quadgram

This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

quadgram	frequency
is used to designate	32
it will be seen	32
by the courtesy of	31
the surface of the	29
the face of the	29
the courtesy of messrs	28
will be seen that	26
on the right side	25
after leaving the loom	25
the back of the	24
this class of fabric	23
the end of the	22
on the wrong side	21
one or more colours	20
in the same way	19
used to designate a	19
either one or more	18
face of the cloth	18
of the eighteenth century	18
in either one or	18
name is given to	17
the length of the	17
of this class of	17
in the case of	17
cottage and farmhouse furniture	16
surface of the fabric	16
that is to say	16
woven with a plain	15
on the same page	15
the edge of the	15
in the manufacture of	15
on the surface of	15
on the face of	15
the warp and weft	15
this name is given	15
dyed in the piece	15
in regard to the	14
illustrations of ornamentation by	14
of the seventeenth century	14
of warp and weft	13
this term is used	13
term is used to	13
to yards per piece	13
be seen that the	13
in this class of	13
from selvedge to selvedge	13
warp and weft threads	13
is known as a	13
inches in width and	12
it will be observed	12
class of fabric is	12
right side of the	12
the right side of	12
dyed after leaving the	12
back of the fabric	11
the character of the	11
name is used to	11
for the purpose of	11
wrong side of the	11
the middle of the	11
in the form of	11
the width of the	11
the warp and woof	11
the use of the	11
in the collection of	11
with a plain weave	11
by means of a	10
at the same time	10
in the same manner	10
fabric woven with a	10
is used to describe	10
the bottom of the	10
this name is used	10
the top of the	10
surface of the cloth	10
is one of the	10
is said to be	10
inches and in length	10
is given to a	10
the wrong side of	10
a term applied to	10
the size of the	10
the warp threads are	10
the direction of the	10
length from to yards	9
during the process of	9
of the cabriole leg	9
at right angles to	9
by the introduction of	9
face of the fabric	9
it is known as	9
the center of the	9
the days of the	9
the nature of the	9
the fact that the	9
the william and mary	9
the same manner as	9
the evolution of the	9
the distinctive feature of	9
in length from to	9
the beginning of the	8
as in the case	8
of the fabric is	8
to inches and in	8
used in connexion with	8
cotton warp and wool	8
warp and wool weft	8
ornamented by having certain	8
this style of weave	8
what is known as	8
yards in length per	8
to a process whereby	8
in the making of	8
it is used to	8
of the warp threads	8
and in length from	8
width from to inches	8
will be observed that	8
in which the warp	8
on the back of	8
the quality of the	8
by having certain designs	8
on the other hand	8
across the face of	8
simple or complex designs	8
woven as a three	8
designs in either one	8
as shown in the	8
lengthways of the piece	8
in length per piece	8
a process whereby certain	8
is shown in fig	7
the edges of the	7
on account of the	7
care should be taken	7
or complex designs in	7
both sides of the	7
of the windsor chair	7
from to yards per	7
coiled basket with geometric	7
name is applied to	7
to the surface of	7
so as to produce	7
american school of home	7
to be found in	7
warps by wefts per	7
the use of a	7
twill or kindred weave	7
from to inches and	7
in the direction of	7
the body of the	7
of the warp and	7
the same page is	7
william and mary period	7
a great variety of	7
is also known as	7
used to describe a	7
is the result of	7
to yards in length	7
in width from to	7
is woven with a	7
from inches to inches	7
in the united states	7
warp and one weft	7
the work of the	7
cotton fabric woven with	7
school of home economics	7
complex designs in either	7
evolution of the chair	7
silk mixed with other	7
a cotton warp and	7
of the queen anne	7
basket with geometric ornament	7
shown in the illustration	7
certain simple or complex	7
more often than not	7
the warp and the	6
various parts of the	6
by the use of	6
whereby certain simple or	6
it is possible to	6
habits of the people	6
of the sixteenth century	6
by combination of weave	6
the number of yards	6
submitted to a process	6
of silk mixed with	6
more colours have been	6
warps crossed by single	6
both warp and filling	6
oak chest of drawers	6
mixed with other fibres	6
as a distinctive feature	6
a term used to	6
the rest of the	6
this fabric is essentially	6
changing habits of the	6
coloured woollen and worsted	6
has been ornamented by	6
woollen and worsted yarns	6
been ornamented by having	6
right angles to the	6
to the description of	6
to the development of	6
the shape of the	6
figure of a bird	6
at the end of	6
process whereby certain simple	6
it is difficult to	6
firmly woven from hard	6
to the fact that	6
yards to the pound	6
one of the most	6
with the warp threads	6
fourth of an inch	6
colours have been impressed	6
thrown to the surface	6
the lines of the	6
the centre of the	6
inches in length pieces	6
woven with a pile	6
is illustrated on p	6
the bulk of the	6
between the thumb and	6
used to designate the	6
or more colours have	6
as will be seen	6
from left to right	6
into the manufacture of	6
both warp and weft	6
from cotton warp and	6
at the beginning of	6
to inches in length	6
of two or more	6
is apt to be	6
inches to inches in	6
chats on old furniture	6
its name from the	6
one side of the	6
as to produce a	6
parts of the country	6
used in the manufacture	6
in the days of	5
impressed on their surface	5
on both sides of	5
of the use of	5
so as to form	5
in the weaving of	5
the ends of the	5
length pieces from inches	5
descriptions of standard cloth	5
on the same principle	5
pattern produced by interlacing	5
produced by interlacing strands	5
be found in the	5
woven in with the	5
transversely across the face	5
a combination of these	5
to the number of	5
it is found that	5
of the textile art	5
relation to the development	5
may be found in	5
the line of sewing	5
the queen anne period	5
the number of the	5
used to designate an	5
with cotton warp and	5
or kindred weave fabric	5
to inches in width	5
ornamented by the introduction	5
fabric which has been	5
much in the same	5
warp and filling threads	5
fabrics woven with a	5
by the warp and	5
fabric of light weight	5
number of warp and	5
in addition to the	5
is applied to a	5
is shown in the	5
used in the weaving	5
a more or less	5
strands of different colors	5
produced by means of	5
in connexion with weaving	5
is due to the	5
this class of material	5
the same way as	5
running lengthways of the	5
an average width of	5
bottom of the skirt	5
plain or twill weave	5
is used in connexion	5
which have not been	5
of the days of	5
may be said to	5
in the textile art	5
fabric is essentially a	5
textiles and clothing part	5
the survival of the	5
it is woven from	5
would be known as	5
or a combination of	5
it is a good	5
under one and over	5
to designate an all	5
with the exception of	5
side of the garment	5
by interlacing strands of	5
a fabric which is	5
text is denoted by	5
may be used for	5
style of weave is	5
this class of furniture	5
pieces from inches to	5
in the first place	5
is a good plan	5
outline of the design	5
from right to left	5
is known as the	5
a certain amount of	5
the order of intersection	5
a plain weave and	5
the process of weaving	5
for the trade of	5
been submitted to a	5
running transversely across the	5
it will be found	5
back of the cloth	5
the two examples illustrated	5
on cottage and farmhouse	5
across the width of	5
either by means of	5
in length pieces from	5
the trade of china	5
which has not been	5
of the northwest coast	5
term used to designate	5
and the number of	5
as shown in fig	5
of form and ornament	5
from to yards in	5
should be used for	5
in such a way	5
be described as a	5
sides of the fabric	5
free from any ornamentation	5
in connection with the	5
is also applied to	5
the days of charles	5
in various parts of	5
interlacing strands of different	5
of the cloth and	5
the better qualities of	5
over one and under	5
by wefts per inch	5
in the middle of	5
of the nineteenth century	5
have been impressed on	5
it is obvious that	5
and is used for	5
woven with a cotton	5
at the waist line	5
used with reference to	5
the form of a	5
of the weft threads	5
in the process of	5
illustrated on the same	5
with a view to	4
it is impossible to	4
the warp and filling	4
be taken not to	4
upon the surface of	4
a plain or twill	4
fabric woven as a	4
yarn used in the	4
takes the form of	4
the loose bits of	4
dresser and clock combined	4
the weft or filling	4
came into general use	4
under the name of	4
is based on the	4
the eye of the	4
the right side and	4
weight and thickness of	4
loose bits of cut	4
and yards in length	4
also known as a	4
with a cotton warp	4
as having a cotton	4
dyed in the grey	4
name given to a	4
in its loom state	4
the line of the	4
that they may be	4
coloured after leaving the	4
unclassed native cotton cloth	4
the result of the	4
styles contemporary with the	4
will be found that	4
which the cloth is	4
to hosiery or underwear	4
of a number of	4
woven from dyed yarns	4
from the fact that	4
companion volume to chats	4
dyed in the yarn	4
victoria and albert museum	4
william and mary style	4
the wrong side and	4
the yarn used in	4
varies in width from	4
the weft threads are	4
in the art of	4
it is taken from	4
dyed prior to weaving	4
woven from coarse yarns	4
may be distinguished from	4
chats on english china	4
a bird woven in	4
coiled tray with geometric	4
of both warp and	4
be known as a	4
is given to an	4
the changing habits of	4
subjected to a process	4
this figure illustrates a	4
it always signifies the	4
rep or rib running	4
woollen and cotton flannel	4
cotton warp and woollen	4
is called a pick	4
of the same material	4
fabrics which are woven	4
shorter than that of	4
side of the material	4
chippendale style windsor chairs	4
probably modified by ideographic	4
a line with the	4
a wide range of	4
it will be necessary	4
the upper part of	4
the value of the	4
the seams should be	4
medium and heavy weight	4
been dyed in the	4
on the warp threads	4
having a cotton back	4
direction of the warp	4
woven on the same	4
with a uniform colour	4
running from selvedge to	4
tray with geometric ornament	4
the outside of the	4
threads on the surface	4
at the ends of	4
the same principle as	4
other branches of art	4
more fully described under	4
impregnated with a uniform	4
are to be found	4
be said to be	4
of a high order	4
the queen anne splat	4
is taken from the	4
the hooks and eyes	4
it is woven in	4
produced either by means	4
in the majority of	4
the life of the	4
as the name shows	4
the pima indians of	4
the great variety of	4
to the use of	4
same manner as the	4
a uniform colour over	4
of wool and cotton	4
be used for a	4
quarter of the eighteenth	4
stitch is made by	4
should be considered as	4
waste and condenser wefts	4
from to ounces per	4
as well as for	4
upper part of the	4
having certain designs or	4
pattern or outline of	4
thickness of woollen cloths	4
the slow assimilation of	4
is made up of	4
art in its relation	4
designs or patterns impressed	4
of the design impressed	4
volume to chats on	4
care must be taken	4
far removed from the	4
warp and woollen weft	4
the point of the	4
be considered as having	4
for the use of	4
the development of form	4
pima indians of arizona	4
in imitation of the	4
queen anne cabriole leg	4
and william and mary	4
is found in the	4
point of the needle	4
must be remembered that	4
if the material is	4
in the fact that	4
general in its use	4
development of form and	4
on one or both	4
the description of a	4
a good plan to	4
of william and mary	4
modified by ideographic association	4
this fabric is described	4
the action of the	4
will be found a	4
the northwest coast indians	4
with a pile weave	4
considered as having a	4
is also called a	4
a great deal of	4
having the pattern or	4
or outline of the	4
thread should be used	4
the bottom of a	4
of the time of	4
i have already shown	4
at an angle of	4
has been coloured after	4
it is probable that	4
of the textile system	4
at the bottom of	4
has not the same	4
the conservation of old	4
body of the fabric	4
and at the same	4
this class of yarn	4
when a fabric is	4
in the open air	4
to a great extent	4
old cottages and farmhouses	4
warp and weft intersections	4
part of the design	4
means of extra threads	4
contemporary with the cane	4
which has been ornamented	4
the whole of the	4
the term is used	4
chats on cottage and	4
as a textile term	4
on one side only	4
the warp threads of	4
it was not until	4
in which they are	4
woven from coloured yarns	4
would be an all	4
certain designs or patterns	4
to the best advantage	4
the name given to	4
by wefts per in	4
being a dyed fabric	4
the stitches should be	4
or by having the	4
having the warp and	4
it must be remembered	4
textile art in its	4
to the class of	4
as a general rule	4
the art of the	4
the indians of the	4
market descriptions of standard	4
parallel to each other	4
which have been piece	4
of which it is	4
jacobean chest of drawers	4
been coloured after leaving	4
picks to the inch	4
by having the pattern	4
one or both sides	4
with a piece of	4
the revised import tariff	4
by means of extra	4
solution of caustic soda	4
the victoria and albert	4
the study of the	4
the pattern or outline	4
in its relation to	4
esthetic attributes of form	4
eighth of an inch	4
cotton warp and a	4
should never be used	4
farmhouse styles contemporary with	4
width of the fabric	4
herring bone and checker	4
and thickness of woollen	4
is used in the	4
woven on a hand	4
in the centre of	4
the age of machinery	4
a dress fabric of	4
the count of the	4
applied to hosiery or	4
its relation to the	4
be dyed in the	4
the form of the	4
in date this is	4
a silk fabric having	4
on a hand loom	4
the american school of	4
of the nature of	4
a cotton back unless	4
in the way of	4
william and mary gate	4
warp or weft threads	4
so that they may	4
the manner in which	4
is used for the	4
given to an all	4
with sunk panels and	4
of the same color	4
of the fabric in	4
the same number of	4
dyed real turkey reds	4
chippendale and his contemporaries	4
with a running stitch	4
generally woven as a	4
of the fabric and	4
is given to the	4
woven with a warp	4
made by a local	3
may be a double	3
is shown by the	3
by the addition of	3
with reference to textiles	3
color in textile art	3
that the fabric is	3
when this old cap	3
as the most beautiful	3
name is said to	3
of walnut on cabinet	3
at the back of	3
called queen anne style	3
iv the farmhouse dresser	3
the entire length of	3
and it is not	3
to designate a fine	3
it is one of	3
of the late stuarts	3
of the fabric are	3
bone and checker patterns	3
their respective positions each	3
fabric is an all	3
an angle of degrees	3
the time of james	3
so as to prevent	3
is an illustration of	3
of an inch in	3
unique dresser and clock	3
weft intersections traversing one	3
and one pick further	3
of a bird woven	3
such a fabric is	3
to a high degree	3
value during the years	3
solution made by dissolving	3
the details of the	3
unless it is definitely	3
chapter iv the farmhouse	3
a uniform or even	3
the stitches may be	3
the textile art is	3
either a plain or	3
the fullness made by	3
a study of the	3
of the cloth from	3
cotton fabric woven as	3
and weft intersections traversing	3
the surface consists of	3
for the manufacture of	3
distinctive feature of which	3
one pick further from	3
in the opposite direction	3
is that the surface	3
of the skirt may	3
is a bleached material	3
warp threads of the	3
it is applied to	3
predominant feature a rep	3
in width and yards	3
the many varieties of	3
is a cotton fabric	3
end of the century	3
this kind of fabric	3
reflecting light to the	3
which the warp and	3
may be combined with	3
used to describe the	3
the fabric in either	3
the decorated type with	3
of dyed plain cottons	3
that a silk velvet	3
have given rise to	3
generally put up in	3
in the reign of	3
being thus thrown to	3
shows on its face	3
william and mary forms	3
a piece of cloth	3
the material is a	3
tells its own story	3
in front of the	3
surface in either one	3
each side of the	3
an imitation of the	3
two or more of	3
to the end of	3
part cotton that a	3
warp and weft approximately	3
the filling or weft	3
xi old english chintzes	3
days of the late	3
mary and queen anne	3
an illustration of a	3
the line of stitching	3
is definitely stated that	3
is a term used	3
surface effect produced by	3
articles of everyday use	3
been impressed on their	3
from a wool weft	3
bristles in a brush	3
extra warp or weft	3
further from their respective	3
to say nothing of	3
have been reduced to	3
are dyed in the	3
filling or weft threads	3
and the tendencies of	3
varies from to inches	3
sweden and in denmark	3
the thickness of the	3
takes its name from	3
can be recognised by	3
made in imitation of	3
silk warp and a	3
is a dyed fabric	3
a few of the	3
a smooth glazed surface	3
the period of louis	3
are given in figs	3
obtained from the apache	3
chapter ix local types	3
and mary style with	3
be done on the	3
if it does not	3
in accordance with the	3
the fact that they	3
at the top of	3
warp and weft are	3
form in textile art	3
into the eighteenth century	3
finished with a smooth	3
is small in size	3
protestant bible in every	3
cotton fabric woven from	3
the under side of	3
the variety of carving	3
added to the collection	3
to this class of	3
in the better grades	3
it is easy to	3
fabric of plain weave	3
of from to yards	3
is derived from the	3
of the foundation fabric	3
have been submitted to	3
the number of threads	3
of woolen and worsted	3
find it difficult to	3
thread is called a	3
the same is true	3
the warp or the	3
when exposed to the	3
culture of hemp and	3
it varies in width	3
side of the opening	3
for boots and shoes	3
or combination of weaves	3
bird woven in a	3
the necropolis of ancon	3
the one on the	3
into the fabric by	3
on the other side	3
weave it is known	3
the name of the	3
its adoption in modern	3
typical jacobean oak chair	3
which has been coloured	3
it is desired to	3
import tariff for the	3
the pattern has been	3
the aid of a	3
applied to a cotton	3
of light weight and	3
the beauty of the	3
the protestant bible in	3
this old cap was	3
revised import tariff for	3
the class of furniture	3
and for this reason	3
to the thickness of	3
intersections traversing one thread	3
by a series of	3
and picks to the	3
to the action of	3
be basted on the	3
and the back of	3
interest to the collector	3
of carving found in	3
cotton that a silk	3
as much as half	3
similar to that of	3
of the period of	3
a fabric having a	3
distance from the top	3
effect is produced by	3
of the art and	3
at a later date	3
of old farmhouse furniture	3
there may be a	3
the typical jacobean oak	3
thread and one pick	3
produce a ribbed appearance	3
work of the northwest	3
the surface of a	3
in the nineteenth century	3
walnut and mahogany varieties	3
is such that the	3
floral or geometrical designs	3
is by no means	3
cloth woven with a	3
is free from any	3
a portion of the	3
back and its development	3
quality of the wool	3
the name is applied	3
it is true that	3
with a plain one	3
fabric firmly woven from	3
is not to be	3
capable of reflecting light	3
the penn wampum belt	3
required to weigh pound	3
to the back of	3
which shows on its	3
more correct designation would	3
coming under this heading	3
a line of basting	3
in addition to this	3
bible in every home	3
see coloured woollen and	3
that on the left	3
with an average width	3
garment is to be	3
oak general in its	3
the pile and the	3
the design should be	3
is the most common	3
by the aid of	3
known under the name	3
used for the filling	3
is to be done	3
appear to have been	3
a cotton fabric of	3
features of the art	3
mary style with double	3
one and over eight	3
should be kept in	3
the textile system of	3
last quarter of the	3
the web and woof	3
the general appearance of	3
cotton fabrics which have	3
the earliest form of	3
light weight and soft	3
as well as to	3
is the stronger and	3
of the thread and	3
as early as the	3
some of the most	3
the oncoming of the	3
used in conjunction with	3
this makes a strong	3
back stitch is made	3
as it is a	3
the line to be	3
respective positions each time	3
cotton fabrics woven with	3
are said to be	3
and inches in width	3
the process of spinning	3
the ground cloth structure	3
of the style of	3
in the seventeenth century	3
errors have been corrected	3
correct designation would be	3
vary in width from	3
the result of printing	3
the piece or piece	3
are woven with a	3
the wool and cotton	3
chapter v the bible	3
of oak in the	3
which the filling thread	3
of old cottages and	3
of the front gore	3
the goods should be	3
and farmhouse furniture is	3
cloths in which the	3
from generation to generation	3
answer to the description	3
positions each time a	3
as it is called	3
may be used to	3
will be seen by	3
term is used in	3
side of the skirt	3
survival of the windsor	3
feature of which is	3
fabrics coming under this	3
first half of the	3
by means of the	3
the advent of the	3
the stick legs without	3
of the village cabinet	3
uniform or even surface	3
from the body of	3
a predominant feature a	3
that it is a	3
the top and bottom	3
the chinese maritime customs	3
in this type of	3
be used for the	3
weave fabric woven from	3
the thumb and fingers	3
or other vegetable fibre	3
of the charles ii	3
lancashire queen anne settle	3
bottom edge of the	3
to be found on	3
we illustrate a sufficient	3
good and faulty ornamentation	3
eighteenth and early nineteenth	3
farmhouse and cottage furniture	3
it is of the	3
appearing on the surface	3
so generally part cotton	3
each time a pick	3
in the development of	3
stick legs without stretcher	3
is a good example	3
light to the best	3
it is not to	3
be sure that the	3
largely into the manufacture	3
by this style of	3
it is a dyed	3
with a smooth glazed	3
over two and under	3
parts of the world	3
five threads and picks	3
the queen anne cabriole	3
dyed a bright vermilion	3
a warp sateen weave	3
approximately equal in number	3
are the result of	3
which they are made	3
turned legs and uprights	3
definitely stated that it	3
as in a buttonhole	3
which is used for	3
in open twined combination	3
either plain or twill	3
dyed imitation turkey reds	3
the front of the	3
the effect of the	3
that the surface consists	3
with the rest of	3
up an exhibit of	3
is to be made	3
generally dyed in bright	3
always to be found	3
the two tables illustrated	3
weave fabric firmly woven	3
a sufficient number of	3
running and back stitch	3
of the hem is	3
the pattern on the	3
to the surface and	3
threads are made to	3
oak the chief wood	3
as well as a	3
fabric is spoken of	3
known in the trade	3
when used with reference	3
that in which the	3
vii the evolution of	3
waist is to be	3
the warp of the	3
slow assimilation of foreign	3
should always be done	3
a survival of the	3
to the middle of	3
american school of correspondence	3
within a range of	3
this style of weaving	3
as to form a	3
met with in the	3
side of the center	3
stated that it is	3
and size of the	3
its utility and beauty	3
is the work of	3
threads to the inch	3
is the most important	3
this fabric is a	3
the early days of	3
from the mark t	3
transition between jacobean and	3
one and under two	3
the threads in the	3
chest with drawers underneath	3
farmhouse furniture may be	3
combination of these weaves	3
in a similar way	3
colour over its whole	3
or rib running transversely	3
weight and soft finish	3
the lining should be	3
the name is also	3
in a more or	3
pile can be recognised	3
such a way that	3
the nineteenth century we	3
length of the cloth	3
which may have been	3
it is advisable to	3
process whereby certain designs	3
a piece of the	3
has been dyed in	3
as a result of	3
known as a printed	3
in the hands of	3
of reflecting light to	3
fabric is described under	3
derives its name from	3
the threads of the	3
through a series of	3
used in the making	3
this is done to	3
test questions on part	3
to the right and	3
it is also used	3
illustrate a sufficient number	3
velvets are so generally	3
in the history of	3
and is applied to	3
can be described as	3
are so generally part	3
and length of the	3
be observed that this	3
that the gate table	3
figures from a peruvian	3
entire length of the	3
the authorised version of	3
that it is silk	3
chapter iii the gate	3
dyed in bright colours	3
made to bend round	3
is identical with the	3
of the fabric by	3
is that in the	3
is often of a	3
of as much as	3
length of the pile	3
the finish of the	3
chapter viii the windsor	3
a wool weft and	3
may be produced by	3
woven with a twill	3
in which the design	3
as a matter of	3
woven with cotton warp	3
and mary and queen	3
an inch below the	3
warp pairs by wefts	3
i am indebted for	3
or any of the	3
so that it may	3
cotton twill or kindred	3
met with in a	3
and that it is	3
the number of such	3
generally part cotton that	3
in other classes of	3
is the name given	3
threads are on the	3
that it may be	3
ends and picks to	3
equal in number of	3
irrespective of whether the	3
in the piece or	3
see waste and flocks	3
in those days was	3
by means of which	3
combination of weave or	3
of the sleeve and	3
the cloth is dyed	3
are always to be	3
bulk of the fabric	3
the thread should be	3
interlaced style of weaving	3
does not fulfil the	3
stitched on the machine	3
the warp threads and	3
run in the same	3
as a predominant feature	3
woven so as to	3
of textile ornament to	3
as half an inch	3
so that it is	3
over and over stitch	3
warp and the woof	3
as in the preceding	3
warp and a wool	3
feature a rep or	3
if the skirt is	3
the appearance of the	3
specimens inches to inches	3
a somewhat hard handle	3
end of the seventeenth	3
warp and woof threads	3
is based upon the	3
of threads and counts	3
owing to the thickness	3
warp and silk filling	3
above and below the	3
in such a manner	3
in which the weft	3
under the classification of	3
has had its surface	3
prior to being spun	3
this is due to	3
years of the eighteenth	3
is wound on the	3
different colour to the	3
finely turned legs and	3
enters largely into the	3
number of weft picks	3
in sweden and in	3
of the threads in	3
printed on the cloth	3
it is similar to	3
on the outside of	3
the same value as	3
the cloth is made	3
in the eighteenth century	3
is similar to that	3
warp and grey weft	3
that the fabric has	3
fabric in either one	3
it is extensively used	3
eye of the needle	3
woven in the same	3
weft or filling threads	3
threads and picks system	3
chapter x miscellaneous ironwork	3
jacobean and william and	3
with the use of	3
can be used for	3
at the time of	3
fact that they are	3
the hair of the	3
the late seventeenth century	3
one of the many	3
the yarn or cloth	3
should be made at	3
a high degree of	3
been imitated in cotton	3
to designate a plain	3
the process of bleaching	3
quarter of an inch	3
count of the yarn	3
assimilation of foreign styles	3
independence of country furniture	3
the influence of walnut	3
threads sheared off smooth	3
oak in the provinces	3
form a uniform or	3
there are two distinct	3
a quarter of a	3
chapter xi old english	3
collar or neck band	3
of the skirt and	3
on a line with	3
same page is illustrated	3
it is to be	3
the chief wood employed	3
standing closely together like	3
which have been submitted	3
the introduction of a	3
than that of plush	3
the first half of	3
decorated type with shelves	3
name is also applied	3
the warp threads which	3
the department of agriculture	3
cotton back unless it	3
plain or twill woven	3
the process of manufacture	3
the last quarter of	3
adoption in modern days	3
it is definitely stated	3
is made by taking	3
have the loose bits	3
chapter vii the evolution	3
the sleeve over the	3
its establishment as a	3
side of the seam	3
from the pima indians	3
of hemp and jute	3
to the bottom of	3
known as a florentine	3
they are known as	3
the distance from the	3
in the distributing trade	3
dressmaking up to date	3
over its whole surface	3
is well shown in	3
one of which is	3
the most beautiful of	3
of the american school	3
or to the grouping	3
one thread and one	3
were added to the	3
the object aimed at	3
made to imitate the	3
average width of inches	3
back unless it is	3
say nothing of the	3
been subjected to a	3
woven as a four	3
to ounces per yard	3
the part of the	3
under the point of	3
which are afterwards cut	3
the bottom edge of	3
the result of a	3
two examples are illustrated	3
woven from cotton warp	3
is made to pass	3
is seen in the	3
variety of carving found	3
a length of to	3
should match the material	3
found their way into	3
with a bar tack	3
bits of cut pile	3
side of the sleeve	3
by passing the fabric	3
width of inches and	3
as threads sheared off	3
in number of threads	3
of the chincha cloths	3
the purpose of ornamentation	3
is denoted by underscores	3
to the william and	3
evolution of the stretcher	3
warp yarn is often	3
uppers for boots and	3
is an important factor	3
made of all cotton	3
from their respective positions	3
it is not the	3
the remainder of the	3
is essentially a plain	3
number of warp threads	3
on account of their	3
in this group are	3
the early years of	3
early years of the	3
is also used to	3
pick further from their	3
fold of the goods	3
the sides of the	3
had its surface ornamented	3
authorised version of the	3
two or more different	3
survival of the queen	3
design printed on the	3
may be divided into	3
for the benefit of	3
tariff for the trade	3
thus thrown to the	3
flannel seams and hems	3
much as half an	3
inches to inches specimens	3
two distinct varieties of	3
in the revised import	3
would appear to be	3
the style of finish	3
a rep or rib	3
survival of oak in	3
of the goods is	3
days of charles i	3
carving found in bible	3
kindred weave fabric firmly	3
uniform colour over its	3
either the warp or	3
the two or more	3
isle of man tables	3
be seen from the	3
rib running transversely across	3
the survival of oak	3
this should always be	3
warp and worsted weft	3
by courtesy of messrs	3
sign your full name	3
the fabric has been	3
number of threads and	3
the warp yarn is	3
that used for the	3
traversing one thread and	3
of the ancient peruvians	3
an inch from the	3
cotton warp and silk	3
old cap was new	3
two or more colours	3
influence of walnut on	3
most often met with	3
a number of times	3
is finer than a	3
fullness made by turning	3
plain twill or kindred	3
is the product of	3
this class of goods	3
be seen that there	3
a plain twill or	3
printed on one side	3
to bend round them	3
it is used for	3
and it will be	3
the general tariff of	3
chemical process during finishing	3
to form a uniform	3
william and mary and	3
two warp and one	3
is spoken of as	3
viii the windsor chair	3
may be termed a	3
for seed and fiber	3
between jacobean and william	3
width and yards in	3
from which it is	3
fabrics which have as	3
see cotton yarn measures	3
and grace of the	3
either plain or twilled	3
impressed on the surface	3
of uppers for boots	3
at the bottom and	3
italic text is denoted	3
in the grey or	3
yarn is often of	3
sturdy independence of country	3
used to denote the	3
that it has not	3
with the growth of	3
produced by combination of	3
the total number of	3
woven from a wool	3
cloth which has been	3
which are composed of	3
surface weave in which	3
the product of the	3
this name is applied	3
high degree of perfection	3
are made to bend	3
should be basted on	3
it is silk backed	3
date this is about	3
style with double cupboards	3
the early eighteenth century	3
in the production of	3
silk fabric having a	2
upon the surfaces of	2
test questions the following	2
of stitching across the	2
enough has been said	2
special process of finishing	2
well stretched over the	2
two or more single	2
the study of old	2
the first straight top	2
of the material by	2
portion of the dresser	2
the waist is to	2
fabric was produced in	2
be met with in	2
acted upon by the	2
all cotton fabrics woven	2
the use of this	2
predominates on the surface	2
end warp sateen weave	2
near as possible the	2
emphasize and fix in	2
is technically known as	2
fibres which have previously	2
the days of james	2
that the loose bits	2
with reference to the	2
sorts of callicoes lineings	2
the history of the	2
as the name of	2
and one capable of	2
is to be cut	2
of a piece of	2
back chair and the	2
completed with a bar	2
the latter class of	2
and belongs to the	2
color upon a woven	2
but with the warp	2
most necessary and constant	2
test for mercerised cotton	2
either by combination of	2
combining two or more	2
after the lining is	2
order to preserve the	2
william and mary styles	2
may be recognised by	2
the old jacobean form	2
and many of these	2
is illustrated in fig	2
the fabric by the	2
table form with drawers	2
is used for weft	2
seems to have fallen	2
with finely turned legs	2
cloth coming from the	2
while each filling or	2
of threads or fibres	2
may be lengthened by	2
basting is used for	2
tariff of for the	2
form of the chest	2
earliest form of the	2
and hence it is	2
each weft thread passing	2
edge of the skirt	2
should be sent to	2
of old farmhouses with	2
leg table in the	2
the publication of the	2
in the execution of	2
plush should be considered	2
establishment as a permanent	2
weft threads to the	2
mode of interlacing the	2
school of domestic science	2
aimed at being an	2
set up with single	2
its obliteration in the	2
of to yards per	2
obtained from an ancient	2
which the yarn is	2
a fabric woven with	2
not be taken out	2
woven on hand looms	2
equal the number of	2
was the golden age	2
in the line of	2
the manufacture of uppers	2
and closeness of pile	2
that the idea of	2
of inches and averaging	2
reign of queen anne	2
the fabric has a	2
are incomplete as to	2
the edge and stitch	2
crossed by paired wefts	2
of the material being	2
it will be noticed	2
that true nankeen is	2
cotton warp and mohair	2
the three legs are	2
farmhouse dresser the days	2
a fine grade of	2
to inches specimens inches	2
any of the many	2
bias strip of canvas	2
running in the direction	2
and mary gate table	2
and the name is	2
of a certain type	2
any special process of	2
the chest of drawers	2
the age of walnut	2
are on the face	2
but in such a	2
finish on the face	2
material is also called	2
weave or a combination	2
to that of a	2
they should be used	2
the fabric once woven	2
it is generally used	2
thread of the goods	2
the fabric which is	2
then it will be	2
primarily dependent upon the	2
on the skirt and	2
is used to produce	2
english chintzes by hugh	2
and the pile of	2
the decoration of fabrics	2
silk the silk fiber	2
and the design is	2
textiles in chincha plain	2
a dividing line between	2
a silk plush should	2
the more correct designation	2
the purpose for which	2
united states of america	2
taken off the loom	2
textile ornament to other	2
has the warp on	2
days in old new	2
a distinctive feature a	2
destroying the rhythm and	2
of collars and cuffs	2
cut to a thread	2
copied from a fine	2
both back and front	2
out through the back	2
folding a wide hem	2
weave is sometimes called	2
been impressed on its	2
the unevenness of the	2
figures from the penn	2
weave is adopted as	2
cotton fabric having the	2
in the matter of	2
textures of fine fabrics	2
warps do not interweave	2
are generally packed in	2
weave cloths by l	2
fabrics of good quality	2
not show on the	2
fabric is of a	2
years of the century	2
the men of the	2
of the transfer of	2
woven woollen fabric of	2
relations of form to	2
in the better houses	2
typographical errors and punctuation	2
generic term applied to	2
for their object the	2
is a figured fabric	2
and over stitch and	2
specially constructed to a	2
both hands free to	2
printer in hounsditch prints	2
a feature only found	2
in the example given	2
seventeenth or early eighteenth	2
the velveteen should be	2
handed down from generation	2
of the chinese maritime	2
each side of this	2
to the surfaces of	2
relation to the length	2
each filling or weft	2
the dresser in its	2
had they not been	2
designation would be either	2
may be run through	2
is governed by the	2
and free from lint	2
effect produced by impacting	2
been applied to the	2
whilst being partly of	2
have run in the	2
following questions constitute the	2
work is executed in	2
upper edge of the	2
fabric in which the	2
and the other the	2
lecturer university of chicago	2
cut in the direction	2
queen anne bureau bookcase	2
and therefore stronger in	2
a fabric that is	2
are likely to be	2
result is obtained by	2
the back of another	2
is impossible to make	2
example of ball turning	2
in which this is	2
to examine briefly the	2
classes of goods known	2
appearing on the face	2
the age of factory	2
woolen and worsted fabrics	2
the garment has been	2
fastened in the same	2
of the chincha plain	2
of the total number	2
warp threads do not	2
may be covered with	2
other conditions being equal	2
and heavily sized yarns	2
dimensions of the chincha	2
destroying the common twilled	2
the most difficult to	2
inches wide and yards	2
the rhythm and grace	2
be the result of	2
ordinary grey or white	2
table with double gates	2
to have fallen into	2
one of them shown	2
part it takes in	2
is always a sign	2
the single warp unit	2
number of yards required	2
where both sides of	2
at the commencement of	2
to establish dates to	2
be cut off when	2
the oak forests of	2
revolving cylinder on which	2
yarn of the filling	2
use of the cabriole	2
with other occurrences within	2
a species of goat	2
tray with geometric devices	2
counts of spun silk	2
is denoted by equal	2
having thick raised cords	2
more a class of	2
rollers through which the	2
in france and was	2
dwelt at sufficient length	2
which the design has	2
threads of each kind	2
a series of hooks	2
one over the other	2
in the trade by	2
no such dividing line	2
is not an addition	2
one capable of reflecting	2
be observed that the	2
as indicated by diagonal	2
this figure illustrates the	2
cotton warp and lustre	2
of the mound builders	2
the length of thread	2
threads appear on the	2
this class of cloth	2
to the character of	2
la toile de nanking	2
farmhouses with their furniture	2
often met with woven	2
are generally used in	2
cotton pile fabric which	2
be begun at the	2
of any material other	2
the oak as a	2
and beauty contribute to	2
of finishing and those	2
apparatus for automatically selecting	2
the buttonhole will be	2
points and so destroying	2
century styles the advent	2
the distaff and spindle	2
which is an apparatus	2
be made on the	2
do not interweave at	2
should be opened and	2
a similar fabric were	2
beginning of the nineteenth	2
in the basketry of	2
end and one side	2
the memory the most	2
a cloth made from	2
the skirt and waist	2
stamped or cut out	2
are twisted together they	2
of old english chintz	2
fabrics produced by means	2
cord drawn through the	2
substances that are impervious	2
the thread under the	2
similar in construction of	2
not confined to the	2
in relation to the	2
two distinct systems of	2
any material other than	2
queen anne flap tables	2
need not be as	2
width of as much	2
practically the same as	2
woven webs of two	2
tell their own story	2
class of underwear is	2
the first of which	2
effectually and completely hidden	2
in bright colours and	2
described in the text	2
blunt or bent needle	2
a result of the	2
old english chintzes by	2
should be done on	2
note italic text is	2
the form of stripes	2
it is a remarkable	2
tipped with bits of	2
gauze weave and net	2
in hounsditch prints all	2
may be removed by	2
the edge as well	2
in many cases the	2
the piece goods trade	2
of the weft or	2
the best quality of	2
weave fabrics which do	2
classification of dyed plain	2
there was quite an	2
imposed upon adopted elements	2
to england by the	2
which is that the	2
table with rare x	2
flax for seed and	2
brass dial of thirty	2
as that illustrated p	2
of jean most often	2
that this class of	2
towards the end of	2
having certain designs impressed	2
cotton cloth coarser than	2
the sailing of the	2
table on the same	2
to the purpose to	2
often used for printing	2
same author chats on	2
worsted or cotton warp	2
was in the main	2
separated from the body	2
been corrected after careful	2
the framing of the	2
it is free of	2
in their loom state	2
the threads at right	2
silk plush should be	2
the textiles of to	2
giving a rib effect	2
of the outside and	2
chapter i introductory note	2
it into a full	2
survived well into the	2
size of the thread	2
been ornamented by the	2
warps is broken by	2
unchanged in the printed	2
applied to a fabric	2
of the cloth or	2
in the presence of	2
from the top and	2
and to yards in	2
are woven in the	2
or more of the	2
stitched on to the	2
the farmhouse and the	2
are to a great	2
upon its surface in	2
and those which have	2
for darning should be	2
field impressed with repetitions	2
the regular members of	2
character of the work	2
and weft approximately equal	2
have not been subjected	2
is an apparatus for	2
at ye sighn of	2
should be taken to	2
surface effect obtained by	2
nineteenth century we find	2
furniture may be said	2
is a somewhat lustrous	2
the natural weight of	2
dividing the number of	2
its surface ornamented with	2
the correction and comment	2
the hem is turned	2
stitch and placing the	2
with small steel hooks	2
a style of weave	2
designate practically any cotton	2
lengthways the fabric is	2
is essentially an all	2
with woven entirely from	2
dyed fabrics by unravelling	2
period of james ii	2
threads pass over one	2
the field impressed with	2
it is a somewhat	2
united states government publication	2
at one side of	2
having decided esthetic attributes	2
nap on one or	2
of an inch below	2
only one of the	2
not interfere with the	2
figures from a california	2
is adopted as in	2
is of the same	2
cottages and farmhouses in	2
weaving all the warp	2
crushing of the pile	2
or wrong side of	2
applied to linen fabrics	2
just enough to hold	2
in the study of	2
which are woven in	2
the chair early days	2
the purl on the	2
white figures on a	2
which have been either	2
removal of the seed	2
extra threads or by	2
which the regular members	2
found in the same	2
on their surface in	2
fuller than the outside	2
along the warp threads	2
having as a distinctive	2
it must be admitted	2
the part it takes	2
and wool scribbled together	2
than the filling threads	2
of other varieties of	2
a case in point	2
in part composed of	2
all seams should be	2
fabric which shows on	2
pairs by wefts per	2
with designs showing various	2
be stitched on the	2
should be taken not	2
of pairs of warps	2
a careful examination of	2
also called a pick	2
the name is now	2
there is nothing finicking	2
a generic term applied	2
fifths of the weft	2
trestle ends still retained	2
basket obtained from the	2
a development of the	2
is never found in	2
quality of the fibers	2
a fine cotton fabric	2
an over and over	2
patterns impressed upon its	2
when used as a	2
to a special chemical	2
having a satin finish	2
is much the same	2
of figuring is not	2
has survived till to	2
to bear great strain	2
of the angora goat	2
enhance the value of	2
retting in stagnant water	2
referred to as woollen	2
under two of the	2
closely woven silk having	2
wool are referred to	2
to the quality of	2
cords at close intervals	2
pile fabric which has	2
answers to test questions	2
shade of the same	2
or twill weave or	2
but it must be	2
in the right place	2
it is clearly stipulated	2
the collection of mrs	2
a schreiner finish is	2
finished to imitate silk	2
or patterns impressed on	2
the puritan days of	2
get up an exhibit	2
said to have been	2
in the main the	2
presence of coloured yarns	2
surface consists of threads	2
of the country from	2
known by the name	2
in the unbleached state	2
a yarn which is	2
same side of the	2
rib and basket weaves	2
width it varies from	2
single and twin warps	2
hold the material by	2
a fine queen anne	2
and the woof threads	2
greyish or blue colour	2
case with warp piles	2
nothing better can be	2
falling under the category	2
the pile of the	2
has not been bleached	2
has the same value	2
and which have been	2
the queen anne type	2
esthetic features of form	2
various phases of the	2
of them shown in	2
a fine series of	2
to obtain white figures	2
not less than stated	2
which is made to	2
quarter of a century	2
the chain stitch is	2
careful comparison with other	2
or face of the	2
important part of the	2
is never sold as	2
turned legs and stretcher	2
have been ornamented by	2
to the quarter inch	2
edge of the material	2
days of charles ii	2
has much to do	2
to the presence of	2
the same way or	2
freedom from foreign influences	2
in any modern book	2
as we have shown	2
a class of goods	2
made entirely of cotton	2
in the works of	2
of coloured warp and	2
it is small in	2
consists of one warp	2
this class of chair	2
be found a description	2
which it was designed	2
hounsditch prints all sorts	2
or has not been	2
a name given to	2
from a fine queen	2
is usually done with	2
and ash used in	2
up with single warps	2
yarn is produced by	2
yarns of good quality	2
from side to side	2
impacting the horizontal or	2
of the warp coil	2
loosely or float underneath	2
placing the needle half	2
a cotton fabric woven	2
met with are cotton	2
bias facing of silk	2
the fabric is of	2
described as a fine	2
of silk warp and	2
the fact that it	2
of the same count	2
of new england by	2
than wool are referred	2
selecting warp threads and	2
home and school sewing	2
resists the action of	2
will be necessary to	2
the fabric is known	2
practical sanitary and economic	2
hem down the front	2
the year to the	2
stampe living at ye	2
also to be found	2
vary in weight from	2
thus giving a rib	2
warp unit interlaces with	2
with the ribs running	2
the yarn of the	2
was followed by the	2
woven silk having a	2
class of cloth is	2
to other forms of	2
is taken from an	2
angola yarn or wool	2
the grandeur of the	2
with two or three	2
of a different thickness	2
the same way year	2
gates on one stretcher	2
if the goods is	2
with the view of	2
material firmly woven from	2
employed in construction are	2
the web and the	2
to the width of	2
fabrics specially constructed to	2
automatically selecting warp threads	2
appears on the surface	2
of weft is inserted	2
shows that the material	2
of the piece of	2
to the cheaper grades	2
be considered as coming	2
woven from ordinary grey	2
of medium and heavy	2
the same color as	2
in pieces of yards	2
a piece of net	2
the same amount of	2
is about in date	2
wefts same as ground	2
it has not been	2
at a very early	2
the trade and is	2
finish the bottom of	2
in cleaning and bleaching	2
showing the method of	2
by this is meant	2
base of coiled basket	2
stretched over the lining	2
a marked leaning towards	2
are the results of	2
whilst in the lower	2
indians of the tule	2
fabrics which have been	2
of intelligence and skill	2
quality and heavily sized	2
along the edge of	2
without injury to the	2
of cottage and farmhouse	2
is only used in	2
same is true of	2
coin or money order	2
with a finish on	2
a different colour to	2
warp and mohair weft	2
for drawing up the	2
the material to be	2
half of the eighteenth	2
fabric made generally of	2
the cat stitch is	2
may originally have been	2
the furniture of the	2
it takes its name	2
of the forces and	2
woven from strong wool	2
this diagonal effect is	2
of folding and cutting	2
from the top of	2
a raised or napped	2
woven with a simple	2
with their furniture in	2
parts employed in construction	2
form of leg and	2
edge of the fold	2
warp and woof are	2
the interlacing of warp	2
a weave in which	2
in place by two	2
in value during the	2
many parts of the	2
bevelled panels and drawers	2
face in either one	2
there is nothing to	2
which the design appearing	2
at a time when	2
which are likely to	2
supports for the arms	2
the bristles in a	2
top rail to the	2
brass and copper candlesticks	2
colonial days in old	2
usually of elaborate design	2
in soapy water to	2
result of printing or	2
director american school of	2
a silk and wool	2
a cambric is finer	2
tendencies of the art	2
the fact that cotton	2
they were made in	2
the name of a	2
the cutting and making	2
most beautiful of all	2
the golden age of	2
other fastenings should always	2
the needle under the	2
tudor rose surmounted by	2
threads or fibres standing	2
of different weaves or	2
of which is that	2
a way that when	2
necessity of the art	2
and not woven from	2
of an inch from	2
of the material and	2
that it is quite	2
all sorts of callicoes	2
covered with small steel	2
from to inches in	2
the reign of anne	2
work and in the	2
seen from the illustration	2
a variety of heavy	2
of the cloth by	2
to be applied to	2
in certain parts of	2
grouped all such fabrics	2
pile fabric with a	2
shoulder seams should be	2
size letters used to	2
the textile art to	2
introductory note the minor	2
cloths are allover striped	2
width and about yards	2
of cotton in any	2
a loosely woven fabric	2
designate those fabrics which	2
small steel hooks or	2
its surface in one	2
stipulated that they are	2
the history of chintzes	2
comment of the instructor	2
previously to being woven	2
surface produced by impacting	2
warp threads and the	2
on the five threads	2
to the grouping together	2
muslin or cheese cloth	2
cabriole leg of the	2
together like the bristles	2
advent of the cabriole	2
and spun silk yarns	2
the originality of the	2
not differ materially from	2
this style of interlacing	2
its employment in the	2
in cotton in imitation	2
fabric of similar weave	2
days of the seventeenth	2
combination of gauze weaving	2
is to be found	2
lower half of the	2
and giving it the	2
weft threads on the	2
the plain italian cloth	2
and weft of different	2
composed of wool and	2
the holes in the	2
evidence of the existence	2
the five threads and	2
carry the thread easily	2
of the needle under	2
in the thirteenth century	2
see dyed real turkey	2
which has been dyed	2
from which they are	2
pass over one and	2
of different colours are	2
the top rail with	2
of this type of	2
occurrences within the text	2
serpentine outline at sides	2
simple plain gauze weave	2
used for weft in	2
is also used for	2
allowed to lie loosely	2
shows a solid coloured	2
children of larger growth	2
of the development of	2
clearly stipulated that they	2
over and over stitches	2
web and the woof	2
confined exclusively to the	2
callicoes lineings silkes stuffs	2
the other for the	2
weft threads wholly or	2
has six legs and	2
the number of cuts	2
which is also called	2
or independent of the	2
centre of the panel	2
the chief characteristic of	2
side of the velveteen	2
process is to first	2
which has a very	2
in the piece goods	2
supplementary web and woof	2
threads thrown to the	2
welsh inscription on lid	2
which has become a	2
later type of modern	2
distance across the web	2
caught me at my	2
the matter of ornament	2
being due to the	2
hem and whipped gathers	2
be borne in mind	2
jacob stampe at the	2
may be woven either	2
the text and consultation	2
the tendencies of the	2
made with a stiletto	2
local types welsh carving	2
is a straight yarn	2
on the edge of	2
of which may be	2
the plain waist pattern	2
many of them have	2
was not until the	2
it must not be	2
used in connection with	2
side of the cloth	2
clock is not an	2
is generally used in	2
of the above variety	2
irrespective of the style	2
it is never sold	2
send in for the	2
jacobean cradle and its	2
in ounces of water	2
has been woven from	2
the figured fabric produced	2
conference on home economics	2
the collar or neck	2
which is in a	2
in the chincha plain	2
tariff board on schedule	2
to any special process	2
a plain or one	2
from certain waste cotton	2
and the end of	2
underneath the ground cloth	2
is in date about	2
imitation of the fur	2
includes all pile fabrics	2
produced is known as	2
have already shown that	2
covered by the resist	2
it should be observed	2
edge or fold of	2
and they should be	2
its early table form	2
embossed in the fabric	2
the character of these	2
text and consultation of	2
a rather coarse make	2
from the edges of	2
its face a greater	2
yards in length and	2
worked from left to	2
a special chemical process	2
of the country maker	2
one of these is	2
to test questions on	2
after careful comparison with	2
the thread on the	2
the band should be	2
on which the design	2
should lie perfectly flat	2
and stretcher and scalloped	2
one piece of wood	2
are often used as	2
stronger in that direction	2
and for that reason	2
transitional and experimental stages	2
is of the charles	2
is a difference between	2
the material by the	2
fabric of which the	2
of cotton and wool	2
the same as in	2
the needle and thread	2
early table form with	2
and checker patterns produced	2
end of the opening	2
of yards required to	2
ribbon should be basted	2
crimp cloth which has	2
loading worsted and woollens	2
is often used for	2
used for ornamental purposes	2
such as cotton velvets	2
used to designate fabrics	2
preservation and exhibition of	2
such a manner that	2
the reign of charles	2
of worsted yarn and	2
the yarn and not	2
contain warp or weft	2
a number of examples	2
of cut pile are	2
marks are denoted by	2
part of the garment	2
lies in the fact	2
to the requirements of	2
through which the filling	2
produced by this style	2
which it is fastened	2
possible the size of	2
fastened by a series	2
style merging into hepplewhite	2
the collection of charles	2
aid of a machine	2
and consultation of external	2
one on the left	2
piece of cloth showing	2
right and wrong side	2
and character of the	2
be seen in the	2
are similar to those	2
the georgian corner cupboard	2
each throw of the	2
be used in the	2
to describe a pile	2
are intended to emphasize	2
all such fabrics which	2
a worsted cloth having	2
the simplest form of	2
the cotton variety of	2
has a very soft	2
pleasing to the eye	2
of the cloth as	2
from cotton and wool	2
been stamped or cut	2
the mode of interlacing	2
a type which survived	2
threads working in twos	2
in lieu of mahogany	2
of fabric would be	2
filling the warps do	2
a fabric which shows	2
a range of to	2
a considerable number of	2
used to describe shapes	2
cotton medium and heavy	2
in one or more	2
foundation of new england	2
in a great measure	2
has been submitted to	2
upon by the acid	2
at sufficient length upon	2
not fulfil the conditions	2
want of balance in	2
in the max uhle	2
in the decoration of	2
long nap on both	2
be a pile fabric	2
this system of interlacing	2
to cover the edge	2
a revolving cylinder on	2
the category of farmhouse	2
fabric is woven with	2
to the lover of	2
it is said to	2
necessarily mean that it	2
of the same colour	2
be recognised by their	2
face of the goods	2
is generally dyed in	2
on a different principle	2
rhythm and grace of	2
the illustration shows the	2
both fabrics which have	2
the bottom of skirts	2
be used for cleaning	2
or early eighteenth century	2
woven from cotton yarns	2
in the sixteenth century	2
in this case the	2
eyes have been sewed	2
with a warp sateen	2
fabric is similar to	2
as a permanent popular	2
of for the trade	2
one which has been	2
obliteration in the age	2
woven either plain or	2
material other than cotton	2
fabric of a somewhat	2
to be a plain	2
as it is now	2
same page is a	2
may be compared to	2
in stagnant water is	2
certain portions of the	2
lengthways in the piece	2
as well as from	2
to imitate silk satin	2
single cotton yarn which	2
of silk or cotton	2
and the stretchers are	2
to the rest of	2
volume has been written	2
ornament produced by wrapping	2
as one of the	2
appearance of having been	2
between each stripe or	2
the cheaper grades of	2
at the bottom with	2
end is used in	2
constructed to a special	2
work is to be	2
traditional character of his	2
by impacting the horizontal	2
and a cotton warp	2
is always well to	2
grey or white single	2
in the loom state	2
exercise of judgment or	2
is a remarkable instance	2
same color as the	2
the late eighteenth and	2
if this patch is	2
on both sides and	2
over on the right	2
having the warp threads	2
time a pick of	2
of a different colour	2
given in the text	2
and seams should be	2
cut pile are not	2
clothing made from it	2
the three chairs illustrated	2
is an interesting example	2
cloth must not contain	2
would be either printed	2
a number of weft	2
material by the selvedges	2
derived from the mark	2
is a measure of	2
comes in contact with	2
showing calico printers at	2
the foundation fabric is	2
in connexion with a	2
used for interior decoration	2
width and length of	2
of callicoes lineings silkes	2
that are impervious to	2
the cloth may be	2
dyed figured cotton reps	2
way that when woven	2
any ornamentation produced either	2
in the order of	2
be dark and free	2
manufactured of fine wool	2
to cottage and farmhouse	2
bend round them and	2
free to manage the	2
the character and scope	2
the forces of the	2
fabric is known as	2
third of the patches	2
line with the warp	2
the lower grades of	2
type of modern settee	2
colour of the cotton	2
a combination of gauze	2
cylinder on which the	2
the fabric as a	2
are produced with the	2
under a damp cloth	2
face of the material	2
it follows that the	2
enter into the manufacture	2
the use of any	2
cotton or linen fabric	2
equally as well to	2
original nankeen fabric was	2
is generally woven from	2
and the making of	2