead are called lingoes and
.
,
vary in weigh t from an ounce upwards according ,

t o the kind of material t o be woven in the loom

when completed As in some cases there are as.

m ny as three or f our thousand of these lingoes in a

a

monture the accumulated weight is considerable when

,

a large proportion are drawn up especially as t he ,

weight is nearly doubled by the f riction a t various

poin ts of the mon ture A t the o ther end of the .

t hread loop to which the lingo is attached a glass

, ,

eye or mail is t ied having at leas t three holes in i t

, ,

t hr ugh the cen tre one of which the fu ture warp

o

will be entered The holes a t the ends of the mail

.

are used one for a ttaching i t t o the loop of the lingo

, ,
as we have jus t seen and t he other for tying i t t o
,

ano ther loop abou t nine inches long When t his .

has been done the leash is comple t e as shown

‘
When preparations are being made t o build a
mon ture all the loops of n e si e are of course o z
, ,
made together of exac tly the same l n gth T h y e
y
/ e

are then tied up in bundles ready for slipa g on to

the mails and lingoes as required , .

In building a monture the t op loops of t he "

leashes are hooked up th gh t h e h les in the ro u o

co mber board and a c ord temporarily threaded

-
,

2 54
number A linen table c lo th was woven a t D f m
.
- u n er

line about sixty years ago which required a comber

, ,

board wi th f o ur thousan d two hundred leashes each ,

under separate
c ntr l so that o o
,
one any ,
or

com bina t i o n
of them could ,

be raised as i n

dic at d on the e

draugh t .

Fig 1O3 .

shows the com

b er b oard ar -

an
g d for r the e

p i t r e p e a to n ,
the va l u a b l e
q u a li t i e s o f
which to the ,

designer will ,

have t be deal t o

with later on .

Fig 1 04 is the . .

s me in all e i t

p c ts as t
s he e

previo s one u ,

except that it
is wha t is w called a comber repeat I t has
vn o !
.

the same e ff ec t as the ordinary straigh t forward

entering of the harness indicated at the bo ttom
,

of the diagram Two exact repeats or combers

.
, ,

on six threads are shown in the harness and these

, ,

require twelve h les in the board instead of the

o ,

O i gi lly mb
r na (a er
.
eleven required for the turnover poin t repeat Any . Th e
design for this arrangement would have t be made o

so as to rep eat on every six threads of the warp F or ,

.

comb r repeats the necking of t he monture is tied

e ,

up difl tly The first and seventh leashes are

é re n .

connected t o the first cord D The second and .

eighth the t hird and ninth t he f urth and tenth

, ,
o ,

the fifth and eleventh and the sixth and twelfth are ,

all likewise joi ed to the top cords in regular rder

n o .

This di ff erence bet ween the p int and comb er o

repeats of woven designs must always be borne in

mi d as they will w very frequently be referred t o
n
,
no .

F ig 1 05 represen ts a draw lo m c mplete enough

.
-
o o

f
or the purpose of explanati n In this drawing the o .

comber board is pierced with three rows of holes

-
.

I t will als be observed that it is not simply a single

o

board but is comp sed of several slips f thin hard

,
o o
,

wo d This is a great convenience whe a very

o . n

large number of holes is required as the perf ated ,

or

slips can be spaced out slightly and thus enable the ,

builder to re gulate the umber f h les t every n o o o

inch f the entire width which must be d ne with

o ,
o

great accuracy .

The c mber board in the illustrati n is made up

o -
o

of eight slips each con taining nine holes The board

,
.

is therefore pierced with seventy tw holes in all -

o .

These s eventy two holes are divided int f ur

-
o o

repeats of eighteen holes each It is usual in .

E ngland to hang the first leash in the first w at ro ,

the back left hand side as indicated in the drawing

-
,
.

T prevent confusi n
o nly the fi st six leashes
o
,
o r

which begin the repeats and the last one in each

repeat are shown these being all c nected in the
,
on

diagram by dotted lines The first leash of each .

s 25
7
er

F1 0 . 1 0 5 — M e c h ani s m o f th e D rwl
a -
oo m .
and the wall are called the t il d of the loom ,
a cor s .

When a drawboy machine is used the design is tied

up them and they are simply pulled down in
on ,
the requisite order to f rm the pattern The pulling o .

down of a tail c rd p ulls up the c rresp nding eck o o o n

ing cords and raises the several leashes depending

,

from their ends By this means the necessary shed .

is p ened
O .

When a real drawboy t a machine is em ,

no
,

ployed ano t her se t of cords equal in number to

, ,

those of the tail is required These are called the ,

.

simp l and e
,
it the design is tied up In the
on .

illustration the simple is sh wn joining the tail cords o

a t F F and from tha t point its cords are carried

, ,

vertically to the gr und In front of the simple o .

two very strong cords called g id are stretched u es

vertically between the gr und and the ro f f the

,
o o o

worksh p The grou p s of ties t the simple c rds

o . o o
,

making each separate line of the design are gathered ,

t gether and passed r und these strong guiding c rds

o o o

in successi n as they are f rmed By this means

o o .

they are kept in regular rder and free from o en

tanglement In the drawing the small design

. 2 no .

is sh wn tied up on the simple a d its f rmation

o ,
n o

W ill be readily traced ou t .

The above desc i p tion f the draw loom although r o -

,

complete as to i ts mechanism must t be tak en as ,

no

a sample of its capacity I t is nly intended to . o

sh w the c nst uction and p urp se f the vari us

o o r o o o

parts f the machine as well as their relation to

o ,

each other In a very rdinary silk l om the s pace

. o -
o

o ccupied by the design no 2 w uld t be m re . o no o

than three quarters of an inch so that there w uld

-
,
o

be in the narrowes t loom say twenty one inches ,

-

2 60
wide twenty eight repeats to be allowed for in the C p ity f
,
- a ac o

c mber b ard The latter would have to be p ierced

o -
o .
O rdi y an n ar

wi th five hundred and f ur holes and require to s 1 k o

l

be furnished with the same number f leashes M tu e ,

o .
on r

Twenty eight leashes w uld have t be attached t

-
o o o

each f the p ulley cords and by their means the

o ,

pattern would be exactly repeated acr ss the wh le o o

width of the web W ITH TH E S AM E CO M B ER .

B OA RD AN D TH E S A M E N U M B ER O F LEA H E s AN Y S

K IN D O F REPE AT THAT CA N B E DE I G N ED ON F I VE S

H U N DRED AN D FOU R L IN E S O F RULED P A PER CO ULD

B E A RRAN G ED FO R The most ordinary repeat is .
,

perhaps two c mbers or ,

repeat p int E ither o o ne o .

o f these w uld require tw hu d ed and fif ty t w

o o n r -
o

c rds in the sim p le f w rking out the design

o or o o n,

and of course the same number f tail and pull y o e

c rds I n this case each pulley c rd wuld nly

, ,

o . o o o

have tw leashes attached by the necking t it

o o .

The t h i al meth d of describing the number f Th T m

i

ec n c o o e er

lines in the width of a design is t say that it is C d ,

o or s

draughted tw hund ed and fif ty tw c rds or

on, 4 o r -
o o ,
11 3 6 {11

f ur hundred cords as the case may be ; the c rds d b m

F
eS f l
o g o

referred to being those of the sim p le The same W ‘dj h

,
f .
O

D g
term is used now in connecti n with the Jacquard o
e s1 n

machine but it w uld be m re correct t say

,
o o o ,

d aughted f so many needles h oks as these have

r or or o
,
taken the place f the impl in m dern weaving o s e
,
o .

i
i
well here to call attention to th Rigidity f
-

It may b
'
“ “
r

e e o

fact that in all weavi g but particularly i draw

, ,
Lt l n
,
n a e ra

loo m and Jacquard weaving the width

, d R p t i ,
an e ea s n

number of re p eats in a l om is most igid and L m o r

,
a oo

cann t be altered with ut rebuilding the whole

o o

m nture The ld ig
o and draughtsman must
. es n er

know exactly the number f c r ds and the kind of o o

261
repea t the loom has which he is designing f r ,
o .

This is no t th case wi th regard to the l gth of

e en

the design here the artis t is a t perfec t liberty .

The only objection t o a very long vertical repea t is , ,

that the tie p for the draw loom or the endless
-
u -
,

band of cords for the Jacquard machine has to be ,

more extensive No al t eration is required in the

.

loom W hatever length th e design may be nor is

, ,
the weaver s work aff ected by it to any appreciable
’

extent .

”The work of t he d wb as the weaver s assistant ’

y ra o
,
was called must now be described He had to pull
, .

forward by means of the loops on the guide cords

,

in fron t of the simple each set of cords in regular , ,

order as they were required to form the successive

,

lines of th design He no t only had to pull them

e .

f orward bu t downward in order to raise the leashes

, ,

and not only this bu t to hold them down while the

,

weaver worked o ver three four or more shoots f , ,

o

t he ground explained in the chap t er on damask

I

weaving e have seen that the lingoes often weigh

.

an ounce each and also that in a not over rich silk

,
-

loom such as that described at p 2 6 1 twenty eigh t

,
.
,
-

leashes had to be raised by each cord of the simple .

When several of these cords were drawn together ,

and the frictional resistance added to the actual weigh t

of the lead it is obvious that the boy must need some
,

mechanical a ms ta c in drawing the cords down

s n e ,

and holding them as long as required The heaviest .

line in no 2 fig 1 0 5 is the sixth in which twelve

.
, , ,

cor ds hav e t o be drawn toge ther The lingoes f r . o

these would weigh three hundred and thirty two -

ounces or twen ty four pounds so tha t taking into

,
-
, ,
consideration the fric t ional as well as the dead weigh t
2 62
These ru nn e rs allow the block to move freely along
fr m end t end f the bars The fork and lever
o o o .
,

shown sep arately at A E are hinged t o the top of , ,

the sliding block such a manner that they can be ln

easily moved fr m a vertical t o a hori ntal p sition

o zo o ,

and will remain in either .

When about to be used th block is moved back ,

e

until the p in ts f the f rk are by the back edge f

o o o o

the simple and in the uprigh t position as shown in

,

section at B 2 The boy by means of th loops

,
n o . .
, e ,

next draws f rward the simple c rds necessary for

o o

t he formation ofone line of the design He carefully .

inser ts the upper prong of the fork n the opening 1

made gradually drawing i t forward as he d es so

, o .

When this has been d ne the position is p o re re

sented by C no 2 Grasping the end f the lever

,
. . o ,

the boy now draws it down and holds i t in a h i or

zon at l position the result being that the required

,

cords are drawn d wn as shown at D o .

The m st perfect pattern loom possible is one m

o
,
which the leashes are en t ered with one thread o f
warp only and every leash is under separate con
,

trol by means of the tie p On such a loom every -

u .

imaginable form f design and variety of tie can be o

woven with ut the use of any o ther mechanism What

o

ever The ex t ensive tie p in the case of the draw

.
-
u

loom and the unmanageable quantity of machinery

,

required if Jacquard machines were used would in

the case f silk at any rate render this i p ac ti l
, ,

o t n r ca
, .

Silks warps f twenty one inches wide sometimes

,
o -

,
contain as we have seen as many as eight t hou
, ,

sand threads which would inv lve the building

,
o

o f a simple with eight thousand c rds or the use f o , o

twenty Jacquard machines with four hundred needles ,

2 64
a d h ook s in each A regards th c mber b oard Large
!
n . s e o -

and the lo m itself there w uld be

o di fficulty ;
,
o no

in fact the weaving

,
such a m nture w uld be on o o

as sim p le as any pattern weaving c uld p ssibly be - o o .

I f linen c tton or wool warps are used such an

,
o , ,

arrangement f a fine b ld design is quite practical

or o .

A design draughted eight hundred and f rty on o

lines in the width of the ruled pap er gives f rty o

threads to an inch in the reed This is sufficient .

f ora massive pattern where great refinement of ,

detail is not required W eaving with a thread .

monture gives the designer liberty to use any

variety of texture form and detail that he can , ,

get in the eight hundred and forty th eads

on r

at his disp sal He may make the ground of

o .

tabby twill or satin and he may rnament pa ts

, , ,
o r

of the figure wi th tabbies of do ble treble or a y u

, ,
n

number of threads and fill the di ff erent S paces of i t

,

with a y of the various twills satins he may wish

n or .

I N FACT H I ON LY L I M ITATION I TH E N U M B ER O F
,
S S

TH E Q U A RE S INTO WH IC H H IS S PACE I s D I V I DED

S .

It will be seen that the preparation of the draught ,

particularly for this kind of weaving is a m st im ,

o

portant w rk as on it the whole of the success of

o ,

the finished web depends that is with regard t its

—
,
o

ornamental sha p es and texture It also requires a .

thorough knowledge of the e ff ect that weaving has

in m difying or exaggerating edges angles and
o
, ,

o utlines gene ally r .

F ig 1 0 7 is a p rtion of one f the fines t of

. o o

the traditi nal Italian damask designs Various

o .

versi ns of it are to be f und amongst sixteenth and

o o

Th i m i gh t b p ibl if ele t i ity were p p lied t

s e oss e c r c a o

the d w l m
ra -
oo .
F
IG . 1 07. —Itali an k
D am as . P i t D ig
o n es n.
Un io n well as durable if the colours were well chosen and
,
Dam as k the yarns good and well dyed .

P erhaps a still better e ff ect w uld be gained by o

making the ground tabby and the figure a looser satin

or a four headle twill and shooting a coarse spun or
- -

tussah si lk int the warp instead f wool Of course

o o .
,
endless suggestions might b made in t his connecti on e
,

but it is in such details as this that t he designer and

craftsman mus t exercise his taste and inventi n o .

F ig 1 1 0 is a draught of a portion of the same

.

design in which a di ff erent treatmen t is ad pted The o .

field or background of the design is a twill while the ,

figure is shaped and bro ght out by means of a tabby u

outline and the use of di ff erent ties f its various par ts or .

I f a tabby shoot of weft similiar to the war p , ,

were made between each Opening of the figure shed ,

and an extra shuttle carrying a di ff erent weft used

for the figure the s trength and solidity of the clo th
,

woven would be much enhanced This separate .

treatment of the design would also make it stand

out from the ground in a bolder and much clearer
manner b th as to form and colour The easiest
o .

way to do this would be to fit up a harness with

l ng eyed leashes in front of the mon ture and en ter
o -

the warp in it as well as in the leashes of the

monture This w uld enable the weaver to work
. o

the tabby ground independently of the drawboy by ,

means of two treadles The draugh t of this e ff ec t .

would not need the tie n the round t o be o

indicated but would be drawn as in fig 1 I

,
.

If a J q u d m h i e t g vac ar t h e th e d
ac n o o e rn r a

m tur
on i b i g u d th t b b y
e s e n b m de b y
se ,
e a c an e a

i
n se r tm g xt d b tw
an e h f t h e fig
ra c ar d e e e n eac o u re c ar s,

an d th xt h e w ld t b ec a y Th e
e e ra arn ss ou no e n es s r .

2 70
 If the thread mon ture b e used f o r silk weaving -

wi thout any additional harness or o ther appliance

for making the groundwork very perfec t webs full , ,

of variety and detail can be made The designs , .

certainly must be very limited as to size bu t th at is ,

practically their only l mitation They may be as fine 1 .

as the fines t engraving f r any lines and spo ts down to,

o

the three hundredth part of an inch may be woven

-

wi t h the greates t ease and certainty Such delicate

little designs as fig 1 1 2 —which s reproduced the
.

. 1

exact si e of the original— are examples of t hread

z

m nture weaving The example illustrate d was

o .

made in Sp italfi lds abou t the end of the eighteenth

e

century most probably on a draw l om wi th a draw

,
-
o

boy machine A few weavers are left in Bethnal

.

Green who s t ill make this kind of silk which is ,

m s tl y used for ties and scarves The Jacquard

o .

m h ac is of course now used for lifting the threads

ln e , , ,
bu t the monture i tself is exactly the same as in th e
old times This Sp italfi lds sample is woven about
. e

two hundred and eighty threads to an l n h The c .

design repea ts fourteen t imes in tw t e inches en -

on
,
and is drawn for four hundred cords he comber .

board would have to be pierced with five thousand

eight hundred a d eigh ty holes and the same number
n ,

o f leashes and lingoes would of course be required , ,

t o fill it up T h e repea t of this design is comber
. .

Although the figures are turned over to ex tend them ,

they do no t turn over on the same lines ; they are

w k h w v w ld be m u h he v i
or , o e er, ou d th m c a er, an e nu

b er of d c ar s
y w uld be d ubl d
n ec es sar T h f t o o e . e ro n

h w uld p b bly b u d v e i t h i c
arn ess o ro a
p e se e n n s ase , e s e

i lly
c a it w uld ll w f th g u d b i g h g d
as o a o o e ro n e n c an e

a t wi ll .
 P late XI X III p
-
Exam le o f Fre n c h
S i lk - weavm g, ti m e
”
of
Lo u xs .S 1z e o f des i gn , 3 0 x
S ee p age 2 74 . Vi cto ri a an d Alb ert h
M u s eu m , S o u t K en s m gton .
th ere f ore wha t designers now call d p t v r l we vi g ro u rn o e Si k- a n

repeats This is of no advan tage in regard to the

.
Th e d on r a

M tur on e

Fm . 113 .
— P art of u ht f
Dra g or Fig
. 1

weaving bu t is an easy way of ge tting balan ce

, in
a design and is o f ten resorted to
, .

T
 F ig 1 1 4 is taken from a por t ion of a
. .

ruled paper draught for fig 1 1 2

-
. .

sents th twenty fif th part of a

e -

of the finished silk and shows ,

of detail required in such desi

the freedom with which the
be varied in designing for th is mos t perfec t
lo m
o .

The manner of weaving damask web s

with two harnesses has already been fully

explained in Chapter XI V but it is necessary .
,

just to describe t he making of damask on t he

mon ture of a draw loom which takes the
-
,

place of t he figure harness Such large .

designs as the traditional Italian pattern

given in fig 1 0 7 or the beautiful Louis XIII
. .

damask of plate x1 cannot be made on a

thread monture and indeed w uld lose a
, , ,
o

great deal of their beauty if the were .

The fine sharp edges which result rom the

lifting of every thread would make such
large designs hard and uninteresting A .

great deal f the charm of woven ornament

o

results from the mystery given to the edge

of the f rms by the more or less eviden t
o

ste ps of t heir outline .

B th the large designs referred to are

o

made on from four hundred to f ur hundred o

and fifty cords of the sim ple ac t ing on ten ,

and a half inches f the warp d as they
o ,
an

are point designs one repeat fills the whole

,

twenty one inches of the width of warp

-
,
and requires eight hundred or eight hun
dred and fifty holes in the comber board If -
.
 CH AP TE R XV II
AFT M O NTU RE
T HE S H

I ve ti
n f t h e S p lit
n on oS h ft H —T h or a arn e ss e

C mb b d f Sh f t H e —Buildi g Sh ft
H e —D
o e r- o ar or a arn ss n a a

arn i p ti
ss f V i u P t
e sc r f th
on o ar o s ar s o e

H e arn Th Sh ft H
ss -
i U —N t
e a arn e s s n se o e on

re
gul ti g t h
a L
n e gt h f D e ie
g
— D u gh ti
n
g o s ns ra n

D ig — Ex m p l
es ns f S h ft h a W vi g
es o a -
arn ess ea n .

A VERY importan t improvement was made in t he

monture ab ut the middle of the last century by
o

Mr James Gough a weaver of Bethnal Green By

.
, .

means of this invention separate grounds satins , ,

twills and tabbies can be made without a separate
,

fr nt harness the use of which was explained in the

o ,
last chapter At the same time the design can be
.

worked out in a larger repea t on groups of two fou ,

r
,
or more t hreads while the t ies are made with single
,

threads This facilitates the weaving of fine silk in

.

large designs and gives freer p p ortunity when a

,
o
,

separat e binder is provided for making the large and ,

impor tant class of webs known as ti of which ssu es

,

the b at ll is a member
ro c e e .

The inven t ion was no t made un t il after the

Jacquard machine had come in to general use and ,

was therefore never used on the original draw loom -

.

It would however have been a very us efu l addition

, ,

27 6
t o i t and have made the wonderful t issues of the I ve ti
,
n n on

seventeenth and eighteen th centuries much less f th Sp lit o e

lab rio s to weave

o u S h f
.
t 01
‘
a

This invention is called the plit or h f t harness H e s s a .

arn ss

One name is as good as the other but each b itself l

nly describes the invention in part for the l h s

,

o ,
eas e

are split and they are also suspended on shafts

,
.

The comber b ard f this description f harness Th C m ber

-
o or o e o

requires the same number of holes as the thread b rd f r oa o

montu e but each cord f the simple raises several th Sh ft

r
,
o e a

leashes together for t he f rmati n f the design just H r e o o o ,

a n ss

as the glass mails lift several threads together in the

damask m nture o

L t us take such a warp f silk as the sam m

.

e e f o o

Spit lfi ld weaving examined in the last chap ter

a e s ,

and see what can be done with it on a shaft

monture The count was five thousand five hundred
.

and eighty threads thread being entered in ,

o ne

every leash W will at once decide that each

. e

square of the ruled pa p er on which the design is to ,

be draughted shall re p resent f ur threads This 5 5 8

, 4 o . 0

gives us one thousand three hundred and ninety fiv 3 95 1 3 -

e 1 “

groups of four in the whole width which hall be 6

4 5 S

twenty—
, ,

one inches Three c mber repeats of seven . o ,

inches each would be a convenient si e for a design

,
z

we decide then on this and divide one thousand

, , ,

three hundred and ninety fiv by three This gives -

e .

us f ur hundred and sixty fiv cords on which to

o -
e

f rm the design The ruled paper must also have

o .

four hundred and sixty fiv squares counted laterally -

e , ,

for the draught .

The number of rows of holes in the comber board -

must next be decided and ifthe most usual sa tin vi , ,

z .,

eight headle satin is intended to be used the e mus t

-
,
r

2 77
be eight six tee n or twenty f our r o ws
, ,
-
. T wen ty f o ur -

rows would no doubt be decided on two hundred ,

and thir ty three being in twelve rows a d two hun

-
,
n

dred and thirty

t wo in the re

maining twelve !
.

Bef re the o

leashes are gath

ered up in groups
and j ined to the o

pulley cords by the

necking they mus t
be carefully
mined for it is in ,

the leashes below

the comber—board
tha t the peculiarity
f the shaft harness o

is to be seen .

F ig 1 1 5 shows .

the formation and

arrangement of
the leashes A A .
, ,
FIG 1 15
. S ti
.
-
f Sp lit H
ec on o no 1 is the sec arn ess .
.
,

tion of a comber
board having twelve rows of leashes suspended
through its holes The lower pa ts of the leashes have
. r

lingoes and mails and are made in the us al manner

,
u .

But be tween the mails and the comber b ard t he leash -

o

is much longer than usual in the ordinary mon ture ,

and par t of this len th is occupied by a long loop
which begins at or a fittl above the mail and reaches
,
e
, ,

F de ip ti
or f
scr m be b on d d ill t ti
o co r- o ar an u s ra on

see 3 08
p . .

2 78
 is shown T h e shafts have raised the two leashes
.
,
with which they are connected but the o ther two ,

members of the group are unaff ec ted I t will now .

be seen that any ground or figu re can be made with

single threads by means of the twelve shafts i n

dependen tly o f th h arness Also that any .

pattern made by the harness raising th four e

threads in groups may be made wi thout a ff ecting

t he shafts so that in spaces where the figure is not
,

raised the shafts can be filling in a background of

satin or twill as may be arranged,
.

F ig 1 1 6 will make the whole arrangement per

.

f c tly clear
e The large ske tch is a portion of a ruled
.

pap er draugh t and represents the face f a figured

,
o

silk made on a shaft harness The warp is fine .

whi t e silk of which the drawing shows one hundred

,

and sixty threads The weft is black silk for the

.
,

sake of con t ras t The twelve shafts shown in sec t ion

.

a t fig 1 I 5 each carrying a twelfth p art of the warp

.
, ,

have to make a ground of t welve shaft satin This -

.

is indicate d by the fine black do ts powdered over the

background of t he draught One shaft has to be .

lifted for each shoot and each shaft must rise in the
,

necessary order to form the satin The m c h a i . e n

cal method o f raising the shafts will be described

presen tly .

The e ff ect of the figure harness is seen in the

bold black squares of the design These consist of .

weft which cros ses in front of t he lifted white

,

threads The sh aft satin has no binding e ff ec t

.

on the figure for the reason already explained ;

,

accordingly i t follows that the smallest intersec tion

of warp and weft in the pa ttern mus t be four threads
wide Such in te rse c tions are shown wo rk in g a tabby
.

280
edge to the square in t he cen tre of the flowe r If . h t
Th e S af
a l the odd and even numbered cords of the simple B ar es
l

g
-

in se

FIG . 116 .
—D raugh t f o r Sh af t H ar n ess .

were drawn alternat ely this tabby e ff ect wi th a

, ,

s ingle thread
- tie occasionally appearing the in

28 1
whi t e por t ion only would cover the f ace o f the cloth
,
.

It will now be apparent tha t any ties on the figu re ,

mus t be drawn on the design and tha t these when

woven will be four threads wide These quadruple .

t ies are see on the petals of t he flower arranged in

n ,

diagonal lines Much care is necessary in designing

.

these ties in order to prevent undue length in th e

,
floating loops of weft The draugh t being made on
.

ruled paper with sq u ares divided equally 8 x 8 the ,

ties in this case are sq uare and need more than one
shoot of weft to build t hem up If t he designer .

had wished he migh t have made them only one shoo t

,
high instead of four as shown in no 1 belo w th, . e

flower . This would however involve the drawing

, ,

of the figure cords every shoo t and make t he tie p ,

-
u

four times as long as a t pre sent If a Jacquard .

machine were used the number of cards required

,

would also be increased fourfold .

It is perhaps necessary to pause and specially note

here t hat in order t o bring any design to the
required length the cords of t he simple have t o be
,
held down over two or more shoo ts according to ,
the si e of the weft and the na ture of the pattern
z .

The draughtsman makes his design on t he number

of lines he deems necessary for the e ff ect h e wishes
to O btain bu t the number of shoots t o each line
,

required to bring the woven pattern t o the same

proportion as the draught has t be settled by ,
o

experiment when the web is ready for s tarting

, .

S ome designs especially for damasks need each

, ,
separa t e line to be repeated as ma n y as eigh t
times In the draw loom the figure h arness is
.
-

left up while t he requisi t e number of shoots of

ground are made bu t with a Jacquard machine
,

2 82
draughting is on eigh t hundred cords ins t ea d of the
four hundred and fifty This incre ase ofsize in the
.

draught is ren dered necessary by the fewer number

of leashes r aised by each c rd of the simple In
o .

all other respec t s t he draughting and weaving f o

this silk are the same as described in connection

wi t h fig 1 1 5
. .
 C H AP T E R X VIII
BR C O ATE LL E TI SSU E WEAVI NG AND

Th e Te h iq f B c t ll
c n Web —W vi g
ue o ro a e e s ea n

B t lle
ro c a e — D u ghti
s g f Ti u werav i g
— T w n or ss e a n o

M th d f m u ti g Bi d —O ld Sp it lfi ld
e o s o o n n n e rs a e s

ss — e —
Ti u B h é T i u G e l U ti lity f S h f t
ro c ss es en ra o a

H — Sh f t H r
arn e ss f C a e Mt il a n e ss or o ars a er a s

Ti ue f W l L i
ss s o d C ttoo Sh ft n en , an o on on a

W l Ti u —O ld
,

H e — Ex m pl
arn ss f M de a es o o rn oo ss es

M et h d f T i ue we vi g with ut Split Sh f t
o o ss a n o a

H e
arn s s.

BR OCAT ELLE and other webs which weavers call

S
,
by the general name of ti cannot be made on ssues,

the shaft monture de scribed in the las t chapter

, ,
without some arrangement being added in order to
work a separa tely warped binder The reason for .

separate warping generally was given in C hapter ,

XI V Bu t it will be necessary t o examine a

.

sample of t h e se webs and ascertain the reason why

a separate binder is specially required for brocatelle
and tissue weaving and afterwards the fitting which
has t be added to the loo m for this kind of
o ,

weaving can be explained

, .

The chief characteristic of a brocatelle web is

the raised satin figure which gives such a rich ,

appearanc e to the fabric (se e plate XIII) I n a .

2 85
damask web the background of the figure is a satin ,
made by the l ng floating t hreads of the silk warp
o
,

while the figure itself is the reverse satin in which ,

the weft chiefly shows In the broca t elle on t he .

,

contrary the warp floats rat her loosely in the figure

, ,
and a special weft entirely covers it up in ther p laces o .

The second weft is tightly bound d wn by a sepa o

ra te binder and forms the background to the design

, .

F ig 1 1 7 no 1 shows a por t ion f a brocatelle

.
,
.
,
o

as it would be draughted by the designer The .

weaver i tying up the design on the simple cords

,
n
,
in this case w uld no t tie up the figure shown in
,
o ,

whi t e as he would for a damask web but would tie

, ,

up the ground represented by the black porti n of ,

o

the draught In like manner on cards for a J ac q d

.
,
u ar

machine the instruction t the card puncher would o -

be C t the ground no t the figure

,
u No 2 sh ws , . . o

the e ff ect as far as it could be woven on the shaft

harness as described in the last Chapter P lai satin . n

has been woven all ver by the shafts the war p o

,

being white and the weft as is usual in brocatelles , ,

an u dyed linen
n
‘
The satin ties sh wn the
.
,
o on

figure are of linen but the ground having been ,

raised by means f the simple cords a black silk o ,

we f t has been shot acr ss the spaces so lifted o .

These gr und spaces are thus only covered by

o

unb und l ps of th second weft and the separate

o oo e ,

binder is required to tie them down securely in

their places I n brocatelle weaving the charac
.

t is ti raised e ff ect of the satin figure is b tained by

er c o

Th fi t e ti h t f b t l le ly bi d
rs o r sa n s oo o a ro c a e on n s

th e ti sad d e n , ant h w th f f th o l th
s no s o on e ac e o e c o .

Li n en
g iv lidity f te xture
es s o d t h t a c o t is o ,
an on a c un

us u lly em p l y d
a o e .

2 86
passing t hrough t he comber bo ard as t he others -

,
have bu t are complete when hung u p on the shafts
,
.

The warp for the binder is brought through t he

main body of leashes one between every f ur and ,
o
,
en t ered I n regular order I n the binder This com .

ple tes the arrangemen t and the brocatelle e ff ec t of

,

no 3 fig 1 1 7 is obtained b y th f llowing procedure

.
,
.
,
e o .

The first shoot of flax thre ad is mad e with the

binder all lift e d and one shaft of t he m ain warp
,

lifted as well The second shoo t of weft (black

.

silk in this cas e) is made with one shaft of th

'

binder down and the gr und of the design raised by o

the drawing of the cords of the simple W hen .

this has been d e t he e ff ect of one line of ri 3

on o .
,

fig 1 1 7 will have been woven The n ext and

.
, .

f llowing sh ots proceed in their proper order first

o o
,

the flax and t hen the silk in regular succession A , .

set of four additional treadles and levers will b e

required to lift the binder shafts or if an au t matic ,
o

machine such as a drawb y or a Jack i the b o x o -

n- -

are used t o lift the grounds the necessary additions ,

will have to be made for them .

In draughting f brocatelles an d other tissues

or , ,
i t is necessary t o be more careful in se lecting the
ruled paper in regard t o its proportion as the length
,

of t h e design of a brocatelle canno t so a ily b e e s x

regula ted in the loom as can that of a damask It .

'

is true the same simpl cords can be drawn t wice e

or thrice over but as t here are two weft s to be

,
sho t in the space occupied by one line of the de sign
,

is much greater t h an is the case in fine damask .

The draught has to be made on paper ruled

8 x 1 2 or 8 x 1 0 and the final regula t ion of th
, ,
e

length of t he woven pa tt ern mus t be made by th e

2 88
w as

P late X II — Co p y, b y th e A h h h p y ph
u t o r, o f Ei g te en t - c e n tu r Fm e Fren c h 5 11k
A y h ph
, .

p o rt1 0n o f th e de si gn o n l 15 s o wn . Th e art o to gra ed

Is th e f u ll S i z e o f th e o ri i n al
g .

S ee p age 2 83
P late X III — Ap p Co y, b y th e A
ut h o r, of hh
S i xteen t cen tu ry I tali an
y
. -

B ro c ate lle o rti o n of

th e desxgn o n l 13 s o wn , ab o u t
h alf th e ac tu al s xz e o f th e o ri g1n al .

S ee p age 2 85 .
al t era t ion of t he size of the wefting use d as well ,
(3are
as by the closeness with which t he weft i tself is .

bea ten t oge t h er In t he case of some t issues in

‘

.
‘ ‘

many colours where several sh oo ts of we ft go t o

,

make up each line t he ruled paper h as t o have

‘

fewer lines in the heigh t t han t he wid t h I t .

may be necessary there f ore to u se paper ruled, ,

8 x 6 or 8 x 4 A nyway all t hese poin t s mus t

.
,

b e carefully calculated before t he draugh t is

c o nnn en c e d .

2 Another arrangemen t of t he binder required

.
,

for weaving broca t elles is t o moun t an ordina ry ,

harness of the proper coun t in fron t of the shaft

, ,
‘

mon ture in t he same posi t ion as for damask weav

“ ‘
-

ing and to en ter the Se cond or b inding warp in it

, .

The warp however unlike th a t of t he damask

, ,

harness is no t entered in t he mails of the mon tu re

,
leashes but passes be t ween th em I t is also no t
,
.

n ec es s a that the binder leashes should have long

eyes . his kind of binder harness is some t i mes
preferred to t he shaft harnes s bu t t he latter takes up
'

less space and is in the po s ition t o receive ano t h er

improvement which will be noticed presen tly As
, .

f ar as t he broca t elle and some o ther tissues whi c h ,

now Cl aim o r a ttention are concerned o n e of
u ,

the above plans of fitting up th e binder harness

is as good as the other F or a t emporary work .

perhaps the binder could be more easily add d in ’

e
‘

the second method .

The weavi n g of a grea t varie ty of fabrics is

'

po ssible with t he draw lo o m a t the stage of develop

,
-

ment to which we have t raced i t A volume or .

,
perhaps many volumes might be filled with desc rip ,

tions and dissec t ions of su ch webs bu t a very few ,

U 2 89
t ypical specimens mus t su ff ce for t he presen t hand i

book .

F irs t we mus t examine two very di ff erent ex

amples of tissue weaving which might however , , ,

have been w ven on the same loom with t he same

o ,

count of warps and precisely t he same fit t ing up .

Plate XI V is taken from a fine piece of tissue

weaving made in Sp it lfi lds probably t t he b a e a e

ginning f the nineteen t h cen tu ry The colours are

o .

green and gold The ground is green satin both

.
,
rich in c l ur and in t exture The design is in
o o .

green ligh t er than t he ground and g ld and repeats

, ,
o ,

p i
o n t once in t he wid t h Both t he green and
. gold
portions of the fig re are t ied by the same twill
u

binder The warp of the satin ground was no t

.

ligh t ly weighted as in broca t elle weaving bu t is

, ,

peculiarly flat which would sugges t t hat it was more

,

heavily weighted than s usual even for a damask i .

The binder warp of t he figure on t he contrary is , ,

ra t her ligh tly weigh ted This tissue has no linen .

shoot but is all silk throughou t t he weft

a re

of the ground tfi being fine and rather harder

, ,

sa

t han usual The green and the gold weft used

.

in the figure are b th rich lightly twis t ed silk

o
, , ,
known by the name of t m as distinguished ra ,

from g i which is the harder twisted silk

or an z n e, -

always used f warps Three shuttles are required

or .

for weav ing this web one for the ground sa t in

, ,
which I s the firs t shoot The ground sat n as we . i
,

saw was t he case in the brocatelle is made on the ,

main warp with the figure cords a t rest and the
,

binder all lifted ou t of the way A t the second .

shoo t the green par t of t he figure is lifted and one

, ,
shaft f t he binder l eft down while t he other sha f ts
o
 P late XIV
.
—S p italfields
Ti ss u e in Green an d Go ld Si lk .

Date ab o u t 1 900 .

A u tho r s Co llectio n
’
S ee page 2 90 . .

T h i s 13 h
s o wn as an example o f S k d td
/ weavi ng, no t o f fin e des i gn .
are all raised The shed for the second shoo t being
.
An O ld
thus made t he shuttle c rrying green weft is sent
,
a

across and passes behind t he sa t in ground until i t

,
comes t the lifted figure Here i t goes in front of
o .
,

t he sa t in and all t he binder warp threads except ,

those en t ered in the one left down These remain .

in front f the weft to tie i t When the shed has

“

o .

Closed on the second shoo t t he gold figure cords are

FIG . 1 1 8 — Sp italfie lds

. Ti ssu e .

drawn t he same binder shaft left down and t he

, ,

shed being open the third shoo t is made the weft ,

now being gold coloured silk This shoot also -

.

passes behind the sat in groun d and behind the ,

green figure as well until i t reaches t he opening ,

made by the raised ground warp and all the binde r

threads except the first Here it shows on the .

face of the Cloth and when the shuttle i drawn ,

s

out and the shed closed one line of the ground

and figure will be c mple t ed and is represented on
’

o ,

ruled paper in fig 1 1 8 le tt er A In this draugh t.

,
.

the white squares stand for the main warp threads

of green silk the dots for the green binder warp
,
threads the crosses for t he firs t shoo t of green ground
,
2 91
weft the black squares for the green figure shoo t and
, ,

the lined squares for the third sh ot t he g ld weft o ,

o .

The draughting of the se p arate colours on t he

ruled paper must always be done very carefully as ,
a separate t ie p has t o be made for each If for
-
u .
,

instance two shu ttles have to be used in forming

,
one line of t he figure as in the above case there have , ,

t be t wo r ws
o f loops in t he tie p on t he simple
o o -
u
,
in order that the cords may be drawn in proper
succession If as many as seven shu t tles had to be
.

used for one line of the figure the same number of ,

rows of loops would have to be tied up for i t .

The next example fig 1 1 9 is of quite a di ff erent ,

.
,

character In this design a part of which only is

.
,

sh wn a grea t variety of colours are used which

o , ,
have on the face of the mat erial almost the fi c t o f e e
'

brocading in many coloured silks F our shoots have .

to be made in each line of t he weaving one for the ,

plai ground and three for the figure and they are all
n
, ,

t hrown righ t across the web in the ordinary manner .

A glance at the back of the material would S how

that the colours are all arranged in lateral s t ri pes of
di ff eren t widths and also t hat the colour e ff ec t is
,
ob tained by changing the weft used for t he figure a t ,
certain intervals as arranged for on t he draught by
,
the designer In many designs of this class great i
. n

g en u ity is displayed by the art ist in dis t ributing t he

coloured ornamen t in such a way t hat the lateral , ,
s t ripes of the weft are altoge t her l s t sight o f This o .

at first was no doub t the aim of the designer who ,

wished to obtain the e ff ect of brocaded ornaments
in a quicker way But although this deception is.

quite possible after all some of the most successful

, ,

o f such designs sh w the method of working quite o

2 92
frankly It will be seen t ha t the c h ief di ff erence
.

be tween this example and tha t of the tissue pre

viou sl
y given is a m at t er of design The working .

out is very similar except that the ground is a tabby

,

with a t hick weft such as used t o be called a l t

,
u e

st i g or l t i g as it is
r n , ften spelt on ld designs
us r n ,
o o .

The three figure wefts are all thrown int the o

same shed f the binder which opens in di ff erent

o , ,

parts of the web according t o the drawing of the

,

simple cords at three successive shoots In order to .

show clearly the method of Changing the c lours of o

t he weft the sketch is ruled la t erally from letter A

,

t o G At A the architectural feature is coloured

.

yellow and shaded with dark brown ; in the yellow

there are small t uches of dark green represented
o
,
by the solid black The foliage above the vase .

is mostly dark green and the yell w shuttle is ,

o

changed for one having light green weft in it ,

so that in the space marked B nly light and dark ,

o

green show In the space C the light and d k

.
e
ar

gree n are continued and t he dark brown weft is

changed to red (represen ted by d ts) The light o .

green at D is changed t o purp le (cross hatching) -

,

and at E the dark green changes to yellow so that ,

in this space red p urple and yell w occupy the , ,

o

t hree shuttles At F the red changes to orange in

.
,
t he pines where it is heightened by touches f
,
o

yellow and in the space G with dark green which

, ,
takes the p lace f the purple shu t tle o .

F ig 1 2 0 is an example of a small design, quite

.

ordinary in form which when woven in the ab ve

, ,
o

manner in lateral stripes of rose colour green and

,
-

, ,

dull gold on a dark blue satin ground has a m st ,

o

excellent e ff ect This is woven with only t wo

.

2 94
 ll
Sm a

FIG . 1 20 .
— M o d ern h Ti
B ro c é D ig d
ss u e . es ne an d
arran
ged f or w v i g by th Auth
ea n e o r.
shu tt les one f o r t he groun d sa t in and th e other
, ,
wi t h changing wefts f o r t he figure .

It is not only for th weaving of fine si lk that th e e

shaft mon t ure is u seful but i t is equally so for linen , ,

co tton or woollen pattern webs of either large ,

or

small design such as are used for hangings f u rn i

, ,
ture and other purposes If properly p lanned an
,
.
,

as tonishing varie ty of weft e ff e ¢ t pa tterns can be

designed which do not require al t erations to the
,

l o om itself This is indeed the C hief advan tage

.
, ,
of designs in which t he weft is most conspicuous .

I t is obvious t ha t where the warp is only used as a

ground or h i de to the orn ament alterations are
n r ,
e asier to make D i ff eren t designs can be woven
.

on t he same length of warp and alt gether more ,

o

freedom is given t o t he artis t in ar anging his r

design Take for instance the simple matter of

.
, ,
stripes I f a stripe or stripes f colour are made in
. o

the warp t hey have to remain in the same position

,
from beginning to end of the web But weft .
,
stripes of any size colour or distance apart can be
, , , ,

thrown in at will It is therefore a great advantage .

to have a loom buil t par t icularly with a view to ,

weft e ff ect designs sp ecially in a studi or small ,

e o

workshop .

As an example of a mos t useful build of shaft mon

ture for the weaving of these coarser materials the ,
f ollowing may be interesting The comber board .
-

is the first thing to consider W will suppo se . e

tha t t he width of the web to be woven is twenty

f our inches It might be forty eigh t inches in
.
“ -
,

the
In f t h e w p b i g f ty ei gh t i
c ase o ar e n or -
nc h es
wide fly huttle w uld h ve t be u ed d wh e
a -s o a o s , an n two
2 96
 machine is used in which case ,

all the lifting b t h of figure and ,

o

binder is done by it
, .

The reed for the loom thus ,

fitted up would require eight

,

hundred dents and each dent to ,

have two threads from the main

warp and o n e from the binder
,

entered in i t .

Som e examples of the kind

of weaving to be done with t he
above lo m may now be given
o .

In the firs t place tabby cloth , ,

quite plain and even made by ,
lifting single threads alternately ,

can be woven all the t hreads ,

of both warps being used This .

would require all the shafts t o be

tied up to t he t readles as shown
at fig 1 2 1 no 1 No 2 gives
.
,
. . .

t he sketch plan of the enter

ing and t ie p of a tabby of two
-
u

threads N 3 shows the plan

. O.

and tie p for three thread tabby

- u -
.

Tabby of four t hreads could no t

be made unless there were six
t een shafts in the figure harness ,
and above that number of threads
would make too coarse a tabby
to be of any s v c e er 1 .

D ouble or treble cloth could be

made ei t her with single double or , ,

FIG 121
treble threads and with or with ,
out pa t tern A l so doubl e clo th
.

Tie -
up s fo r T bby
a .
.
,
 FIG . 122 .
— Curt ai n B o rd er .

one portion having double threads and the other

po rti
o n having single threads could be woven and
, ,

double cloth of two di ff eren t t extures one tabby ,

and the other satin could be devised,

.

F igs 1 2 2 and I 2 2 A will S how the grea t utility of

.

being able to weave a perfect plain cloth with a ,

b rder introduced at regular intervals The illus

o .

t at io s are fr m such a web

r n o It was made for a .

heavy curtain to fill an archway and both surfaces ,

were alike The border being double clo th i t was

.
,

p ssible to make the fron t and back exactly alike

o
,
even as t o the p sition of the c lours which in single
o o
,
weaving mus t always be reversed The letters of .

a motto or a mon gram might in this way be woven

o

so as to be read rightly on bo t h sides .

W must now exam ne three samples of woollen

e i
.

hangings recently made on a loom construc t ed

according to the plan j u st specified .

FIG . 1 2 2 A. — Curtai n E dgi n

g .
 P la t e xv was woven for a church hanging in
scarlet blue and green wool on a gr und offine cream
, ,
o

coloured mercerised cotton The groun d is a treble

,
.

thread tabby but shows very little on the face of the

,
web —only in f ac t in the bold ou t lines f the con
, ,
o

ven ti l lily and the large leaf forms which com pose
ona

t he t rellis of the design The lily is in scarlet wool .

,
and is only tied down by a satin which is made , on

the simple cords f the figure h rness This loose o a .

t ie allows i t to stand well above the general surface

of the cloth The green vase and foliage and
.
,
t he dark blue background e tied by a four ,
ar

headle single th read t will made by the binder

,
-
,
harness .

I t is oft en found more convenien t to weave t his

kind of material f ace upwards as t he presen t example
was made .

The order of the weaving was : (1 ) A tabby shoot

of coarse mercerised cot t on in a shed made by the
t ie p of no 3 fig 1 2 1 (2) F or this shoot all the
-
u .
,
. .

cords of t he figure harness are raised except the

backgr und of the design F or t he binder the first
o .

and fifth binder shafts are raised Into the shed t hus .

f rmed t he dark blue weft is hot (3) All cords

o S .

raised in the figure except the foliage and a portion , ,

of the trellis lea fage The third shuttle carries a .

light green weft and the same binders are raised as ,

for the bl e shoot The spaces between the scarlet

u .

lilies (about tw thirds of the design) are woven o-

with three shuttles but when the lily is reached a ,

fourth hut tle must be added In this part of the

S .

design all the figure cords are raised except those

f orming the lily itself Here all the binder beadles .

ar e left down as the binding of this part of the

,

3 00
fills ou t the whole wid th of t he twen ty f our inch - -

web .

The order in which t he wefts are sho t is : (I ) The

whi t e silk in a t abby shed made by t he shafts only ,
of both harnesses ; (2 ) the same weft in the al t er
nat e tabby shed ; (3) the figure harness alone
being used the green wool is sho t in t o t he shed
,
firs t raised by the simple cords and is followed (4) ,

by the dark blue in the nex t figure shed This .

c mple t es one line of the design as draugh t ed

o .

This web is also woven f ace upwards and the tie u p ,

-

has to be so made tha t the cords lift firs t the

, ,
ground and the blue part of t he figure and secondly ,

the ground and th e par t of the fi gure coloured

green .

F ig 1 2 3 is particularly in terest ing as i t shows the

.
,

grea t exten t t o wh ich the changing of the weft in

la t eral s t ripes may be carried with advantage I t is , .

di ffi cult in black and whi t e t o indicate t he varie ty

of colours used in this pattern which is arranged to ,

weave wi t h one gr und and two figure shu ttles o

only ; bu t the changing colours are indicated t o

some ex t en t by do ts lines and cross hat chings , ,
-
.

F ift een changes of colou r are made in one ver t ical

repeat and the e ff ec t of lateral striping is en t irely
,
hidden The weft changes are shown in the two
. .
’

vertical s t ripes a t t he side f t he illus tration O .

The ground in this case is a t abby of double

t hreads only and is of fine linen The tabby is
, .

made by bo t h h arnes ses working t ogether as ,

draugh t ed a t no 2 fig 1 2 1 A s in t he las t
.
, . .

example there is no binder on th e figu re e xcept in

,
t he few places wh ere the leng t h of th flo ati g e
'
n

loops renders i t necessary Where thus required .

3 02
P late XV —
. Wo o l
b y th e A h
ut f o r St
h
Han gi n g de s rgn e d, drau g te d,
h ph h h
C
an d arran ge d f o r weaving
C Has le m ere
’
or ri s to er s Th e
c o lo u rs
.

are s c arle t,
u rc
b lu e , green ,
,

h
an d w i te.
.

S ee p age 3 00 .
 t hey are made by drawing one cord of t he
sim p le .

This pat tern is woven face downwards which ,

makes it very ligh t both as to the tie p and the ,

-
u

drawing of the simple cords bu t i t needs t he binder ,

harness all raise d while t he figure being woven IS .

The firs t shoot is one of tabby wi t h white linen

wef t The second is fine black or very dark green
.

w ol tw or three ends being wound t oge ther

o
,
o .

This colour runs nearly all through the design ,

there being only three small spaces where i t is '

change d once t o yellow a t A and twice t o green

, , , ,

a t B B The thi rd shoot begins with blue a t C

,
.
,
and changes at D t o green at E t o purple at F to , ,

a di ff erent blue at G to ano ther green a t H t o rose

‘

, ,

pin k a t I to green at K to brown a t L to blue

, , ,
purple a t M to green and finishes t he repea t a t N
, ,

with scarle t .

I t must b e understood that all t hese examples of

tissue weav ing could be made on the loom as fitted
'
u
p for damask weaving — that is with a l ng eyed ,
o -

harness I n front of the figure harness if t o the la t ter ,

were added anoth er set of beadles to work t he

separate warp of t he binder In fac t this was t he .
,

kind of mount ng on which t he old bro atelles and

i c

t issues w ere made The spli t harness is however a

.
, ,
great improvement and has many advan tages no t , ,

the leas t of which its occupying so lit tle space in

18

the loom .

There is ano t her kind of harness f r silk damask o

weaving which was also inven t ed by a working

weaver of Bethnal Green ; this is called the com
pound harne s It is most ingenious and has been
s .
,
xtremely useful in conn ction with t he Jacquard
e e

3 4
0
P P
late X VI — o rti o n o f Han gi n g of wo ven wo o l an d c o ars e S i lk
h
Des 1gn e d, drau g te d, an d arran
ge d f o r weavm g b y th e A h
u t or .
.

S ee p age 3 0 1 .
 CH A P TE R X IX
OM P O UN D MO NTU RE
T HE C

Ad v t g f di v idi g h M tu — D i pti
an a es o n t e on re e scr on

o f th C mp d M tu e— E x m p l f C m
e o o un on r a es o o

p u
o dnM t W v i g
— O ld E li h B
o n u re
g d ea n n s ro c a

E i gh t t h tu y St i p d B d —F e h L t
e

ee n -
cen r r e ro c a e r nc a e

Seve te t h Ce tu y B d
n en n r ro c a e .

T H E S cope of tiss e weaving may be immensely u -

increased by buildi g the monture i two more n n or

divisi ns to be governed by se parate sets of sim p le

o ,

c rds and acting on separate war ps all c m b i

o , ,
o n

ing to make one web This comp und build of . o

monture was often used by the tissue weavers of

the sixteenth seventeenth and eighteenth centuries
, , ,

and enabled them to pr duce an almost unlimited o

variety of web s It is also even more largely us d

. e

in moder p attern weaving by p wer which to a

n -
o ,

very great exten t consists of warp e ff ects Warp .

e ff ects in p wer l ms where very l ng lengths

,
o -
oo o

of the same p atterned material must be woven at

the highest p ssible Speed are the most economical
o
, ,

as when nce t he l om is set up

o matter how o
,
no

complicated the p attern may be the actual lo m ,

o

tending is very simple In the draw l om some .

-
o

times m ntures with as many as four divisi ns

,
o o

seem to have been used but generally two divisions ,

06
3
were deemed sufficien t The weavers of the best .

periods for the most part used we f t rather than

war p e ff ects in their webs The advan tages of weft
‘
.

e ff ects have already been dwelt upon in the previous

cha p ter .

F the demonstration of t he u t ili ty of the

or

compound mon t re let us make an addition to u

the s p lit shaft harness for silk weaving described in -

C hapter X V I I p 2 7 8 The comber board is there

.
, . .
-

described as p ierced with twenty f r rows of holes -

ou ,

two hundred and thirty three being in each w -

ro .

These are lifted in fours by the sim p le cords which ,

number four hundred and six in rder to make ,

o

t hree c mber repeats in twenty one inches The

o -
.

leashes in the twenty four r ws are also separately

,
-
o
,

suspended on tw t four shafts This is the figure en

harness complete I C hap ter X VIII p 2 8 7 f ur

-
.

. n . o
.
, ,
extra shafts were added for a separate binder on ,

which four rows more of similar leashes were hung , ,

but were not connected as those of the fig re u

harness were with the comber—board This m . co

p l t
e ed the monture for making brocatelles and
broch é t issues On the loom so arranged brocading
.
,

in detached spaces co ld not be d ne as the binder u o ,

warp would be in t he way whether it were lifted

or t If left down it would hide or mar the
no .

brocaded ornamen t while if it were raised it would ,

Th i d i g f il k b c d i th p i t m
e re s a es n or s ro a e n e r n ro o

o f t h Vi t i
e d Alb t M um S uth Ke i gt
c o r a an er u se ,
o ns n on,

wh i h h c t t th b k t t h e ff t t h t f u
as a no e a e ac o e ec a o r

s i m pl w e qui d f it p d ti
es er re A it ire ly or s ro uc on . S s on

a k et h d i g
s c t d ghtes l d p p
n, it i im
no a rau o n ru e a er, s

p ibl
o ss t y h
e w the divi
o sa i were
‘
m de
o w h y th y s o ns a or e

we r qui ed
re e r .
 make the manipulati n of the o

br cading shuttle very tires me

o o .

I nfact a weaver f t day

,
o o-

w uld despairi gly say i t w

o n as

imp ssible F making true

o . or

br caded t issues then some

o , ,

addition to the shaft harness

and binder is needed and this ,

need is met by arr nging the a

figure harness as a c mpound o

m nture o .

F ig 1 2 4 rep esen ts a pierced

. . r

hardw d comber b ard slip

oo -
o

o ne inch wide and ten inches

l ngo Twenty. of such -
one

sl ps would be required to fill

i

the frame of our c mber—board o .

The twenty four r ws of holes -

o

in division A are already c c o u

pied by the leash s of the figure e

harness as described F the . or

compound monture the c mber o

boa d w uld have to be ex

r o

tended above the bi der shafts n

as sh wn i divisi n B where
o n o
,
six more r ws f holes are seen o O

to be pierced ; and below these ‘

w holes the six shafts of the

ne

binder harness are already sus

pended by their long loops .

These leashes mus t n w all be o

c nnected with the comber

o

b ard in the same manner as

o

directed f those of the figure or

FIG . 1 24
.

A C mb
o er- b o ard Slip
08
3
repeate d (2) T raise any single t hread f the
. o o

binder or a c mbination of them at any pl ace to

o , ,

make ties for a br caded fi g re (3) To utilise o u .

the binder warp in order to make small designs ,

diapers checkers spo ts

,
what not as a back
, ,
or ,
'
ground to the main d sig fi (4) To lift any e n
e

portion of the binder out of th e way of any other

weaving that may be going on (5 ) To weave .

damask like figures in t he background of the

-

brocade as was so often done with fine e ff ect in

,
the French and Italian webs .

It is di ffi cult to select a few examples of tissues

woven on compound montures out of the great
number available any one f which migh t be ,
o

chosen on account of some special point of interest

in its technique The space however now at our.
, ,

disposal precludes the ex t ended examina t ion which

this part of the subj ect deserves Three examples .

must suffice ; these have been chosen as diverse as

p ssible and will give some idea of the ca pacity f
o ,
o

the drawlo m in its highest state of developmen t

o .

Ample opportunity f r further study of tissue o

weaving is aff rded by the fine collection f draw

o o

loom wove fabrics i the V ict ria and Albert

n n o

Museum which is particularly i h in seventeenth

,
r c

and eighteenth century examples F rench Italian

-
, , ,
and E nglish There is als in the print room of
. o

t he same museum a w nderful and most instructive o

collection of designs for this class f weaving dating o

,
fr m the beginning of the eighteenth century
o .

The value of these drawings 8 much enhanced by 1

Th i k i d f b kg u d
s n o ac ro n f
e f ec t i p ti ul ly
s ar c ar

c h aracte i ti f E gli h igh t e t h

r s c o n s e e n -
c en u t ry we vi ga n .

3 10
Pl XVphII — ph h p
ate . B ro c ade , ro b ab ly Old En gli s
h h . Th e lo wer
h p o rti o n of
th e w
o to gra s o s th e m e t o d o f b ro c adi n g Wi t s m all
s hu ttles at th e b ack .

S ee p age 3 1 1 . h
A ut o r
'
s Co llectwn .
the draw loo m providing t he c rds were drawn
-
o
‘

by a human d wb y ” ra o .
é

The tie p f t his design would be very simple

-
u or ,

as only a few cords here and there would have t o

be drawn at each line .

All the colours w uld have t o be painted in on o

t he draught quite distinctly in order that the tie ,

u p might be d i correctly by t h weaver

rea and n e
,
also that it s h uld be a clear guide to h im in the o

br cading Two draughts would have t be made

o . o
,

one painted in exactly as the d sign is to appear ,

e

when woven only without the binders ; the other ,

having all the shapes exactly c pied but without o

,
c l ur and the binder ties indicated In the c l ur
o o , . o o

draught the col urs t rise in each tie p w uld

,
o o -
u o

have to be indicated by lette s numerals 1 2 3 r or

, , , ,

or 4 The c l ur draugh t would be f the back

. o o or or

main division f the monture and the binder draughto

, ,

for the front divisi n The e ff ect the loom f this o . on o

arrangeme t when the tie p was made w uld be

n
,
-
u ,
o

t hat the back division of the sim ple would draw p u

the figure in large on the main warp without any ties

( see e ff ect f shaft har ess p 2 8
o
7 fig 1 1 7 I ) n
,
.
, .
,
no. .

Now if the cords f the front harnes be d awn o s r

simulta e usly with those of the back all the

n o ,

threads of the second warp will be lifted fr m the o

figure except th e required for binders As there

,
os .

Wit h g d t tw m
re l u b i g ti d p
ar o o or o re co o rs e n e u

in one li f b di g it h ld b p i t d t th t
ne or ro c a n ,
s ou e o n e ou ,
a ,

as e ac h l i p t i wit h m ll h ttl p t ly
c o o ur s u n a s a s u e se ara e ,

it f ll w th t if uffi i t p e i l f t b tw th
o o s, a s c en s ac s e e e en e

p t
ar s li f t d y ebl u m
,
b an f l b
re as o n a e n er o c o o u rs c an e

b dd i
ro c a e li Wit h
n k il f l w ve
one very ne . a s u ea r a

littl p e b twee the l u i uffi ie t

e s ac e n co o rs s s c n .

3 12
are six shafts f the binder warp t he t will ti
or ,
e

may be either a three or Six s h aft twill The -

.

one used in the example (pla t e X V I I) 8 on six 1

shafts .

The weaving would proceed as follows : S hoots

1 and 2 will be a tabby f t he gr und and binder o o

toge ther The br cading shed will next be made

. o

by drawing the firs t t ie p f both the sim ples to

-
u o

gether The brocading wefts in the first shed

.

being laid in the places indicated in the draught ,

the second t ie— ups will pen the second br cading o o

shed this also being laid the third tie ups will o p en
,
-

the final shed for the first line of the design The
,
.

third and fourth tabby shoo t s follo w next in rder o ,

and the same sheds are to be repeated f the bro or

c adi
g n W hen
. the two lines f brocading are thus o

woven with two tabby shoots between them

, ,
o ne

line of the design as draughted will have been

, ,

woven The weaving of brocades requires great

.

care a d skill especially when as in this example

n
, , ,

several colours are put in at one drawing of the

simple The weaver has to follow the c loured
. o

draught very attentively until he has learned the

position and entry of the di ff erent colo rs Need u .

less to say br cadin g must be d ne face downwards

,
o o
,

and the small brocadi g shuttles are left standing

n

on the back f the web in exact order like a fleet

o ,

of little boats and pass thr ugh the shed in regular

,
o

succession The lower p orti n f plate X V II sh ws

. o o o

the back of the old E nglish brocaded silk and will ,

greatly assist in the explanation .

The dainty and charac teristic eighteenth cen -

tury brocaded and striped silk of French weaving

fi
( g . 1 25
) could be wo v en on two di ff erently
14
3
m oun t ed l oms (I ) O a loom arranged for
o n

damask weaving with two separate harnesses in

-
,
front one to work tabby and the other to weave
,

a satin with tw spaced warps on separate r llers

,
o o
,
and with the harnesses also spaced and b th entered ,
o

in the monture (2) On a divided shaft harness

.
,

with one simple and with the warps spaced and

arranged on two r llers If made in the latter w y
o . a

the weaving would be much simpler and there ,

would be a great deal less strain the silk which on

,
is always an advantage The design must first be .

briefly desc ibed and then the method of preparing

r
,

the monture for it T h design is shown squared

. e

out in preparation for the draughting The broad .

stripes on which the large bouquets are placed are

of rich satin f a p ale blue colour The narrower
o .

stripes ,
of which in the centre has a wavy
o ne , ,

ribbon with a garland f small flowers adorning it o

,

and the other the half of which is seen at each

,

edge of the drawing are both white tabby woven ,

-

silk The two narrow stripes near each edge are of

.

the same satin as the wide one and nly di ff er from ,

o

it in their col ur which is pink with white edges

o , , .

These are arranged in the warping The fi . ne

stripes on which t he large bouquets are placed

are floating white silk weft as are also the edges ,

of the wavy ribbon and the fine stripes of vari us o

lengths which a placed at its side The bouquets

re .
,

S p rays and garland are all brocaded in exquisitely

,
delicate t ints f pink creamy yell w and green
O ,
o
, .

I t is not necessary to give a p eci fication of the S

mo ture f reproduci g this example but only to

n or n
,

indicate broadly the meth d f its buildi g The o o n .

c mber board would be in tw divisi ns and as there

o - o o
,
15
3
would be an equal number of shaf ts for b th divi o

sions the same number of rows of holes w uld o

require p iercing in the board In the back divisio . n

holes would only be pierced in the s paces required

for the satin stripes and in the f ront divisi n h les
,
o o

w uld be made for the tabby stri p e S paces In this

o .

web th ere w uld be no binders for t he br ading as

o oc ,

th esmallness of the spaces brocaded renders them

u nnecessary The cords fro m both divisi ns of the
. o

shaft harness c uld be br u gh t into one imple as

o o S ,

the figures are all raised simultan eo usly The .

first tie p of the simple w uld be of the fine

-
u o

st ipes in the ce tre f the br ad satin one and

r n o o ,

the fin e vertical lines and ed ges f the wavy o

ribbon The second t hird and f our th tie ups

.
, ,
-

w uld be f the three heds of the brocading

o or S .

The rder f the sheds f the sh ots f white silk

o o ,
or o o ,

in weaving w uld be as f ll ws (I ) The tabby and

o o o

satin groundw rk S hafts al ne of both war p s

o on o

t geth r ; (2) the firs t t ie p on the S imple cords

o e - u

w uld be drawn and the sec nd hoot of tabby and

o o S

satin grou dw rks lifted W hen these shoots had

n o .

been made the first tie p f the br cading figure

,
- u o o

would be lifted by the si m p le cords d the b d an ro c a

i g d ne ; t h e
n o the sec nd and third tie ups and
n o -

their brocading in succession This would finish

, .

one line f the design At the fourth p air of ground

o .

sho ts with the white weft the

o rou d f ties ,
o ne n o

of th eight— e S haft satin would be com p lete and th ,

e

fifth pair w ld b gin with the fi st tabby and firs t

ou e r

sa tin shafts again toge ther .

The third d last example to be examined is

an

t he fine late seventeenth century F rench brocade

which is reproduced in col urs as the frontispiece o

3 6 1
appearance wherever it is intrica t e used " The.
6

br cading is t tied down with a binder but is left

o no ,

lo se or fl ating the designer having so rranged the

o o ,
a

draugh t that none of the loops are inconveniently

long .

I t was no t only on account of its exceeding

beau ty that this example was chosen f this or

particular illustrati n but n account of the o ,

o

peculiarity of the embellishment of t he background

of the figure This backgrou d pattern is put in
. n
,

by means of t he second fr nt division of t he or o

monture working on t he second warp which is used ,

for this purpose instead of as a binder This orna .

men t is woven in the t bine manner described at o

t he end of C hapter XI V As will be gathered .

from that descripti n tobine e ff ects are generally

o ,

confined t o narro w s t ripes vertical or lateral as small , ,

squares and blongs but here we have a kind of key
o ,

pat tern and spac es between it of plain tabby and it ,

does not interfere with t he brocading although it is ,

in a line with it All t his shows that some means

.

has been devised f raising and depressing the or

tobine warp at any place required by the design

and be tween any one of the tabby sho t s In order o .

t o e ff ect this the front division of t he monture is

,

fi tted up wi t h ordinary leashes without shafts The .

extra warp of the same colour as the main

,
is o n e,

abou t one f urth f its richness and the simple c rds

-
o o
,
o

draw fro m four to six leashes with every cord The .

shapes of the brocading figure have t o be tied up on

Th eF e h w v we V y i g i u i twi ti g
r nc e a e rs re er n en o s n s n

th il k d m t l d m y b uti ful eff e t i

re ads o f s an e a , an an ea c s n
t h i web
e r d
s are t th i p i l w f
ue ti g o s s ec a e n .

3 8 1
the front sim p le and drawn simultane usly with o

th se of the back The tobine p at t ern on the

o !
.

gr und is worked in by the tie p of t he front simple

o -
u

while the g und itself is being w ven This tie

ro o .

u
p of the fr nt division
o of the harness would all
have to be worked t on a separate draugh t from
ou

that of the brocading !

.

T he t bi
se ff ct
o f ne
g eu d w kep tte s or ro n or a rn s

b m v ry m m
ec a e e d h
co t i ti f E gli h
on an c arac er s c o n s

Sp it lfi ld w v i g i
a e s ea th i gh t th e tury I
n n e e ee n c n . n

F e h w k t h y ur h iefly i t i p
r nc or e o cc c n s r es .
 CH AP TE R X X
F I G U RE D VE LVET WEAVI N G -

P il d T y Fi gu d V l v t— T h D gh t
e an e rr re e e e rau

Th M t — T h P p ti f th L m
e on u re e re ara on o e oo

Th B b bi F m —I t li
e o nd Sp i h V lv t
ra e a an an an s e e s.

T H E weaving f plain velvet has been f lly described

o u

in C ha p ter XI V It will therefore equire but

. r

few words to explain the method of making fi gured

velvet which as far as t he actual weavi g goes is
, ,
n
,
d ne in precisely the same manner In
o res pect . o ne

the weaving f figured velve t is t s di ffi cult

o no o

as when the pile is plain as small defects in the ,

cutti g t of the r ds are t apparent

n ou o no so .

The design for figured velvet is draughted in

exactly the same way as desig s f damask n or

weaving E ach square of the ruled paper p

. re re

sents a group of fr m f ur t eight th eads of the o o o r

pile When both cut and terry velvet are in

.
, ,
o ne

design t hey are treated as two col urs and require o

,

tw successive t ie ups on the sim p le

o - .

The leashes f the mon t ure for velve t weaving

O

are m re heavily weighted t h an for damask or tissue

o

weaving They are als moun t ed on shafts as in the

. o

tissue shaft har ess When both terr and cut pile
are being woven the gr oved rod is first p laced in
n .

its shed and the t erry one next t o it before th e

, ,

3 20
 C O N C L U D IN G N O T E

IT may be surprising and perhaps somewha t ,

disapp i ting to s me readers to find that t his

o n ,
o

description of the methods of weaving and weaving

a ppliances c mes to an end at this point W have
,
o . e

traced the history and development of the craft ,

f om its earliest beginning up to t he time when t he

r
,

Jacquard machine was intr duced and began to o

supersede the traditional draw loom for pattern -

weaving This ending although perhaps somewha t

.
,

abrupt is no t unintentional for it was just at that

, ,

time that weaving to a great extent ceased t be

, ,
o

an artistic craft I t was then that the l om ceased

. o

to be a t ool more or less complicat ed which the

, ,

weaver himself could keep in order a d cunningly n

adjust alter and adap t to any par t icular work he

, ,

mig h t have in hand .

W ith the exception of the fly shuttle chiefly -

,

useful for weaving wide webs t he Jack in the box ,

- - -
,
and the spli t or s h aft harness descriptions of which ,

have been given no real improvemen t has been

,
made in weaving or weaving appliances since the
middle of the eigh t eenth cen t ury .

As regards t he Jacquard machine t he chief ,

advan tage (i) it o ff ers is the f cility with which a

designs can be chan ged in th e loom t he e n dless ,

3 2
2
b nd of cards taking the p lace of t he weaver s
a
’
ludi
Co n c n
g
tie p This facili ty f change nly resulted in
-
u . or o N te
o

the multiplication of patt erns pa tterns f the mos t ,

or

p ar t inferior to the t radi t ional ones already in use .

The Jacquard machine is also responsible t a great ,

o

ex tent for the separa t ion of the ar t of designing

,

from the craft f weaving o .

The s peed of weaving has been by means of t he

p ower loom of course
- vastly
,
increased
,
but alth ugh ,
o

th is is in s me respects a c mmercial advantage the

o o
,

quality of the weaving is far below that of the earlier

times and the ruthless rigidly perfect mechanism
, ,
of the machine loom has had a disastrous e ff ect on
the weaver as a craftsm an .

There can be no question that the best weaving

was done before t h ese inn va t ions of the engineer o

and mechanician were made I t would therefore .

seem that the right road t impr vement in weaving

,
o o
,

as in all the crafts can only be found by th se wh

,
o o

are willing to return to the t a ditional methods and r

simpler ideals of the earlier mas t ers of craftsmanship .

G l o ssary i
Carding, p rep ar n g fi r f o r sp n n n g be i i .

C ards o r cardings, fib re p rep are f o r s p n n d i i n

g .

Cloth heam, th e
b reas ro lle r t .

Cam b er hoard, a o ar p e rf o ra
-
to b d
o ted h ld the le h e as s o f
a mon tu re .

C omher re eat,
p r ep etiti on o f a de i g whi h d e
s n c o s not

t u rn o v e r.

C omher s lip, a p o r o n o f ti th e c o m b er- b d o ar .

Comp ound h arness, two o r m o r eh arn e ss es w k i g t or n o ge th er .

C ompound monture, m o n r tu e wit h two or m o re t

se s o f
le has es

Cords, th e Si m
p l e on wh i h c th e p a tt ern is tied Up in a

d wlra -
oom .

-
h tl
C ou nter mar ch , a s o r o werle v e a l r in o om .

C oup er, th e lv l
to p e ers o f a o o m .

Cross, th e i t d w
cro s s n g h re a s o f a ar
p .

Cross , p arroy, the t i d h i we v i

c ro ss re a n e w le a n
g .

th e i h i
C ross, p ortee, th e c ro ss at fin s n g e n d o f a w ar
p .

th d
C ross sticks , sm o o ro s f o rvi th e
p res er n
g cr o s s .

y te we vi gi t du d
D amas k, a s s m o f a n n ro ceu f ro m Dam asc s.

e a d
D ent , o n e sp ac in ree .

tt
D esign, a p a e rn qu e ul d er
one s ar o f r e a
p p .

yt w vi
Diap er, a s s e m o f ea nll tt
g sm a
p a erns .

'

li e u d
D istafi , app an c se i i
in s
p nn ng .

i di e t h d t th
Doub ling, w n n g two o r m o r rea s o e
g e r .

d wi ul d
D raught, ra n g o n r e p ap er .

l d d w d i l
Drawb oy, a b o y em p o ye to ra th e c o r s o f a s m p e .

’
i l e t d wi t h e d
D rawb oy s f ork, m p em n f o r ra n g c o r s in a

d wl m
ra -
oo .

wh y m hi m h i e f d wb y w k ’
Dra o ac ne, ac n or ra o s or .

Entering, r a ng t h e di w p i l h e ar n e as s o r ree d .

E ntering h ook, n t h i h k f d wi oo or ra n
g t h e d t hr ugh
r a o

m a ls i .

tel
Eye, c e n r o o p o f a le ash .

3 2 6
Fancy web , s ee Tissue . Gl o ssary
Figu red velvet, h pa e n velvet wit tt r .

Figure h arness, th e
m o n re o r p a ern b e a es tu tt dl .

Float, a o o p o f l we t i
f p ass n g o e r two o r m o re v th d rea s.

h ttl d ive
Fly s huttle, a s u e r n b y a p c k n g s c k
-
i i ti .

li
Friction b rake, ap p an c e f o r regu la n g e g ti w i h t .

G ath erer, a p r o f th e at h e k bl
c -
o ck .

d ti
Gating, a j u s n g a lo o m .

Ground, th e p la n p ar o f i t web a .

Ground h arness, b e a l s d e whic h f rm t h e o

gro und o f a

web .

G uiding cords, s upp t or s fo r th e p tter l

a n oo
p s on th e
s m
p e i l .

Hand sh uttle,
- fo r ro w na huttl
g s an d e t h i by h .

Hand- sti ck , a s o r s c k o n c h t ti
ar s are
p oun wh i h w w d .

Harness , a c o e c o n o f h e adle s ll ti .

Headle o r h eddle, a c o ec o n o f e as es ll ti l h .

Headle f rame, a f ram f o r k n t n g b e a e s p o n e i ti dl u .

Headle gauge, o o f o r m ak n g at l
as s i le h e .

Inlayi ng, se e B rocading .

j k in the b ox,
ac - -
i v ti
wh i h edu th e m b of n en on c r c es nu er

t dl re a l me s re q i d u re In a oo .

j d
ac uar
q m h i m h i p f t
ac d by M J qu d
ne, a ac ne er ec e . ac ar

t up e de t h e d wb y p tte we vi g
o s rs e ra o in a rn a n .

Lam , see Headle .

Leaf , s ee Headle .

Lease, s e e C ross .

Leashes, o o p s o f l h dl a ea e.

Lingo, th e e g w i ht f l h o a e as .

Long march , th e l g lev b el w l on ers o a oom.

Gl o ssary Loom, an
y arran ge m e n t fo r
upp s or ti n
g a w rpa an d
k e ep m g d
i t i n o r er fo r we avm g .

M ail, t h e gl ass o r m etal eye o f a l eash .

M onture, th e m o u n ti n g o f a l o o m f o r p attern -
we vi a n
g .

Neck ing cords, cor sd j i i

o n ng
p ull y e d
c o r s an d l he
e as s in a
mon tu er .

P ecker, p a o f rt ra t h e d wbo
y m ac n hi e .

P ic/exert , tw
eez e rs .

h
P icking stick , t h e an d e o f th e fly-s
-
l mo o n huttle ti .

ti
P ile, t h e c u t p o r o n o f a e e v lv t .

P lan an d tie up, a s k e c

-
s o nt h h wi
g n r o f a n e ty hr e ss an d
-
t dl
t ie u p o f rea es .

tu
P lug, a b e o n w c hi h w t w u d
ef huttle
is o n f o r th e fly s -
.

d i e ti ite di e ti
P oint repeat, a e s gn re p a n g in o pp o s r c ons .

il w
P ole, th e p e arp o f el e v vt .

w tw d
P orrey, th e arp b e e en h e adles an d c ro ss ro s -
.

c ll ti
P ortee, a o e c o n o f t h d w d t th
re a s ar e
p o ge e r .

vd h l
P u lley, a gro o e w e e .

u t d wl
P ulley 6 m , t h e p p e r p ar o f a ra - o o m
-
.

d
P u lley cords, c o r s in a p ulley box -
.

Q uill, a tub e on wh i h w f t i w
c e s oun df or a h d huttle
an -s
.

Race, t h e be di
a n
g t h e c bl
o n r a e- o c k o f a n - a h d b tt en .

lw t b tt
Race Mock , th e o e r p ar o f a a e n
-
.

Race ooard,
- t h t wh i h
a on c hutt
th e s le r n s u .

i t v l di
Raddle, m p le m en f o r e en y sp re a n g arp w .

t t h d wh
Ratcaet an d cancel, a o o e e e l an d c a c th .

b i i t e
Ree d, a c o m - l k e m p le m e n f o r k e p n g arp s i w eve n an d
b ti
ea n
g w e t t th
f o
g e er .

h t i ed
Reed nook , o o k f o r e n e r n g re .

t i wt
Retting, s ee p n g flax i n a e r .

a ti wit h w t ed
Reverse s atin, sa n ef
p r o m na n
g i ti .

3 2 8
G l ry
o ssa Taread monture, a mon tu e wit h i gl t h
r s n e d
re a s in th e
ma il s.

Tie, a bi dew ft
n r on l o o se e .

Tie up , ti g p t f l m t geth r f f m i g
c o n n ec n ar s o a oo o e or or n

p tt ut m
a ti lly
ern s a o a ca .

Tiss ue, a w b h vi g m e bi d r w p
e a n one or or n e ar s .

T bi
o ne, o m e t f m ed b y rn a mo b e dle
n s or one or re a s

i i g d i ki g t g th
r s n an s n n o e er .

T v tt
re e k if f utti g v lv t p ile
e, a n e or c n e e .

T mb l
u t p le v e of
er , a l m o r a oo .

T i g
u rn n be m i g on, a n .

Twill w b with di g
, a l tie
e a a ona .

Union damask , d am as k w ve o n of li e n n an d w l oo .

i
Vateau, m p m n f o r sp rea le e t di g th w p n e ar c e r ller
an o .

Velvet, cut, o n fa r c a w ve b i with cut p ile .

Velvet, figured, see Figured velvet .

Velvet kn if e, see Trevette .

Velvet rod, a gro o e ro d f o r th e p vd ile .

Velvet, terry, e n cu
p vel v t with u t ile .

Warp l o n gitudi n al th read s o f a web

,
.

Warp ing p rep ari n g a warp

,
.

Warping b oard f o r m aki n g s m all warp s , .

Warp ing mill f o r warp i n g l arge warp s

, .

Wee a p ie c e o f fin i sh e d weavi n g
, .

Wef t th e c ro ssi n g th re ad o f a warp

,
.

Waorl a sp i n dl e wei gh t
, .

Woof wef t
‘

.
,

Tarn , th e d r a o f an
y i k n d .
 IN D E X

AM EN l r nP IL,33 1 B ro c adin g, 1 4 8—1 5 2

A u t o m ati c
p attern - we a in g
,
v 1 3 8, B ro c adin g in o p e n an d c lo se warps ,
I 3 9: 1 4 ° I 4-9
A u to m at1 e s h ddie ng m o tio n , 8 6 B ro c adi n g on co m
p ou n d m o n t ure,
3 10
B A TT E N an d re e d, o rigin o f
, 95 B ro c adin g on o ld E n gli s hl o o m,

B at ten , fixi g in lo o m , 99
n 1 52
l B att e n , fly- s h u ttle o r b o x, 1 1 7 B ro c adin g s im ilar to em b ro ide r y ,
1 1 9 1 59
B at te n , an d 97h h
B ro c adin g with cu t t re ads , 1 4 8
B atte n in p o s it 1o n , 1 1 4 . x h
B ro c adi n g with e t ra e adle , 1 5 3
B e am , o r ro lle r, 6 0 B ro c ate lle , drau gh tin g f o r, 2 8 6,
Be am in g, 6 0 , 6 1 , & c .

Be am in g p o s t s, h o w tte d u p, 7 7 fi B ro c ate lle , m e t h o ds of v

we a in g,
B en i H
as an , wall p ain tin gs o f
lo o m s at , 1 9 B ro c at elle , s at in o f , 2 8 6
h
B e t n al G
re en , am e s J
o u gh o f , G B ro c ate lle s , gro u n d ti e d u p o r
276 c u t in , 2 8 6

G
B e th n al re e n we a e rs , 2 7 1 v B ro c h é e ff e c ts in large an d s m all
B in ders f o r b ro c adin g, 1 5 0 , 3 1 0 p att e rn s , 2
93 : 2 94 , 2 95,
v
B o ard f o r we a in g, th e s im p le s t B ro k e n tW1ll, ¢ o r s atin e tte, 1 68
l o o m , 2 3 , 2 4, 2 5 ,
B o b b in - c arrie r, de s c rip tio n , 3 4, 3 5 , Ca rao M us e u m , E gyp i t an tap es tr y ,

3 6 1 33
B o b b in f ram e, 54 . C alcu latin g n um b er o f h
t re ads o f
B o rders o f n e e dle wo rk , 1 3 2 warp, 5 4
h
B o x o r fly s u ttle b atte n , 1 1 7 ,
-
Cam b e r, o r co m b e r, re
p e at s, 2 56
C an e re e ds , 97
x
B o wo o d s h u ttle s , 1 12 . C an e ro ll o r ro lle r, 6 3 , 6 7 , 88, 90
B re as t ro ll o r ro lle r, 6 3 , 90 C an e s t1 c k s , 6 3 , 6 6
B rit is h M u seu m , c o lle c ti o n 01 C ap o f b at t en , 99, 1 0 4 .

x
t e tile s , 1 33 C arde rs an d c ardi n g, 1 0
B ro c ade , F re n c h ,
se v e n te e n t h C ards f o r tu rn in g o n , 7 1
c e n tu r , y 3 5 1 J q
Cards o f ac u ard m ac h in e, 2 7 0

3 3 1
C arri e r f o r b o b b in , 3 4, 3 5 , 3 6, 3 7 D k w vi g 5 6 am as -
ea n ,
1 , 2 1 0,
h
C as h m e re s awl we avm g, 1 5 7 74 2 1 2, 2

h
Catc h m g th e s u ttle , i ts im p o rt D k w vi g i g f am as - ea n
,
e n te r n o r,

an c e, 1 2 6, 1 2 211
7
h v
C arac te ris tic s o f an c ie n t we a in g, D kw g hdf 4 am as -
e av1n , s e o r, 21 ,

6 21

Ch i
I
3
e u w f 3 6
lle , e t, 1 D i p i w b 3 arn n
g atte rn s n e s, 1 2

Ch i dp
n e s e an w viattern -
3 D ea f i
n g, 1 w b 3 1 e co rati o n o an c e n t e s, 1 2

Ch i i f
n e s e o r1g n o i 68 D f
s at n s , 1
97 3 en t s o re e d, ,
10

Ch i i k w vi g 87
n es e s l -
ea D in , i f w vi g es gn s , an c en t, or ea n ,

Ch i w vi i v i 86 en t o n s 1
D i
nese ea ng n 2
,
Ci l i f l gh 8
’
rc e sl oom, 2
4 es gn s, regu at o n o en t ,
2 2

C las si p c y 36
ta e s tr , 1 D i i g f b i g —5 3 e s gn n or ro c ad n ,
1

C o ars e w p f ar s p w
or b D i
att e rn i 6 8 7
e s, e ta ls o f tu rn n g o n , 1

2 65 Di p w v i 99 a er- ea n g, 1

C ff
o lo u r e f i
e ct o 88 D i p w v i x pl f
s at n s, 1 a er- ea n g, e am es o , 2 0 1 ,

C o lo u rs i i
di s t b
n ct l h n do u le -c ot 2 02
w v i g 88
ea n , 1 Di p w vi g pl f igi a er- ea n ,
ac e o or n,

C om b ,
d 95
o r re e , 99 1

C om b b d h
er- o ar ,
53 t D i d g 74
e, 2
.

i s s e ct n
g '
e si n s, 1 .

C om b b
e r, o r cam i e r,
p Di fide s gn 3 4re 5 e ats s ta , 1 2, 1 , 1 , 1

56
2 D i ib i f w p i dd 6 6 ,
s tr ut o n o ar n ra le ,
C om b iper s l 5 7 3 8
s, 2 ,D iv i0 m v g f de d o n tu re, ad an ta e s o ,

C om
p oun d w v i
m o n t u re
g 3 3 7 ea n , 1 0, 0

3 1 1, D i l m w p bl om est c oo s, ar s s u1 ta e

C p i w b
o t c d b
e s an
37 o rde rs ,
f 67 1 o r,

C o rds , h t e t e rm d ib i g
used i nD bl l h p es cr w vi n ou e c ot atte rn ea n g,

widt h of de s ign , 2 6 1 n um b er of b e adles re q u ire d,

Co tto n , its in tro du c ti o n , u s e, an d 20 5

adu lte rat io n ,
6 D b
ou h b by
l e- c lo t ta
C o tto n , p re p aratio n , 9 D b
ou hw i le- c lo t e av

C o u n t i n g th re ads o f a warp, 3 7 D bl h
ou p e- arn es s a

h
C o u rs e o f t re ads i n th e arn e s s , h 99 I

103 D b k d h y
ou le - n o tte leas e e s, 1 10
C ro s s , o r le ase, 88 D bl w v i
ou e-
99 o en t s s u es, 2

C ros s p ie c e s o f lo o m f ram e, 90
-
D bi
ou l 3 n g s t an d , 12

C ro s s - ro ds , 7 2 , 8 8 D gh f h
rau t or t re ad m o n tu re
h
C u t t re ads , b ro c adin g with , 1 4 8 w vi 73
ea n g, 2

D h f Sp fi d i
rau g t 9 o 1t al e l s t s s u e , 2 1
D a c ca m u slin, 1 2 D h h i p p i 65
rau g t, t e, ts re arat o n
, 2
D am as k s
,
1 80 D h i g 83
rau g t n , 2
D am as k s , large de s ign s, 2 74 . D hi
rau g i f h
t n g en ter n gs o arn es s,
D am as k s , l in e n , 1 8 2 63 1
Dm a as k of Lo u i s XIII .
p e rio d, D h i g f fig d v lv
rau g t n or u re e e t,

2 74 320
33 2
I n d ex F ren c h e igh t e en th -c en tu r y we b , H o m es
p u n c lo t h de s ign s , 141

de s crip tio n of,

3 1 5, 3 6 1 H ook s for en te rin g, 1 02

F ric ti o n b rak e s f o r b e am in g dru m , H i

o r z o n tal lo o m s , 8 6
74 H o ri z o n tal
p o s it i o n o f th e warp,

F ri c ti o n b rak e s f o r c an e ro lle r, 90 v
i ts ad an tage s, 92 , 1 1 1

h
G a r n s as a f o r e ck - b lo c k , th e , 5 2
IN D IA N an d E n gli s hl o o m s alik e in
G atin g th e lo o m , 1 0 4
t wo o in t s ,
G kl m
re e oo s, 2 0 , 2 1
I n dian
p 92
b no c adin g, 1 4 8
G k pi
re e s n s te r, 12
I n dian c o tto n we a e rs , 1 4 1 v
G v i h
ro o es n t e b atte n , 1 04
I dian de s ign , p lan an d t ie -u
G dhro u n arn es s , e n t erin
gof warp ,
n

2 04

G dh
212

lo n g y I n dian do u b le - clo t des ign , 2 0 3 h

G dp
ro u n

ro u n
arn ess ,

att e rn s , 1 6 7,
e

1
es,

68
212
I n di an , E
n gli s h , an d ren c 10 0 F h
c o m are d, 8 8
G idi g d
u n co r s, 2 6 0
I n di an
p
lo o m s , t eir an t iq u it h
87
H A N D- S HU TT LE, th e, 1 12 I din m u s lin s, 1 4 9
an

H an d-s h u ttle an d fi ttin gs , 1 1 3 I lyn a , 148

H an d- s in n in
p g, 1 2 It l a i an dam as k , t radi ti o n al de s

H an ds t i c k f o r t ak in g o f? warp s, 266

3 82 6 4
H a rn e s s , th e, its p ro p er place in
t h e lo o m , 1 0 5 A C K- IN -T HE - B O X , th e , 2 3 0 2 3 8 —
H arn e s s co m p o u n d, 3 04 ac k -
in - th e b o x, t ie
- o
u
p to , 2 3 6
H
, .

arn e ss
, gro u n d, 2 1 4
'

ac q d d 7
u ar c ar s , 2 0

H arne s s o f lo o m
, 99,
1 02 J ac q d m hi
u ar 9 3 ac n e, 2 2 , 2 0, 2 7

H arn e s s e s e ff e c t o f t wo
, , 2
1
3 J ac q d m h i ff f
u ar ac n e, e ect o ,
3
H arn e s s es f o r s ati n 1 82 J ac q d m hi f m
u ar ac ne o r co m e re
H
,
e adle f ram e 10
9 w vi g 3
ea n 2 0

H
, ,
e adle o r h e ddle t h e
, , , 92
J ac q d m hi i d
u ar ac n e, n tro u ct i
H e adle - ro d th e
, 85
o f 2
H
, ,
e adle v
we a in g, its lim itatio n s , J ac q d m hi
u ar l ac n e, re s u ts of i
251 i v
n ient on , 2
5 2
B e adl e s , s
p ac e d, 2 4 7 J enn n i g h ddi g m i
s
’
s e n o t o n, 2
30
H e adle s , t h e ir p o s itio n in th e i g Th d
J
o re , 2 0
en n n s,
3 eo

lo o m , 99 o in in g in a n ew warp , 1 02

H e c k , th e ,
50
H e c k - b lo c k , th e ,
4 7, 5 0
H e c k -b lo c k re gu lat o r
, 52
K E E P IN G ac c o u n t of th e warp 0

H e ro do tu s
’
m e n tio n o f we a in g, v m ill, 5 8
22 Kn i f e f o r v lve e t- v
we a in g, 2

H o m er s
'
re f ere n c e to v arie gate d 225

we b s , 1 46 K n itti n g s paced le as h e s, 1 09

3 34
 L A K E -D WELL E RS, s
p in n in g an d M ec h an ic al
p atte rn - v
we a in g nu I n dex
we a v in g, 6 k n o wn to an c ie n ts , 1 3 2
L am , 93 ediaeval t ap e s tr , 1 3 7 y
Lya in
g th e we ft,6 12 e n din g b ro k e n t re ads h on th e
L e af , 93 warp in g m ill, 5 8, 5 9
L
o

5 6 3 88
e as e , o r c ro s s , 2 ,
2 , 2, M etal ree ds , 97
L h 9
e as , 2 M o n tu re, th e , 2 5 3
L h y f ilk w vi g
e as e es or s -
ea n , 1 10 M o n tu re b u ildin g, 2 54
L hm k g 6
e as a in , 10 v
M o n tu re, di ide d, o r c o m po u n d,
L h l g yd hi
e as e s, on 55 -e
e , t e r u s e, 1 , v
ad an tage s of
, 3 ,
0 6 3 0 7, 3 1 0,

2
7 0

L h fm
e as es o 54 o n tu re , 2 M o n tu re f o r c o ars e h
t re ads, s p e ci
L g h f d ig f im pl
.

en t o es ns or s e fi c atio n o f , 2 96 , 2 97 , 2 8
9
l m ooh w lim i d s, 74 o te 1 M o n tu re , n e c k in g c o rds o f , 2 5 9
Li
,

n en d fi w l b
an hé 3 ne oo ro c , 02 M o n tu re, th e le as e s o f , 2 54 h
Li d m k 8
.

n en , a as s, 1 2 M o n tu re, th e s af t, 2 7 6 h
Li n enh d p p i f 7t re a ,
re arat o n o , , M o rris , William, 3 1 7
8 9 , D
M u s lin , acc a, 1 2
Li g n 54
o e s, 2

L g y i l h 55
.

on e es n e as es , 1

L m
oo i gw p f
, e t
n er n ar o , 1 00
N r c xm c c o rds o f m o n tu re,
Ne edle wo rk b o rde rs , 1 2
2 59

L mf m
oo gh
ra i y
e, s tre n t a n ec e s s t ,
3
N ippe rs an d p ick ers, 1 2 5
88
L m p 67
oo o s t s,

L m h
oo ,
i lp
t e e s s en t a
4 art, 2 O LD E
n gli s h
b ro c ade, drau g tin g h
L m
oo i pi f
s , an c en t 8 9 c tu res o , 1 , 1 , f o r, 3 1 1
2 0, 2 1 , 2 2 E h
O ld n glis lo o m de s c rib e d, 8 8
L m d p p li
oo s an i a an c e s n art, 1 2, O p e n in g in warp , o r s e d, 8 1 h
O rde r o f wo rk in g tre adle s , 1 6 5
L i
1

I di
o o n s, iq i y f 87
n an , an t u t o O rigin o f th e lo o m , 1 8
L m m pl 3 4 5 6
oo s, S i e s t, 2 , 2 , 2
,

, 2 O rn am e n t, b ro c ade d, 1 4 9
L pf
oo i g or ll
t u rn 67 n c an e ro e r,

L p h w v m
oo
,
t e f l ea e r s
’
o st u se u ,

8
3 4
— 1 Pan zaq ill 3 u s, 1 1

L i g
u t e-s tr n l i g g , or
d u s tr n , ro u n s, P atte rn
l m h m oo
p f , t e o st e r e ct

2 94 m h i l ec 64an c a , 2 .

P w vi g 3
attern ea n ,
1 1

P w vi g
att e rn m pl xea
49 n , co e , 2 ,
M A C HINE-M A DE reeds, 97 s 2 1

M ails , o r e e s , 5 1 , 2 5 4y P atte rnw v i g d li ea ilk n , e cate s

,
M arch e s , c o u n t e r 2 1 4 . 832

h
M arc e s , lo n g, 1 98 P g f w p i g m ill h i
e s o ar l ivn
, t e r re at e

M at eri als f o r b ro c adin g, 1 4 9 p o s itio n s , 49

M e as u rin g le n gt s o f warp o n th e h P e n e lo p e
’
lo o m , 2 3
s

m ill, aq Pe rf o ratin g th e cam b er-b o ard, 277

335
P e rs ian de c o ratio n s , 1 4 1 Rgl i
e u at o n o f th e h eck -b lo ck , 5 2
P ick e r an d p i ck in g s tic k , 1 1 8, R p i gp
e e at n at te rn s au t o m at ic all y
,
119 1 40

P ic tu re s o f an c i e n t lo o m s , 1 8, 1 9, Re p e at sin lo o m u n alte rab le, 2 6 1

2 0 , 2 1 , 2 2 , 2 3, 2 4 Re t ti n
g fl ax, 7
v v
P ile , o r p o le, o f el e t, 2 2 3 R e e rs e s atin , 1 8 1
v
Plaids , S c o tc h , 1 4 6 R o c k e r o f b atte n ,
99
Plain clo th , i ts c o n s tru ctio n 4 , Ro co co s ilk b ro c é dis s e c te d, 2 92
h
h
Plain c lo t wea in g, 8 2 v R o ds, c ro s s
7 2 , 88
Plan an d tie i u p, 1 6 5
'

Ro ller, ro ll, o r b eam , 6 0

h
Plu gs f o r fly s u ttle s , 1 1 7 Ro ller, b re as t, 6 3 , 90
Po in t de sign repe ats , 1 7 4 , 1 98, R o ller, c an e, 6 3 , 8 8, 90
2 56 Ro lle r, s e co n d, i ts p o s itio n in
Po rt ee an d p o rtee c ro s s ,
37 lo o m , 2 1 9
Po rte e cro ss o n warp in g m ill, 5 7 Ro m an lo o m s, 2 1
P o rte e c ro ss s e cu re d, 64 R o m an
p e ri o d , 1
33
P o rrey cro s s , 7 1 R u b b e r, th e , 1 2
5
P to le m aic p e rio d, 1 3 3 R u le d a e r de s c rib e d 1 6 1
p p , ,
1 67

y
Pu lle -b o x, th e, 2 5 3 , 3 0 9 Ru led-p ape r drawin gs, 1 8 2
y
Pu lle c o rds , 2 5 3
h
S A T IN, C in e s e o ri gi n o f , 1 6 8

g u ru , th e, on w ich h th e we f t
h
S atin , five- e adle, 1 8 2
wo u n d, 1 1 2, 1 1 3
S atin , its p e c u li arit , 1 80 y
Q u ill- h ld
o e r, th e , 1 1 2
S atin n o t n e c es s aril s ilk , 1 80y
Q u il l or p lu g win de r,
- 1 24
v
S atin , re e rs e , 1 8 1
S atin tie s an d th e de elo p m en t o f v
v
we a in g, 1 7 5
Rm —
m o cx. 97 . 99 v
S atin wo e n f ac e do wn ward, 1 84
R addle , 61 S ati ns, c o lo u r e ff e c t s o f , 1 8 8
Raddl len gth o f 6 6
e, , v
S atin s, arie tie s o f , 1 8 2 , 1 8 3 , 1 84
Raddle s ele c tio n o f 6 3
, ,
v
S e l age s, go o d, 1 2 6 , 1 2 7
R addle s tan ds 6 4 ,
v
S e l age s , s ep arate, 1 8 6
Ratche t an d wh ee l o f b re as t ro lle r ,
v
S e l age s , s e p arate , n o t n e c e s s ar y
90 y v
in t ab b we a in g, 1 8 5
Raw m aterials u s e d in we a in g, v v h
S el age s , t eir arran ge m en t, 1 8 6,
57 1 8
Ree d, o r c o m b , 95 Se lv ga h i im p
es, t e r o rtan c e, 1 2 7,
Re e d an d b atte n , o rigin o f , 95 1 85
R e ed c ap, 1 04 S ep arate le ash e s, h o w m ade, 1 0 8
Re e d den t s , 97 , 1 0 3 S ep arate warp in g o f b in de rs, 2 8 5
R ee d h
o ok, 1 0 2 h h v
S af t arn e s s , in e n tio n o f, 2 7 6
R lat s , 97
e ed h h
S af t- m o n tu re wea in g, e am ple v x
Re e d m ak i n g, 96 o f , 2 80 , 2 8 1

Re e d m ak in g b y m ac in e r h y , 97 h
S af t s u s e d in m o n tu re f o r figu re d
Re eds, c an e an d m etal, 97 v ve l e t we a in ,
g 3 20 v
33 6
In dex Th d m re a o n tu re, 2 6 4 V v
e l e t, s m all- att e rn , 2 2 7
p
Th d re a m o n tu re f o r silk - we a in g, v V e lv
e t, tak e-u p of p ile warp,
21
zw
7 2 1
Th di g rea n o r en te rin g th e h arn e ss V e lv t ar s ,
p t hi e r p ro p o rtio n,
an d ree d, 1 0 3 22 3

T h ro win g th e s h u ttle, 1 1 3, 1 1 4 . V v w vi g
e l et l p ea n , ac tu a ro

T ie -u p of p att e rn , 139 22
4 .

T ie- u p o f t ab b y o rn am e n te d web s , V lv w vi g fig d
e et ea n , u re , cu t
,
I 77 y3
t e rr , 20

T ie - u p o f tre adles to b e adles , 94 V lv w vi g pl i

e et
9 ea n , a n, 2 1

T iss u es , n u m ero u s we ft s an d V lv w v i g p d f
e et ea n , s ee o , 2 22
hs u ttle s u s e d in , 2 92 V lv w vi g w igh i g l h
e et ea n , e t n e as es

T iss u e s o f li n e n , c o tto n, wo o l, an d f o r, 3 2 0
sp u n s ilk , 2 96 V ic to ria an d A
lb e rt M u se u m co l
Tis s u e s o f se ve n tee n t an d e ig h h le c tio n o f te tile s, 1 3 3 x
te e n th c e n tu ries , 2 7 7 V icto ria an d lb e rt M us A
To b in e e ff e c ts , 2 2 8, 3 1 8, 3 1 9 x
e am le s o f t is s u e s ,
p 3 10
Tre adles c o n n ec te d wit b e adle s h
h
of arn es s , 1 0 5 Wa ar 88 ,
T re adle s o f lo o m , 93 W rp an d wef t their pro po rtio n
a ,
T re adle s, wo rk in g o f , f o r twill, W rp c o tin g th ads o f 3
a , un re
,

gro u n d, 2 1 3 W rp it p rep r tio n 2 6 8 1

a ,
s a a , ,
T v
re e tte f o r v v
e l e t we a in g, 2 2 4, v Warp jo in in g in
,
a ne w, 1 02

522 Warp Op en in g in 8 1
, ,
T igu rn n o n,
p ro ce s s o f , 6 0, 6 8 7 1 -
Warp p att n er s,

W x
ills, e ten de d, 1 6 9 Warp wh y s o c all d 4
, e , ,

e
h
T wills , rig t an d le f t- an de d, 1 6 7 h Warpin g an c ien t an d
, s im
-
h
T wo arn e s s m e t o d, fin e re su lt s h m et h
32 o d, 2 7 -

o f, 2 o 7 Warpin g b o ard, 2 7—3 2

Ty in g u p h eadles an d tre adles , 1 6 5 Warpin g m ill, Ch apte r , 4 2 , IV .

Watso n , Dr F on . n di
J . I
VA RI EGA T I D web s o f S ido n , 1 4 6 b ro c adin g,
V as e
p ain tin gs o f lo o m s , 2 3 We a e r s b e am , 60
v '

V ate au , 6 1 We a e r s in ge n u it , 2 3 0
v ’
y
V v
e l e t, an c ien t, y
its su pe rio rit , We a e rs, o ld, t e ir c apac i
v h
22
7 Wea in g a m o s t c o m plic ate d
v
V lv pil b b b i f 3
e e t, e o ns o r, 21 82
V lv b
e e t,ll f re as t ro er o r, 2 2 0 We a in g, an c ien t des ign s f o r, 1 3
v
V lv fig d w pi g f 3
e e t, u re ar n o r, 21
33 I

V lv g d will &
e et 9
ro u n , t s, c ., 2 1 W v i g n i m h d f wi d
ea n , a c en t et o o

V lv g d w p f
e et, 3 ro u n ar o r, 2 2 1 20
V lv pil p l i p i i i
e et e or o e, ts o s t on n W vi g b d f
ea
3 6
n
5 , o ar o r, 2 -
2 ,
1 0

l m 9
oo , 21 , 220 W vi g d m k 5 6
ea n , a as 1 , 2 1 0, 2 1
V lv p w l m 7
e et o er- o o , 22 " 3 74
217 21 , 2

V lve d 4
e t ro , 22 . W v i g d v l pm t f
ea n , e e o en o , 2

33 8
We avin g f ac e do wn wards, 304 . W ft
e e ff e ct s, hi
t e r v
ad an tage , In d e x
We av in g f ro m t wo warp s, 2 1 7 2 96
We av in g, im po rt an ce o f , 1 We f t s tripes 1 3 2 ,

We av in g m e n tio n e d b y e ro do tu s, H Wef tin g 8 2 ,

22 We ft ing o f an c ien t textile s 1 34 ,

W vi g m d d v l pm
ea n , o ern e e o e n ts, W ight b o x o f lo o m 91
e
,
21
7 We ighti g hu ttl s 1 1 8
n s e ,

W vi g h d l m
ea n on
5 an6 - oo
, 12 , 12 ,
Win din g q u ills an d plu gs, 1 2 8
7
12 Wo o f als alle d wef t an d sh o t
, o c o ,
W v i g p i m i iv 8 8 5
ea n , r t e, 1 , o r c h u te , 4
W v i g wi h fly h l
ea n t 7 -s u tt e, 12 W00 1 f o r we a vi
n g,
p re paratio n o f,

W v i g w l h gi g 3
ea n oo
3 an n s, 0 0, 01 6, 9
W v i g iv l 3
ea n , un e rs a , W ool h gi g f h vy h h
an n or ea c u rc

W b f E gyp 3
e s o t, 1 1
'
i
cu rt a n ,3 00

W b f S i ily 3 7
e s o c ,
1 Wo o l h gi g g
an d f 3
n s, ro u n s o , 01

Wf l w f h
e t, a so h 4
oo , s u t e, o r s o ot
,
Wo r k h p f
s b m i g 76 78
o or ea n , , ,
Wef t eff e ct des ign s , 79
L o n do n Sc h o o l of W e avin g
S U P P LIES L O OM S ,
S P INNING
WH EELS , an d all Weaving Appliance;
L E S S O N S gi en in S p i n n i n g We a vm g
v , ,

Tap e s t ry Ca rp e t , Ru g, an d L ac e m ak i n g
, ,

an d o rd ers f or all k in ds of h an d

wo v en m a te ri al s p ro m p tl y a n d c are f u ll y
ex e c u te d .

I 3 O ld Cave n dis h S tre et, C ave n dis h S q u are , W . 1

(Off Ox f o rd S tree t, n ear x
O f o rd Ce US )
E S TA B LIS H E D 1 8 98 Te l . : M A Y FA I R 6 5 95

From P ztma fl L if t
’
’
f

E ac h b o ok in cro wn 8v 0 ,
c lo t h , illu s trated . n ot

L IN N F
E ro m th e
. i e ld to th e F CO TT
ON ro m th e Raw M a . F
Fim s h ed Pro du c t B y AL FRE D . teri al to th e Fm i s h e d Pr o du c t .

S M O O RE
. . By R J P E A KE
. . .

WO O L Fro m th e Raw M ateri al

KN ITT E D FA B RI CS By
Fi J O HN
.

to th e ni s h e d Pro du c t By J
.

J A ME S H
A HU NTE R CHA MB E R LA IN an d
. .
.

. .

QU I L ERT
I o
.

S L K Its Pr du c tio n an d M an u
H A T
.

f ac tu re B y L U T HE R O O P E R, C RPE S By RE GINA L D S
Weaver, D es i gner é M an u f actu rer
. . .

. B R NT O NI .

CO R D AG E A ND CO RD AG E HE M P AN D F I B RE S
T W
.

By . O O D HO U S E an d P . K IL G O U R .

S IR I S AA C P I TM A N 69 S O N S , Ltd
°
.

1 A M EN CO RNE R, L O ND O N, EC 4 .