IflKftlT 
 
 LIBRARY 
 
 UNIVERSITY Of 
 
FOOT-POWER LOOM WEAVING 
 
 BY 
 
 EDWARD F. WORST 
 
 Supervisor of Elementary Manual Training and 
 Construction Work, Chicago, 111. 
 
 THE BRUCE PUBLISHING COMPANY 
 MILWAUKEE, WIS. 
 
DECORATIVE ABI 
 
 Copyright, 1918 
 
 by 
 Edward F. Worst 
 
I 0/4-90 
 
 -tive 
 Art. 
 
 INTRODUCTION 
 
 HE suggestions offered in this manual are for those who believe that the more ad- 
 vanced weaving should be pursued as a most wholesome occupation and that it 
 should again, in the near future, find a place not only in the school but also in the 
 home. Few lines of occupation furnish more excellent opportunity for color com- 
 bination and design than does the craft of weaving. 
 
 Girls taking the various household-arts courses will find weaving a great aid in under- 
 standing the structure of a piece of cloth. 
 
 The work is so full of possibilities and the results obtained have such a wonderful effect 
 on the character of the worker that these alone afford ample reasons why weaving should be 
 carried on in both school and community. 
 
 The descriptions given are for the amateur weaver who will find them more easily under- 
 stood than those given in the more technical books on the subject. 
 
 It is hoped that those interested will find help through the suggestions offered in this manual. 
 
 EDWARD F. WORST. 
 
 M856405 
 
Table of Contents 
 
 CHAPTER I 
 
 THK LOOM, WAKPING AND THREADING Loom Weav- 
 ing The Construction of Plain Cloth The Essential 
 Parts of a Loom Preparing a Long Warp Construc- 
 tion of Warp Board The Warp Board in I'se Taking 
 Off the Warp The Warping Reel Alternate Method 
 of Warping Four Threads Keeping Account of Threads 
 Warped Warping a Number of Threads at Once 
 Turning On, or Beaming The War]) Spreader or Raddle 
 - Laying in Sticks Knotting the Heddles Heddlc 
 St ieks" Threading the Loom The Reed Threading 
 the Reed Placing the Reed Tying the Loom The 
 Cloth Beam The Shed The Small Shuttle The 
 Bobbin Winder The Temple The Reel 7-42 
 
 CHAPTER II 
 
 PATTERN WEAVING Rag Rugs Introducing Color - 
 Plaids Pattern Weaving Beginning the Threading^ 
 Threading the Reed Tying the Heddle Sticks Tying 
 Heddle Slicks to Treadles -- Weaving the Pattern - 
 Weaving a Border Second Change in Pattern Checked 
 Paper Adaptations of Patterns Rose Path Pattern 
 Threading for the Rose Path Pattern Weaving the Pat- 
 tern Fine Threads Used for Warp The Lambs 43-58 
 
 CHAPTER III 
 
 COLONIAL PATTERNS Reading a Pattern Draft The 
 Big Diamond Pattern The Tie-l'p Weaving the Pat- 
 tern Double Snowball Pattern Where to Begin the 
 Threading for Large Patterns Block Work Pattern 
 Chariot Wheel Pattern - The Orange Peel Pattern 
 Governor's ( ianlen Bonaparte's March Pattern Weaving 
 Borders Snail's Trail Pattern The Blooming Flower 
 Pattern Pine Knot Pattern Federal Knot Pattern 
 Wheel of Fortune Pattern Irish Chain Pattern The 
 Tie-Up of Irish Chain Rings and Chains Old Quilt 
 Pattern Miscellaneous Patterns Wind Flower Pattern 
 Whip Hose Pattern 59-100 
 
 CHAPTER IV 
 
 DANISH AND NORWEGIAN WEAVING Expressing Dan- 
 ish Patterns Reading a Danish Draft Tying the 
 Treadle Danish Patterns 101-105 
 
 CHAPTER V 
 
 SWEDISH WEAVING Swedish Way of Writing a Draft - 
 Irregular Threading - Three-Harness Draft - Eight- 
 Harness Pattern Heddle Frames Tie-Up for Two Sets 
 of Lambs Six-Harness Pattern Six-Harness Loom 
 Eight-Harness Loom Miscellaneous Swedish Patterns. .106-150 
 
 CHAPTER VI 
 
 DAMASK WEAVE Double Weave Damask Weave - 
 Threading the Reed Tie-Up Ten-Harness Tie-Up 
 Table Mat -- Rug Weaving in Wool Operation of 
 Treadles Double Weaving Threading Double Weave 
 Pattern 107-165 
 
 CHAPTER VII 
 TEXTILES AND WOOD Combinations of Textiles and Wood 
 
 Foot Stool Waste Basket Screens 166-174 
 
 CHAPTER VIII 
 DESIGN AND CONSTRUCTION OF LOOMS - - Danish 
 
 Looms Swedish Looms 175-182 
 
 CHAPTER IX 
 DYES AND DYEING Utensils Used Washing of Wool 
 
 Water Used in Washing Mordant Formulae for Dye- 
 ing Yellows Reds Preparation of Olium Blue 
 Dyes Green Dyes Violet Dyes Violet With Cochi- 
 neal Violet With Cochineal, or Madder Brown Dyes 
 Gray Dyes Black Dyes Further Use of Used Dye 
 Liquids Yellow After Dyes Red After Dyes Blue 
 After Dyes Violet After Dyes Green After Dyes 
 Dyeing of Old Goods Bleaching Woolen Goods Hand 
 Measures 183-208 
 
Foot -Power Loom Weaving 
 
 CHAPTER I 
 The Loom, Warping and Threading 
 
 Loom Weaving 
 
 Notwithstanding the introduction of the power 
 loom and all its wonderful possibilities, the hand 
 loom still survives and seems likely to continue in 
 use since numerous schools and handicraft societies 
 as well as many independent art workers are becom- 
 ing interested. This gives hope that at some time 
 in the near future the domestic occupations of weav- 
 ing and spinning in both flax and wool will again 
 find a place, not only in the home but also in the 
 studio and in the industrial school. The apprecia- 
 tion of handwork has, during the past decade, in- 
 creased in the estimation of the public. 
 
 In various European countries, as well as in 
 India, China and Japan, hand loom weaving still 
 continues. In Norway and Sweden a very success- 
 ful line of home industry is carried on to great ad- 
 vantage to many women who find it necessary to 
 aid in the family support. This may also be said 
 of the women in the Orkney and Shetland Islands. 
 
 Of late much has been written of the beautiful 
 hand-weaving done by the women in the moun- 
 tains of Kentucky and Tennessee. So attractive is 
 this work that little difficulty is experienced in 
 disposing of the articles woven. 
 
 Since the introduction of machine spinning and 
 weaving, no home industry which approaches them 
 in usefulness or interest has taken their place. It 
 is true that there are many lines of weaving now pro- 
 duced by the machine, too intricate to be attempted 
 on the hand loom, but the weaving of linen, cotton, 
 woolen and the coarser silk threads into materials 
 of strength and beauty for home use, can quite well 
 be carried on in the studio and even by the home- 
 maker who has other household occupations. 
 
 There is no doubt as to the superiority of a well 
 made, hand-woven article. This is plainly shown 
 if the hand-made and the machine-made articles are 
 compared. Hand loom weaving, too, is superior 
 to machine weaving if judged by the effect it is 
 
likely to have on the worker. The hand weaver is 
 employed in a pleasant, ingenious occupation which 
 exercises all his faculties, while the attendant on a 
 power loom is engaged in a monotonous toil in which 
 no quality but intense watchfulness is required. 
 
 The object of this manual on weaving is to give 
 to the amateur weaver the benefit of the author's 
 experience in preparing the fibers, the warping 
 and the threading of the loom for plain weaving, as 
 well as learning to interpret and to execute various 
 pattern drafts used in our own country and in 
 other countries. 
 
 Through the exercises given it is hoped the 
 weaver may be led to invent and to work out many 
 interesting and original designs. 
 
 The Construction of Plain Cloth 
 
 If a piece of plain cloth is examined it will be 
 found to consist of a number of longitudinal threads 
 placed side by side and interlaced by a continuous 
 single thread. The latter thread passes alternately 
 above and below or before and behind the longi- 
 tudinal threads. Fig. 1 shows the arrangement of 
 the longitudinal threads and the continuous thread 
 crossing and intersecting them. 
 
 The longitudinal threads of a piece of woven 
 material are always called the warp. They are so 
 named, because, in order to allow their being inter- 
 
 Fig. 1 A Piece of Plain Cloth 
 
sected conveniently by the continuous crossing 
 thread they have to be warped, that is, tightly 
 strained in position on some kind of frame prepared 
 for the purpose. The continuous crossing thread 
 has several names, such as weft, woof, or shoot 
 (shute). " 
 
 If the warp threads are carefully examined 
 they will be found to consist of several fine threads 
 twisted together. This is done to give added 
 strength. The weft may be single and the thread 
 only slightly twisted, as this makes it soft so the 
 warp and weft are easily pressed together into a 
 firm material. 
 
 The weaving of mats and baskets from local 
 materials and from raffia, reed and willow may be 
 done without any special appliance for holding or 
 stretching the material while it is being woven. 
 
 When fine thread is to be woven the problem 
 is very different, and it becomes absolutely necessary 
 to devise some kind of frame to hold and stretch 
 the war]) upon, so that the weft may be readily 
 interlaced with it. The more elaborate frame con- 
 structed for this purpose has by universal consent 
 been called a loom. 
 
 The Essential Part of a Loom 
 
 In all the ancient pictures of looms the stretched 
 warp threads are shown and the insertion of the 
 
 
 
 Fig 2 Simple Loom 
 
 weft threads is suggested; but the lease, the one 
 universal and indispensable contrivance used in 
 weaving, has been omitted. While not shown, it 
 must have been there, for no loom could be operated 
 without it. 
 
 Fig. 2 illustrates the three steps in the con- 
 struction of a simple loom. The construction is 
 similar to the looms made by the pupils of the 
 lower grades. 
 
 Fig. 2, "A" shows the loom without the 
 thread. 
 
 "B" shows the warp threads wound upon it 
 lengthwise. 
 
10 
 
 "C" shows the strings on the board intersected 
 by two rods, "D," in such a way that alternate 
 strings go over and under each rod. In the space 
 between the rods the alternate strings cross each 
 other in regular succession. While the rods "D" 
 are kept in their position in the warp it js impossible 
 for the threads to get out of place or to get hope- 
 lessly entangled, as they certainly would if any 
 great number of threads were used. 
 
 This cross is called the lease and is really the 
 one indispensable part of the loom. No two looms 
 may be alike in any other respect but in the case 
 of the lease. One cannot dispense with this simple 
 yet perfect contrivance for keeping the warped 
 threads in order when a long warp made up of 
 hundreds of threads is required. 
 
 Preparing a Long Warp 
 
 A warp longer than the loom cannot be made 
 upon the loom as was shown in A, B, C, Fig. 2. 
 
 This being true, some sort of apparatus must be 
 constructed on which to build up a series of threads 
 of exactly the required length and number of threads. 
 These threads must be held in exactly the same ten- 
 sion so that when transferred to the loom and 
 stretched between its front and back beams they 
 shall give the weaver as little trouble as possible 
 with loose threads. 
 
 C B A 
 
 E D 
 
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 CD A 
 
 E D 
 
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 SE: 
 
 r_ D 
 
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 Fig. 3 Use of Warping Board 
 
 This process of preparing the threads is called 
 warping. There are several ways of doing the 
 warping. 
 
 Construction of Warping Board 
 
 Fig. 3 shows the construction of a warping 
 board. On this board may be warped a moderate 
 number of threads, such as would be required for 
 a foot-power loom. The warping board makes it 
 possible to illustrate perfectly the principles of 
 warping. 
 
The board shown in Fig. 3 (1, 2 and 3) is six 
 feet long by one foot wide. It is made to hang 
 firmly on a wall at such a height from the ground 
 that the operator can reach to any part of it without 
 difficulty. 
 
 On a board, the size indicated in Fig. 3, a warp 
 ton yards in length may be warped. A longer 
 length may be warped either by increasing the length 
 of the board or by increasing its width and adding 
 to the number of pegs. The pegs should be made of 
 hard wood not less than six inches long and one inch 
 in diameter. 
 
 The pegs marked A and E must be movable, 
 perfectly smooth and have nicely rounded ends. 
 The space between A and B should not be less than 
 one foot, and the space between B and C, six inches. 
 The space between D and E should also be one 
 foot. (No. 1, Fig. 3). 
 
 The Board in Use 
 
 Let the problem at hand be to make a warp of 
 thirty threads ten yards long. 
 
 Place a spool of ordinary four-ply carpet warp 
 on end in a receptacle of some kind in order that the 
 thread may freely unwind. If a spool rack may be 
 conveniently had the spool may be slipped on to 
 one of the rounds of the rack. Tie the free end of 
 the spool of warp to the movable peg A, No. 2, 
 
 11 
 
 Fig. 3. Guide the thread under peg B and over 
 peg C. Then follow the dotted line, as shown in 
 No. 2, Fig. 3, by allowing the thread to pass outside 
 the pegs 1, 2, 3, back to 4, then to pegs 5, 6 and 7, 
 until it reaches peg D, which it goes under. Carry 
 the thread now over and under peg E, and then 
 begin its return by carrying the thread over D, 
 No. 3, Fig. 3, on to peg 7 (see dotted lines) and so 
 back in the same course, until we again reach peg 1. 
 It must now be taken below C, over B, and below A 
 (see dotted lines). This completes one course. The 
 warping board should now look like No. 3, Fig. 3, 
 with the threads crossed between pegs B and C, 
 and D and E. Two threads have now been warped, 
 having a length of ten yards between the crosses. 
 
 The second thread having been carried around 
 and over peg A, went under B and then followed 
 exactly the course of the first thread until it reached 
 E. Then, following the second thread back it reaches 
 A, goes under and over the peg, and four threads 
 out of the thirty are warped. By the time fifteen 
 forward and fifteen backward journeys are made the 
 sample warp of thirty threads is finished and may 
 be taken from the board as soon as the crosses have 
 been made secure. 
 
 One can readily understand by the above ex- 
 planation that a great amount of time would be 
 consumed in making a warp by handling one thread 
 
12 
 
 at a time. Since four-ply carpet warp is to be 
 used for the first warping, four spools may be 
 placed on the spool rack, the four ends tied to the 
 proper peg at one time and then the course pursued 
 with the four threads, as was described for only one 
 thread. This causes four threads to pass under and 
 over the pegs instead of one. On account of the 
 coarseness of the warp there is little or no danger 
 of the threads becoming tangled. A more detailed 
 explanation of running more than four threads will 
 be given later. The above, however, works very 
 successfully. 
 
 Securing the Crosses 
 
 The important matter of securing the crosses 
 is easily done, but if forgotten the warp will be 
 spoiled when it is removed from the board. 
 
 Fig. 4 Securing the Crosses 
 
 Fig. 4 shows clearly the way it is done. The 
 letters indicate the pegs of the warping board, the 
 heavy lines are the threads of a warp, which may be 
 of any number of threads. 
 
 The important crosses are shown between C 
 and B and between D and E. A thin, pliable cord 
 
 about two yards long is now drawn in at each cross 
 from the back to the front, through the openings in 
 front of the pegs. Tie the ends of the cord as shown 
 in Fig. 4. By this means the crosses are perfectly 
 secured. 
 
 It will be observed that there is another cross 
 in the warp between B and A. This is not so im- 
 portant. A short cord may be drawn through the 
 loop at peg A, and the threads may be tied all to- 
 gether. 
 
 The warp may now be removed from the board 
 and made into what is called a chain. 
 
 Taking Off the Warp 
 
 The warp is taken off the warping board for 
 convenience in transferring it from the board to 
 the warp beam of the loom. 
 
 The crosses having been made secure, the warp 
 is ready to be removed from the board. The long- 
 strings between the crosses may be wrapped around 
 the warp to prevent them from hanging in the way. 
 
 First remove the peg A, Fig. 5. Allow the warp 
 to slip from the other pegs, B and C, and also No. 
 1, Fig. 5. Hold the warp with the left hand about 
 two feet from the end. While the warp is being held 
 with the left hand, throw the end over the warp 
 with the right hand, as shown at F, Fig. 5. 
 
13 
 
 C B 
 
 Fig. 5 Taking Off the Warp 
 
 This makes a kind of loop. With the left hand 
 still holding the warp, the right hand is put through 
 the loop at G, Fig. 5. The warp is grasped and drawn 
 through the loop far enough to make a second loop, 
 held by the right hand. The left hand is now free 
 and is put through the new loop held by the right 
 hand. The warp is grasped and drawn through the 
 new loop thus making a third loop held this time 
 by the left hand. The right hand being free is put 
 up through the third loop, the warp is grasped and 
 drawn through the loop. This is continued until 
 the entire warp has been removed from the board. 
 
 The process of taking off the warp will be rec- 
 ognized as the same as making a chain stitch in 
 crocheting, the hands doing the work instead of a 
 hook. See Fig. 6. 
 
 Before placing the warp, which may now be 
 called a chain, on the warp beam of the loom, another 
 method of warping will be considered, ^ju^ 
 
 The Warping Reel 
 
 The use of the warping reel, sometimes called 
 the warping mill, somewhat simplifies the process of 
 warping. Fig. 7 shows a working drawing of a warp- 
 ing reel, and Fig. 8 shows the finished reel. 
 
 Fig. 6 Chain made with warp from warping board 
 
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It will be observed that the pegs appear on the 
 cross bars of the finished reel marked A, B, C, 
 and D, E, the same as on the warping board. The 
 distance between the upright posts of the reel is 
 27 inches. The spools of warp are placed as when 
 the warping board was used. Some sort of a spool 
 rack is almost indispensable. Yet any convenient 
 way of arranging the spools so the thread will freely 
 unwind, will answer the purpose. Fig. 9 shows the 
 
 
 15 
 
 working drawing of the spool rack and Fig. 10 
 shows the finished rack. 
 
 Supposing that four threads are to be warped 
 at one time. The four ends are all tied at one time 
 to peg A, Fig. 11., They are carried under B and over 
 C and then start on their way around the reel, the 
 threads being guided on their way to pegs D and E 
 by the left hand while the reel is turned by the right 
 hand. The person performing the work remains 
 
 A !> C 
 
 Fig. 11 Method of Starting Threads 
 
 Fig. 12 Threads Passed over Lower Pegs 
 
 Fig. 3 Working Drawing of Spool Rack 
 
 Fig. 10 Spool Rack 
 
 A B C 
 
 Fig. 13 Another Method of Starting Threads 
 
16 
 
 stationary. On reaching peg D the group of four 
 threads is carried over it, under and around E and 
 back under D, as shown in Fig. 12. From here the 
 threads start back toward pegs A, B and C, passing 
 under C, over and under and around A, under B 
 and over C, as in the beginning. 
 
 The reel measures 27 inches between posts. 
 Passing around the reel once is equal to three yards 
 of warp. Knowing this, makes it an easy matter 
 to measure off any number of yards. 
 
 Another Way to Begin With Four Threads 
 
 The four threads may be tied together and 
 slipped on to peg A, two threads being on top of the 
 peg and the other two below. Bring the two threads 
 which are below A, over B, and the two above 
 A, below B. Allow the two below B to pass over C. 
 and bring the two above B so that they pass below 
 C, Fig. 13. From this point the four threads are 
 guided around the reel just as above described. The 
 four threads pass over and under D and E, as shown 
 in Fig. 12. On their return to peg A the four threads 
 pass under the pegs the two went over, and over the 
 pegs the two went under, and the warping proceeds in 
 the same manner as when using the warping board. 
 
 Keeping Account of the Number of Threads Warped 
 
 As soon as the threads have crossed a few times 
 between pegs D and E, it will be found difficult to 
 
 remember how many threads are gathered together 
 on the pegs. It becomes necessary to use some de- 
 vice for keeping count in order to know when the 
 warp is completed. 
 
 This account can be easily kept if a piece of 
 cord or tape is used. 
 
 After the group of four threads passes between 
 pegs D and E five times, draw one end of the cord 
 or tape through the opening next to peg D and the 
 other end through the opening next to E, as shown 
 in Fig. 14. 
 
 Fig. 14 Keeping Account of Threads Warped. 
 
 The warping continues until five more groups 
 have been warped or reeled, as the process is some- 
 times called. The end of the colored cord or tape 
 marked "f," Fig. 14, is now passed through the 
 opening next to peg D, and the end of the cord or 
 tape marked "e" passes through the opening next 
 to peg E, thus making a cross in the cord or tape 
 between the first group of five and the second group 
 of five. As there are twenty threads in each group 
 the worker knows that the warp contains forty 
 threads. This is continued until the required num- 
 ber of threads has been reeled. 
 
17 
 
 The cross at the beginning and the one at the 
 end of the warp are now secured in the same way as 
 when the warp is made on the warping board. 
 
 Removing the Warp from the Reel 
 
 Peg A is removed and the warp is slipped from 
 pegs B and C. A chain is made the same as when 
 removing a warp from the warping board. See 
 Fig. 15. 
 
 To Warp a Number of Threads at Once 
 
 If only four or six threads are warped at a time 
 these may easily be carried and placed over and 
 under the pegs in a group. It will be learned a little 
 later that, when the lease rods are placed, either four 
 or six threads, according to the number warped at 
 a time, will pass over and under the rods at one time. 
 
 When eight, ten, twelve, or sixteen threads are 
 warped at a time the problem is somewhat more 
 complicated and should be done in such a way as to 
 bring alternate threads over and under the lease 
 rods. This arrangement of the threads makes the 
 threading of the loom easy and keeps the threads 
 from becoming snarled or twisted one with another. 
 Arrange the spools on the spool rack, as shown in 
 Fig. 16. 
 
 A paddle-shaped piece of \" or 3-16" basswood 
 is cut as shown in Fig. 17, to serve as a guide. Any 
 number of holes may be bored. Sixteen is usually 
 
 Fig. 15 Removing the Warp from the Reel 
 
18 
 
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 Fig. 16 Spools on Rack 
 
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 Fig. 17 A Paddle 
 
 the greatest number for the amateur. The ends of 
 the threads coming from the spools on the left side 
 of the rack and all unwinding in the same direction 
 are threaded through the holes in the left side of 
 the guide, Fig. 17A, and the ends coming from the 
 spools on the right side of the rack are threaded 
 
 through the holes in the right side of the guide, 17A. 
 The ends are now all gathered together and tied in 
 one knot and slipped over peg A of the warping reel, 
 four threads being on top and four below the peg, 
 the threads fixed to peg A, Fig. 17A. The guide is 
 held in the left hand in an upright position so the 
 threads are well separated. With the first finger 
 and thumb of the right hand the threads (warp) 
 must be crossed. This is done by placing the first 
 finger of the right hand on the lowest thread on the 
 right side of the guide and pressing it downward, 
 Fig. 18. The thread just pressed down passes under 
 the finger and over the thumb. With the thumb 
 press down the lowest thread on the left side of 
 
 Fig. 17 A Method of Using Paddle 
 
19 
 
 Reeling Eight Threads with Paddle 
 
Fig. 18 First Thread Pulled Down Fig. 19 Second Thread Pulled Down 
 
 the guide, Fig. 19. This thread passes under the 
 thumb and over the finger. Allow the finger to press 
 down the second thread on the right side of the guide. 
 This thread now passes under the finger and over the 
 thumb. With the thumb press down the second 
 thread on the left side of the guide, Fig. 18. This is 
 continued until all the threads are crossed on the 
 finger and thumb of the right hand. This cross is 
 transferred to the pegs. When placed on the pegs 
 B and C, it will be found that there is a crossing of 
 alternate threads. The eight threads are now held 
 
 in one group and carried around the warping reel 
 until the pegs at the other end are reached. The 
 group of threads are carried over and under the pegs 
 the same as was described with the warping board 
 when only one or four threads at a time were warped. 
 
 Turning On, or Beaming 
 
 At the present time the warp is in a long chain 
 ready to be placed on the loom in such a way as to 
 make it possible for the weaver to produce a piece 
 of cloth. To do this the ends at E must be attached 
 to a roller, (in this case the warp beam) and spread 
 out and wound evenly and tightly upon it. The warp 
 beam fits into the back of the loom frame, as shown 
 in Fig. 20. 
 
 For demonstration, suppose that the cloth 
 to be woven is 22 inches wide and there are to be 24 
 threads to each inch. The warp then contains 528 
 threads, and this number is made up of 66 groups of 
 eight threads each. It will be remembered that 
 count was kept of the groups by means of the cord 
 or tape between the pegs D and E while the warp- 
 ing was in progress. 
 
 The Warp Spreader (Raddle) 
 
 Fig. 21 shows a working drawing of the spreader, 
 also called raddle. 
 
 Fig. 22 shows the drawing of the finished 
 spreader with the top removed. 
 
21 
 
 Fig. 20 Loom with Parts Named 
 
22 
 
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 E 
 
 III 
 
 Mater 
 
 ThichneM 
 
 ^ Dowel p.na 
 
 
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 RSSS 
 
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 It 
 
 TF 
 
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 Poweln 
 
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 Diam 
 
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 Fins 
 
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 ft G^ove js deep cut m upper rai I to fit over 
 
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 Fig. 21 Working Drawing of Warp Spreader or Raddle 
 
 The spreader is most simply described as a comb, The cap is deeply grooved above the teeth and 
 
 with a movable cap to cover the ends of the teeth. has holes near the ends. Through these holes the 
 
 The frame is made of wood. The teeth may be made sides of the frame pass in order to fix it on, as shown 
 
 of dowel rods or hard wire. Nails have sometimes in Fig. 22. 
 
 been used. A loom fully equipped has in the equipment a 
 
 Fig. 22 Warp Spreader with Cap Removed 
 
couple of rods, one to be used in placing the warp 
 on the beam. 
 
 With the chain at hand and taking the end 
 which when on the reel was between D and E, push 
 a rod through the opening marked "A," Fig. 23. 
 Untie the cord which held the cross and allow it 
 to remain on the other side of the crossed threads, 
 as shown in B, Fig. 23. Tie the ends of the cord to 
 the ends of the rod, as shown in Fig. 23, C and D. 
 By so doing the cross is retained. The rod may now 
 be tied to the warp beam. A provision is always 
 made for this tying. In the old colonial looms, 
 holes are bored; the same is true of the Swedish type, 
 while the Danish looms have a groove ploughed 
 in the beam from end to end into which a smooth 
 wooden or metal stick is placed to hold the warp to 
 the beam. 
 
 Fig. 23 Method of Keeping the Cross 
 
 23 
 
 From the front of the loom remove the beater, 
 sometimes called the batten, the breast beam and 
 the harness, Fig. 20. This makes a free opening 
 from the front to the warp beam. 
 
 Tie the rod shown in Fig. 23 to the warp beam 
 with No. 16 blocking twine. This fastens the chain 
 to the beam, but in order that it may be placed on 
 the beam evenly the groups of thread must be dis- 
 tributed in the warp spreader. Place the spreader 
 under the chain and on a level with the warping 
 beam. To hold the spreader in this position it may 
 be tied to the upright parts of the loom, or it may be 
 held by two persons, one at each side of the loom. 
 Fig. 24 shows the spreader in place. With the top 
 of the spreader removed the groups of thread may 
 now be distributed in their regular order. Since 
 there are 528 threads in all and eight threads in each 
 group, there will be exactly 60 groups. There are 
 to be 24 threads to each inch. This means that 
 three groups of eight threads must be placed to the 
 inch. This will occupy three spaces on the spreader. 
 
 By means of the cross the groups of thread may 
 be used in their regular order and placed in the 
 spaces of the spreader. When this is completed the 
 cap is placed and fastened, and the warp is ready 
 to be beamed. 
 
24 
 
 Fig. 24 Spreader in Place on Loom 
 
 One person holds the chain and the other turns 
 the beam, by placing a peg into one of the holes at 
 the end of the beam, as shown at A, Fig. 24. 
 
 Laying in Sticks 
 
 As the warp is being wound on to the beam, 
 thin strips of wood about 3-16" in thickness are laid 
 on the beam for the warp to wind on. This prevents 
 the warp from becoming tangled and also keeps the 
 warp even across the entire beam. Strips such as 
 are used in the bottom of shades are good for this 
 purpose. After four or five yards of warp are wound 
 on to the beam, lay in more strips. 
 
 A stand may be made to hold the spreader, 
 as shown in Fig. 25. Fig. 26 shows the warp dis- 
 tributed. After the warp is distributed the cap is 
 placed, thus holding the groups of threads securely 
 
 in their proper spaces. The spreader, warp, and all 
 may now be transferred to the loom, and the warp 
 may be put on as above described. 
 
 The beam is turned until the other end of the 
 chain or warp is reached. Care should be taken to 
 
 Fig. 25 Stand to Hold Spreader 
 
25 
 
 Fig. 26 Warp Distributed 
 
 hold the warp firmly while the winding is done. The 
 chain unravels as it is wound on to the beam. When 
 the opposite end is reached the cross which was so 
 carefully guarded at the pegs A, B and C is reached. 
 
 Into these openings the lease rods are placed, as 
 shown in Fig. 27. 
 
 The warp spreader may now be removed. 
 
 Fig. 27 -Lease Rods in Place 
 
 Fig. 28 Loops Hanging Over Lease Rods 
 
 Later the loops are cut, causing the ends to 
 hang instead of the loop, as shown in Fig. 28. These 
 ends may be tied in bunches in a loose knot, thus 
 preventing them from losing their places in passing 
 under and over the lease rods, Fig. 31. 
 
 Knotting the Meddles 
 
 The warp placed on the beam, it now becomes 
 necessary to consider the knotting of heddlcs or 
 leashes, as they are sometimes called. In order that 
 each heddle may be of exactly the same size, a heddlc 
 frame is constructed about 12 inches by 1^ inches 
 by 3 inches, shown in Fig. 29. The pegs are num- 
 bered a, b, c and d. About \\" from each end a peg 
 
26 
 
 J 
 
 (j) (4) 
 
 
 
 
 
 
 , 
 
 
 'It ] "4 
 
 'A 
 
 
 
 ~t* 
 
 
 I. 
 
 
 Fig. 29 Working Drawing of Heddle Frame 
 
 Fig. 30 Method of Tying Heddles 
 
 is placed and in the center two pegs are placed one 
 inch apart, Fig. 30. The pegs should be rounded 
 at the top and well sanded to make them perfectly 
 smooth, thus causing the heddles to slip off easily. 
 
 The ordinary four-ply carpet thread is a fairly 
 good material to be used in heddles. Sometimes 
 linen thread is used and sometimes a hard twisted 
 cotton, called seine twine, used in fish nets, is 
 utilized. The twine is cut long enough in order that 
 it may be looped around a, Fig. 30. Tie a knot at 
 b and another as shown in c. The ends are 
 then tied at "d." From 25 to 50 may be tied before 
 removing them from the pegs. There must be as 
 many heddles as there are threads in the warp. 
 Heddles found in the market are made of wire. 
 These may be successfully used. 
 
 Heddle Sticks 
 
 In most foot-power looms the heddle sticks are 
 used instead of the heddle frames. Fig. 31 shows, 
 at A, heddles on the sticks. The harness, which 
 consists of the various heddle sticks on which the 
 heddles have been placed, is now hung in the position 
 as shown in Fig. 31. The person who is to do the 
 threading sits in the front of the harness. 
 
 Threading the Loom 
 
 The harness consists of two sets of heddles, one 
 directly back of the other, as shown in Fig. 31. 
 
Fig. 31 Heddles in Place for Threading 
 
 The threading of the first loom will be for plain 
 weaving, such as may be used in rugs. The one 
 who is to thread the loom has comfortably seated 
 himself in front of the harness in Fig. 32. First a 
 heddle on the front sticks is pushed along. The 
 first thread is picked up and the end is threaded 
 through the eye left for this purpose in the heddle. 
 A heddle ,is now taken from the back sticks and the 
 second thread is picked up and placed in the eye of 
 
 27 
 
 the heddle. After being threaded it is pushed along, 
 another heddle from the front sticks is picked out, 
 and the third thread is put through the opening. 
 It now is pushed along and a heddle from the back 
 sticks is picked out and threaded with the fourth 
 thread. 
 
 This is continued until all threads have been 
 used. The heddles must be so placed on the sticks 
 that each one may be slipped along without inter- 
 ference from any of the others. When four threads 
 pass over and under the lease rods at one time the 
 threads should be taken in their regular order as 
 nearly as possible. Four threads going either 
 over or under are threaded before taking the next 
 four. If the threads are crossed, as shown in Figs. 
 18 and 19, one passing over and the other under the 
 lease rods, they are threaded in their regular order. 
 
 Threading the heddles is of the greatest import- 
 ance, as one mistake will throw out the whole suc- 
 cession of remaining threads. If the heddles are 
 of string the threading may be done with the fingers 
 only, but if the heddles are of wire it will require a 
 heddle hook to draw the threads through the eyes. 
 
 The Reed 
 
 The reed is the long comb-like piece of apparatus 
 which fits in the beater or batten and aids in pushing 
 or pressing the woof in its proper place, Fig. 33. 
 The spaces in the reed are usually termed "dents." 
 
28 
 
 Fig. 32 Threading the Heddles 
 
29 
 
 Fig. 33 The Reed 
 
 Reeds are sold by number. For instance, a 
 number 12 reed means that there are 12 openings 
 or dents to the inch. A number 15 reed means that 
 there are 15 dents to the inch, etc. 
 
 Threading the Reed 
 
 The threads having been drawn through the 
 heddles are now ready to enter the dents of the 
 reed and must again enter in their regular order. 
 The threads must not be allowed to cross one another. 
 In ordinary rug weaving one thread enters each dent. 
 To do this the reed is hung just in front of the 
 harness, as shown in Fig. 34. By means of a reed 
 hook the threads are drawn through the dents in 
 their regular order, care being taken to use each 
 dent. If a selvage is desired two threads at one time 
 are drawn through the first four and the last four 
 dents of the reed. The reed is often longer than the 
 cloth to be woven is wide; when this is true, plan to 
 have the threads occupy the center part of the reed, 
 leaving the surplus at each end. If a single dent 
 should be omitted the weave cannot be perfect. 
 The reed hook may be made of a piece of thin wood, 
 as shown 'in Fig. 35. In threading the reed the hook 
 
 Fig. 34 Reed in Position for Threading 
 
 is pushed through the dents from below, catching 
 the thread and drawing it downward through the 
 opening. If the wooden hook as shown in Fig. 35 
 is used, it may be pushed into the dent from above, 
 and the thread may be placed on the reed in such a 
 position as to be drawn through when the hook is 
 pulled from below. After a number of threads has 
 been entered they are tied into a bunch. This is 
 done partially for safety, as the reed may slip in 
 
30 
 
 some way from its position and drop to the floor, 
 thus causing the threads to slip from the dents. 
 
 Placing the Reed 
 
 For convenience in threading, the harness and 
 reed are hung close to the warp beam, as in this 
 
 position the weaver can sit in a comfortable position 
 while doing the threading. 
 
 The threading having been completed the 
 harness and reed are brought forward. The batten 
 is hung and the reed put in its proper place in the 
 batten, as shown in Fig. 36. 
 
 Fig. 35 Reed Hooks 
 
 Fig. 36 Loom Ready for Tying Up 
 
31 
 
 The loom is now ready to be "tied up." This 
 process is called "gating the loom." 
 
 Tying the Loom 
 
 Before beginning the tying-up process it is of 
 great importance that the weaver understand some 
 simple way of using a slipknot, as the process of 
 tying up requires a great deal of adjusting. It is 
 usual to tie up with double cords, as these always 
 terminate either in a loop or two ends, both of which 
 are necessary for the adjustable slipknot. The loop 
 for the slipknot is made at the end of the looped 
 cord, as shown at A, Fig. 37. The finger and thumb 
 reach up and grasp the double cord at "A," Fig. 
 38. The double cord is now drawn through the 
 opening marked "B," as shown in Fig. 39. Through 
 the loop thus made the two ends of the cord are 
 passed, Fig. 40. Fig. 37, A, B, C, and D show in 
 the successive steps the way the knot is made. 
 
 A shows simply the loop and ends. 
 
 B shows the ends drawn through the loop. 
 
 C shows the ends drawn through the loop and 
 a single knot tied with them. 
 
 D shows the single knot tied and drawn down 
 to the loop. 
 
 By using the above method for tying, the cords 
 may be shortened or lengthened, as the case may be. 
 
 By pulling the two ends of the single knot the latter 
 is drawn close to the loop. It will be found that the 
 knot will not give way no matter what the weight of 
 the pull may be. If the cord is to be lengthened 
 the knot is loosened and the cord is adjusted. 
 
 Fig. 37 Method of Tying Slip Knot 
 
32 
 
 Fig. 38 First Step in Making Loop for Slip Knot 
 
 Fig. 39 Loop Completed 
 
 The harness, which is made up of the heddles 
 and" heddle sticks, hangs just behind the beater and 
 is suspended by tying the heddle sticks to the heddle 
 horses. 
 
 The heddle horses are tied one to one end of 
 a piece of No. 16 blocking cord and one to the other. 
 Fig. 41 is the drawing of a heddle horse. The rope 
 is thrown over the roller just above, allowing one 
 
33 
 
 horse to hang to one side and one to the other. Two 
 other heddle horses are tied and hung in the same 
 way at the other end of the roller. Fig. 20 shows 
 heddle sticks hung in the finished loom. 
 
 Cords are tied from the ends of the heddle 
 
 Fig. 40 Two Ends of Cord Placed in Loop 
 
 each lower heddle stick a loop of No. 16 blocking 
 cord is tied. The ends of the cord extending from 
 the treadles slip into the loop, extending from the 
 heddle sticks, as shown in Fig. 42. When pressure 
 (in this case the foot) is applied to a treadle the part 
 
 horses to the top heddle sticks. From the center of of the harness tied to that particular treadle draws 
 
 Ife 
 
 Fig. 41 -Heddle Horses 
 
34 
 
 the threads downward. Upon releasing this treadle 
 and applying the pressure to the other treadle the 
 other half of the threads are drawn downward. 
 
 The Cloth Beam 
 
 The ends drawn through the reed are now hang- 
 ing loosely or tied in bunches in the front of the reed. 
 These ends must in some way be connected with the 
 cloth beam (Fig. 20) . Holes have been bored through 
 the cloth beam. Through these holes the No. 16 
 blocking cord is drawn. 
 
 Beginning at the right of the cloth beam draw 
 one end of the cord through the first opening. The 
 other end is tied to the end of a rod, which is as long 
 as the reed. 
 
 (These rods were mentioned earlier in the 
 process of warping. One was used in fastening the 
 warp to the beam.) 
 
 The cord is now threaded through the next hole, 
 which is No. 2 in the cloth beam, and then through 
 hole No. 3. 
 
 A long loop is left between No. 2 and No. 3 
 and the rod is pushed through it. The cord is now 
 threaded through hole No. 4 and tied to the other 
 end of the rod, as shown in Fig. 43. 
 
 The cord is cut long enough to allow the rod to 
 be brought up and over the breast beam up to the 
 reed. The ratchet which connected with the cloth 
 
 Fig. 42 Method of Tying Heddle Sticks to Treadles 
 
 beam is now turned, rolling on the cord until the rod 
 is about 8 or 10 inches from the reed. The ends 
 now hanging in bunches are untied. About 30 
 
Fig. 43 Method of Preparing Cloth Beam 
 
 threads are held in one group. The group is divided, 
 allowing one-half of the group to pass under the rod 
 and the other to pass over the rod. With the ends 
 of the groups tie a single bow knot over the rod. 
 Take up another group, divide it, and tie the same 
 way. Continue until all have been tied to the rod, 
 as shown in Fig. 44. 
 
 The Shed 
 
 After the loom is "tied up" and the right treadle 
 is pressed downward, all the threads which pass 
 through the eyes of the heddles on the front heddle 
 sticks are pressed downward, thus causing a space 
 between the threads passing through the front heddle 
 eyes and those passing through the back heddle eyes. 
 
 This space comes just in front of the reed when 
 the beater is swung back, as shown in Fig. 45. 
 
 This space is called the "Shed," and it is through 
 this opening that the woof is passed. The woof once 
 in place; and the treadle released, the beater is 
 
 35 
 
 swung_to. the front, thus by means of the reed the 
 woof is pressed in place. The left treadle is now 
 pressed downward, and the woof again passes through 
 the shed from the left, the beater and reed pressing 
 it into place the same as in the first thread. 
 
 f 
 
 Fig. 44 -Warp Tied to Cloth Beam 
 
36 
 
 Fig. 45 The Shed 
 
 If rags or similarly heavy materials are used, 
 they are wound on what is called a shuttle which in 
 this case is simply a piece of quarter-inch bass, poplar, 
 or pine, cut as shown in Fig. 45. If finer materials 
 such as mercerized cottons are used, a shuttle 
 similar to the one shown in Fig. 46 is used. 
 
 The Small Shuttle 
 
 The beginner will, no doubt, use principally 
 the coarser materials for the woof and will, there- 
 fore, use the shuttle as shown in Fig. 46 and Fig. 46a. 
 
 The shuttle shown in Fig. 46a is so constructed 
 as to admit of a piece of 10 or 12-gauge wire. This 
 wire extends lengthwise across the inside of the 
 
 nil 
 
 Fig. 46 Small Shuttle 
 
 Fig. 47 Shuttle Stick 
 
37 
 
 Fig. 46a Working Drawing of Small Shuttle 
 
 opening, the ends being forced into two little holes, 
 one in each end of the opening. In one of the holes, 
 a small spring is concealed and the wire is put in 
 place very much as a bobbin is placed into the 
 shuttle of a sewing machine. Fig. 47 shows a shuttle 
 stick. 
 
 Bobbin Winder 
 
 Fig. 48 shows a bobbin winder extensively used 
 in Norway and Sweden. Small wooden spools are 
 slipped on to the shaft of the winder, or a piece of 
 paper may be tightly wrapped around the shaft. 
 The end of the thread to be wound is caught in the 
 wrapping of the paper. By means of the small crank 
 the wheel is turned and the thread is wound on the 
 spool or paper. The bobbin is made in this way. 
 If the bobbin winder as shown above is not avail- 
 able, a spinning wheel may be equipped to do the 
 work. A plug with an extension may be forced into 
 the spindle, as shown in Fig. 49. The spool or the 
 paper may be wrapped around this extension, and 
 the wheel may be turned just as when spinning. 
 
 Fig. 48 Bobbin Winder 
 
 Fig. 49 -Spinning Wheel Used for Bobbin Winder 
 
38 
 
 The Temple 
 
 As the weaving continues, it will be found that 
 there is a tendency in the fabric to "draw in" 
 narrower than the entering of the warp in the reed. 
 When this "drawing in" becomes noticeable, it may 
 be corrected by using the temple. 
 
 The temple is very simple in its construction. 
 Fig. 50 shows the working drawing. At the broad 
 ends of each of the parts, \\" or 16-gauge brads 
 are driven in and the heads are filed off. For heavier 
 material, the brads should be of 12 or 14-gauge. 
 
 The parts when joined together are for the 
 purpose of holding out the edges of the material 
 being woven, to the required width. The means of 
 adjusting the length of the temple are shown in 
 Fig. 51 and Fig. 52. The parts are held together 
 by a wire nail or wooden pin, which is forced into 
 the holes bored thru the sides of the parts. 
 
 The pin is first inserted and the temple placed 
 on the cloth a short distance from the reed, with the 
 filed points of the brads catching the edges of the 
 material, as shown in Fig. 52. When the temple is 
 
 c=> 
 
 
 
 ij II i ) 
 
 "Jt> 
 
 
 
 
 
 n ^ -4- i - 1 \ J ^ ! 3 3 
 
 
 
 ^ 
 
 O O O O O O O O O O O O O O VW 
 
 1 
 
 
 i ; ^ 
 
 ' -----^ 
 
 
 
 
 j ^^. "} 9 d 5 
 
 Fig. 50 Working Drawing for Temple 
 

 1 
 
 I 
 
 
 Fig. 52 Temple Opened 
 
40 
 
 Fig. 53 Pair of Reels 
 
 Fig. 55 A Reel or Swift 
 
41 
 
 6-$inchPowelRodft 
 placed equally apart 
 
 SPOOL. HOLDtR 
 $ inch Holes 
 
 KEEL. 
 
 Fig. 54 -Working Drawing of Reel 
 
42 
 
 pressed down in this position, it will force out the 
 edges of the cloth. The small metal band "A," 
 which fits closely, is moved along so it holds the two 
 parts together. After weaving from four to six 
 inches, the temple is moved so it again is a few 
 inches from the reed. 
 
 To move, slip the metal band so the parts may 
 swing on the pin and proceed as above described. 
 
 The Reel 
 
 A great many of the different threads used in 
 weaving must be purchased in skeins. This fact 
 makes the reel almost indispensable, in order that 
 the skeins may conveniently be made into bobbins. 
 
 Fig. 53 shows a pair of reels, mounted on a 
 
 stand in such a manner that the distance between 
 them can be regulated. Fig. 54 shows the working 
 drawing of a pair of reels. It will be observed that 
 the upright of the stand has a slot cut in it for the 
 greater part of its length. The reels revolve on 
 elongated axles, and may be fixed in the slot at any 
 height, by means of a screw and collar. This makes 
 it possible to adjust them to different-sized skeins. 
 
 Fig. 55 shows another kind of reel which may 
 be fastened to a table. It opens like an umbrella 
 and may be adjusted to skeins of various sizes. The 
 small skein allows only a partial opening of the reel. 
 The skein is placed over the reel while closed. The 
 reel above mentioned is often called a swift. 
 
- /, J-, 3 /. 
 
 ,1 
 
 CHAPTER II 
 
 f^Pattern 
 
 Rag Rugs Zf 
 
 In weaving rag rugsTheToom must be threaded 
 with a four-ply carpet warp, twelve threads to the 
 inch. This calls for a number 12 reed. Since the 
 process of preparing the loom has already been 
 described in detail, the weaving may at once 
 begin. 
 
 Figures 56 and 57 show what may be done with 
 rags. The design is kept in straight and unbroken 
 lines. Figs. 58 and 59 show what may be done by 
 laying straight pieces of cloth to cover the color 
 used in the body part. In this case the design is 
 also kept in straight, unbroken lines. The material 
 used in the light colored rugs is unbleached muslin, 
 while the colored borders are of blue outing flannel. 
 The dark rug is of Dutch blue calico and unbleached 
 muslin. 
 
 Introducing Color as shown in Figures 58 and 59 
 
 The cloth used for the foundation is drawn 
 through 'the shed and beaten. The beating presses 
 
 Weaving 
 
 the strip of cloth together. Without crossing the 
 threads, draw in the short pieces to be used for the 
 design and wrap them around the color used for the 
 foundation. To make this as easy as possible the 
 foundation strip just beaten may again be pushed 
 out into the shed so that it may easily be wrapped 
 with the color used in the design. 
 
 After the colored strips have been wrapped 
 around the foundation color, the beater is drawn 
 forward and presses the foundation color with the 
 strip in the design into place. 
 
 This process is a most interesting way of in- 
 troducing color when the coarser materials are 
 used. 
 
 Before beginning to design for loom work, it is 
 better to operate the loom and know just a little of 
 its possibilities. When this plan is pursued the 
 designs made are usable, as the operator knows what 
 is possible and will design accordingly. 
 
 43 
 
44 
 
 58!! 
 
 Figs. 56, 57, 58, 59 Woven Rag Rugs 
 P/ai'ds 
 
 Figure 60 shows a series of simple yet effective 
 plaids which may be woven on a two-harness loom. 
 In reeling the warp for plaids, a certain number of 
 threads of each color are reeled according to the 
 
 desired plaid. When the reeling is completed and 
 the warp is placed on the warp beam, it will be 
 found that the warp is in bands of color. 
 
 In weaving the finished cloth the same colors 
 as were used in the warp are now used in the woof. 
 If ten threads of a certain color were used in the warp 
 then the same number of threads of the same color 
 must be used in the woof. It is in that way that the 
 plaids are made. 
 
 Pattern Weaving 
 
 To the casual observer of hand-woven articles, 
 nothing seems quite so impossible as many of the 
 complicated patterns woven on the ordinary foot- 
 power loom. To those who have done weaving, the 
 pattern work does not seem so wonderful. It is 
 surprising how quickly the amateur weaver grasps 
 the idea of pattern weaving. 
 
 The plan here is to present the pattern weaving 
 in the simplest possible way. 
 
 In all that has gone before, nothing but plain 
 weaving has been suggested; in other words, only 
 two sets of heddles have been used and only two 
 treadles. 
 
 To do pattern weaving, it will be necessary to 
 use four sets of heddles and four treadles. In Fig. 
 20 may be seen the four sets of heddle sticks just be- 
 
flf v 
 
 ''^^ff** . ^^ ^^T 
 
 I i 
 
 45 
 
 hind the beater. Heddles are placed on each pair 
 of the sticks. They are hung for threading just as 
 the two sets are hung in Fig. 32. 
 
 The warp is reeled and placed on the warp beam 
 just the same for pattern weaving as for plain weav- 
 ing. Let the pattern shown in Fig. 61 be the one 
 for consideration. This pattern is known as the 
 Monk's Belt. The name, no doubt, comes from its 
 use in weaving the belts used by the early monks. 
 
 Let the material to be used be a four-ply white 
 or gray carpet warp just the same as was used in 
 the rug weaving. In the rug work only twelve 
 threads to the inch were used. For this pattern 
 twenty threads to the inch will be used. 
 
 If the article to be woven is to be about 22 inches 
 wide and there are to be 20 threads to the inch, it 
 will require 456 threads to be reeled, including 24 
 threads for the selvages. If four threads are reeled 
 at a time, it will require 114 groups of four threads 
 to make the required number. The length depends 
 upon the weaver. 
 
 Having placed the heddles on the heddlc sticks 
 and the war]) on the beam, the worker is ready to do 
 the threading. Seated as shown in Fig. 32, with the 
 pattern as shown in Fig. 61 at hand, the work of 
 threading is begun. 
 
 Fig. 60 Plaids 
 
46 
 
 
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 J.I 
 
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 V 
 
 
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 X 
 
 
 
 
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 Fig. 61 Monk's Belt. Draft of Pattern 
 
 It must be remembered that the sets of heddles 
 are numbered from the front to the back. That is, 
 the heddle sticks just in front of the worker is number 
 1, the next number 2, the next number 3, and the 
 farthest number 4. The row of squares in the pat- 
 tern marked No. 1 indicates that all the threads 
 in this row must be threaded in their order thru 
 the heddles on heddle sticks No. 1. The squares 
 in the pattern in row No. 2 indicate that these 
 threads are threaded in their order thru the heddles 
 on the second pair of heddle sticks. Three and 
 four follow in the same manner. 
 
 Beginning to Thread 
 
 Beginning at the right of the pattern, the first 
 thread of the selvage is indicated by a dark square 
 in the fourth row. This means that the first thread 
 passes through the eye of the first heddle on the back 
 or fourth row of heddles. This heddle threaded, it is 
 pushed along and the next thread is taken care of. 
 The next thread is on the second row and is passed 
 through the eye of the first heddle on the second pair 
 
 of heddle sticks. This heddle is now pushed along 
 and the third thread is cared for. The third thread 
 passes through the first heddle on the third pair 
 of heddle sticks and is pushed along. The fourth 
 thread passes through the eye of the first heddle 
 on the first pair of heddle sticks and is pushed along. 
 The fifth thread passes through the eye of the second 
 heddle on the fourth row. This is continued until 
 the part of the pattern marked selvage is completed. 
 The selvage is threaded but once, at the beginning 
 and at the end, unless otherwise indicated. 
 
 The threading of the real pattern begins after 
 the selvage has been threaded. Upon investigation 
 it will be found that 36 threads make one repeat of 
 the pattern, Fig. 61. If there are 456 threads in all 
 and 24 are used for the two selvages, 432 threads 
 remain. If it requires 36 threads to thread the pat- 
 tern once, 432 threads will repeat the pattern 
 twelve times. 
 
 The first thread of the pattern appears on the 
 fourth or back row of heddles; the second thread 
 
r 
 
 A-KJilnU. 
 
 3-4. 
 
 a us 
 
 47 
 
 
 
 
 4 
 
 
 4 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
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 2 
 
 1 
 
 3 
 
 
 3 
 
 
 3 
 
 
 
 
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 v ^ 
 
 
 
 ^ 
 
 
 
 
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 3 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 2 
 
 
 
 
 
 2 
 
 
 
 
 2 
 
 
 
 
 2 
 
 
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 tik's Belt. Another Way of Drafting Pattern 
 
 ph thread 
 When 
 bed once. 
 1st thread 
 [this way 
 this is 
 for the 
 Je selvage 
 
 ssing the 
 bral other 
 
 lie given 
 md make 
 
 the sub- 
 It terns are 
 
 !!!(! I 111 
 
 the 
 
 heddles in the order indicated by the pattern are 
 now ready to be drawn through the dents of the 
 i 
 
 reed. A No. 20 reed is hung as shown in Fig. 34. 
 With a reed hook, as shown in Fig. 35, the threads 
 are drawn through the reed in their regular order 
 as before described. 
 
 To make the selvage, two threads of the sel- 
 vage are drawn through each of the first six dents. 
 This uses the twelve threads of the selvage as shown 
 in the pattern. 
 
 If the number 20 reed is used each thread of 
 the pattern passes through a dent until the selvage 
 is again reached, when two threads pass through 
 each dent. 
 
 If a No. 20 reed cannot be had, a No. 10 reed 
 may be used by placing four threads of the selvage 
 through each dent of the selvage and two threads 
 of the pattern through each of the pattern dents. 
 
 Very often the reed has many more dents than 
 is required for the number of threads used in a 
 particular pattern. In such case care must !>; taken 
 to draw the threads through such dents as will 
 bring the weaving in the center of the reed. For 
 
46 
 
 
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 ( 
 
 A 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 Fig. 61 Monk's Belt. Draft of Pattern 
 
 It must be remembered that the sets of heddles 
 are numbered from the front to the back. That is, 
 the heddle sticks just in front of the worker is number 
 1, the next number 2, the next number 3, and the 
 farthest number 4. The row of squares in the pat- 
 tern marked No. 1 indicates that all the threads 
 in this row must be threaded in their order thru 
 the heddles on heddle sticks No. 1. The squares 
 in the pattern in row No. 2 indicate that these 
 threads are threaded in their order thru the heddles 
 on the second pair of heddle sticks. Three and 
 four follow in the same manner. 
 
 Beginning to Thread 
 
 Beginning at the right of the pattern, the first 
 thread of the selvage is indicated by a dark square 
 in the fourth row. This means that the first thread 
 passes through the eye of the first heddle on the back 
 or fourth row of heddles. This heddle threaded, it is 
 pushed along and the next thread is taken care of. 
 The next thread is on the second row and is passed 
 through the eye of the first heddle on the second pair 
 
 /-A , / 
 
 3-4-* / 
 J-4. < 
 
 3-4-, 3 
 
 of heddle sticks. This 
 and the third thread is ; 
 passes through the fi> 
 of heddle sticks and 
 thread passes througl 
 on the first pair of hed 
 The fifth thread passe; 
 heddle on the fourth 
 the part of the patterr. 
 The selvage is thread 
 and at the end, unles. ' 
 
 The threading oi 
 the selvage has been I 
 it will be found that y 
 the pattern, Fig. 61. 
 and 24 are used for f 
 remain. If it require^ 
 tern once, 432 thrfli 
 twelve times. 
 
 The first thread of the pattern appears on the 
 fourth or back row of heddles; the second thread 
 
47 
 
 
 
 
 4 
 
 
 4 
 
 
 4 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 4 
 
 
 4 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
 4 
 
 A 
 3 
 2 
 1 
 
 
 
 3 
 
 
 3 
 
 
 3 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 3 
 
 
 3 
 
 
 3 
 
 
 
 
 3 
 
 
 
 
 3 
 
 
 
 '5 
 
 
 
 
 ,3 
 
 
 
 
 3 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 2 
 
 
 
 
 
 2 
 
 
 
 
 2 
 
 
 
 
 2 
 
 
 1 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 1 
 
 
 
 
 J 
 
 
 
 
 1 
 
 
 
 
 1 
 
 
 
 
 Fig. 62 Monk's Belt. Another Way of Drafting Pattern 
 
 is on the third row, etc. Continue until each thread 
 indicated by the dark squares is threaded. When 
 this is done, the pattern has been repeated once. 
 (!o back to the beginning, which is the first thread 
 on the fourth row after the selvage. In this way 
 tin cad the pattern twelve times. When this is 
 done, there are still twelve threads left for the 
 selvage, which is threaded the same as the selvage 
 ;it the right or beginning. 
 
 Kit;-. (\2 shows another way of expressing the 
 pattern shown in Fig. 61. There are several other 
 ways of writing patterns, all of which will be given 
 in order that the weaver may understand and make 
 use of patt'Tiis found in various books on the sub- 
 ject. 
 
 Fig. 61, however, shows the way patterns are 
 written in textile schools. 
 
 Threading the Reed 
 
 The threads having been drawn through the 
 
 heddles in the order indicated by the pattern are 
 
 now ready to be drawn through the dents of the 
 i 
 
 reed. A No. 20 reed is hung as shown in Fig. 34. 
 With a reed hook, as shown in Fig. 35, the threads 
 are drawn through the reed in their regular order 
 as before described. 
 
 To make the selvage, two threads of the sel- 
 vage are drawn through each of the first six dents. 
 This uses the twelve threads of the selvage as shown 
 in the pattern. 
 
 If the number 20 reed is used each thread of 
 the pattern passes through a dent until the selvage 
 is again reached, when two threads pass through 
 each dent. 
 
 If a No. 20 reed cannot be had, a No. 10 reed 
 may be used by placing four threads of the selvage 
 through each dent of the selvage and two threads 
 of the pattern through each of the pattern dents. 
 
 Very often the reed has many more dents than 
 is required for the number of threads used in a 
 particular pattern. In such case care must be taken 
 to draw the threads through such dents as will 
 bring the weaving in the center of the reed. For 
 
 'TO te 
 
48 
 
 example, if the finished work is to be 22 inches wide 
 and the reed through which the threads are drawn 
 is 28 inches long, it is of the greatest importance 
 that the first thread is drawn through the dent 
 three inches from the right end of the reed. After 
 all the threads have been drawn thru the dents, 
 three inches are left at the left end of the reed. 
 The ends now are tied to the rod which leads to the 
 cloth beam, the same as in Fig. 36. 
 
 Tying the Heddle Sticks 
 
 Fig. 20 shows the position of the heddle horses. 
 Two heddle horses are tied together with a piece of 
 No. 16 blocking cord. The cord is thrown over the 
 roller or the pulley above, leaving one heddle horse 
 at one side and one at the other, as shown in Fig. 20. 
 
 The upper heddle sticks are tied to the scroll- 
 like ends of the heddle horses, one to each. To do 
 this take four heddles the same as were used on the 
 heddle sticks. These are looped all at one time over 
 one end of the first heddle stick. This is done by 
 placing one loop at the end of the heddle to one side 
 of the heddle stick, as shown at A, Fig. 63. The 
 other ends of the heddles are placed through this loop 
 and are drawn tightly over the heddle stick. With 
 the thumb and finger, make a loop in the other end 
 of the heddles similar to the loop in Figs. 38 and 39. 
 Slip this loop over the scroll-like end of the heddle 
 
 horse as shown at B, Fig. 63.- Take four other 
 heddles and loop one end over the second heddle 
 stick far enough from the end so that it is directly 
 under the other scroll-like end of the same heddle 
 horse, as shown at C, Fig. 63. 
 
 With the finger and thumb, make a loop in 
 the other end of the heddles and slip this loop over 
 the other end of the heddle horse, as shown at D, 
 Fig. 63. Heddle sticks 1 and 2 are now tied to the 
 one heddle horse; see Fig. 63. Take four other 
 heddles and loop them over the third heddle stick 
 the same distance from the end as the first was 
 looped at E, Fig. 64. Loop the other ends of the 
 heddles over the scroll-like end of the second heddle 
 horse, as shown at F, Fig. 64. The fourth heddle 
 stick is tied in the same way and the same distance 
 from the end as the second one, as shown at G and 
 H, Fig. 64. This finishes the tying at one end. 
 Tie heddle sticks at the other end to the heddle 
 horses in the same way. Heddles are used to tie 
 the heddle sticks to the heddle horses because they 
 are all exactly the same length. This is of great 
 importance. 
 
 Tying Heddle Sticks to Treadles 
 
 To keep the heddle sticks even and all together, 
 tie them together at each upper end. From the 
 center of each lower heddle stick, tie a loop of No. 
 16 blocking cord as shown at A, Fig. 37. 
 
49 
 
 . From each treadle allow two ends of No. 16 
 blocking cord to extend upward. Beginning at the 
 right, tie the first treadle to the first lower heddle 
 stick; the second treadle to the second heddle stick. 
 In the same way tie 3 and 4. This numbers the 
 treadles from right to left 1, 2, 3, 4. The loom is 
 now ready for work. 
 
 Weaving the Pattern 
 
 Before beginning to weave the pattern, experi- 
 ment by pressing down certain treadles. Press down 
 treadles 1 and 2 at the same time. Press down 3 
 and 4. Press down 1 and 3 by placing one foot on 
 1 and the other on 3. Press down 2 and 4. It will 
 be found that 1 and 2, when pressed down, make 
 one part of the pattern, as shown at A, Fig. 65. 
 
 By pressing down treadles 3 and 4, the part 
 of the pattern shown at B, Fig. 65, is made. 
 
 These two changes are all that are found in 
 Fig. 65. C, Fig. 65, is the same as A, only there are 
 fewer threads used in weaving C. D, Fig. 65, is 
 the same as B; and E, Fig. 65, is the same as A. 
 
 It was found that when treadles 1 and 3 were 
 pressed down exactly one-half of the threads were 
 drawn down. When 2 and 4 wore pressed down the 
 other half of the threads were drawn down. 
 
 Any amount of plain weaving may be done by 
 pressing down alternately 1 and 3 at the same time, 
 and 2 arid 4 at the same time. This being true, 
 
 it is possible to place pattern borders with as much 
 plain weaving in between as is desired. 
 
 Fig. 63 
 Tying the Heddle Sticks 
 
 Fig. 64 
 
50 
 
 When doing pattern weaving the thread used 
 in the pattern should be at least as heavy as the 
 warp. 
 
 For every pattern thread that is placed in the 
 weaving there must be what is called a binding 
 thread or binder. The binding threads are always 
 put in while the feet press down treadles 1 and 3, 
 and 2 and 4. It will be remembered that it is these 
 two sets of treadles that make the plain or tabby 
 weave. 
 
 Let us suppose that everything is ready to begin 
 the actual weaving. Treadles 1 and 3 are pressed 
 down at the same time and the shuttle is passed 
 from the right through the shed to the left. 
 
 Treadles 2 and 4 are next pressed down and the 
 shuttle is passed through the shed from the left to 
 the right. In this way as much plain weaving may 
 be done as is desired. 
 
 If a table runner is to be made, about five inches 
 
 Fig. 65 Pattern Woven 
 
 of plain weaving in the beginning are sufficient be- 
 fore introducing the pattern. 
 
 To Make the Border as Shown in Fig. 65 
 
 When weaving a pattern there must always 
 be a binder woven in every time a pattern thread 
 is woven. It is this binder that holds the pattern 
 thread in place. It is always well to have the 
 binder of finer thread than that used in the plain 
 weave, or than that used in the pattern, as the pat- 
 tern threads may be more closely beaten together. 
 
 The shuttle containing the thread to be used 
 for the binder is now at the right. 
 
 Treadles 1 and 2 are pressed down at the same 
 time and a pattern thread passed through the shed. 
 W T hen this is beaten in place, treadles 1 and 3 are 
 pressed down and a binder thread is passed through 
 the shed. Treadles 1 and 2 are again pressed down 
 and a pattern thread passed through the shed. 
 Treadles 2 and 4 are now pressed down and a binder 
 passes through the shed. Press 1 and 2 again for 
 the pattern thread and 1 and 3 for the binder. 
 Press 1 and 2 again, and 2 and 4 for the binder. 
 
 The weaver has, no doubt, discovered by this 
 time that the pattern thread may enter the shed 
 from either the right or left while care must be taken 
 to enter the binder from the side it should be entered 
 in order to make the plain weave. With the amateur 
 it might be well to give the following direction con- 
 
((ruing the weaving in of the binder: When the 
 first and third treadles are pressed down the binder 
 must always enter from the right, and when the 
 second and fourth treadles are pressed down the 
 binder enters from the left. The beginner when 
 returning to the work often finds it difficult to know 
 which treadles to press down for the first binder 
 thread. This may be decided by the position of 
 the shuttle. If the thread from the shuttle is to 
 the right then treadles 1 and 3 are pressed down for 
 the binder. If the thread is at the left then 2 and 4 
 are pressed down. In other words, when the right 
 foot presses down one of the outside treadles the 
 shuttle must enter the shed from the right side and 
 when the left foot presses down an outside treadle 
 the shuttle enters the shed from the left side. This 
 will aid the beginner in keeping track of the bind- 
 ing thread. 
 
 Second Change in Pattern 
 
 The second change in the pattern is shown at B, 
 Fig. 65. To weave in the pattern threads for this 
 change, treadles 3 and 4 are pressed down each time. 
 Three and four are pressed down and the shuttle 
 containing the pattern thread is thrown through 
 the shed. 
 
 The shuttle containing the binder is at the 
 right, therefore treadles 1 and 3 are pressed down. 
 The shuttle at the right means that the right foot 
 
 51 
 
 pressed down the right treadle. If it had been at 
 the left, then 2 and 4 would have been pressed down, 
 the left foot pressing down the left treadle which is 
 the outside treadle to the left. 
 
 C, Fig. 65, is the same as A; and D is the same 
 as B. E is the same as A. 
 
 Checked Paper 
 
 After the pupils have worked out the design 
 shown in Fig. 65, pass to them checked paper and 
 have them work out as many different combinations 
 taken from Fig. 65 as possible. 
 
 When this is done the different combinations 
 may be woven on the loom. 
 
 Fig. 66 and Fig. 67 show a few such combina- 
 tions. 
 
 Adaptations 
 
 There is very little value in asking pupils to 
 design in textiles if they know nothing about the 
 real working of a loom. At first thought one is very 
 likely to look upon loom weaving as a very mechan- 
 ical line of work because of the fact that the loom is 
 threaded for a certain pattern. This work may be 
 made so if the teachers cannot see beyond the one 
 little pattern for which the loom is threaded. If, 
 however, the instructor will use the checked paper 
 freely and have the pupils make as many different 
 combinations of the changes shown in Fig. 65 as 
 possible, a great deal of good may be derived from 
 
52 
 
 m m e 1 g mm 
 
 B W I i m 8 
 
 JOB mm 
 
 the standpoint of design and color. Attention has 
 already been called to the combinations shown in 
 Figs. 66 and 67. These interesting borders may be 
 woven into table-runner borders, bags of various 
 kinds, pillow tops, curtains, etc. 
 
 In Fig. 68 is shown a bag for fancy work. The 
 material for the plain part is of Ecru Jap Six No. 20. 
 Twenty threads to the inch were used, two threads 
 passing through each dent. The border is of a No. 
 5 mercerized cotton. 
 
 Fig. 69 shows a knitting bag in which the 
 Monk's Belt threading is used. This bag was woven 
 on the same loom as was the fancy work bag. The 
 change in design is due to a change in colors and 
 the order of treadling for the stripes. The Jap 
 silk is the same. 
 
 When one begins really to work, the possi- 
 bilities begin to dawn. 
 
 Fig. 70 shows a pair of curtains woven of 
 Egyptian twine. A number 20 reed is used, one 
 thread passing through each dent. A No. 3 mer- 
 cerized cotton is used for the border, which is another 
 adaptation of the Monk's Belt. The binder is 
 Egyptian twine. 
 
 Numerous all-over designs may be produced by 
 using the threading draft shown in Fig. 61. 
 
 
 
 '' I' fc teW ' ' b" ' t&fa'Y'lT IM 
 
 P F rrr. . r. . /Tr.r. r.rrr. 
 
 HW44M4 
 
 tt K Ml HI I I fi rts " 
 
 Fig. 66 Borders 
 
 Fig. 67 Borders 
 
53 
 
 Fig. 68 Fancy Work Bag 
 The Rose Path 
 
 Figure 71 shows the threading for the pattern 
 called the Rose Path. It is one of the most inter- 
 
 esting of all the simple threadings and may be 
 worked out by beginners in a great variety of ways 
 and colors. 
 
 When threading any pattern always begin at / 
 the right and work toward the left. 
 
 Fig. 69 Knitting Bag 
 
54 
 
 Threading for the Rose Path 
 
 Thread first the selvage. There are but eight 
 threads in a single repeat of the pattern. The ma- 
 terial to be woven is 20 inches wide plus the width 
 of the selvages. 
 
 If there are to be 20 threads to the inch, it will 
 require 400 threads plus sixteen threads for the 
 selvages, making in all 416 threads. 
 
 If four threads are reeled at a time, it will be 
 necessary to reel 104 groups. 
 
 Since 400 threads are used for the pattern and 
 there are eight threads to each repeat, the pattern 
 may be repeated 50 times. 
 
 The selvage is threaded the same for the Rose 
 Path as was threaded for the Monk's Belt. 
 
 The first thread of the pattern is drawn through 
 the eye of the first heddle on the back row. 
 
 The second thread goes through the eye of the 
 first heddle on the third heddle sticks. 
 
 The third thread passes through the eye of 
 the first heddle on the second heddle sticks. 
 
 The fourth thread passes through the eye of 
 the first heddle on the first heddle sticks. From here 
 the threading runs back to the fourth heddle sticks. 
 
 The eighth thread of the pattern passes through 
 the eye of the second heddle on the first heddle 
 sticks. This finishes one repeat. All the other re- 
 peats are simply a repetition of the first. 
 
 Fig. 70 A Pair of Woven Curtains 
 
55 
 
 Fig. 72 Borders 
 
 The left selvage is the same as the right. 
 
 If a number 20 reed is used, two threads of the 
 selvage are drawn through each of the first six 
 dents and then one thread through each dent until 
 the left selvage is reached, when two are again 
 drawn through each of four dents. 
 
 If a number 10 reed is used four threads of the 
 selvage are drawn through a dent at a time and then 
 two threads through each dent until the left selvage 
 is reached. 
 
 se.lv; 
 
 Fig. 71 Rose Path. Draft of Pattern 
 
 The upper heddle sticks are tied to the heddle 
 horses the same as for the Monk's Belt. 
 
 The lower heddle sticks are also tied to the 
 treadles the same as in the Monk's Belt. 
 
 Weaving the Pattern 
 
 It must be remembered that the treadles are 
 always numbered from right to left. By pressing 
 down treadles 1 and 3, one-half the threads are 
 drawn down. Treadles 2 and 4 are drawn down the 
 other half. 
 
 With the shuttles containing both the pattern 
 thread and the binder at the right, press down 
 
 Fig. 73 Borders 
 
56 
 
 1 and 2 
 
 2 and 4 Binder 
 2 and 3 
 
 1 and 3 Binder 
 
 Fig. 74 Tie-up, Using Lambs 
 
 treadles 1 and 2 and pass the pattern thread through 
 the shed. 
 
 Press down treadles 1 and 3 and through the 
 shed pass the binder. Press 1 and 2 down again 
 and through the shed pass the pattern thread. 
 
 Press down 2 and 4 and pass the binder through 
 the shed. 
 
 To press down the treadles in the following order : 
 1 and 2 2 and 3 1 and 4 
 
 1 and 3 Binder 2 and 4 Binder 1 and 3 Binder 
 3 and 4 1 and 4 
 
 1 and 3 Binder 2 and 4 Binder 
 3 and 4 
 
 2 and 4 Binder 
 
 When the above has been completed all the 
 changes possible in this threading are shown. 
 
 On ruled paper have the pupils make as many 
 combinations of the above changes as possible. 
 
 Figures 72 and 73 show a few of the combina- 
 tions woven into borders. 
 
 The Rose Path is full of interesting combina- 
 tions which may be used in borders for curtains, 
 bags, table runners and pillow tops. 
 
 Finer Threads Used for Warp 
 
 It is not necessary to confine the warp used to 
 the ordinary four-ply carpet warp. It must be re- 
 membered, however, that the finer the warp the more 
 threads there must be to the inch. 
 
I 
 
 <JfMi <jxxxxx< ojxjj* 7 ' 
 
 '" *5vr i >^P 
 
 Fig. 75 Curtain Border. Adaptation from Rose Path 
 
 57 
 
 For extra fine work the mercerized cotton may 
 be used. This is obtainable in various sizes. Num- 
 bers 3 and 5 are most commonly used. Jap silk 
 No. 20 makes a very good warp for finer articles. 
 Glo silk is also good. To the one interested there 
 is an unlimited variety to be had. 
 
 The Lambs 
 
 In the pattern weaving up to this time the 
 loom has been tied up in such a way that it has been 
 necessary to use both feet in pressing down the 
 treadles to bring about the desired changes in the 
 pattern. 
 
 Fig. 74 shows the drawing of such parts of the 
 loom as are concerned in pattern making. At A, 
 Fig. 74, are shown the heddle sticks without the 
 heddles. 
 
 At B are shown the lambs. The lambs are new 
 and no reference up to this time has been made to 
 them. C, Fig. 74, illustrates six treadles instead of 
 four as shown and described in previous drawings. 
 
 The working drawing of the loom will show the 
 lambs held in place at one end by brackets screwed 
 to the inner right side of the loom at B, Figs. 74 
 and 20. By the use of the lambs, the loom may 
 be so tied up that one foot will press down the de- 
 sired number of heddle sticks at one time. 
 
 The tying of the upper heddle sticks to the 
 
58 
 
 heddle horses is the same as shown at A and as 
 previously described. 
 
 On examination of B it will be found that in- 
 stead of the treadles being tied directly to the lower 
 heddle sticks, it is the lambs which are tied, one to 
 each lower heddle stick. 
 
 This tying of the lambs is done exactly the same 
 as if the treadle were being tied. 
 
 B, Fig. 74, shows holes bored in the lambs. 
 
 When the lambs are tied to the lower heddle 
 sticks, attention will be given to the treadles. There 
 are six treadles in all. 
 
 The two center treadles are used in drawing 
 down the heddles that will do the plain weaving. 
 The other four, two at each side of the center, are 
 used to make the pattern. These are numbered 
 from right to left, 1, 2. Skip the two center ones and 
 number the last two, 3 and 4. 
 
 If the first change in the pattern indicates that 
 heddle sticks 1 and 4 are to be drawn down, then 
 
 the lambs 1 and 4 are tied to the first treadle, as 
 shown in Fig. 68. When treadle No. 1 is pressed 
 down, it draws down lambs 1 and 4. Since lambs 
 
 1 and 4 are tied to the lower heddle sticks 1 and 4, 
 the pressure must draw down the heddles. 
 
 If the next change in the pattern indicates that 
 heddles 2 and 3 are to be drawn down, then lambs 
 
 2 and 3 are tied to treadle No. 2 as above described. 
 
 This is continued until all treadles have been 
 tied to draw down the right heddles. The heddles 
 doing the plain weaving are tied to the two center 
 treadles. The knot used in the tying has been fully 
 described in Figs. 37, 38, 39 and 40. 
 
 Fig. 75 shows an adaptation of the Rose Path 
 to a border which may be used in curtains. A num- 
 ber 9 reed is used; one thread to each dent. The 
 woof and warp are of the same material. Care is 
 taken not to beat the woof too hard. This ma- 
 terial resembles a coarse scrim. A number 3 mer- 
 cerized cotton is used in the border and a 2-ply 
 thread is used for the binder. 
 
 
 
 
 
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 CHAPTER III 
 Colonial Patterns 
 
 /-* A 
 
 r weavers 
 Jns which 
 Ration to 
 
 
 hey first 
 
 
 1 country 
 
 '"" *~ * 
 A " 3 ' ^'^B 
 
 ve come, 
 naparte's 
 Queen's 
 
 k i \ ' come 
 
 '""3.2- * 
 
 bf 
 
 ay have 
 the time 
 
 
 ce. One 
 
 
 1, to the 
 
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 i- >., * 
 
 I the pat- 
 i. but to 
 
 he house 
 
 liey were 
 pnges as 
 
 _ 
 
 Reading a Draft 
 
 "Draft" is the term usually applied to a thread- 
 ing as shown in Figs. 76 and 77. This, when proper- 
 ly followed, produces the pattern as shown in Figs. 
 78 and 79. Fig. 78 shows the upper or right side 
 and 79 shows the under side of the finished weaving. 
 "The Big Diamond" is the particular name of this 
 pattern. 
 
 The following is a detailed description of the 
 pattern : 
 
 First: In threading a pattern always begin to 
 read at the right. When the first part is finished 
 begin at the right of the second, etc. 
 
 Second: The pattern begins with the first 
 thread after the right selvage and ends with the last 
 thread just before the left selvage. 
 
 Third: Find the number of threads to make 
 one repeat. All threads within a brace are to be 
 repeated the number of times indicated. For ex- 
 ample, 4X means to repeat the threading four 
 times. The actual number of threads in this pat- 
 tern is 168. If a number 20 reed is used this pat- 
 
 59 
 
58 
 
 heddle horses is the same as shown at A and as 
 previously described. 
 
 On examination of B it will be found that in- 
 stead of the treadles being tied directly to the lower 
 heddle sticks, it is the lambs which are tied, one to 
 each lower heddle stick. 
 
 This tying of the lambs is done exactly the same 
 as if the treadle were being tied. 
 
 B, Fig. 74, shows holes bored in the lambs. 
 
 When the lambs are tied to the lower heddle 
 sticks, attention will be given to the treadles. There 
 are six treadles in all. 
 
 The two center treadles are used in drawing 
 down the heddles that will do the plain weaving. 
 The other four, two at each side of the center, are 
 used to make the pattern. These are numbered 
 from right to left, 1,2. Skip the two center ones and 
 number the last two, 3 and 4. 
 
 If the first change in the pattern indicates that 
 heddle sticks 1 and 4 are to be drawn down, then 
 
 the lambs 1 and 4 are tied to the first treadle, as 
 shown in Fig. 68. When treadle No. 1 is pressed 
 down, it draws down lambs 1 and 4. Since lambs 
 
 1 and 4 are tied to the 
 the pressure must draw dj 
 
 If the next change in 
 heddles 2 and 3 are to bel 
 
 2 and 3 are tied to treadle ', 
 
 This is continued 
 tied to draw down the 
 doing the plain weaving 
 treadles. The knot used 
 described in Figs. 37, 38, 
 
 Fig. 75 shows an ada;' 
 to a border which may be 
 ber 9 reed is used; one tl 
 woof and warp are of thf 
 taken not to beat the 
 terial resembles a coarse 
 cerized cotton is used in 
 thread is used for the bine 
 
CHAPTER III 
 Colonial Patterns 
 
 Many of the patterns used by amateur weavers 
 of today are simply the old Colonial patterns which 
 Inive been handed down from one generation to 
 
 another. 
 
 It is difficult to know just where they first 
 originated. The names often suggest the country 
 from which the original pattern might have come. 
 Such names as the Olive Leaf and Bonaparte's 
 March may have come from France; the Queen's 
 Delight and the Governor's Garden may have come 
 from England; while the Whig Rose may have 
 originated in our own country as late as the time 
 when the Whig Party sprung into existence. One 
 of the interesting features of this work, to the 
 amateur weaver of today, is not to accept the pat- 
 terns just as they have been handed down, but to 
 make such changes as will enable the finished pro- 
 ducts to find an appropriate place in the house 
 furnishings of today. 
 
 The patterns which follow are given as they were 
 originally woven, together with such changes as 
 make them desirable at this time. 
 
 Reading a Draft 
 
 "Draft" is the term usually applied to a thread- 
 ing as shown in Figs. 76 and 77. This, when proper- 
 ly followed, produces the pattern as shown in Figs. 
 78 and 79. Fig. 78 shows the upper or right side 
 and 79 shows the under side of the finished weaving. 
 "The Big Diamond" is the particular name of this 
 pattern. 
 
 The following is a detailed description of the 
 pattern : 
 
 First: In threading a pattern always begin to 
 read at the right. When the first part is finished 
 begin at the right of the second, etc. 
 
 Second: The pattern begins with the first 
 thread after the right selvage and ends with the last 
 thread just before the left selvage. 
 
 Third: Find the number of threads to make 
 one repeat. All threads within a brace are to be 
 repeated the number of times indicated. For ex- 
 ample, 4X means to repeat the threading four 
 times. The actual number of threads in this pat- 
 tern is 1(58. If a number 20 reed is used this pat- 
 
 59 
 
Fig. 76 The Big Diamond. Draft 
 
 tern may be threaded two full times and up to the 
 place marked by the arrow the third time. Direct- 
 ly following this the selvage is threaded. 
 
 The number of threads to produce the piece 
 of cloth is as follows : 
 
 Two times 168 threads, plus 108 threads 
 (up to arrow), plus 32 threads for selvage, making 
 in all 476 threads. The use of a four-ply carpet warp 
 and a No. 10 reed and two threads to the dent makes 
 a table runner about 24 inches wide while in the 
 loom. 
 
 of Pattern with Each Group Marked 
 
 After the warp has been reeled and placed on 
 the beam, the threading may begin. 
 
 Fourth: Threading The selvage is threaded 
 as before described. The 2X indicates that the 
 threads within the brace are to be threaded twice. 
 
 Beginning with the real pattern the first thread 
 passes through the eye of a heddle on the third 
 heddle sticks. The second thread passes through 
 the eye of a heddle on the second heddle sticks. 
 
 The draft shows that this combination is re- 
 peated four times; this is indicated by the brackets 
 
 Fig. 77 The Big Diamond. Draft of Pattern 
 
61 
 
 !!' !:!":! 
 
 , 
 
 ""- VmKf- -""""'' 
 
 !{!!!"- ":::!! 
 !!:: " : !!!! 
 
 ., 
 
 mini ~ ~ " IIUMI 
 
 iiuui mini 
 
 " mini " " ' ' mini ' ' , 
 
 ' ~ mini ~ ' ' mini ~ " " , 
 
 " 
 
 ini 
 
 " 
 
 V" " W" "V v" 
 
 , A A.A AiA 
 
 ' 
 
 i ni i 
 
 drawn around this group. The next group is made 
 up of the combination of 3 and 1, indicated by 
 brackets. 
 
 The next threads run in the combination of 4 
 and 1, and the next 4 and 2, as indicated by brackets. 
 The threading is continued until the left selvage is 
 reached, the brackets indicating the grouping. 
 From this place the threading begins at the be- 
 ginning of the pattern and is repeated a second time 
 straight through to the left selvage; care must be 
 taken to thread the threads within the brace the 
 number of times indicated. The second time com- 
 pleted, the pattern is threaded a third time up to the 
 threads marked by the arrow. The left selvage 
 threaded now completes the threading of the entire 
 warp. 
 
 The draft is usually written as shown in Fig. 77. 
 
 Fifth: The threading completed, the threads 
 are drawn through the reed, two to each dent. Care 
 must be taken to draw the threads through the 
 dents so the threading is in the middle of the reed. 
 This has been explained previously. 
 
 The Tie- Up 
 
 The upper heddle sticks are tied to the heddle 
 horses as before described. 
 
 The lower heddle sticks are tied, one to each 
 of the lambs instead of directly to the treadles. 
 
 > i . l < 1 ^-i l . i < ;/.*< 
 
 ft ^TMff^Jf^ff 
 
 \\ \\ 
 V V 
 
 iSi 
 
 Fig. 78 Right Side of Finished Weaving 
 
 Fig. 79 -Under Side of Finished Weaving 
 
62 
 
 The treadles are tied to the lambs in the order 
 indicated by the draft. 
 
 The first combination in the threading is 2 and 
 3, therefore lambs 2 and 3 are tied to the first 
 treadle. The next combination is 1 and 3, then 1 
 and 3 are tied to the second treadle. 
 
 The third change in the pattern is 1 and 4. 
 It is tied to the fifth treadle which is next to the 
 last, skipping the two center ones. 
 
 The fourth combination is 4 and 2 which is 
 tied to the last treadle. 
 
 The plain weaving for this pattern is done by 
 pressing down heddle sticks 1 and 2 at one time, 
 and 3 and 4 the next. This means that lambs 1 
 and 2 are tied to the right middle treadle, and 3 
 and 4 are tied to the left middle treadle. 
 
 Weaving the Pattern 
 
 Before beginning the real pattern about one- 
 half inch of plain weaving is done. This is done by 
 pressing down first one and then the other of the 
 two middle treadles. 
 
 With the shuttle at the right, press down the 
 first treadle which draws down heddle sticks 2 and 3. 
 Through the shed pass the first pattern thread. 
 
 For the binder press down the middle treadle 
 to the right. For the second pattern thread press 
 down the first treadle again. The thread for the 
 
 plain weaving is at the left, so the left treadle is 
 pressed down and the binder is sent from the left 
 to the right. 
 
 For the third pattern thread press down the 
 first treadle again. The binder is now at the right, 
 so the right middle treadle is pressed down. This 
 is continued until the first treadle is pressed down 
 as many times as there are threads indicated in the 
 first combination. In this case there are eight, and 
 the binder is used after each pattern thread. If 
 eight times makes too large a color spot, press down 
 the first treadle only six or even four times. The 
 weaver must be the judge. 
 
 The second change in the pattern is 1 and 3 
 in the threading, therefore the second treadle which 
 draws down 1 and 3 is pressed down 4, 6 or 8 times, 
 just as the weaver desires. 
 
 The third change is 1 and 4, so the fourth or 
 next to the last treadle is pressed down 4, 6 or 8 
 times. The fourth change is 2 and 4, so the last 
 treadle is pressed down 4, 6 or 8 times. 
 
 It will be observed that the threads all come in 
 combinations. Sometimes the combination con- 
 sists of only two threads. When this is true then 
 only two pattern threads are run across. 
 
 The draft shown at Fig. 77 tells all that must 
 be known about a pattern to produce the finished 
 piece of cloth. 
 
63 
 
 It must be remembered that the pattern may 
 be woven by using only four treadles, one tied to 
 each heddle stick as described in the Monk's Belt 
 and the Rose Path. 
 
 In case each heddle stick is tied to a treadle, 
 the pattern is produced by pressing down treadles 
 2 and 3 as many times as desired. Then 1 and 3 
 as main' times as desired, 1 and 4 and then 2 and 4. 
 
 The plain weaving is done by pressing down 
 treadles 1 and 2 at one time, and treadles 3 and 4 
 at another. 
 
 The patterns which follow will be described 
 in as brief a way as possible, because all tying and 
 treadling are read in the draft as above described. 
 
 Fig. 80 shows the original draft for the Double 
 Snowball, and Fig. 81 shows the woven pattern 
 
 when the draft shown in Fig. 80 is followed, 
 requires 396 ends for one repeat of the pattern. 
 
 It 
 
 Where to Begin 
 
 Owing to the width of looms it is necessary to 
 weave counterpanes and couch covers in two strips, 
 to be sewed together. In all drafts care is taken to 
 begin the threading so two edges may be sewed to- 
 gether to make one complete pattern, just the same 
 as figured carpets are woven and sewed. 
 
 The tie-up: Each lower heddle stick is tied to 
 a lamb. 
 
 The lambs are tied as follows: 
 1 and 4 to the first treadle. 
 
 1 and 3 to the second treadle. 
 
 2 and 3 to the third treadle. 
 2 and 4 to the fourth treadle. 
 
 Fig. 80 The Double Snowball. Draft of Pattern 
 
64 
 
 The plain weave is done by tying lambs : 
 
 1 and 2 to the right middle treadle, 
 
 3 and 4 to the left middle treadle. 
 
 Figure 83 shows an adaptation of the Double 
 Snowball. It is not difficult to find the part of the 
 pattern used in the original pattern. This par- 
 ticular part when used alone as in Fig. 82 is often 
 called the Dogwood Blossom. 
 
 Figure 82 shows the draft for the adaptation 
 and is read as follows: 
 
 First: 704 threads required for the entire 
 pattern. 
 
 Second: Each lower heddle stick is tied to a 
 lamb. 
 
 Third: The lambs are tied as follows: 
 
 1 and 4 to the first treadle. 
 
 1 and 3 to the second treadle. 
 
 2 and 3 to the third treadle. 
 2 and 4 to the fourth treadle. 
 
 Fig. 81 Finished Weaving Using Double Snowball Pattern 
 
 The plain weave is done by tying lambs : 
 1 and 2 to the right middle treadle. 
 3 and 4 to the left middle treadle. 
 
 Fig. 82 Adaptation from the Double Snowball. Draft of Pattern 
 
65 
 
 The material is a two-ply unbleached 
 cotton warp. 
 
 Use a No. 15 reed, placing two 
 threads to a dent. 
 
 The material used in the pattern 
 may be a colored four-ply carpet warp 
 or a No. 3 mercerized cotton. The two- 
 ply carpet warp may be used for the 
 binder or a fine mercerized thread may 
 be used. 
 
 When weaving the pattern, the part 
 within the brace is woven as many times 
 as is indicated by the figure. For exam- 
 ple, the brace marked 7X means all 
 within the brace is woven seven times 
 before proceeding with the remainder of 
 the pattern. 
 
 Figure 81 shows the original pattern, 
 while Figs. 83 and 84 show a table runner 
 taken from Fig. 81. 
 
 This pattern is often used for pillow 
 tops. In such a case a square is woven. 
 
 Fig. 85 shows a draft taken from 
 what is known as Block Work, the orig- 
 inal of which is shown in Fig. 86. This 
 design, as well as many of the old Colonial 
 patterns, is full of suggestions for pillow 
 t ops, table runners and even count erpanes. 
 
 pri 
 
 SsWJ^WwwwW 
 
 
 
 Fig. 83 Right Side of Table Runner 
 
 Fig. 84 Under Side of Table Runner 
 
66 
 
 2X 6X 
 
 Fig. 85 The Block Work. Draft of Pattern 
 
 Fig. 86 Finished Weaving of Block Work 
 
 Figure 87 shows a pillow top taken from Fig. 86. 
 
 There will be no difficulty in locating Fig. 87 
 in Fig. 86. 
 
 Figure 88 shows a table runner taken from Fig. 86. 
 
 Figure 88 was woven on the same loom, with the 
 same threading as the pillow top shown in Fig. 87. 
 
 Reading of the Draft, Fig. 76 
 
 No. 10 reed, two threads to a dent. 
 456 threads four-ply carpet warp required. 
 Each lower heddle stick is tied to a lamb. 
 The lambs are tied as follows: 
 
 1 and 4 to the first treadle. 
 
 3 and 4 to the second treadle. 
 
 2 and 3 to the third treadle. 
 
 1 and 2 to the fourth treadle. 
 For plain weave tie: 
 
 1 and 3 to the right middle treadle. 
 
 2 and 4 to the left middle treadle. 
 
67 
 
 Observe that the last thread of the right sel- 
 vage is omitted in the second threading. This is 
 done to avoid two threads coming together on the 
 same heddle stick. 
 
 Chariot Wheel 
 
 Figure 89 shows a draft taken from what is 
 known as the Chariot Wheel pattern. 
 
 Figure 90 shows a pillow top woven on a loom 
 threaded with Fig. 89. 
 
 Figure 91 shows the under side of Fig. 90. 
 
 Very often the under side of the weaving is 
 more attractive than the upper which is the right 
 side. The design of the under side is usually more 
 broken, thus making it many times more desirable 
 from an art standpoint. 
 
 
 ,'.*, * - ;; 
 
 WMMMVVMV 1 ,' 
 II '!'.'!?- ffl 
 
 Fig. 88 Table Runner Woven from Block Work 
 
 Fig. 87 -Finished Pillow Top 
 
68 
 
 2X 
 
 Fig. 89 The Chariot Wheel. Draft of Pattern 
 
 When making a pillow, let one side of the pillow 
 show the right side and the other the under side of 
 the weaving. 
 
 Figure 92 shows a counterpane, using the draft 
 shown in Fig. 89. 
 
 Fig. 90 Pillow Top Woven from Chariot Wheel Pattern 
 
 Reading the Draft, Fig. 89 
 
 Material: A two-ply unbleached carpet warp. 
 
 Number 15 reed, placing two threads to a dent. 
 
 Woof: Any color of wool, four-ply carpet warp 
 or No. 3 mercerized cotton; 672 threads required to 
 complete the threading. 4- ^ 
 
 The lower heddle sticks are tied one to each 
 lamb. 
 
 The lambs are tied as follows : 
 
 1 and 3 to the first treadle. 
 
 2 and 3 to the second treadle. 
 
 2 and 4 to the third treadle. 
 1 and 4 to the fourth treadle. 
 For the plain weave: 
 
 1 and 2 tie to the right middle treadle. 
 
 3 and 4 tie to the left middle treadle. 
 
 When threading the draft as shown in Fig. 80, 
 thread the right selvage first and then the border, 
 
69 
 
 
 Fig. 91 Under Side of Pillow 
 
 repeating the threads within the brace the number 
 of times indicated. The real pattern begins just 
 after the right border. This part of the draft is 
 threaded four times before threading the left border 
 and the left selvage. 
 
 Figure 93 shows a pair of curtains, the border 
 of which is an adaptation of the "Chariot Wheel." 
 
 To the one truly interested there is no limita- 
 tion of adaptations. Whole bedroom sets may be 
 woven, carrying the "Chariot Wheel" into the 
 
 Fig. 92 Counterpane Woven from Chariot Wheel Pattern 
 
70 
 
 Fig. 93 Curtain Woven with Border from Chariot Wheel 
 
 various borders. Such a set includes the counter- 
 pane, curtains, dressing table mat, valence and even 
 the rug for the floor, which may be woven of coarse 
 materials, carrying out the unity of design. 
 
 This particular pair of curtains is woven of 
 Egyptian twine. The border is of two shades of 
 blue No. 3 mercerized cotton. 
 
 The loom was threaded 30 ends to the inch. 
 A number 15 reed was used, drawing two threads 
 through each dent. This does not give the scrim 
 weave as shown in the curtains, Figs. 70 and 75, 
 but more of a marquisette weave, which is very 
 pleasing. 
 
 When weaving the border use only the treadles 
 which will raise and lower the sets of thread that 
 will produce the one row of wheels. It is well, how- 
 ever, to weave in a narrow stripe below and above 
 the principal border stripe, which in this case is 
 the row of wheels. If the narrow bands are to be 
 used across the top great care must be exercised to 
 get the separate bands exactly the same distance 
 from the top and at the same time make the borders 
 at the bottom come together. If the bands across 
 the top are omitted the weaving of curtains is great- 
 ly simplified. It is not necessary to be limited by 
 materials, as almost 'any threads may be woven 
 into most attractive fabrics. 
 
71 
 
 In weaving curtains it is always well to make a 
 liberal allowance for shrinkage. Almost all ma- 
 terials whether of wool, cotton or linen will shrink. 
 
 The Orange Peel 
 
 Attention has not been called to the fact that 
 in many cases the original woven pattern appears 
 without the draft for the same. Fig. 94 shows the 
 original pattern of the Orange Peel, while Fig. 95 
 shows the draft for Fig. 96 and Fig. 97. Should a 
 counterpane of this pattern be desired the thread- 
 ing is done the same as shown in Fig. 95, omitting 
 the left border each time. The number of times the 
 pattern is repeated depends upon the width of the 
 loom and also the width of the couch cover or 
 counterpane desired. It must be remembered that 
 the strips are sewed together and must be made to 
 match. 
 
 The weaver will have gained by this time suf- 
 ficient experience to make the changes to meet the 
 demands. Originality is one of the chief aims of 
 the work. 
 
 The draft reads as follows: 
 
 Material: Two-ply unbleached carpet warp. 
 
 Reed number 15, placing two threads to a dent. 
 
 The material used in the pattern (the woof) 
 may be any of the three following materials: 
 
 \Yool, four-ply carpet warp, or No. 3 mer- 
 cerized cotton. 
 
 Fig. 94 Original Pattern from Orange Peel 
 
 Use a finer thread for the binder. 
 606 threads for the complete pattern. 
 Each lower heddle stick is tied to a lamb. 
 The lambs are tied as follows: 
 2 and 4 to the first treadle. 
 
 2 and 3 to the second treadle. 
 1 and 3 to the third treadle. 
 
 1 and 4 to the fourth treadle. 
 
 For the plain weave tie: 
 
 1 and 2 to the right middle treadle. 
 
 3 and 4 to the left middle treadle. 
 
72 
 
 .Border 5elva$e 
 
 1 
 
 I 
 
 Selvage Bor-der- 
 
 6X 
 E>eg inning of "Pattern 
 
 ex 6x 
 
 omit this thread 
 first repeat of bonder 1 
 
 Fig. 95 The Orange Peel. Draft of Pattern 
 
 before 
 /ast border 
 
 This pattern has a few irregularities. First 
 the selvage is threaded and then the right border. 
 The pattern is then threaded five times from one 
 arrow to the other. After the fifth threading the 
 threads within the brace marked "thread once 
 before last border" are taken care of. After this the 
 last border is threaded, omitting the first thread in 
 the first repeat of the border. This is done to avoid 
 two threads coming together on the first heddle 
 stick. The threading of the left border completes 
 the pattern. 
 
 It will be observed that the right and left edges 
 are not the same, only half the pattern showing on 
 the right edge and almost a complete pattern on 
 the left edge. 
 
 Figure 96 shows the "Orange Peel" worked out 
 
 in a sofa pillow top. The draft shown at Fig. 95 
 will make this pillow top. 
 
 Figure 97 shows the under side of Fig. 96. 
 
 Governor's Garden 
 
 Figure 98 gives the draft for a pillow top or 
 table runner taken from the "Governor's Garden" 
 shown in Fig. 99. 
 
 It is difficult to recognize Figs. 97 and 98 as 
 having been taken from Fig. 99. 
 
 It is quite wonderful what even the amateur 
 weaver will be able to do after a somewhat limited 
 experience in actual work with the loom. 
 
 Any draft is full of suggestions for borders, 
 curtains, table runners, complete couch covers, 
 pillow tops, counterpanes, etc. 
 
Fig. 96 Pillow Top Woven from Orange Peel 
 
 The "Governor's Garden" is the longest of the 
 drafts and is threaded just as given in Fig. 98. 
 
 The draft reads as follows: 
 
 Materials: Two-ply unbleached carpet warp. 
 
 Reed: Number 15, placing two threads to a 
 dent. 
 
 73 
 
 The material in the pattern (woof) may be any 
 of the materials before mentioned. 
 
 Use 716 threads for the complete pattern. Each 
 lower heddle stick is tied to a lamb. 
 
 The lambs are tied as follows: 
 
 1 and 4 to the first treadle. 
 
 1 and 2 to the second treadle. 
 
 
 
 
 Fig. 97 Under Side of Pillow shown in Fig. 96 
 
74 
 
 Selvage 
 
 i 
 
 2X 
 
 Fig. 98 The "Governor's Garden." Draft of Pattern 
 
 2 and 3 to the third treadle. 
 
 3 and 4 to the fourth treadle. 
 For the plain weave tie: 
 
 1 and 3 to the right middle treadle. 
 
 2 and 4 to the left middle treadle. 
 
 Figure 100 shows the right side of the finished 
 weaving, while Fig. 101 shows the under side. 
 
 The border on the front and back edges of any 
 weaving is always taken care of by weaving the re- 
 peat of the border as many times as is suggested in 
 the draft. 
 
 Bonaparte's March 
 
 Figure 103 shows the woven sample of Bona- 
 
 Fig. 99 Original Pattern of Governor's Garden 
 
Fig. 100 Pillow Top Woven from Governor's Garden 
 
 parte's March. It was woven by following the 
 draft shown at Fig. 102. In weaving the old-time 
 counterpanes it was necessary to weave them in 
 two strips because of the width of the looms at that 
 
 75 
 
 time. In order that the two strips might be sewed 
 together, the pattern was begun in the center of 
 some particular figure found in the pattern. 
 
 Only four threads were used in the selvage 
 along the left edge. The border was usually placed 
 on the right edge. 
 
 m 
 
 nun 
 
 Fig. 101 -Under Side of Pillow shown in Fig. 100 
 
76 
 
 Selvaoe 
 
 MR 
 
 7x 
 
 Fig. 102 Bonaparte's March. Draft of Pattern 
 
 7x 
 
 irilllllll H.IMIMIIIMI^Ifllllll. 
 
 ,'L'L"J"""C' ; >~win 
 
 II'IM 'r 't 1 i' 'HiiMiCiijOnniM ji_ii_"iHini!_r_i>J JrJi_ri 
 r"irii"i i' i niniiriO 1 . 11 "" 1 -'V' """"-"-' ' .' -''J. 
 
 ' " 
 
 itJMijiimi 
 
 iiji'ifiiiiiii 
 
 "JIJU'i'i" 
 iijOO'i'i" 
 
 Fig. 103 Original Pattern of Bonaparte's March 
 
 Borders 
 
 Borders are made by repeating certain sets of 
 threads a number of times. Any one at all familiar 
 with pattern weaving can readily understand the 
 making of borders. 
 
 Figure 104 shows a draft taken from draft 102. 
 It is that part of the draft that will make an inter- 
 esting pillow top. 
 
 Figure 102 reads as follows: 
 
 Count the number of threads in the pattern. 
 
 Each lower heddle stick is tied to a lamb. 
 
 The lambs are tied as follows: 
 
 1 and 4 to the first treadle. 
 
 fl-SS 
 
 u^y u y d 
 
 tiU 
 
 Jt, 
 
 ex 
 
 Tx 
 
 Fig. 104 Draft of Pattern for Pillow Top. Adaptation of Bonaparte's March 
 
77 
 
 ^Border 5elvgge 
 
 I 
 
 Fig. 105 The Snail's Trail and Cat's Paw. Draft of Pattern 
 
 Fig. 106 Original Pattern, Snail's Trail and Cat's Paw 
 
 2 and 3 to the second treadle. 
 1 and 3 to the third treadle. 
 It will be observed that only three treadles are 
 necessary to weave the pattern. 
 
 The plain weave is done by tying lambs: 
 
 1 and 2 to the right middle treadle. 
 
 3 and 4 to the left middle treadle. 
 
 The material may be any of the material be- 
 fore mentioned. 
 
 Figure 104 may be read and the treadles tied 
 the same as described in Fig. 102. 
 
 Snail's Trail 
 
 Figure 105 shows the draft for the pattern 
 shown in Fig. 106. This pattern is often called 
 the "Snail's Trail" and "Cat's Paw." 
 
 Each lower heddle stick is tied to a lamb. 
 
 The lambs are tied as follows : 
 
 1 and 4 to the first treadle. 
 
 2 and 4 to the second treadle. 
 
 2 and 3 to the third treadle. , 
 
 1 and 3 to the fourth treadle. 
 
 The plain weave is done by tying lambs: 
 
78 
 
 Fig. 107 The Blooming Flower. Draft of Pattern 
 
 
 Fig. 108 Original Pattern, Blooming Flower 
 
 1 and 2 to the right middle treadle. 
 3 and 4 to the left middle treadle. 
 Press the treadles in the order indicated by the 
 draft and as before described. 
 
 The Blooming Flower 
 
 "The Blooming Flower" is a pattern often used 
 for counterpanes. Fig. 107 shows the draft while 
 
 Fig. 108 shows the pattern woven by following the 
 draft, Fig. 107. Only four threads are suggested 
 in the selvage. This will permit of the sewing to- 
 gether of the two strips. 
 
 The material is usually a two-ply carpet warp 
 for the warp and wool for the woof. Each lower 
 heddle stick is tied to a lamb. 
 
 For the pattern the lambs are tied as follows: 
 
 1 and 4 to the first treadle. 
 
 1 and 3 to the second treadle. 
 
 2 and 3 to the third treadle. 
 2 and 4 to the fourth treadle. 
 
 The plain weaving is done by tying lambs : 
 
 1 and 2 to the right middle treadle. 
 
 2 and 4 to the left middle treadle. 
 
 Pine Knot 
 
 Figure 109 shows the draft for "The Pine Knot" 
 and Fig. 110 shows the woven sample. This pat- 
 tern lends itself to several interesting combinations. 
 
 If the weaver has read what has gone before 
 
79 
 
 mm 
 
 - 
 
 Tfi-4. 
 
 Fig. 109 Pine Knot. Draft of Pattern 
 
 - - - - . - 
 
 Fig. 110 Original Pattern, Pine Knot 
 
 there will be no difficulty by this time to select such 
 parts of the pattern as are desired. 
 
 The draft reads as follows: 
 
 Tie each lower heddle stick to a lamb. The 
 lambs are tied as follows: 
 
 2 and 3 to the first treadle. 
 
 2 and 4 to the second treadle. 
 1 and 4 to the third treadle. 
 
 1 and 3 to the fourth treadle. 
 
 The plain weave is done by tying lambs: 
 
 1 and 2 to the right middle treadle. 
 
 3 and 4 to the left middle treadle. 
 
 It must not be forgotten that the lambs are not 
 absolutely necessary. Each treadle may be tied 
 
 SELVAGE 
 
 Fig. 1 1 1 Federal Knot. Draft of Pattern 
 
80 
 
 directly to the lower heddle stick. In such a case 
 only four treadles are used but' two are pressed down 
 each time a thread is passed through the shed. 
 This has already been described. 
 
 Federal Knot 
 
 Fig. Ill shows the draft for the "Federal Knot" 
 and Fig. 112 shows the woven sample. This pat- 
 tern, the same as those previously described, is full 
 of suggestions. 
 
 The material before mentioned may again be 
 used in this pattern. 
 
 The draft reads as follows: 
 
 Fig. 112 Original Pattern. Federal Knot 
 
 Tie each lower heddle stick to a lamb. 
 The lambs are tied as follows : 
 1 and 4 to the first treadle. 
 3 and 4 to the second treadle. 
 
 1 and 2 to the third treadle. 
 
 2 and 3 to the fourth treadle. 
 
 The plain weave is done by tying lambs: 
 
 1 and 3 to the right middle treadle. 
 
 2 and 4 to the left middle treadle. 
 
 Wheel of Fortune 
 
 Figure 113 shows the draft for what is known as 
 the "Wheel of Fortune," sometimes called the 
 "Wheel of Time." 
 
 The draft reads as follows: Material 2, 3, or 
 4-ply unbleached carpet warp for the warp. 
 
 The material used in the pattern t^the woof) 
 may be any one of the materials already mentioned. 
 
 For 2-ply carpet warp use a No. 15 reed, for J 
 ply use a No. 12 reed, for 4-ply use a No. 10 reed. 
 
 It requires 262 threads for one repeat of the 
 pattern. The selvage requires eight threads; and 
 the border for a counterpane, 100 threads. If a 
 pillow top is to be made the border should be made 
 narrower and on both edges. The pattern begins 
 at the first arrow just after the selvage and ends at 
 the other arrow just before the border. 
 
 Tie-up: Each lower heddle stick is tied to a 
 lamb. 
 
81 
 
 Selva 
 
 i 
 
 Border- 
 
 lOx 
 
 Fig. 113 Wheel of Fortune. 
 
 Draft of Pattern 
 
 Fig. 1 14 Wheel of Fortune. Original Pattern. 
 
 The laml 
 
 2 and 4 to 
 2 and 3 to 
 
 arc tied as follows: 
 the first treadle, 
 the second treadle. 
 
 1 and 3 to the third treadle. 
 
 1 and 4 to the fourth treadle. 
 
 For the plain weave tie: 
 
 1 and 2 to the right middle treadle. 
 
 3 and 4 to the left middle treadle. 
 
 The weaver must always remember that a 
 great deal of judgment must he exeivis-d \\ hen doing 
 the weaving. 
 
 Four treadles may he used, one tied to each 
 lower treadle stick. In such a case two treadles 
 inii.-l he pressed down at the same time. Almost 
 any kind of material may !> adapted to I lie work. 
 When the material is coarse there mu>( he fewer 
 threads to the inch. 
 
 Figure 114 shows the finished weaving. 
 
i 
 
 
 Fig. 115 The Irish Chain. Draft of Pattern 
 
 Fig. 116 Irish Chain. Original Pattern. 
 Irish Chain 
 
 The "Irish Chain," sometimes called the "Nine 
 Wheels," and sometimes the "Nine Snow Balls," 
 is shown in Fig. 116. 
 
 The draft for the "Irish Chain" is shown in 
 Fig. 115. 
 
 The draft reads as follows: 
 
 Material: Two-ply unbleached warp. The ma- 
 terial used in the pattern (woof) may be any one of 
 the materials already mentioned. 
 
 Number 15 reed, placing two threads to a dent, 
 288 threads required to complete one repeat of the 
 pattern. 
 
 The Tie-Up 
 
 The lower heddle sticks are tied one to each 
 lamb. 
 
 The lambs are tied as follows: 
 2 and 3 to the first treadle. 
 2 and 4 to the second treadle. 
 1 and 4 to the third treadle. 
 1 and 3 to the fourth treadle. 
 For the plain weave: 
 
 1 and 2 to the right middle treadle. 
 
 2 and 4 to the left middle treadle. 
 
Fig. 117 Draft of Pattern. Rings and Chains 
 
 Fig. 118 Rings and Chains, Original Pattern 
 
 Figure 118 shows the original pattern woven 
 by following the draft shown in Fig. 117, without 
 the border. A counterpane or couch cover is not 
 quite complete if left without a border. Fig. 119 
 shows a counterpane with border. Fig. 117 shows 
 the complete draft for the same. 
 
 The same draft may be used for a pillow top or 
 table runner by threading the border fewer times 
 and repeating it and the selvage along the left side. 
 
 The amateur weaver has no doubt discovered 
 by this time that any border consists only of a cer- 
 tain number of threads of each combination re- 
 peated a number of times, the number of repeats 
 depending entirely upon the width of the border 
 desired. 
 
 The front border is always produced by follow- 
 ing the draft shown within the brace marked "bor- 
 der," repeating the weaving as many times as is 
 indicated. 
 
 Upon examination it is found that to produce 
 the finished piece of cloth the pattern treadles are 
 tied as follows : 
 
 The lower heddle sticks are tied one to each 
 lamb. 
 
 Treadles 1 and 2 are tied to the first lamb. 
 Treadles 1 and 4 are tied to the second lamb. 
 
84 
 
 Fig. 120 Curtains with Border from Rings and Chains 
 
 Fig. 119 Counterpane Woven from Rings and Chains 
 
Fig. 121 Counterpane Woven from Old Quilt Pattern 
 
 85 
 
 Treadles 3 and 4 are tied to the third lamb. 
 
 Treadles 2 and 3 are tied to the fourth lamb. 
 
 Plain weave: 
 
 Treadles 1 and 3 are tied to the right middle 
 treadle. 
 
 Treadles 2 and 4 are tied to the left middle 
 treadle. 
 
 The materials used are similar to those 
 previously suggested for other patterns. 
 
 Figure 120 shows a pair of curtains woven of 
 Egyptian twine. The border is an adaptation of 
 "Rings and Chains." The part used in the border 
 may easily be found in the completed counterpane, 
 Fig. 119. The threading for the border in the cur- 
 tains is the same as shown in Fig. 117. In weaving 
 only the treadles are used that will produce the 
 borders shown in the curtains. 
 
 Old Quilt Pattern 
 
 The finished counterpane shown in Fig. 121 
 was woven by following the draft shown in Fig. 122. 
 
 The name of this particular pattern is unknown 
 to the author. The draft was taken from an old 
 counterpane belonging to Miss Elizabeth Gauger, 
 of Joliet, 111. 
 
 Each lower heddle stick is tied to a lamb. 
 
 The treadles are tied as follows: 
 
 Treadles 1 and 2 are tied to the first lamb. 
 
 Treadles 2 and 3 are tied to the second lamb. 
 
 Treadles 3 and 4 are tied to the third lamb. 
 
 Treadles 1 and 4 are tied to the fourth lamb. 
 
Fig. 122 Old Quilt Pattern. Draft of Pattern 
 
 Plain weave: 
 
 Lambs 1 and 3 are tied to the right middle 
 treadle. 
 
 Lambs 2 and 4 are tied to the left middle treadle. 
 
 Other Patterns 
 
 The amateur weaver has, no doubt, learned by 
 this time just how to read each draft. It has already 
 been stated that the draft tells the whole story. 
 
 The lambs are always tied one to each lower 
 heddle stick. 
 
 The treadles are now tied to the lambs. Fig. 
 76 suggests the way the draft may be divided in 
 
 Fig. 123 -Leopard Skin. Original Pattern 
 
 Fig. 124 Leopard Skin. Draft of Pattern 
 
87 
 
 HffittSBftS 
 
 Fig. 125 Fox Trail. Draft of Pattern 
 
 : - 
 
 .... 
 
 Fig. 126 Fox Trail. Original Pattern 
 
 Fig. 127 Doors and Windows. Original Pattern 
 
 Fig. 128 -Doors and Windows. Draft of Pattern 
 
 3* 
 
88 
 
 Fig. 129 Double Chariot Wheels. Draft of Pattern 
 
 Fig. 130 Double Chariot Wheels. Original Pattern 
 
 I 
 
 Fig. 131 Scarlst Balls. Original Pattern 
 
 4 
 3 
 
 1 
 
 Fig. 132 Scarlet Balls. Draft of Pattern 
 
 I 1- 
 
 
 , 
 
 
89 
 
 Fig. 133 Sea Star. Draft of Pattern 
 I 
 
 Fig. 135 - The White House. Original Pattern 
 
 Fig. 134 -Sea Star. Original Pattern 
 
 Fig. 136 The White House. Draft of Pattern 
 
90 
 
 4 
 f 
 
 t'.'.'.t 1 . -T 
 
 III _ l _ l _ l p a I 
 
 i 
 
 I 
 
 Fig. 137 The Indiana Frame Rose. Draft of Pattern 
 
 Fig. 138 The Indiana Frame Rose. Original Pattern 
 
 Fig. 139 Window Sash. Original Pattern 
 
 3* 
 
 Fig. 140 Window Sash. Draft of Pattern 
 
91 
 
 Fig. 141 Parson's Beauty. Draft of Pattern 
 
 Fig. 142 Parson's Beauty. Original Pattern 
 
 Fig. 143 Braddock's Defeat. Original Pattern 
 
 4. 
 
 3 
 2 
 
 9X 
 
 Fig. 144 Braddock's Defeat. Draft of Pattern 
 
92 
 
 
 Fig. 145 The King's Flower. Draft of Pattern 
 
 Fig. 146 The King's Flower. Original Pattern 
 
 Fig. 147 -Queen's Delight. Original Pattern 
 
 4- 
 
 3 
 
 a 
 
 Fig. 148 Queen's Delight. Draft of Pattern JX 
 
. ..-'. 
 
 Fig. 149 Old Irish Quilt Pattern. Draft of Pattern 
 
 inr >r 
 
 //x 
 
 1JIII Ji H Jl JWHWW H. 
 
 HWttHt 
 
 H Hill/ 
 
 "AW " 
 
 i jf{ ff n TBT"^ " JBS ant aot ** - 
 
 Fig. 150 Old Irish Quilt Pattern. Original Pattern 
 
 Fig. 151 The Cross. Original Pattern 
 
 Fig. 152 The Cross. Draft of Pattern 
 
94 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 V 
 
 i 
 
 at 
 
 i 
 
 
 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 
 
 
 E 
 
 
 
 r 
 
 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 i 
 
 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 - 
 
 1 
 
 - 
 
 1 
 
 ~y 
 
 
 j 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 i 
 
 
 i 
 
 
 
 
 i 
 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 J- 
 
 i 
 
 
 i 
 
 
 i 
 
 r~ 
 
 t 
 
 
 1 
 
 
 
 
 1 
 
 
 
 1 
 
 
 1 
 
 
 f 
 
 I l> I I I * 
 
 
 Jx 
 
 Fig. 153 Double Bow Knot. Draft of Pattern 
 
95 
 
 Fig. 154 Double Bow Knot. Original Pattern 
 
 Fig. 155 Four Wheels. Original Pattern 
 
 I 
 
 
 4. 
 
 3 
 
 1 
 
 Fig. 156 Four Wheels. Draft of Pattern 
 
i 
 
 Fig. 157 Virginian Snow Ball. Draft of Pattern 
 
 Fig. 158 Virginian Snow Ball. Original Pattern 
 
 Fig. 159 Dog Tracks. Original Pattern 
 
 Fig. 160 Dog Tracks. Draft of Pattern 
 
97 
 
 
 Fig. 161 The Platform. Draft of Pattern 
 
 Fig. 162 -The Platform. Original Pattern 
 
 Fig. 163 Guess Me. Original Pattern 
 
 Fig. 164 Guess Me. Draft of Pattern 
 
Fig. 165 Wind Flower. Draft of Pattern 
 
 order easily to read the various changes and make 
 the "tie-up" stand out. 
 
 It is better to figure out the "tie-up" for the 
 pattern first. The plain weave "tie-up" cannot be 
 the same as any ..one of the pattern combinations. 
 
 It 'is only possible to have six combinations in 
 all. This makes the plain "tie-up" very apparent, as 
 it must be either 1 and 2, 3 and 4, or 1 and 3, 2 and 4. 
 Very rarely does it appear in any other combination. 
 
 There are other ways for the amateur weaver 
 to determine this, but for the present the one given 
 is sufficient. 
 
 With the knowledge previously gained the "tie- 
 
 up" for each of the following drafts may easily be 
 determined. T ,,. , -, 
 
 Wind Flower 
 
 The "Wind Flower" is a good example of a 
 counterpane in which two drafts are used; one to 
 be followed in the threading, and the other to be 
 followed in using the treadles. 
 
 Figure 165 shows exactly the way the loom 
 should be threaded to produce the pattern shown 
 in Fig. 167. After the threading is completed there 
 is no further use for Fig. 165. The lambs and 
 treadles are tied the same as in previous patterns: 
 
 2 and 3 to the first treadle. 
 
 >order 
 
 Fig. 166 Wind Flower. Treadle Draft 
 
99 
 
 Fig. 167 Original Pattern and Border Woven from The Wind 
 Flower Pattern 
 
 Fig. 168 The Whig Rose. Original Pettern 
 
100 
 
 Se/vaee 
 
 Fig. 169 The Whig 
 
 1 and 2 to the second. 
 
 1 and 4 to the third. 
 
 3 and 4 to the fourth. 
 
 For the plain weave, 2 and 4 are tied together, 
 and 1 and 3. 
 
 When weaving, Fig. 166 is followed; the weaver 
 pressing down such treadles as will draw down the 
 threads indicated in the treadling draft. To de- 
 termine the number of times each treadle should 
 be pressed down the draft may be divided in groups 
 of threads as suggested in Fig. 76. 
 
 The Whig /?ose 
 
 Figure 168 shows another pattern woven by 
 using two drafts, one for threading and one for 
 
 Rose. Draft of Pattern 
 
 treadling. Fig. 169 shows the threading draft for 
 the Whig Rose, while 165 shows the treadling draft 
 for the same. The pattern treadles are tied 1 and 
 2 to the first treadle, 2 and 3 to the second, 3 and 4 
 to the third, 1 and 4 to the fourth. 
 
 The plain weave is done by tying 1 and 3 to 
 the right middle treadle, and 2 and 4 to the left 
 middle treadle. 
 
 After the threading has been completed there 
 is no further use for Fig. 169. When weaving, 
 follow Fig. 170, remembering that each dark square 
 represents one woof thread. 
 
 Border 
 
 Fig. 170 The Whig Rose. Draft of Pattern 
 
CHAPTER IV 
 
 Danish and Norwegian Weaving 
 
 Ways of Expressing Danish Patterns 
 
 It has been stated already that no attempt 
 has been made to make this manual technical. 
 The plan is to keep every pattern simple and to tell 
 of its execution in as simple a way as possible. 
 
 The Danes, Swedes, and Norwegians have 
 carried weaving on the foot-power loom to a high 
 degree of efficiency. The work is carried on to a 
 very great extent in the homes. This is largely due 
 to the fact that the governments of these countries 
 encourage weaving as a home industry. Each of 
 these countries has its own way of writing and 
 reading drafts. It is the purpose of this manual to 
 give to amateur weavers an explanation of the way 
 each of the three nationalities writes and interprets 
 its drafts. 
 
 Reading a Draft 
 
 Figure 171 shows a four-harness pattern woven 
 by using three treadles. The lower heddle sticks 
 are tied one to each lamb. 
 
 The treadles are tied as indicated by the stars 
 placed on the horizontal lines just to the right of 
 the threading. The tie-up is interpreted as follows: 
 
 Lambs 2 and 4 tie to the first treadle. 
 
 Lambs 1 and 3 tie to the second treadle. 
 
 Lambs 1 and 2 tie to the third treadle. 
 
 The order in which the treadles are pressed 
 down is indicated by the stars on the vertical lines 
 just to the right of the woven pattern. Treadle No. 
 3 is pressed down first, then treadle No. 2, then back 
 to No. 3, next No. 1, and then back to No. 3, etc. 
 
 Figure 172 shows the draft and a woven sample 
 for a two-harness loom. Each horizontal line above 
 the woven pattern stands for a pair of heddle sticks 
 (harness). Each vertical line stands for a treadle. 
 This draft is threaded in the following way: 
 
 The first thread passes through the eye of the 
 heddle on the first pair of heddle sticks. The second 
 thread passes through the eye of the heddle on the 
 second pair of heddle sticks. Each time a heddle is 
 threaded, it is pushed along. The third thread 
 passes through the eye of the heddle on the third 
 heddle stick and is pushed along. The fourth 
 thread passes through the eye of the first heddle 
 on the fourth heddle stick and is pushed along. 
 The fifth thread goes back to the first heddle stick 
 
 101 
 
102 
 
 Fig. 171 
 
 Fig. 172 
 
 Fig. 173 
 
 Fig. 174 
 
 and is threaded through the eye of the second heddle 
 and is pushed along. The threading continues 
 the same as the first four threads, the order being 
 1, 2, 3, 4. This is continued until the desired num- 
 ber of threads has been threaded. 
 
 It will be observed that only two treadles are 
 used while there are four harnesses for plain weav- 
 ing. The beginner might ask why use four harnesses 
 when two might answer the purpose. If any great 
 number of threads is to be used in plain weaving, 
 it is better to use four harnesses instead of two, 
 threading as above described. 
 
 Tying the Treadle 
 
 It will be observed that the lower heddle sticks 
 2 and 4 are tied to the right treadle, and 1 and 3 to 
 
 the left treadle. This is indicated by the stars 
 placed on the vertical lines to the right of the 
 threading draft. With this tie-up, each time a 
 treadle is pressed down, one-half the threads are 
 drawn down. This practically does what two 
 harnesses would do. By using four sets the threads 
 are not crowded so closely together. The stars 
 placed on the vertical lines to the right of the woven 
 sample indicate the order in which the treadles are 
 to be pressed down. 
 
 Fig. 173 shows a somewhat checked material. 
 To produce this pattern the warp is made up of 
 blue and white threads. The threading is done the 
 same as in Fig. 172, but first two blue and then two 
 white threads are threaded until the entire number 
 
103 
 
 Fig. 175 
 
 Fig. 176 
 
 Fig. 177 
 
 Fig. 178 
 
 of threads has been used. When weaving, two blue 
 threads are used and then two white. This neces- 
 sitates the use of two shuttles. It is also understood 
 that when preparing the warp chain, the spools of 
 war]) are so placed on the spool rack that two blue 
 and two white threads are reeled or warped at one 
 time. The stars marked on the vertical lines indi- 
 cate that first one treadle and then the other is to 
 be pressed down. 
 
 Fig. 174 shows another four-harness, but prac- 
 tically only two-harness pattern. The threading is 
 done the same as in the two already described. 
 Harnesses 1, 2 and 3 are tied to the left treadle, and 
 harness 4 to the right treadle. This is indicated by 
 the stars placed on the vertical lines to the right of 
 the threading draft. 
 
 The stars on the vertical lines to the right of 
 the woven pattern indicate the order in which the 
 treadles are pressed down. 
 
 Figure 175 shows a four-harness pattern, a 
 little more irregular in its threading. The greatest 
 care must be exercised when threading. 
 
 In tying up this pattern the lambs are tied one 
 to each lower heddle stick. The stars on the vertical 
 lines to the right of the threading indicate the order 
 in which the treadles are tied to the lambs. Treadle 
 No. 1 is tied to the 3rd and 4th lambs. Treadle 
 No. 2 is tied to the 1st and 2nd lambs. Treadle No. 
 3 is tied to the 2nd and 4th lambs. Treadle No. 4 
 is tied to the 1st and 3rd lambs. 
 
 The stars on the vertical lines, to the right of 
 the woven pattern, indicate the order in which the 
 
104 
 
 Fig. 179 
 
 Fig. 180 
 
 Fig. 181 
 
 Fig. 182 
 
 treadles are to be pressed down. The order is first 
 treadle 4, then 3, 2 and 1. Then back again to 4, 
 3, 2, 1. This order is continued throughout the 
 entire weaving. 
 
 Figure 176 shows a most interesting weave for 
 towels. The warp and woof should be of linen. 
 The threading is done as shown in the draft. Lambs 
 and treadles are tied as shown by stars to the right 
 of the threading draft. The order of treadling is 
 shown by stars on vertical lines to the right of 
 woven sample. 
 
 Figure 177 shows a serge. The warp and woof 
 should be of wool. Threading and tie-up are as in- 
 dicated in the draft. 
 
 Fig. 178 shows another serge weave. 
 
 Figure 179 shows a pattern woven on a six 
 treadle loom. The method of handling more than 
 four harnesses will be treated a little later. It is a 
 very interesting weave which may be used for winter 
 coats. The warp and woof are of wool. Two threads 
 are drawn through each dent of the reed. Note the 
 irregular way in which the treadles are pressed down. 
 
 Figure 180 shows an interesting weave to be 
 used in towels. The dark, vertical stripe shows a 
 number of colored threads reeled in the warp, while 
 the horizontal dark stripe indicates that the same 
 color is used as woof. 
 
 This pattern is commonly known as the "Goose 
 Eye." The threading and treadling are done as in- 
 dicated. Two threads are drawn through each dent. 
 
105 
 
 Fig. 183 
 
 Fig. 184 
 
 Fig. 185 
 
 Fig. 186 
 
 Figure 181 shows a canvas weave. The thread- 
 ing is done the same as in previous patterns. The 
 little circle placed below and between the groups 
 of threads only indicates that a dent in the reed is 
 to be omitted and has no reference to the threading 
 of the pattern. 
 
 It will be observed that the threads are in 
 groups, four in each. Each group of four threads 
 is drawn through every other dent of the reed. In 
 other words, every other dent of the reed is left 
 vacant. The threads on heddle sticks 1 and 2 make 
 one group and the threads on heddle sticks 3 and 4 
 make another group. This is clearly shown in the 
 draft. When weaving, the first and fourth woof 
 threads are to be double. 
 
 Fig.' 182 shows a very interesting curtain ma- 
 
 terial woven by using four harnesses and three 
 treadles. 
 
 The plain stripe is shown in the first part of 
 the threading draft. This number of threads may 
 be increased so as to make any width desired. The 
 closely woven bands at the edges of the plain stripe 
 are obtained by drawing two threads through each 
 dent. 
 
 The open work is produced by drawing the 
 three threads, held together at the base, through a 
 single dent. The small circles between the groups 
 indicate a dent to be omitted. The tie-up and 
 treadling are done as indicated in the draft. 
 
 In Figs. 183, 184, 185, and 186 are given ex- 
 amples of five and six harness patterns. While 
 these drafts are threaded and tied up the same as 
 
106 
 
 other patterns, the method of hanging the harnesses 
 is somewhat different and will be taken up in detail 
 a little later. 
 
 Norwegian Patterns 
 
 The three patterns which follow show that the 
 Danish and Norwegian ways of writing patterns 
 are very much the same. 
 
 Figure 187 shows a very interesting pattern 
 and draft which may be produced on a four-harness 
 loom using eight treadles. In reeling the warp, 
 eight threads of one color are used (say blue) and 
 then eight threads of white. Two threads are drawn 
 through the eye of each heddle and also through 
 each dent of the reed. The woof thread is also 
 wound double on the bobbins so that each time the 
 shuttle passes through the shed two threads are 
 carried at the same time. 
 
 The horizontal parallel lines represent the 
 harnesses, which are the same as heddle sticks. The 
 vertical parallel lines represent the treadles. The 
 stars indicate the way the treadles are tied to the 
 lambs. The little dashes on the vertical lines in- 
 dicate the order in which the treadles are pressed 
 down. This order of treadling is continued until 
 the desired amount of fabric is woven. 
 
 Figure 188 shows a pattern in which the reel- 
 ing is done by running three blue threads and one 
 white thread on the beam. The entire warp is made 
 
 Fig. 187 
 
 Fig. 188 
 
 
 Fig. 189 
 
 up in this way, three blue and one white. Each 
 thread passes through the eye of a heddle, and only 
 one thread to each dent of the reed. When weaving, 
 three blue woof threads are woven and then one 
 white. 
 
 In warping for the pattern shown in Fig. 189, 
 two blue and two white threads are warped at the 
 same time. The threading is done by threading 
 singly two blue and then two white, as indicated in 
 the draft. Two threads are drawn through each 
 dent of the reed. 
 
CHAPTER V 
 
 Swedish Weaving 
 
 Swedish Way of Writing a Draft 
 
 In many respects the Swedish way of writing 
 a draft is more simple than any of the other ways 
 described. 
 
 The patterns which follow are all written in 
 the Swedish manner and are interpreted in the fol- 
 lowing way: 
 
 In Fig. 191 is shown a two-harness pattern. 
 The threading indicates that two threads are 
 drawn through each eye of the heddles; two through 
 the eye of the first heddle on the back heddle sticks, 
 and then two through the eye of the first heddle on 
 the first or front heddle sticks. 
 
 It may also be done by threading only one 
 thread through each eye but using two heddles on 
 the same sticks. Two threads may be drawn 
 through each dent of the reed. 
 
 Figure 193 shows what may be called either a 
 two-treadle or four-treadle draft. If two treadles 
 are used, two lambs tie to each treadle. It must 
 always be remembered that each lamb is tied to a 
 lower heddle stick. Tying to the lambs is the same 
 as tying-to the lower heddle sticks. 
 
 When the foot presses a treadle it draws down 
 two harnesses. 
 
 If four treadles are used, -one to each lamb, it is 
 necessary to use both feet in pressing down two 
 treadles at the same time. The treadles marked one 
 and one indicate that these are the first to be pressed 
 down and mean treadles 1 and 3. Two and two in- 
 dicate the second change and indicate that the second 
 and fourth treadles are pressed down. 
 
 Figure 192 shows the draft for a four-harness 
 loom. The space between each pair of horizontal 
 parallel lines stands for a pair of heddle sticks. 
 
 Each space between the vertical parallel line 
 represents a treadle. The little dots within the small 
 squares indicate the order in which the treadles are 
 to be tied to the lambs. 
 
 The figures just below the dots indicate the order 
 in which the treadles are pressed down. 
 
 Figure 192 is threaded by passing a thread 
 through the eye of the heddle on the back or fourth 
 heddle sticks. The second thread passes through 
 the eye of the heddle on the third heddle sticks, the 
 third thread passes through the eye of the heddle on 
 
 107 
 
108 
 
 the second, and the fourth thread passes through the 
 eye of the first heddle on the first or front heddle 
 sticks. 
 
 The entire draft is threaded by following this 
 order : 
 
 The lambs are tied one to each lower heddle stick. 
 The pattern indicates according to the little dots 
 that the fourth lamb is tied to the first treadle, the 
 second lamb is tied to the second treadle, the third 
 lamb is tied to the third treadle, and the first lamb 
 is tied to the fourth treadle. 
 
 The figures just below the dots indicate that the 
 treadles are pressed down in the order of first 1, 
 then 2, 3, and 4. This order of treadling is kept up 
 until the desired amount of material is woven. 
 
 In Fig. 194 is shown the same threading, but 
 a different order of tying. 
 
 Lambs 1 and 2 are tied to the first treadle. 
 Lambs 1 and 3 are tied to the second treadle. Lambs 
 1 and 2 are tied to the third treadle. Lambs 2 and 4 
 are tied to the fourth treadle. 
 
 The order of pressing the treadles is shown by 
 the figures. 
 
 In Fig. 196 the threading is the same as in the 
 two previous patterns. The lambs are tied as follows : 
 
 1, 3 and 4 to the first treadle. 
 
 2 and 3 to the second treadle. 
 
 1, 2 and 3 to the third treadle. 
 
 2 and 4 to the fourth treadle. 
 
 Fig. 190 
 
 Fig. 191 
 
 Fig. 192 
 
 
 l 
 
 
 
 
 
 
 ! \ 
 
 
 
 
 
 
 
 
 
 
 ] 
 
 
 i 
 
 
 
 * 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 1 J 
 
 ? 
 
 1 
 
 
 2 
 
 1 
 
 2- 
 
 1 
 
 >; 
 \ 
 
 Fig. 193 
 
 1 to the fifth treadle. 
 
 2 to the sixth treadle. 
 
 While this pattern requires six treadles, there 
 will be no difficulty in understanding the tie-up. 
 
Fig. 194 
 
 Fig. 195 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 ,1 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 1 
 
 6 
 
 5 
 
 4 
 
 3 
 
 2 
 
 I 
 
 j 
 
 '.>.,'..'..'.... ', , ', '. 
 \-:'*..\'. ..'..',<..:.' 
 '.-'. f \-r. r.-'.-'.'''.l: 
 H'W'.* -t-V-V' ^ 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 1 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 C 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 | 
 
 1 
 
 
 
 1 
 
 
 * 
 
 3 
 
 2 
 
 1 
 
 
 
 
 2 
 
 a 
 
 
 
 
 
 
 
 
 3 
 
 3 
 
 
 
 
 
 
 
 
 4 
 
 4 
 
 
 
 
 
 
 
 
 1 
 
 Fig. 196 
 
 109 
 
 Figure 196 shows the same threading and two 
 ways of "tie-up." The first shows each lower heddle 
 stick tied to a treadle. In such case treadles 1 and 4 
 are pressed down the first time, indicated by the 
 two ones. The next time treadles 1 and 2 are 
 pressed down at the same time, indicated by the two 
 twos. The third time treadles 2 and 3 are pressed 
 down, indicated by the two threes. The fourth 
 time treadles 3 and 4 are pressed down, indicated by 
 the two fours. After following this order once it is 
 gone right over again and continued until the de- 
 sired amount of material is woven. 
 
 The other tying gives exactly the same result 
 because of the fact that two lambs are tied to one 
 treadle. This latter plan is better and makes it 
 possible to accomplish much greater results in the 
 amount of fabrics woven. 
 
 In the next four patterns, 197 to 200 inclusive, 
 the threading is the same as in previous patterns. 
 The treadling is done by following the order of 
 numbering. 
 
 In Fig. 199 the number 5 means that the third 
 treadle is to be pressed down, and number 6 indi- 
 cates the second treadle pressed down. 
 
 In Fig. 201 the threading is done the same as 
 in the two-harness loom draft shown in Fig. 191. 
 
110 
 
 Irregular Threading 
 
 In Fig. 202 is shown the first irregular threading. 
 The first thread passes through the first heddle on 
 the fourth heddle stick, the second thread passes 
 through the first heddle on the third heddle stick, 
 the third thread goes back to the second heddle 
 on .the fourth heddle stick, the fourth thread to the 
 second heddle on the third heddle stick, the fifth 
 thread through the first heddle on the second heddle 
 stick, the sixth thread through the first heddle on 
 the first heddle stick, the seventh thread through the 
 second heddle on the second heddle stick, and the 
 eighth thread through the second heddle on the first 
 heddle stick. 
 
 In Fig. 203 is shown another irregular threading; 
 first between the 3rd and 4th heddles and then be- 
 tween the 1st and 2nd. Observe the grouping of the 
 treadling. 
 
 The lambs are tied as indicated by the dots. 
 The treadles are pressed down as indicated by the 
 figures. The first time treadle 1 is pressed down. 
 The next No. 2, the third time No. 1 again, the fourth 
 time No. 2 again. The fifth time No. 1. The next 
 five times are between treadles 3 and 4. The next 
 goes back to the first and second treadles. This 
 order is kept up until the desired amount of ma- 
 terial is woven. 
 
 Figure 204 shows what is known as the "Honey 
 
 Fig. 197 
 
 Fig. 198 
 
 Fig. 199 
 
 
 
 
 
 
 
 > 8 
 
 
 
 
 
 
 
 _^ tf 
 
 
 
 
 
 e 
 
 f. 
 
 
 3 
 
 5 
 
 2 
 
 6 
 
 1 
 
 | 
 
Fig. 200 
 
 Fig. 201 
 
 Fig. 202 
 
 Ill 
 
 Comb Weave." There will be no difficulty in under- 
 standing the threading. The first fourteen threads 
 are on the third and fourth harnesses. The second 
 fourteen threads are on the first and second harnesses. 
 To produce the effect shown in the finished pattern 
 the entire warp is threaded just as shown in the 
 draft. If a variation is desired the loom may. be 
 threaded so six inches will be the same as shown in 
 the finished pattern. A four-inch stripe may be 
 threaded by drawing 28 threads through the heddles 
 on the third and fourth harnesses and then 28 on 
 the first and second. This is continued until the de- 
 sired width is obtained. The next step is to go back 
 to the fourteen threads. The treadles are tied one 
 to each lamb. In weaving, the first fourteen threads 
 of the woof are woven by pressing down the first 
 and then the second treadles. 
 
 The next is to press down treadles one and three 
 at the same time. This is indicated by 1 and 1. 
 The next is to press down treadles two and four at 
 the same time, and is indicated by the figures 2 
 and 2. The next fourteen threads are woven in by 
 pressing down treadles three and four as indicated 
 by the figures placed in the vertical spaces. This 
 order of treadling is kept up until the material is 
 woven. 
 
 Figure 206 shows a threading which is the same 
 as that of the Rose Path. By following the order 
 
112 
 
 Fig. 203 
 
 Fig 104 
 
 10 
 11 
 
 Trnrn 
 
 UUUL 
 
 w 
 
 2 
 
 Fig. 205 
 
 of treadling as indicated by the figures used, a most 
 pleasing all-over pattern results. 
 
 Figure 207 shows two threads passing through 
 the eye of the heddle on the fourth heddle sticks, 
 then one thread each through the third and second, 
 and then two through the eye of the first heddle on 
 the first heddle sticks. 
 
 The draft indicates two single threads and 
 then one double. In threading, two threads may be 
 drawn through each dent of the reed, or a double 
 thread may be drawn through the first and then two 
 single, as indicated in the draft. 
 
 Observe the order of treadling, first the first 
 treadle, then the second, and then the third. The 
 fourth step indicates that the first, "marked four," 
 is pressed down and then the second, "marked five." 
 The sixth time the foot presses down a treadle, 
 it is the fourth one. 
 
 The figures indicate the number of times the 
 foot is changed from one treadle to another. The 
 space in which the figure is placed is the treadle to 
 be pressed down. 
 
 Figure 208 shows the Swedish way of expressing 
 the pattern known as the "Goose Eye." Observe 
 the order of treadling. The treadles are pressed 
 down in their order from 1 to 4, then back to 1, 
 indicated by the number 5; back to the fourth in- 
 
113 
 
 dicated by the number 8; back to number 1 for the 
 third time, indicated by the number 9. 
 
 The second change consists of the reverse order 
 of treadling. 
 
 Figure 209 shows a four-harness pattern which 
 may be accomplished by using four treadles or 
 eight treadles. Observe the difference in the tie-up. 
 If four treadles are used they are pressed down in 
 their regular order, 1 to 4. 
 
 The next time treadles 1,2, and 3 are all pressed 
 down at the same time. This is indicated by the 
 three ones. 
 
 Treadles 1, 2, and 4 are next pressed down, 
 indicated by three twos. 
 
 The next time treadles 1, 3 and 4 and the next 
 2, 3 and 4. 
 
 If eight treadles are used and tied as indicated 
 the work is more rapidly carried on. 
 
 Figure 210 shows a four-harness loom. The 
 pattern is accomplished by tying and treadling 
 as indicated in the draft. 
 
 Three-Harness Draft 
 
 The amateur weaver by this time has no doubt 
 gained sufficient knowledge of the two and four- 
 harness drafts not only to do the threading success- 
 fully but also to "tie-up" for any pattern desired. 
 Occasionally a draft appears which is written in 
 three harnesses, as shown in Fig. 215. When such 
 
 Fig. 206 
 
 Fig. 207 
 
 Fig. 208 
 
 is the case the upper heddle sticks are tied as shown 
 in Fig. 211. The tying of the treadles is the same 
 as for patterns already described. 
 
 Figure 212 shows the way five harnesses are 
 tied. 
 
 Figure 213 shows the tie-up for a six-harness 
 
114 
 
 Fig. 209 
 
 draft and Fig. 214 shows the tie-up for seven 
 harnesses. The pulleys used may be purchased of 
 any dealer in hardware or may be made of wood, 
 being turned on a wood lathe. 
 
 ^< Figure 215 shows a plain diagonal weave in 
 three harnesses. The threading is simple and the 
 tie-up consists in tying a treadle to each lower heddle 
 stick. The drawing shown in Fig. 211 shows the 
 way the upper heddle sticks are tied. 
 
 Figure 216 shows a threading quite different 
 from that shown in Fig. 215. 
 
 The first thread is drawn through the eye of 
 
 Fig. 210 
 
the first heddle on the third heddle stick, the second 
 thread through the eye of the first heddle on the 
 second heddle stick, the third thread goes back to 
 the eye of the second heddle on the third heddle stick. 
 
 The next three threads are on heddle sticks 1 
 and 2. 
 
 Figure 217 shows the draft and sample of an 
 interesting curtain material. 
 
 The threading is done by following the draft. 
 The threads on harnesses 1 and 2 make the plain 
 weave. The somewhat irregular threading makes 
 the stripe. 
 
 When threading the reed draw one thread 
 through each dent for the plain stripe. 
 
 Skip one dent and then draw the three threads 
 on heddle sticks 2 and 3 through the same dent. 
 
 Skip a dent and then draw the one thread on 
 the first heddle sticks through a dent, skip a dent 
 and draw three, skip, draw one, skip and draw three, 
 etc. 
 
 Eight-Harness Pattern 
 
 Fig. 219 shows the way the upper heddle sticks 
 for an eight-harness loom are tied. There are always 
 as many lambs used as there are lower heddle sticks. 
 Ordinarily the eight-harness loom works fairly well 
 when tied up as shown in Fig. 219. 
 
 The difficulty, if there is any, grows out of the 
 fact that' the heddle sticks or harnesses after being 
 
 115 
 
 drawn down refuse to return to their original po- 
 sition when the foot releases the treadle. Sometimes 
 weights consisting of rectangular pieces of iron are 
 hung at each end of the heddle sticks. ^ These 
 weights draw the harnesses back in place when 
 raised. 
 
 Fig. 215 
 
 Fig. 216 
 
 Vi/i/i/mmi- 
 
 2'ir.'ii *- . . - 
 
 ;**<-::-*:: 
 ;;^;$?-*':i;-^ 
 r..aB.i^u5f %;?* 
 
 mw?"V^ .-*.--. ^^:;.;; 
 Fig. 217 
 
116 
 
 Heddle Frames 
 
 Sometimes wire heddles are used instead of 
 those made of cord. The wire heddles are placed 
 in wooden frames. These frames may be suspended 
 the same as when heddle sticks are used. 
 
 Another Way of "Tie-Up" 
 
 Fig. 220 shows a way of "tie-up" that requires 
 two sets of lambs. The second set of lambs may 
 be held in place by an iron rod pushed through the 
 
 Fig. 218 
 
 same brackets as hold the upper lambs, only lower 
 down. This is shown in the construction of the 
 loom. The loom should be about four inches higher 
 in order to give sufficient space for the two sets of 
 lambs. This may be brought about by adding a 
 four-inch piece to each leg of the loom. For all 
 ordinary purposes the original working drawing of 
 
 Fig. 219 
 
 the loom answers all conditions. By using this 
 method the heddle horses are done away with and 
 each harness is tied so it must pull either up or 
 down when pressure is applied to the treadle. The 
 roller over which the heddle horses are hung 's re- 
 moved and replaced by the apparatus shown at A 
 and B, Fig. 220. A detailed section is shown at 
 Fig. 221. If an eight-harness loom is desired, six- 
 teen pieces are constructed as shown in Fig. 221. 
 Eight of these are placed to the right upper half of 
 the loom and the other eight to the left upper half. 
 
Fig. 220 
 
 117 
 
 The various sections are held in place by a half- 
 inch dowel rod as shown at 1 and 2, Fig. 220. The 
 rods are supported by two pieces of 7-8" maple 
 constructed as shown in Fig. 222. This sort of 
 frame work replaces the roller as shown in the 
 finished loom in Fig. 223. 
 
 The "Tie-Up" 
 
 Returning to Fig. 220, loops of No. 16 blocking 
 cord are tied and hung from each outer end of the 
 levers as shown at C and D in Fig. 220. Two ends 
 of the cord are fastened to each end of the upper 
 heddle sticks, as shown at E and F. The loops and 
 ends are tied just the same as the treadles are tied 
 to the lambs. From the inner ends of the levers H 
 and G, a piece of blocking cord is tied, one end to 
 one, and the other end to the other as shown. From 
 each loop a piece of blocking cord extends to the 
 lower set of lambs by passing between the harness 
 and ties the same as all other connections have 
 been made. Each lower heddle stick ties to an upper 
 lamb the same as in the two and four-harness looms. 
 Loops of blocking cord are now drawn through the 
 holes of the treadles, one in each. The upper lambs 
 are tied to the treadles the same as in every other 
 "tie-up," the cord passing between the lower lambs. 
 The lower lambs are also tied to the treadles by 
 using the !oops not used in tying the upper lambs. 
 
118 
 
 1 10 
 
 ! 
 
 ! ! 
 
 
 $ 
 
 1 
 
 Fig. 222 
 
 Fig. 221 
 
 By tying a loom in this way all harnesses making 
 the pattern are drawn down while the other harnesses 
 are drawn up. No part remains stationary. The 
 weights previously mentioned for drawing the har- 
 nesses back in place are no longer necessary. Fig. 
 220 shows only a four-treadle loom. This is done to 
 avoid complication in the explanation. Any num- 
 ber may be used. This method of tie-up is especial- 
 ly desirable when an odd number of heddle sticks 
 ( harnesses ) is used. It does away with pulleys and 
 heddle horses, Fig, 223. The fact that each part of the 
 harness must either pull up or down makes a most 
 perfect shed, thus avoiding the skipping of threads, 
 so common in weaving when the shed is not perfect. 
 
 Fig. 224 shows a very interesting pattern pro- 
 
 duced by either five or six harnesses. The tie-up 
 for each is given in the draft. 
 
 The order of treadling is indicated by the figures 
 just below the dots indicating the "tie-up." 
 
 The material produced may be used in a coun- 
 terpane as well as in a bathrobe, if so desired. 
 
 The warp is run off in two colors in the follow- 
 ing order: 
 
 112 white 814 white 
 
 18 red 18 red 
 
 62 white 62 white 
 
 18 red 18 red 
 
 112 white 
 The woof is of both red and white. 
 
119 
 
 Fig. 223 
 
120 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
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 7 
 
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 8 
 
 9 
 
 10 
 
 
 Fig. 224. 
 
 
 
 
 
 
 
 
 
 
 
 
 planation is not necessary. If possible, the loom 
 
 Six-Harness Draft 
 
 The secret of success in weaving is getting all 
 parts "tied up" so there is no irregular pulling in any 
 way. Great care should be exercised in using the 
 knots in "tie up" as has been suggested. This 
 will enable the weaver quickly to adjust any irregular 
 pulling without untying the hard knots so often 
 used by the amateur weaver. It takes some time 
 to adjust each part before arriving at the stage where 
 everything moves smoothly. 
 
 In the various drafts which follow no attempt 
 has been made to give a minute description of each 
 pattern. The thought is that each weaver will use 
 the draft best suited to the needs at hand. Among 
 the patterns given are drafts for towels, dress goods, 
 coats, upholstering, table runners, curtains, couch 
 covers, counterpanes, suiting, pillow tops, etc. 
 
 The threading, tie-up and the order of treadling 
 have been so minutely described that further ex- 
 
 should be equipped with the parts shown in Figs. 
 221 and 222, and placed as shown in Fig. 223. 
 
 Fig. 225 
 
 For the regulation four harness loom the loom 
 shown in Fig. 20 is very satisfactory. It is well to 
 start out .with the loom just as shown in Fig. 20. 
 As the work advances the various additions may be 
 added as the necessity requires. 
 
Fig. 226 
 
 Fig. 227 
 
 Fig. 228 
 
 121 
 Six-Harness Loom 
 
 The Swedish loom, as described and illustrated 
 in this manual, is constructed in such a way as to 
 permit of additional parts making possible the pro- 
 duction of many complicated patterns. The draw- 
 ing shown in Fig. 220 shows the construction of 
 parts which makes easy the weaving with six 
 harnesses. 
 
 The various drafts in six harnesses which 
 follow have been very carefully worked out and 
 found practical in every respect. Among the drafts 
 given are those suited to upholstering, dress goods, 
 toweling, heavy suiting, coats, etc. The interested 
 weaver will find no end of suggestions. This, to- 
 gether with a little originality, will greatly simplify 
 the working out of new and attractive patterns. 
 
 It is not necessary to confine the work only to 
 certain materials. Many times a pattern worked 
 out in the finest of threads may be worked out in 
 a very coarse thread and made to serve an entirely 
 different purpose from what it was originally in- 
 tended. 
 
 To enjoy weaving great care must be exercised 
 in the "tie-up." All parts must be made to pull 
 evenly. To do this the blocking cord must be used 
 and the method of tying must be observed in order 
 to adjust readily. 
 
122 
 
 Fig. 229 
 
 n 
 
 Fig. 230 
 
 Fig. 231 
 
 
 
 
 
 
 
 
 
 
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 9 
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 12 
 
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 Fig. 232 
 
 Fig. 233 
 
 Fig. 234 
 
123 
 
 Fig. 235 
 
 10 
 
 Fig. 238 
 
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 Fig. 236 
 
 Fig. 239 
 
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124 
 
 Fig. 241 
 
 Fig. 242 
 
 Fig.[243 
 
 -CJL 
 
 Eight Harness Loom 
 
 The loom as described for six harnesses will 
 answer the description for the eight harness loom. 
 The parts necessary are described in Figs. 220, 221 
 and 222. These parts are shown properly placed in 
 the complete loom on page 119, Fig. 223. 
 
 The next group of patterns from Fig. 244 to 
 Fig. 391 inclusive, concerns the eight harness loom. 
 The threading and tie-up have been so carefully 
 described in previous patterns that there can be no 
 difficulty in understanding the drafts for the eight 
 harness patterns as here given. It will be found that 
 the threading for many of the eight harness pat- 
 terns is the same, the change in pattern being 
 brought about by a change in the tie-up. One 
 threading therefore makes it possible to produce a 
 variety of patterns . by changing only the order of 
 treadling. 
 
 Numerous interesting weaves which may be 
 used for upholstering, suiting material, towels, etc., 
 are produced. 
 
125 
 
 Fig. 244 
 
 Fig. 247 
 
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 Fig. 364 
 
 Fig. 367 
 
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 Fig. 371 
 
 Fig. 372 
 
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148 
 
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 13 
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 4- 
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 3 
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 6 
 
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149 
 
 Fig. 380 
 
 Fig. 381 . : I 
 
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 Fig. 382 
 
 
 
 
 
 
 
 
 
 
 
 
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 Fig. 383 
 
 7,6 
 
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 Fig. 386 
 
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 Fig. 389 
 
 Fig. 390 
 
 Fig. 391 
 
 Fig. 388 
 
CHAPTER VI 
 Damask Weave Double Weave 
 
 Damask Weave 
 
 Figure 392 shows a most interesting ten-harness 
 damask weave which may be used in weaving nap- 
 kins and tablecloths. The draft is written just as 
 the Norwegians write it. There will be little or no 
 difficulty in accomplishing the weave after the 
 threading and treadling are understood. 
 
 It has already been stated that each horizontal 
 line means a pair of heddle sticks. The draft shows 
 that there are ten, divided into two sections or 
 groups, marked I and II. The first group consists 
 of the first five harnesses and the second group of 
 the second five. 
 
 The threading is indicated by the slanting lines 
 which cross the horizontal parallel lines. Each 
 horizontal line crossed by a slanting line means a 
 thread. 
 
 The first thread passes through the eye of the 
 first heddle on the first heddle sticks. Each thread 
 is taken in its regular order, passing through the 
 eye of the first heddle on each pair of heddle sticks 
 from the first through the tenth. 
 
 The draft indicates that this order is again 
 
 repeated. The threading now changes and the 
 heddles on the first five harnesses only are used. 
 This is continued for nine repeats as shown by the 
 
 n 
 
 I 
 
 \ \ 
 
 S V 
 
 V \VVVV\V VTV 
 
 i\\\\\ \ \ 
 
 Fig. 392 
 
 nine slanting lines. The third change is the same as 
 the first, which threads from the first through the 
 tenth. 
 
 The entire pattern is made up by repeating the 
 draft shown in Fig. 392. 
 
 151 
 
152 
 
 Threading the Reed 
 
 Each thread passes through the eye of a heddle. 
 
 In threading the reed, three threads may be 
 drawn through each dent. Sometimes when a large 
 number of threads is used to the inch, four threads 
 are drawn through a dent. This makes it possible 
 to use a coarser reed, thus simplifying the threading. 
 
 "Tie-Up" 
 
 It will be observed that each vertical line in- 
 dicates a treadle. These treadles are divided into 
 two groups, I and II. 
 
 Group I operates the first five, and Group II 
 operates the second five. 
 
 The treadles are tied as indicated by the stars. 
 The double set of lambs should be used. See Fig. 220. 
 
 The treadling is done by pressing down the 
 tenth treadle, then the ninth, and so on through the 
 ten. This order is again repeated. From here 
 only the second group treadles are pressed down in 
 their regular order nine times. From here the 
 treadling goes back to the tenth through the ten 
 twice. This order of treadling is continued 
 throughout the entire weaving. The weaver soon 
 learns to repeat any order of treadling as many 
 times as is necessary to produce the desired effect. 
 
 Ten-Harness "Tie-Up" 
 
 If the plan for "tie-up" suggested in Fig. 220 
 is not used, the device shown in Fig. 393 is easily 
 constructed and used to work ten harnesses. 
 
 The lowest pulley controls the two middle 
 harnesses, the one above controls the two har- 
 
 Fig. 393 
 
 Fig. 394 
 
153 
 
 ID 
 
 TL 
 
 LL 
 
 LJJ IL 
 
 ILU- 
 
 15 
 
 10 
 
 1413 
 
 6 
 
 12t1lO|9 
 16 15 H 13 
 
 1211 
 
 16 :5 <'< 13 
 
 "Body. 
 
 itim 
 
 i r* 1*1 'i 'i 1 
 
 4 
 
 Fig. 395 Eight-Harness Damask Weave 
 
 nesses, one at each side of the two center ones. 
 The third pulley controls two other harnesses in a 
 similar way as just mentioned. In the case of two 
 small pulleys the rope passes over the two, one end 
 tied to one harness and the other to another. The 
 two top pulleys control the first and last harnesses. 
 
 No heddle horses are required. 
 
 The drawing shown in Fig. 394 shows the ropes 
 tied to One end of the heddle sticks. 
 
 Figure 395 shows the draft for an eight-harness 
 damask weave written in the Swedish way. In this 
 draft the space between two lines represents a pair 
 of heddle sticks. 
 
 The threading begins at the right and is read 
 toward the left. When the first part is threaded, 
 begin at the left of the second. 
 
 The arrow indicates the end of the border. 
 
 The center begins with the arrow and includes 
 
154 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 ~% 
 
 
 
 
 \'I. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 j 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -rf 
 
 
 
 
 e 
 
 
 
 
 
 
 
 
 
 2E 
 
 
 
 "" 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 1 
 
 o 
 
 X 
 
 1 
 
 
 
 
 
 
 
 4 
 
 ' 
 
 
 
 1 
 
 Fig. 396 
 
 
 
 
 
 
 4 
 
 j 
 
 2 
 
 i 
 
 
 
 
 
 
 
 4 
 
 ' 
 
 
 
 1 
 
 Number of Threads 
 
 
 
 
 
 4 
 4 
 
 -. 
 
 2 
 2 
 
 1 
 1 
 
 
 A* 3 2 
 4321 In doing work of this kind there should be at 
 
 
 4 
 4 
 
 3 
 
 3 
 
 2 
 2 
 
 
 
 
 
 432 
 
 least 45 threads 
 
 used to an inch. A number 15 
 
 
 4 
 
 3 
 
 2 
 
 
 
 
 
 4 3 i 
 
 A C 
 
 reed may be used, drawing three threads through 
 
 
 
 
 
 $ 
 
 4 
 
 3 
 3 
 
 2 
 2, 
 
 1 
 
 1 
 
 fox 
 432 
 
 each dent. 
 
 
 
 
 
 
 4 
 
 3 
 
 2 
 
 1 
 
 432 
 
 
 "Tie-Up 
 
 
 4 
 
 3 
 
 2 
 
 
 
 
 
 4 3 i 
 
 
 
 
 4 
 
 3 
 
 I 
 
 
 
 
 
 432] 
 
 Figure 219 shows one way to tie up, using one 
 
 
 4 
 
 3 
 
 2 
 
 4 
 
 3 
 
 2 
 
 l 
 
 432 
 432 
 
 set of lambs. 
 
 
 
 
 
 
 4 
 
 3 
 
 2 
 
 1 
 
 432 
 
 Figure 220 shows the double set of lambs. If 
 
 
 4 
 
 3 
 
 2 1 
 
 4 
 
 3 
 
 i 
 
 1 
 
 4 3 1 
 
 the double set of 
 
 lambs is used the dots indicate 
 
 
 4 
 /, 
 
 3 
 
 T 
 
 2 1 
 
 21 
 
 
 
 
 
 4321 
 
 ^321 h e U pp er lambs tied to the treadles. The squares 
 
 
 t 
 
 
 
 
 4 
 
 3 
 
 2 
 
 1 
 
 
 4 3 2 ) without dots indicate the lower lambs tied to the 
 
 
 
 
 
 4 
 4- 
 
 3 
 
 > 
 /: 
 
 i 
 
 4321 
 
 A 3 9 , treadles. This method of "tie up" has already been 
 
 
 4 
 
 3 
 
 2 ! 
 
 
 
 
 
 
 explained. 
 
 
 
 4 
 
 l- 
 
 1 
 
 3 
 
 2 1 
 2 1 
 
 
 
 
 
 
 Order of Treadling 
 
 The figures just below the dots indicating the 
 
 all threads to the left. The number of times the "tie-up" show the order in which the treadles are 
 
 center is repeated depends upon the width the ma- pressed down. This has already been explained in 
 
 terial is to be when finished. After the center, or detail. 
 
 
 body, has been threaded the desired number of Figure 396 shows another interesting damask 
 
 times, the border is again threaded. weave done with eight harnesses and eight treadles. 
 
155 
 
 H H 
 
 T 
 d 
 o 
 
 u 
 
 T3 
 
 O 
 
 w 
 
 
 
 PR 
 
 
 
 
 
 CM c~) 
 
 r*) (*> <O O 
 
 -** 
 
156 
 
 Fig. 398 
 
 Fig. 399 
 
 Fig. 400 
 
 Fig. 401 
 
 The tie-up is indicated by the dots and the order 
 of treadling by the figures just below the dots. The 
 "tie-up" may be with the one set of lambs or with 
 the double set. 
 
 The body part of the threading is repeated as 
 many times as is necessary to give the desired width. 
 The border also may be repeated several times. 
 
 Figure 397 shows the threading for a ten- 
 
157 
 
 Fig. 402 
 
 Fig. 403 
 
 harness damask weave. There are three arrange- 
 ments shown. The tie-up and order of treadling is 
 given for the first one only. The weaver has, no 
 doubt, learned by this time that the threading 
 indicates the treadling. 
 
 While Figs. 398, 399, 400, and 401 do not show 
 the regular damask weave, they do show good ex- 
 amples of linen toweling and even good examples 
 of materials that might be used in upholstering. The 
 threading and "tie-up" for Fig. 398 and Fig. 399 are 
 the same. The difference in pattern is brought out 
 by a difference in the order of treadling. 
 
 The stars on the vertical lines indicate the 
 order of treadling. 
 
 The threading and "tie-up" for Fig. 400 and 
 Fig. 401 are the same. The difference in pattern 
 is brought out by a difference in treadling. 
 
 Figure 402 shows a very good diagonal weave 
 in eight harnesses. While this draft is not good for 
 toweling, etc., it is exceptionally good for coats, 
 suiting, etc. The threading, "tie-up" and treadling 
 are all read from Fig. 402. 
 
 Figure 403 is a most excellent draft for linens. 
 It is not a damask weave but very satisfactory when 
 used in towels. Threading, tie-up, and treadling 
 are all read from the draft. 
 
158 
 
 ABAABABA A B A A B ABAABAABA Selvage 
 
 Fig. 404 Table Mat. Draft of Pattern 
 
 Table Mat 
 
 Figure 405 shows a table mat woven of No. 3 
 mercerized cotton warped in two colors. The draft 
 shown in Fig. 404 indicates only two changes in the 
 grouping of the threads. The colors used are 
 green and golden brown. The selvage is of green. 
 The first group of four threads, marked "A," is of 
 golden brown. 
 
 The next four threads, marked "B," are green. 
 
 This is repeated three times, first A and then B. 
 
 It will be observed that the threads run in 
 groups of four, A always being of golden brown 
 and B of green. 
 
 Figure 405 requires 408 threads of two colors 
 to be warped as above described, a number 20 
 reed, one pattern thread to a dent and two selvage 
 threads to a dent of the first four and the last 
 four dents of the draft. 
 
 The woof is the same material as the warp, a 
 No. 3 mercerized cotton. The binder must be a 
 much finer thread and of a different color. For the 
 above colors, an orange binder works in very har- 
 moniously. 
 
 The pattern lambs are tied in the following 
 order : 
 
 1 and 2 to the first treadle. 
 
 3 and 2 to the second treadle. 
 
 1 and 4 to the third treadle. 
 
 3 and 4 to the fourth treadle. 
 
 The plain weave is done by tying lambs 1 and 
 3 to the right middle treadle, and 2 and 4 to the 
 left middle treadle. 
 
 Figure 405, showing the finished mat, will give 
 the weaver an idea of the way in which the treadles 
 are operated to produce the design as given. The 
 vertical bands are unchangeable. The horizontal 
 
159 
 
 bands may be made any width by repeating 1-2 
 and 3-2, always using the binder after each pat- 
 tern thread. 
 
 The other combinations are 1-4 and 3-4. 
 
 The woof is all of the same color. 
 
 It is the way the warping is done and the 
 treadling that makes the pattern. 
 
 The table mat has the effect of double weaving 
 done with four harnesses. It is really a six-harness 
 pattern reduced to four. A little experimenting 
 will suggest a very great variety of combinations of 
 stripes and squares which the operator may work out. 
 The combination of threading may be varied so as 
 to produce most interesting patterns. 
 
 Rug Weaving in Wool 
 
 Figure 406 shows another kind of double 
 weave. The weave in Fig. 405 requires a binder, 
 while the finished rug shown in Fig. 406 does not 
 require a binder of any kind. 
 
 Figure 407 shows the draft. 
 
 The draft requires 240 threads. This allows for 
 six selvage threads at the beginning and the end. 
 Three selvage threads are drawn through the eye 
 of a heddle at one time. Only two hcddles are 
 used for the selvage. In threading the selvage 
 through the reed, draw three threads through each 
 of the two dents. The warp is of ordinary four- 
 ply carpet warp. 
 
 11 
 
 Fig. 405 Finished Mat 
 
160 
 
 Stiyge. 
 
 Fig. 406 Finished Rug 
 
 2x 6* 2x 
 
 Fig. 407 Draft for Rug 
 
 The threading is done as shown in the draft, 
 care being taken to repeat the number of times as 
 indicated. 
 
 There are about seven threads to the inch. 
 
 Since the No. 15 reed is already in stock it 
 may be used for the rug at hand, a thread being 
 drawn through every other dent of the reed. 
 
 The draft shows that there are six harnesses. 
 It requires but four treadles to operate the six 
 harnesses, which are tied in the following way: 
 
 Lambs 2, 3 and 4 are tied to the first treadle. 
 
 Lambs 3, 4 and 5 are tied to the second treadle. 
 
 Lambs 1, 3 and 5 are tied to the third treadle. 
 
 Lambs 2, 4 and 6 are tied to the fourth treadle. 
 
 The double "tie-up" suggested in Fig. 220 
 may be used to advantage in weaving this par- 
 ticular pattern. 
 
 To produce the pattern shown in Fig. 406, two 
 shuttles are used, one with a bobbin of white wool 
 and one with a bobbin of blue wool. The wool 
 used is similar to that used in kindergarten weaving. 
 It is a kind of carpet yarn. It is almost as heavy 
 as cotton roving. 
 
Fig. 408 
 
 Operation of Treadles 
 
 Treadle four is pressed down and the shuttle 
 containing the blue is passed through the shed. 
 Treadle one is next pressed down and the white 
 thread is passed through the shed. 
 
 Treadle two is next pressed down and the blue 
 used. Treadle three is pressed down and the white 
 passed through the shed. This order of treadling is 
 continued throughout the weaving of the entire 
 rug shown in Fig. 40(5. 
 
 Figure 408 shows the same threading, but a 
 different order of treadling. Instead of using blue 
 
 161 
 
 and white for the woof, tan and brown are used. 
 The weaving is started in the same way as in Fig. 406. 
 After the band of one color is as wide as is de- 
 sired, the opposite color is made to reverse. This 
 change is brought about by passing the same color 
 through the shed twice. The order of treadling is 
 exactly the same. 
 
 Sea Shell Pattern 
 
 The draft shown in Fig. 409 is that of a six- 
 harness loom. 
 
 The draft shows that ten treadles are required 
 to produce the pattern shown in Fig. 410. 
 
 It requires 148 threads for one repeat. 
 
 The warp is of a two-ply No. 30 Egyptian twine, 
 and the woof is of a No. 5 mercerized cotton. There 
 are thirty threads to the inch drawn through the 
 dents of a No. 15 reed, two threads to the dent. 
 
 The lambs are tied to the lower heddle sticks. 
 
 The lambs are tied to the treadles in the fol- 
 lowing order: 
 
 Lambs 1 and 3 are tied to the first treadle. 
 
 Lambs 2 and 3 are tied to the second treadle. 
 
 Lambs 1 and 4 are tied to the third treadle. 
 
 Lambs 2 and 4 are tied to the fourth treadle. 
 
 Lambs 1 and 5 are tied to the fifth treadle. 
 
 Lambs 2 and 5 are tied to the sixth treadle. 
 
 Lambs 1 and 6 are tied to the seventh treadle. 
 
 Lambs 2 and 6 are tied to the eighth treadle. 
 
162 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 1 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 I 
 
 
 
 
 
 
 
 d. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 A 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i> 
 
 1, 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 1 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 1 
 
 
 I 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 1 
 
 
 I 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 1 
 
 
 I 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 6 
 
 Fig. 409 Sea Shell. Draft of Pattern 
 
 The plain weave is done by tying : 
 
 Lambs 1 and 2 to the right middle treadle. 
 
 Lambs 3, 4, 5 and 6 to the left middle treadle. 
 
 Figure 410 shows the finished Sea Shell. It is 
 a close weave and may be used for window side 
 drapes, pillow tops, table runners, and because of 
 the closeness of the weave it may very successfully 
 be used in upholstering. 
 
 It is perhaps the most difficult to weave because 
 of the six harnesses and ten treadles. If the double 
 "tie-up" suggested in Fig. 220 is used, there will be 
 no difficulty in securing a good shed. 
 
 Any shade of No. 5 mercerized cotton may be 
 used. 
 
 The draft itself indicates the order of treadling. 
 It will be remembered that each dark square in- 
 dicates a woof thread. In the first combination of 
 threads 1 and 3 are given. This means that the 
 treadle controlling harnesses 1 and 3 is pressed down 
 
 twice for the pattern threads with a binder after 
 each pattern thread. Since this method of express- 
 ing the reading of a draft has previously been most 
 carefully explained it will not be necessary to again 
 go into detail at this time. 
 
 Double Weaving 
 
 Double weaving is one of the most interesting 
 phases of the art of weaving. It is a branch of the 
 work that amateur weavers know the least about. 
 It is difficult to understand just how the weavers of 
 many years ago controlled the number of harnesses 
 necessary to produce the seemingly complicated 
 patterns found in old counterpanes possessed by 
 many of the older settlers. 
 
 The plan of this manual is to give only a few of 
 the more simple suggestions in double weave. 
 
 In most of our old Colonial double weaves, the 
 warp is of both cotton and wool. In short, there are 
 
163 
 
 two distinct warps, the one of wool being placed on 
 one warp beam and the one of cotton placed on 
 another beam. 
 
 The beams may be placed as shown in Fig. 411. 
 An extra pair of warp beam brackets is placed below 
 the pair already on the loom. Pegs are placed just 
 above the ends of the lower beam to prevent it from 
 being drawn upward when the warp is tightened. 
 See A, Fig. 411. 
 
 The two beams are absolutely necessary when 
 the warp is of both wool and cotton because of the 
 fact that wool stretches so much more than cotton. 
 With the warp on separate beams the wool may 
 be tightened to meet the tension of the white warp. 
 
 The blue (if blue is used) wool warp is placed 
 on the upper beam and the white cotton on the lower 
 beam. Separate lease rods are used and the ends of 
 the white warp are carried right over the blue warp 
 beam. 
 
 Threading the Pattern 
 
 When threading the pattern every other thread 
 must be blue, as is indicated in the draft, Fig. 412. 
 
 The pattern shown in Fig. 413 shows a simple, 
 eight-harness double weave. 
 
 The draft is written in the Norwegian way and 
 resembles that of the Damask weave. The harnesses 
 are divided into two groups marked I and II. 
 
 The circle indicates a white thread and the dot 
 
 Fig. 410 Sea Shell 
 
164 
 
 a blue one. Thread each, repeat as many times as 
 is indicated by the figure below the brace. 
 
 Threading the Reed 
 
 Use a number 20 reed, drawing a blue and a 
 white thread through each dent. 
 
 "Tie-Up" 
 
 The tie-up for this pattern is indicated by the 
 stars on the vertical lines. 
 
 The double tie-up using the two sets of lambs, 
 Fig. 220, is the best for double weaving. 
 
 Treadling 
 
 The light and heavy dots on the vertical lines 
 indicate the order of treadling. 
 
 In weaving, two shuttles are required, one with 
 a bobbin of blue wool and the other with a bobbin 
 of white four-ply carpet warp. The first treadle to 
 the right in group one is pressed down and a white 
 thread passed through the shed. The second treadle 
 is pressed down and a blue wool thread is passed 
 through the shed. The third treadle is pressed and 
 a white thread passes through. The fourth treadle 
 is pressed and a blue thread passes through. The 
 next treadle pressed down is the first again. 
 
 Follow the order shown in the draft. 
 
 The front border is woven by pressing down the 
 treadles shown in the first sixteen changes just 
 below the stars and indicated by the arrows. 
 
 Fig. 411 Placing of Beams for Double Weaving 
 
LeffDorcfer 
 
 -O- 
 
 o 
 
 o 
 
 Border 
 
 165 
 
 Q 
 
 i - 
 
 o- 
 
 o 
 
 o 
 
 o 
 
 if 
 
 ff 
 
 ff 
 
 ff 
 
 6x 
 
 Ix 
 
 6x 
 
 Ix 
 
 Ix 
 
 6x 
 
 Fig. 412 Double Weave Draft. 
 
 \ \ \ \ 
 
 \ \\ \\\\ 
 
 \ y \ \\\' 
 
 s\V\ \ \ \ 
 
 \\\\\\\\\\\ \\ \ 
 
 ^^^^\^^^\\\^^^ 
 
 Fig. 413 
 
 The weaver must use his own judg- 
 ment in the number of woof threads to 
 use. Fig. 413 shows a drawing of what 
 the finished weaving should be like. 
 
 If the warj) is all of cotton, both blue and white, 
 then one war]) beam is sufficient, the warping being 
 done so that every other thread is blue. 
 
 Fig. 414 
 
 n i 
 
 Figure 414 shows the Danish way for writing 
 a draft for double weaving. The threading resembles 
 that of the Damask weave. 
 
CHAPTER VII 
 Textiles and Wood 
 
 Applications to Furniture 
 
 Heretofore very little has been done in the 
 combination of hand-woven textiles and wood, yet 
 there is no combination of materials that gives such 
 a large variety of artistic effects as this one. The 
 different ways in which this material may be used, 
 in combination with wood, are too numerous to 
 mention; therefore, we shall take only those simple 
 problems which are within the capabilities of even 
 a sixth, seventh, or eighth-grade boy. 
 
 Foot Stool 
 
 The first problem that we suggest is that of a 
 small foot stool, upholstered in hand-woven material. 
 Fig. 415 shows the working drawing of this unique, 
 but simple, little foot stool showing the wide pos- 
 sibilities for individual design. Here is a problem 
 that a whole class may construct, and no two made 
 alike. We have given a few suggestions as to how 
 the design of the legs of the stool may be altered or 
 enlarged upon. The size of the stool itself may be 
 changed with pleasing results by making it longer, 
 lower, or narrower, so that there are any number of 
 
 ways of changing the design of this stool without 
 losing any of its artistic qualities. It is a most 
 flexible problem. 
 
 After the stool is constructed, upholster it with 
 a piece of hand- woven material. This may be either 
 woven by the boy himself or by the girls in the 
 weaving class of the school. Here again are more 
 possibilities for making each piece more individual, 
 since each piece of material may be of a different 
 pattern, yet all may be woven from the same thread- 
 ing on the same loom. 
 
 This material might be used wherever upholster- 
 ing is possible, on a great variety of household 
 furniture with most pleasing and beautiful results. 
 A little touch of hand-woven material gives to 
 any article upon which it is used a most subtle 
 appearance. 
 
 Figure 416 shows the completed stool made 
 from the working drawing shown in Fig. 415. The 
 design used for weaving the material used in up- 
 holstering this stool is one of the many possible 
 ones of the Rose Path pattern. 
 
 166 
 
167 
 
 Seat to be upholstered 
 
 /\Tev\i Suggestions 
 
 lill ol Material 
 
 FOOT STOOL 
 
 Fig. 415 Working Drawing of Upholstered Foot Stool 
 
168 
 
 Fig. 416 Finished Foot Stool 
 
 Waste Basket 
 
 Figure 418 shows the working drawing of a 
 very simple waste basket that any sixth-grade boy 
 could build without much difficulty. The only 
 difficulty is in boring the holes at the proper angle. 
 
 Two pieces of cloth are woven the length of 
 two sides and the bottom. Hems are sewed at both 
 ends so that when the dowel rods are placed through 
 the hems and then put in place, the cloth will hold 
 the basket together. It is necessary to have the 
 cloth stretched very tightly in order to have the 
 basket rigid. 
 
 Figure 417 shows the finished waste basket. 
 The border around the top of the cloth is woven 
 with the Rose Path pattern. 
 
 If the tapering of the sides of the waste basket 
 seems too difficult, a straight sided sewing basket 
 may be constructed as shown in Fig. 419. The con- 
 struction is the same as for the waste basket. The 
 design of the hand-woven cloth is another possi- 
 bility of the Rose Path pattern. 
 
 Screens 
 
 There is no article of furniture in which hand- 
 woven cloth may be used so effectively as in a screen. 
 Fig. 420 shows the working drawing of a screen 
 in which the panels are of hand-woven material. 
 
 Fig. 417 Finished Waste Basket 
 
169 
 
 Bill o( Material 
 
 WA5TE. DA5KLT 
 
 Fig. 418 Working Drawing of Waste Basket 
 
170 
 
 Fig. 419 Finished Sewing Basket 
 
 The inner sides of each frame are grooved the 
 same as for a wooden panel; a key is made to fit 
 loosely into this groove. The cloth is placed over 
 the groove, the key placed on top the cloth over the 
 groove, and then forced down into the groove. This 
 makes a very good way of fastening the cloth to the 
 
 frames. A few finishing nails may be driven through 
 the key into the frame to hold the key in place. 
 
 That this combination makes a beautiful as 
 well as useful piece of furniture may be seen from 
 the photograph shown in Fig. 421. The cloth is 
 woven from the Orange Peel pattern, a border being 
 woven at the top and bottom to break up the space. 
 
 Though the construction of this screen is 
 simple, it should be made as a group problem 
 rather than an individual one; the boys to make 
 the frame, and the girls to weave the cloth. 
 
 Figure 422 shows the working drawing of 
 another very attractive screen of different construc- 
 tion from the first one mentioned. In this screen 
 build the inside frames as shown, of any lumber, 
 then cover both front and back with the cloth, 
 tacking it along the outside edges of the frames. 
 Make the grooved strips as shown, and tack them 
 on the outside edges of the frame, covering up the 
 edges upon which the cloth has been tacked. This 
 gives a very neat and effective finish to the screen, 
 since all of the frame that shows is the little grooved 
 moulding on the outside edges. 
 
 Figure 423 shows how attractive this kind of a 
 screen can be made to look by just using strips of 
 hand-woven cloth, embroidered with rope silk. Ob- 
 serve how beautifully the panels are broken by 
 skilful designing. 
 
171 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ! 
 
 
 
 fcill of MoTer.ol 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 6 K*y3 65 fl Z 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 t> 16 ft i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Woven Cloth insei-t 
 
 
 
 
 
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 Cross Stcfion Thru A'B 
 3rwg m.tHod of mffifi5 cloth 
 
 
 
 
 
 
 
 
 
 
 
 t 
 
 1 
 
 
 
 
 
 
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 Fig. 420 Working Drawing of Screen 
 
172 
 
173 
 
 W 
 
 
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 at outorcdgnot 
 
 innc*- jr jrriC*> 
 
 ->4- 
 -f>li- 
 
 Corner 
 
 Bill o 
 
 Mater 
 
 al 
 
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 N.l.f i. 
 
 ..,ht 
 
 V.jlh 
 
 
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 -, 1*-, 
 
 SoJ 
 
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 i 
 
 s 
 
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 Str.f.5 
 
 t,l 
 
 li 
 
 J 
 
 
 
 
 
 
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 J 
 
 
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 P..r li 
 
 bcrte 
 
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 t 
 
 
 
 
 
 
 5CKE.HN 
 
 Fig. 422 Working Drawing of Screen 
 
174 
 
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 CO 
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 ti 
 
 
 
CHAPTER VIII 
 
 The Design and Construction of Looms 
 
 Danish Loom 
 
 The following cuts show the working 
 drawings for both the Danish and Swedish 
 looms. If light work only is desired then 
 the Danish loom shown in Fig. 424 is 
 the loom to construct. Fig. 425 shows 
 the front working drawing. Fig. 426 shows 
 the side and Fig. 427 shows the detail 
 drawings of the various parts. 
 
 Swedish Loom 
 
 Fig. 428 shows the completed Swedish 
 loom. If space is available this is the loom 
 to have. On this loom may be woven 
 very fine articles as well as the Colonial 
 rugs. On the Danish loom only the lighter 
 work can be successfully woven. Fig. 429 
 shows the working drawing for the front of 
 Swedish loom. Fig. 430 shows the side, 
 and Fig. 431 shows the detail drawings 
 of the beater, warp beam, heddle sticks 
 and other movable parts. 
 12 
 
 175 
 
 Fig. 424 Sketch of Danish Loom 
 
176 
 
177 
 
178 
 
 
 Deater 
 
 __ . 
 
 - M 
 
 n Til i 
 
 i 1 l Lf 11 ^ -cji 
 
 
 - M 
 
 i 
 
 - ill 
 
 1 ^ 
 
 
 
 in i 
 
 nnnnn 1 ^fT S) 
 
 i 
 
 -4J.H- 
 
 
 r-e*1 
 
 Treadles -Make 6 
 
 ,j[ Holes 
 
 (-4-^1 
 
 
 1 li '! 
 
 -!!-!!-!!-!! lif '^ 
 
 
 j ' 
 
 ui - i 
 
 
 
 
 
 
 
 -1 
 
 
 
 
 :--- ----; 
 
 
 ~~t'i~ -4 | -( 
 :|1( Meddle 5tick5-t-iaKe 10 
 
 at r-, 
 
 
 5 j no i 
 
 
 t 
 
 
 f --04. -J 
 
 1 
 .- 
 
 
 
 36 ' 
 
 SPwiel Pin 
 
 7 J.-I'- j.l|.?y< 
 
 ~~ f 
 J SBolt r - 
 
 Ml 
 
 
 
 j >C - 
 
 ^ 
 
 'el L J1 H 
 
 
 
 
 
 Warp and Cloth E>eam5-Mohe a pfr 
 
 Method o( fastening Loom 
 together 
 
 ;J * 
 
 u 
 
 -1 r 
 
 |4 f <|~j -i 1 f] 
 
 a 
 
 
 Morses-MaKe. 4 
 
 "Rollers-Make -2.. 
 
 Fig. 427 Working Drawing of Loom Details 
 
179 
 
 Fig. 428 Finished Loom Swedish 
 
180 
 
 <o 
 
 CO 
 
 Hr 
 
 rf 
 
 4 
 
 -is* 
 
 -IS- 
 
 -58i 
 
 -AO. 
 
 .464 
 
 -52i- 
 
 Fig. 429 Working Drawing of Swedish Loom 
 
 O 
 
 c 
 
 FRONT VltW 
 
181 
 
 T 
 
 
 t 
 
 ffl 
 
 -16- 
 
 H SIDE VIEW 
 
 Fig. 430 Working Drawing of Swedish Loom 
 
182 
 
 Dea ter 
 
 Warp Beam 
 
 
 I 
 
 f I 
 
 
 -- 
 
 
 
 
 1 
 
 a 
 
 39 m 
 
 \p 
 
 
 A 
 
 
 
 
 f 
 
 L 
 
 
 M~ 
 
 jcj 
 
 _UL 
 
 & 
 
 
 
 H 
 
 
 
 Meddle Sticks 
 
 Treadles 
 
 MaKs 6 
 
 ,|_.J||_ 
 
 Lambs 
 
 MaKe 4- 
 
 ^it- 
 Bracket 
 
 MoKe 
 
 Cloth Beam 
 
 Fig. 431 Working Drawing of Swedish Loom Details 
 
CHAPTER IX 
 Dyes and Dyeing 
 
 When we come to the coloring of materials to 
 be used in textile work a field is entered that has 
 been only partially explored. 
 
 It is true that vegetable dyes may be duller 
 and that they do not run through such a lengthy, 
 diverse and brilliant gamut as the various branches 
 of aniline. But, they are apt to be more permanent 
 and they are so softened by the mellowing touch of 
 time, as to gain with age an exquisite combination 
 of color values, altogether inimitable. 
 
 It is claimed that the Shah of Persia punishes 
 with death, the man who brings aniline dyes into 
 his kingdom. Vegetable dyeing is a fascinating part 
 of textile work. When one is interested he is led to 
 make many new discoveries. 
 
 Utensils Used 
 
 Copper kettles are the best and when possible 
 should be used in vegetable dyeing. Tin is good 
 for bright colors but is affected by acids. Iron is 
 good for certain plants but is very hard to keep clean. 
 Brass may be used but is not so good as any of the 
 other above named utensils. Enameled ware mav 
 
 be used but should never be used for food purposes 
 after dyeing. 
 
 Cleaning of Utensils 
 
 The untinned copper kettles are best cleaned 
 with fine sand and a little sulphuric acid. Vinegar 
 or sour milk may be used. 
 
 Washing of Wool 
 
 All materials to be dyed must be thoroughly 
 clean. 
 
 Wool is usually washed but very little before 
 spinning. To obtain the best results the skeins of 
 yarn must not be too thick. Ordinarily 80 grams in 
 weight to the hank is quite sufficient. The finer the 
 yarn, however, the less there should be to the hank. 
 It must be remembered that to obtain definite re- 
 sults care must be taken to weigh all materials to 
 be dyed and to hold to definite measurements. 
 
 Water Used in Washing 
 
 Rain water is the best for washing purposes. 
 All newly spun and unwashed wool must be washed 
 three times in lukewarm water. 
 
 183 
 
184 
 
 The first washing is done in eight parts of water Formulae for Dyeing 
 
 containing 200 gr. of soda. The following recipes have been successfully 
 
 The second washing is done in 10 parts of water tried out and are offered to those who are interested 
 
 to 100 gr. of soda and 200 grams of good soap equal enough to not only use what is here suggested but 
 
 in quality to Ivory soap. will make further investigation in the broad field 
 
 The third washing is done in 10 parts of water of vegetable dyes, 
 and 110 grams of soap only. Yellows 
 
 Care should be taken not to wash too large a 1- Wa * Bellow 
 
 ,.,,., ,. -n o . r i-i Yarn 250 gr. 
 
 quantity of wool at one time. From 2 to 5 kilo- Alum (mordant) 32 | r 
 
 grams in the bath at one time is quite sufficient. Fresh bayberry leaves 500 gr. 
 
 If the wool is very dirty wash it in two solu- Mordant before dyeing, boil the leaves one 
 
 tions of soda and water and then proceed as above hour, drain, add material and boil one hour. 
 
 direc ^ d - 2. Greenish Yellow 
 
 The washed material is first rinsed in lukewarm Yarn 250 gr 
 
 water and then in several cold waters. Fresh wild parsley 1 kg. 
 
 Mordant Alum (mordant) 35 gr. 
 
 All material is mordanted before dyeing. Some- Boil the P arsle y one hour ' drain ' add the alum ' 
 
 times the mordant is placed in the dye itself but stlr wel1 until alum has dissolved. Boil material in 
 
 more often the material itself is mordanted before solution from to 1 hr. 
 
 placing in the dye. Alum is a useful mordant for 3. Greenish Yellow 
 
 ~\T O ^T\ 
 
 most vegetable dyes. When alum is used it must n ' ' ' , ' ' ' ; o~ ^ T ' 
 
 be boiled in order to become thoroughly dissolved. F h Id Iks 
 
 All goods must be wet before entering the mordant. Mordant the material ' first. ' Boil the leaves 1 
 
 If vitriols are used in mordanting they must be hr-> draill) add mor danted material and boil \ to 1 hr. 
 
 placed in lukewarm water only. Mordant materials 4 Str(mg Greenish Ye llow 
 
 from 1 to 2 hours. Yarn 250 gr. 
 
 When mordanting the material should be well Alum (mordant) 40 gr. 
 
 covered with water. Bayberry leaves 500 gr. 
 
Mordant the material first. Boil the fresh 
 leaves 2 hr., drain and add mordanted yarn, boil 
 from 1 to 2 hr. according to darkness of color desired. 
 
 5. Greenish Yellow 
 
 Yarn 250 gr. 
 
 Dry birch leaves 500 gr. 
 
 Alum (mordant) 32 gr. 
 
 Soak the leaves the day before using. 
 
 Boil the soaked leaves for one hour and strain. 
 Add the alum to this solution and boil yarn in it 
 from \ to 1 hr. 
 
 If the yarn is dried without rinsing and then 
 placed in a weak birch ash lye the color becomes a 
 reddish yellow. 
 
 6. Reddish Yellow 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Dry apple bark 250 gr. 
 
 The material is first mordanted in the alum 
 water. 
 
 Cut the bark into small pieces and soak the 
 day before using. It is then boiled two hours and 
 strained. 
 
 Boil the mordanted yarn in the bark liquid 
 from \ to 1 hr. 
 
 By using more bark and boiling longer a darker 
 yellow is obtained. 
 
 This color fades a little if it is not very dark. 
 
 185 
 
 7. Gray Yellow 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Kinnikinnic 1 kg. 
 
 Chop the kinnikinnic fine and boil for 3 hr. 
 Drain and boil the mordanted material in the liquid 
 from \ to 1 hr. 
 
 8. Brownish Yellow 
 
 Yarn 250 gr. 
 
 Alum (mordant) 32 gr. 
 
 Alder bark 2 kg. 
 
 Mordant the yarn in the usual way. Chop the 
 alder bark fine, and soak the day before using. Boil 
 from 2 to 3 hr., drain and boil the yarn in the liquid 
 1 hr. or longer according to the depth of color de- 
 sired. 
 
 Reds 
 
 9. Dark Red 
 
 Yarn 250 gr. 
 
 Alum .65 gr.l A/r 
 
 Cream of tartar 16 |r.f Mordant 
 
 Madder 250 gr. 
 
 Mordant the yarn for two hours and let it re- 
 main in the liquid till cool, then rinse in lukewarm 
 water. 
 
 The yarn may be allowed to dry after removing 
 from the mordant; then it is rinsed in warm water 
 before it is put in the madder liquid. 
 
186 
 
 The madder is put to soak the day before it is 
 to be used in enough cold water to make a very thin 
 solution. 
 
 If there are hard lumps they must be rubbed 
 apart in order to thoroughly soak. When ready to 
 dye the soaked madder mass is put in clean cold 
 water and when lukewarm the mordanted yarn is 
 added. 
 
 This is heated slowly to 60 degrees or 70 degrees 
 Centigrade or hot enough to burn one's fingers. 
 Stir the yarn constantly and keep the solution at 
 the same temperature as long as the yarn is in it. 
 It must not boil. If the yarn is not stirred it becomes 
 spotted as that part of the madder liquid that heats 
 the quickest gives a stronger color than the other. 
 The red coloring matter in the madder dissolves 
 without boiling, but with boiling the other ingredients 
 in the madder are also dissolved and these cause the 
 red color to lose its brightness and change it to 
 brown. When the yarn has been in the madder 
 liquid for the required time it is allowed to remain 
 in the solution until cool. Keep stirring until cool. 
 
 It is then rinsed and washed in several waters 
 to remove the loose madder. 
 
 When the yarn is allowed to dry after being 
 mordanted the red color becomes a little darker. 
 All dark madder colors are absolutely fast. The 
 lighter ones fade a little as the years go by. 
 
 10. Medium Madder Red 
 
 Yarn 250 gr. 
 
 A lum -" f+ fOgr.j Mordant 
 
 Cream ol tartar 16 gr.J 
 
 Madder 175 gr. 
 
 Treat the same as No. 9. 
 
 11. Light Madder 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Madder 125 gr. 
 
 Mordant the yarn one hour and keep it in the 
 warm color liquid from % to 1 hr. 
 
 12. Light Yellowish Red 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Madder 75 gr. 
 
 Mordant as in No. 11 but keep the yarn in the 
 color liquid only f hr. 
 
 13. Pale Red 
 
 Yarn 250 gr. 
 
 Alum (mordant) 32 gr. 
 
 Madder 25 gr. 
 
 Treat as in No. 12. 
 
 14. Rose Red 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Madder 50 gr. 
 
 Mordant the yarn as usual; when cool wrap 
 the wet material in a cloth so it does not dry out. 
 
Allow it to lie in this way from 6 to 8 days. It is 
 then treated with madder as above mentioned. 
 
 The yarn should be squeezed in a little luke- 
 warm water before putting it in the color liquid. 
 
 15. Terra Gotta 
 
 Yarn 250 gr. 
 
 Ah---:- t gr ') Mordant 
 Cream of tartar 16 gr.J 
 
 Madder 125 gr. 
 
 Oak gall 13 gr. 
 
 Mordant the yarn as usual. 
 
 When the madder liquid is lukewarm add the 
 yarn and heat slowly, allow it to boil f hr. Remove 
 the yarn and to the liquid add the finely powdered 
 oak galls. 
 
 The yarn is again placed in the color liquid 
 and boiled for \ hr., when it is removed and allowed 
 to dry. 
 
 If more color is used the yarn will be darker, 
 and if from 3 to 10 gr. of iron vitriol is added it be- 
 comes browner. 
 
 How to Add Vitriol: When this is added the 
 yarn is first removed and the vitriol is allowed to 
 melt in the boiling liquid. This is cooled by adding 
 a little cold water. The yarn is now returned and 
 boiled for a few minutes, then it is removed, cooled 
 and rinsed. 
 
 The lighter madder color may be had by color- 
 ing the mordanted yarn in the cool liquid left in 
 
 187 
 
 No. 9, 10 or 11. These colors are somewhat more 
 of a yellowish color than when fresh madder is used. 
 
 By using stronger or weaker mordants and 
 more or less madder many colors not mentioned in 
 these recipes may be made. 
 
 It must always be remembered that a strong 
 mordant is used when a dark color is desired. 
 
 16. Cardinal 
 
 Yarn 250 gr. 
 
 Tin 4gr.] 
 
 Nitric acid 50 gr. \ Mordant 
 
 Water 150 to 200 gr.J 
 
 Cream of tartar 50 gr. 
 
 Cochineal 100 gr. 
 
 The cream of tartar and the cochineal are 
 soaked. When the water for the coloring is boil- 
 ing add the cochineal and cream of tartar and boil 
 for ten minutes. Keep the liquid well skimmed. 
 After the scum has been removed add the yellowish 
 solution of tin, water, and acid and stir well. Put 
 in the dry yarn, turning it quickly around and later 
 more slowly. Boil from 1 to l hr., according to 
 darkness of color desired. Remove, cool and dry. 
 
 17. Purple Red 
 
 Yarn 250 gr. 
 
 Tin 4 gr.] 
 
 Nitric acid 25 gr. \ Mordant 
 
 Water 75 to 100 gr.J 
 
188 
 
 Cream of tartar 50 gr. Cream of tartar .. 16 ST.} 
 
 Cochineal 50 gr. Alum 8 gr./ Mordant 
 
 Treat the same as in No. 16. Cochineal 16 gr. 
 
 18. Bright Red Mordant the yarn for 2 hrs. and cool. In 
 
 Vo , OKn fresh water put the powdered soaked cochineal and 
 
 i arn zou gr. i -i j- i- 
 
 rpj n g ^ r > boil tor 15 minutes. 
 
 Nitric acid 50 gr. I Mordant The yam is added and boiled for 2 hrs., when 
 
 Water 150 to 200 gr.J it is taken out and dried. 
 
 Cream of tartar 50 gr. 21 Carmine 
 
 CochlneaL 25 & Yarn 250 gr. 
 
 When the water for the coloring comes to a Alum (mordant) 40 gr. 
 
 boil, put in the cream of tartar and let it dissolve; Mordant the yarn as usual, 
 
 add the cochineal. Boil for 10 minutes, keeping the Boil the yarn for i hr in the so i ution left in 
 
 scum skimmed from the surface of the boiling mix- 16 or 17 The color becO mes lighter after the use 
 
 ture - of No. 17 than after No. 16. 
 
 Add the yellowish tin solution as in No. 17 22 uu Carmine 
 
 and put the dry yarn into the boiling mixture, turn ' Yarn 250 or 
 
 it quickly around and later turn a little more slowly. Alum. 32 T.'] 
 
 Boil 1 hr. Cream of tartar 32 gr. j- Mordant 
 
 19. Flag Color Starch.. ... 32 gr.J 
 
 v ocrv Cochineal 15 gr. 
 
 Yam 250 gr. Cream of tartar 6 gr. 
 
 I 1 Tl X D'T* 
 
 AT - . '.''; _ A 8 \ Mordant the yarn 1 hr. 
 
 Nitric acid oO gr.l 
 
 Water 150 to 200 gr.J Mordant The starch must be mixed with a little cold 
 
 Cream of tartar 50 gr. water before it is added to the mordant. 
 
 Cochineal 50 gr. Boil the soa k ec j coc hineal and cream of tartar 
 
 Treat the same as in No. 18. in fresh water for 15 minutes. 
 
 20. Dark Carmine The mordanted yarn is boiled in this from \ 
 
 Yarn 250 gr. to 1 hr. 
 
23. Dull Carmine 
 
 Yarn 250 gr. 
 
 CreLof tartar'. '.'.::::::: 32grj Mordant 
 
 Cochineal 25 gr. 
 
 Madder 20 gr. 
 
 Starch 13 gr. 
 
 Mordant as usual. 
 
 Soak the cochineal and the madder together 
 and boil for 10 minutes. 
 
 Dissolve the starch in cold water and put it 
 in before the yarn is added to the cold solution, 
 boil from \ to 1 hr. 
 
 24. Rose Red 
 
 Yarn 250 gr. 
 
 Alum (mordant) 32 gr. 
 
 Boil \ hr. in mordant. 
 
 Boil \ hr. in solution left in 17. If the color 
 is to be of a light shade double the amount of yarn 
 or throw away half the color solution and add clear 
 water. 
 
 25. Salmon Red. 
 
 Yarn 250 gr. 
 
 The dry unmordanted yarn is boiled from J 
 to 5 hr. in the solution left in No. 18 or No. 19. If 
 more yarn is taken the color becomes lighter; it is 
 also lighter when using No. 18 than when using 
 No. 19.- 
 
 189 
 
 26. Red from Brazil Wood 
 
 Yarn 250 gr. 
 
 Alum 40 gr.l 
 
 Cream of tartar 16 gr./ Mordant 
 
 Madder 40 gr. 
 
 Brazil wood 40 gr. 
 
 Potash 7 gr. 
 
 Mordant as usual, after which the yarn is 
 placed in madder solution as described in No. 9 
 and allowed to remain 1 hr. The Brazil wood which 
 has been soaked is placed in a bag and this is boiled 
 in clean water i hr. The bag is now removed and 
 the madder colored yarn is now boiled in this solu- 
 tion from \ to 1 hr. Let it lie in this solution till 
 cooled a little. Then it is taken out and the potash, 
 which has been well dissolved, is added to the solu- 
 tion and the yarn is re-entered and left for 10 or 
 15 minutes. Allow the yarn to remain in the solu- 
 tion till cool and then wash in strong soap suds. 
 This is an inexpensive red blue color but it is not so 
 pretty as the Salmon Red. 
 
 27. Red 
 
 Yarn 250 gr. 
 
 Alum.. 40gr.| Mordant 
 
 Cream 01 tartar 16 gr.J 
 
 Bed straw roots 250 gr. 
 
 Mordant the yarn from 1 to 2 hrs. 
 The dry roots are ground or chopped fine and 
 put to soak. 
 
190 
 
 During the dyeing the yarn is treated the same 
 as was described in No. 9, for madder coloring, but 
 in this case the yarn is boiled a little toward the end. 
 
 28. Dark Red. 
 
 Yarn 250 gr. 
 
 Ground pine (mordant) . . . 250 gr. 
 Madder or bed straw 250 gr. 
 
 Mordant the yarn in ground pine in the fol- 
 lowing way: 
 
 The ground pine is chopped fine and soaked 
 in as much water as is needed for the dyeing. This 
 mixture is heated every day and must remain in a 
 warm place where it can be kept lukewarm. After 
 3 or 4 days it acquires a sour smell. Boil well and 
 strain. As it boils add a little water. In this strained 
 solution put the wet yarn and heat every 7 day for 
 three or four days and let it stand in a warm place. 
 The last day boil well. 
 
 The yarn will then have a light yellowish, 
 green gray color and a sour smell. 
 
 The yarn is now rinsed and allowed to dry be- 
 fore it is colored red. 
 
 The madder is prepared as described in No. 9. 
 Before the yarn is put into the red dye it must be 
 well squeezed in warm water. 
 
 The Preparation of Olium 
 
 The Norwegians succeed in getting most beauti- 
 
 ful shades of blue through the use of what they call 
 Olium, which is made in the following way : 
 
 Indigo is dissolved with sulphuric acid by mixing 
 15 gr. powdered indigo with 125 gr. of smoking sul- 
 phuric acid. Put about 10 gr. of sulphuric acid and 
 a little indigo say 2 gr. in a glass jar or bottle 
 with a well fitting stopper. Stir this till it is smooth. 
 Use a glass rod, or if necessary a hardwood stick. 
 Metal must not be used. After this, put a little of 
 each into the jar and stir, and so continue until all 
 has been used. Put stopper firmly in bottle and al- 
 low the mixture to stand at least 24 hours before 
 using. 
 
 When using, weigh or measure the Olium in 
 a dry glass and pour carefully into cold water be- 
 fore placing in the dye. Never pour water into the 
 Olium, as it effervesces and may injure the eyes. 
 When the Olium is kept in an air tight bottle, it 
 may be kept for a long time. 
 
 All the recipes for blue which follow, are based 
 on Olium measured in a graduated glass. If weighed, 
 take double as many grams. If the sulphuric acid 
 is poor, the indigo will not dissolve, and the color 
 will run. To prove that the indigo is well dissolved, 
 take a few drops of the Olium, mix with water, and 
 strain through a filtering paper. If the filtered dye 
 is still blue, then the indigo has been properly dis- 
 solved, but if not, the dye will be white or light blue. 
 
When Olium is to be used in dyeing, it should 
 be measured or weighed in a dry glass, as before 
 described, and dropped or poured slowly into the 
 lukewarm water and well stirred. 
 
 If the color is too light, more Olium may be 
 added, but some of tho boiling dye liquid must be 
 thrown away, and the remainder mixed with cold 
 water before the Olium is added. If the liquid is 
 too warm, when the goods is put in, it becomes 
 streaked or clouded, even though it has been dyed 
 previously. As soon as the yarn has been boiled in 
 the dye, it will be seen whether it is too light as by 
 that time all dye will have been drawn into the 
 goods. If in the heating, it is getting too dark, a 
 part of the liquid is thrown out and the remainder 
 lightened with water before continuing the dyeing. 
 When dyeing with Olium, the liquid must only be 
 lukewarm when the goods is put in and it must be 
 quickly stirred and kept in constant motion until it 
 boils. 
 
 By using more or less Olium, many color shades 
 and tints in blue may be obtained by using the 
 following recipes. Blue Dyes 
 
 29. Dark SoWier Blue 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium 20 to 30 gr. 
 
 The- yarn is mordanted as usual, and is then 
 dyed red in the used liquid remaining after dyeing 
 
 13 
 
 191 
 
 cochineal red. Dry the yarn. Add 10 gr. Olium to 
 clear lukewarm water, and stir well. Add the red 
 dyed yarn which has first been dipped in warm water 
 and heat, stirring constantly; boil for hr. and dry. 
 When dry, it is again wrung in warm water so that it 
 becomes thoroughly wet. To the new lukewarm 
 water, is added 10 gr. Olium and the yarn is again 
 dyed as at first. Boil 1 hr. and dry. If one desires 
 the yarn still darker, the dyeing must be repeated 
 with 10 gr. Olium. When the dyeing is completed, 
 it must be dried before washing. 
 
 If there is no red liquid which has been used, 
 the yarn must be mordanted as No. 21, and a dye 
 liquid made of cochineal (10 to .15 gr.). For the 
 rest, handle as above. 
 
 The darker the blue that is wanted, the darker 
 must be the red of the under dye, with the cor- 
 responding amount of Olium added. 
 
 30. Light Soldier Blue 
 
 Yarn 250 gr. 
 
 Alum ,75 gr.\ A/r 
 
 Olium ISgr.j Mordant 
 
 Madder 5 gr. 
 
 Olium 10 gr. 
 
 The yarn is mordanted as usual. Fresh water is 
 
 added to the soaked madder, and in this the yarn is 
 
 dyed red as in No. 23, and then dried. 
 
 The Olium is added to lukewarm water and 
 
 well stirrod. The red dyed yarn is added. (The yarn 
 
192 
 
 must first be wrung out of warm water.) It is then water to the liquid to make it lukewarm and add the 
 
 heated slowly, stirred constantly and boiled 1 hr. dissolved madder and stir well. Add the yarn and 
 
 Handle as above. heat slowly, stirring constantly and evenly. Boil 
 
 It may also be dyed red in used madder liquid. ^ hr., then cool, rinse and wash. 
 
 31. Greenish Blue 33. Bright Medium Blue. 
 
 Yarn 250 gr. Yarn 250 gr. 
 
 Alum (mordant) 40 gr. Alum (mordant) 40 gr. 
 
 Olium 8 gr. Olium 5 gr. 
 
 When the yarn has been mordanted, it is dyed The yarn is mordanted and dyed as above, 
 
 light yellow in one of the used yellow dye liquids. When it is through boiling in the dye liquid the 
 
 It is wrung out of this and then dyed blue as above, yarn is cooled, rinsed and washed. 
 
 If a paler dye is wanted, add 5 gr. of iron sulphate . Liaht Blue 
 
 after it has been dyed blue, and boil 10 to 15 minutes. Yarn 250 gr. 
 
 It may now be washed without first drying. Alum (mordant) 30 gr. 
 
 Goods dyed with iron sulphate must be left Handle the same as above, 
 
 well covered by the dye until cool, unless they are 35 Water Blue 
 
 constantly stirred in the dye. This liquid forms a Yarn 250 gr. 
 
 crust on the surface in the cooling which spots the Alum (mordant) 30 gr. 
 
 goods or yarn near the surface. Olium 5 to 10 drops 
 
 32. Dull Medium Blue Handle as above. 
 
 Alum (mordant) 40 gr. T ne lighter colors with Olium are not abso- 
 
 Olium 8 gr. lutely fast. They become slightly greenish after 
 
 Madder 15 gr. being used and cannot be washed in soda water. 
 
 The yarn is mordanted as usual. Some of the 3g D(jrk Blue w{th GrQund pine 
 
 mordant water is thrown away and enough cold Yarn 250 gr. 
 
 water is added to make the liquid lukewarm. Add Ground pine 250 gr. 
 
 the Olium, stir well, put in the yarn and heat slowly, Logwood 100 gr. 
 
 stirring constantly. The ground pine is chopped fine and soaked 
 
 Boil | hour and take out. Add enough cold in as much water as is needed for the dyeing. The 
 
whole is heated daily and is placed where it can be 
 kept lukewarm. When after three or four days it 
 has acquired a sourish odor, it should be well boiled 
 and strained. The water will diminish in the boil- 
 ing, therefore sufficient water must be added so that 
 there is enough for dyeing. When the ground pine 
 has been strained, the wet yarn is placed in the 
 liquid and heated every day for three or four days 
 and kept in a warm place. The last day it is boiled; 
 the yarn should then have a light, yellowish, green 
 gray color and a sour odor. 
 
 The logwood, which was put to soak the day 
 before, is placed in a bag and boiled in clear water 
 I hr. and then removed. The yarn is now wrung 
 out of the ground pine liquid and boiled in the log- 
 wood liquid | to 1 hr. It is then taken out and dried. 
 When dry, place it for several hours in a weak birch 
 ash lye and wash. The lye is made by putting the 
 ashes in warm water. 
 
 With more logwood, a darker color is obtained. 
 
 This color is fast for covering but should not 
 be used for finer covers or rugs. In time it becomes 
 slightly grayish in color. 
 
 37. Dark Blue with Chickweed 
 
 Yarn 250 gr. 
 
 Fresh chickweed 1 pail 
 
 Alum (mordant) 32 gr. 
 
 tlogwood 50 gr. 
 
 193 
 
 The chickweed is boiled 1 hr. and drained. 
 The alum is added to the liquid, and well stirred. 
 The wet unmordanted yarn is taken, and added to 
 the liquid and boiled 1 hr. and taken out. A small 
 bag filled with the soaked logwood is boiled in the 
 liquid \ hr. 
 
 Add the yarn and let it boil 1 hr. with the log- 
 wood bag. 
 
 The yarn lies in the liquid until cold. 
 
 If a darker dye is wanted, use more logwood. 
 
 Green Dyes 
 
 The pure green colors are always composed of 
 a yellow and blue dye stuff. These are mostly made 
 by first dyeing the goods blue, and then boiling it 
 in a yellow dye. To obtain a dark green the blue 
 foundation must be made dark enough the first time. 
 No amount of boiling in the yellow dye will make the 
 goods darker. By adding madder or iron sulphate, 
 the green will become darker but it is another tone, 
 gray or brownish. 
 
 Certain plants give a green dye without using 
 blue. The yellow dye in these plants will, by the 
 addition of an iron or copper salt, become green, 
 but the yarn will have a shade of gray or brown. 
 
 Green with Birch Leaves 
 
 For these dyes, both fresh and dried leaves may 
 be used. Three kg. fresh leaves make 1 kg. dried 
 leaves. 
 
194 
 
 We must therefore count on using three times 
 as much fresh leaves as dried in the dyeing. The 
 recipes are made on the basis of dried leaves. The 
 leaves are soaked the day before and are boiled in 
 enough water to make the necessary dye liquid and 
 are then strained. The boiling is done so that all 
 dye material in the leaves may be had. After strain- 
 ing, the leaves are rinsed with a little clear water, 
 and this is added to the liquid which is cooled 
 while one is dyeing the yarn blue. 
 
 The yarn is mordanted with the amount of 
 alum called for in the recipe. 
 
 When dyeing blue, throw out half the mordant 
 water and add clear cold water and the proper 
 amount of Olium. 
 
 Olium is measured in a graduated glass or is 
 dropped (counting the drops) carefully into the water 
 which has been heated to about 20 C, and is well 
 stirred. The wet, well wrung yarn, already mor- 
 danted, is placed immediately in the lukewarm 
 blue liquid. It is stirred and turned quickly around 
 with a stick. This is kept up constantly and while 
 the liquid is slowly boiling. By that time, all the 
 dye-stuff will have been absorbed by the yarn and 
 it may be left to boil slowly \ hr. 
 
 Unless one is exceedingly careful in the blue dye- 
 ing, the yarn becomes clouded and this cannot be 
 
 corrected later, but becomes more noticeable when 
 dyed green. 
 
 When the yarn has been dyed, it is cooled in 
 the liquid before it is taken out. It is then well wrung, 
 put again on the stick and placed in the milk-warm, 
 (about 30 C,) birch-leaf liquid. It is constantly 
 turned and kept in slow motion until through 
 boiling. The longer it is kept in the birch-leaf 
 liquid, the stronger the green color. It should not 
 boil more than 1 hr. If the yarn is not dark enough, 
 due to poor leaves, it must be boiled for half an hour, 
 in new birch-leaf dye after having been dried. It 
 must be thoroughly wet in warm water before being 
 placed in the new dye. The goods is allowed to lie 
 in the dye until cold unless the color is becoming too 
 strong. In that case, it is taken up at once and 
 cooled. The color is intensified by having the ma- 
 terial lie in the warm dye until it is cold. 
 
 If there are to be several dyes in green, these 
 can well be boiled in the same birch-leaf dye. It is 
 necessary to calculate in advance the proper amount 
 of leaves and to make up separately the blue dyes. 
 
 If the birch-leaf dye is to be used for after- 
 dyeing, it must be cooled before new yarn can be 
 placed in it. 
 
 The dull blue green dyes may also be boiled in 
 the same birch-leaf dye that the light fresh green 
 colors were boiled. 
 
42. 
 
 For the light after-dyes, add to the cooled dye 41 
 1 to 5 drops Olium, if only light colors have been 
 boiled in it and it contains no blue. 
 
 Whenever dark dyed blue has been boiled in 
 the birch leaf, some of the blue remains. 
 
 Yarn and cloth are handled in the same way, 
 with the exception that wool is to be boiled slowly, 
 while cloth is boiled quickly and kept in constant 
 motion. 
 
 Variations of the birch-leaf dyeing are endless 
 among the following recipes: 
 
 38. Dark Blue Green No. 1 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 5 gr. 
 
 Birch leaves 1 kg. 43. 
 
 Boil in birch-leaf liquid | to 1 hr. according 
 as a more or less blue-green color is desired. 
 
 39. Dark Blue Green No. 2 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 3 gr. 44. 
 
 Birch leaves 1 kg. 
 
 Boil in birch-leaf liquid 1 hr. 
 
 40. Medium Blue Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 2 gr. 45. 
 
 Birch leaves 750 gr. 
 
 Boll in birch-leaf dye 1 hr. 
 
 195 
 
 Light Blue Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 1 gr. 
 
 Birch leaves 500 gr. 
 
 Boil in birch-leaf dye \ to 1 hr. 
 
 11 kg. 
 
 Dark Strong Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 3 gr. 
 
 Birch leaves 
 
 Boil in birch-leaf dye 1 hr. 
 
 If the dye is not green enough, dry the yarn 
 and boil again in a new strong birch-leaf dye \ to 
 Ihr. 
 
 Bright Medium Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 1 gr. 
 
 Birch leaves 1 kg. 
 
 Boil in birch-leaf dye % to 1 hr. 
 
 Light Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 1 gr. 
 
 Birch leaves 1 kg. 
 
 Boil in birch-leaf dye \ to 1 hr. 
 
 Yellow Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 30 gr. 
 
196 
 
 Olium (blue dye) 15 drops 
 
 Birch leaves 1 kg. 
 
 Boil in birch-leaf dye \ to 1 hr. 
 
 46. Dull Grass Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 1| gr. 
 
 Birch leaves 1 kg. 
 
 Iron sulphate 2 to 5 gr. 
 
 Boil in birch-leaf dye 1 hr. 
 
 When the yarn has boiled in the birch-leaf dye, 
 it is taken out of the liquid and the iron sulphate is 
 added and stirred well. The liquid is cooled with a 
 little cold water, the green dyed yarn put in again 
 and is boiled, stirring constantly for 10 or 15 minutes. 
 
 The yarn must not lie in this liquid, but must 
 be taken out as soon as boiled. 
 
 47. Gray Green 
 
 Yarn 250 gr. 
 
 Olium (blue dye) 2 gr. 
 
 Birch leaves 1 kg. 
 
 Common madder 25 gr. 
 
 Iron sulphate vitriol 4 gr. 
 
 Boil in birch-leaf 1 hr. and then take out. 
 Cool the liquid and add the 25 gr. soaked madder. 
 Place the yarn in the cooled liquid and let it boil 
 J hr., take it out, add the iron sulphate, cool, put in 
 the yarn, and boil \ hr. 
 
 Handle as above. 
 
 48. Pale Blue Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 30 gr. 
 
 The mordanted yarn is placed in the cooled 
 after-dye, of No. 50, and slowly heated to the boiling 
 point. Boil \ to 1 hr. 
 
 49. Pale Yellow Green 
 
 Yarn 250 gr. 
 
 Alum (mordant) 30 gr. 
 
 Boil in the same manner as suggested in No. 
 40, 42 and 43. 
 
 50. Olive Green with Heather 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Fresh heather tops 1 to 2 kg. 
 
 Chop the heather and soak and then boil 4 
 hrs. in a polished iron kettle. When the liquid is 
 put back, the yarn is boiled slowly 1 to 2 hrs. ac- 
 cording to the darkness of color desired. Let it lie in 
 the dye till cool, but it must be stirred occasionally. 
 If the liquid is allowed to form a crust, this will 
 spot the yarn. 
 
 51. Gray Green with Bayberry 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Dried bayberry leaves . . . .500 gr. 
 Iron sulphate 10 to 20 gr. 
 
 Soak the bayberry leaves and boil 2 hrs. The 
 mordanted yarn is boiled in the strained liquid for 
 
197 
 
 1 hr. and is then taken out. Add the iron sulphate 
 and when this is dissolved add a little cold water. 
 Place the yellow dyed yarn in the cooled liquid, heat 
 slowly, stirring constantly and let it boil 5 to 10 
 minutes. Take it out and cool. 
 
 52. Myrtle Green 
 
 Yarn 250 gr. 
 
 Potassium chromate. ... 4 gr.) 
 
 Cream of tartar 4 gr.j 
 
 Mulberry wood 90 gr. 
 
 Logwood 25 gr. 
 
 The potassium chromate and the cream of 
 tartar are dissolved in boiling water, and enough 
 cold water added to make the liquid lukewarm. 
 Place the wet yarn in this and heat slowly, stir, boil 
 one hour and let it lie in this mordant until cold. 
 Rinse in clear water before placing in the dye. The 
 mulberry and logwood are put to soak the day 
 previous. They are put in a bag and boiled in clear 
 water 2 hrs. Take out the bag and boil the wet 
 mordanted yarn in this dye 2 hrs. If there is room 
 in the kettle, time may be saved by boiling the yarn 
 with the bag the last hour. If more logwood is used, 
 the color will be darker less logwood makes it 
 lighter. 
 
 53. Dark Grass Green. 
 
 Yarn 250 gr. 
 
 -Mulberry 80 gr. 
 
 Alum. 40 gr. 
 
 Olium 10 gr. 
 
 The mulberry wood is put to soak the day 
 before, boiled 1 hr. and strained. In the strained 
 liquid, dissolve the alum and when the liquid is milk 
 warm, add the Olium. It is all well stirred. The 
 wet mordanted yarn is put in and stirred constantly. 
 Heat slowly and boil 1 hr. The yarn is left in the 
 dye until cold. 
 
 54. Olive Green. 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 5 gr. 
 
 Mulberry 62 gr. 
 
 Tameric Acid 40 gr. 
 
 Madder 13 gr. 
 
 Iron sulphate 3 gr. 
 
 The yarn is mordanted and dyed blue, just as 
 is done in birch-leaf dyeing. The mulberry having 
 been soaked, is put in a bag and boiled in clear 
 water 1 hr. 
 
 Take out the bag and add the tameric. Boil 
 before putting in the blue-dyed yarn, which must 
 not be cooled too much. When it has boiled 1 hr. 
 in the yellowish liquid, it is taken out. The dye is 
 cooled with cold water to about 40 C, and the 
 soaked madder is added. Put the yarn in again and 
 slowly heat to boiling. Boil \ hr. 
 
 Dissolve the iron sulphate and add it to the 
 
198 
 
 cooled liquid, after taking out the yarn. Stir well. 
 Put yarn back and boil for \ to \ hr. Take out im- 
 mediately and cool. 
 
 With more madder, the color becomes browner, 
 with less, more green. More iron sulphate makes 
 it duller. If the madder is omitted, the color be- 
 comes a pure green. 
 
 These colors are not durable. In time they be- 
 come brown or grayish. 
 
 Violet Dyes 
 
 Violet dyes are compounded of blue and red. 
 As a rule, indigo, cochineal and madder are used. 
 The colors made by these dye stuffs are fast when 
 they are not too light in color. 
 
 With cochineal, the color becomes a pure violet, 
 with more or less red according to the proportion of 
 blue and red dye. With madder and cochineal, 
 the color is more brownish or plum color. The 
 depth of the color is much affected by the quality 
 of the wool according as it is coarse or fine. The 
 latter becomes the darker. 
 
 Light violet dyes become dull and not satis- 
 factory in coarse or hard cloth. The finer dye 
 shades require soft wool. 
 
 By using different kinds of mordant, violet 
 shades may be obtained from the blue dye in log- 
 wood. 
 
 These colors are not as pretty or fast as the 
 others above mentioned. 
 
 Violet with Cochineal 
 
 For violet, the yarn must first be dyed blue, 
 then red. 
 
 The yarn is done in the same manner as for 
 green. When the yarn has been boiled in the blue 
 dye, it is dried without rinsing. 
 
 Cochineal is powdered fine and put to soak the 
 day before doing the red dyeing. It is then put in 
 clear water, boiled for ten minutes and well skimmed. 
 Lay the dry blue-dyed yarn in the boiling dye, turn 
 it around quickly so that it gets wet, and boil, 
 stirring constantly for the required time; then take 
 it out and cool before washing. 
 
 . If the color does not seem to be red enough, 
 the yarn may be left in the dye until cold. This 
 will help with colors which have a very dark blue 
 ground. In that case, add a little more soaked 
 cochineal and let the yarn boil longer. 
 
 If the color is redder than desired, boil the yarn 
 a shorter time in the red dye, but not less than 
 half an hour. 
 
 If the foundation blue color is too light, this 
 cannot be remedied after the yarn has been in the 
 cochineal dye. 
 
Among the following recipes are many possi- 
 bilities by varying the relation between Olium and 
 cochineal. 
 
 55. Dark Black Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 10 gr. 
 
 Cochineal 50 gr. 
 
 Mordant the yarn as usual and dye blue. 
 When dry, boil 1 hr. in cochineal dye. 
 
 56. Dark Blue Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 5 gr. 
 
 Cochineal 25 gr. 
 
 Handle as No. 55. 
 
 57. Medium Blue Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 3 gr. 
 
 Cochineal 15 gr. 
 
 Handle as above but boil ^ to 1 hr. 
 
 58. Blue Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 50 drops 
 
 Cochineal 5 gr. 
 
 Handle as above. 
 
 199 
 
 59. Light Blue Viokt 
 
 Yarn 250 gr. 
 
 Alum (mordant) 32 gr. 
 
 When the yarn has been mordanted, boil for 
 ^ hr. in the after color of No. 56. 
 
 60. Dark Red Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 4 gr. 
 
 Cochineal 40 gr. 
 
 The yarn is mordanted and dyed blue as the 
 former have been and is boiled in the red dye \ to 
 1 hr. according to the redness required. 
 
 61. Indian Red Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 2 gr. 
 
 Cochineal 20 gr. 
 
 Handle as above. 
 
 62. Bright Red Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 30 drops 
 
 Cochineal 10 gr. 
 
 Handle as above. 
 
 63. Light Red Viokt 
 
 Yarn 250 gr. 
 
 Alum (mordant) 32 gr. 
 
 Handle as No. 59 and boil in the red after- 
 dye of No. 60 or No. 61. 
 
200 
 
 Violet with Cochineal or Madder 
 
 When madder is to be used with cochineal for 
 red dyeing of violet, both ingredients must be 
 soaked separately. 
 
 Cochineal is boiled as usual 10 minutes, and 
 the liquid is cooled with cold water and the madder 
 is added. 
 
 The dry blue yarn must first be squeezed in 
 warm water so that it is wet before it is placed in the 
 milk-warm red dye. In this it is heated and kept 
 near the boiling point, 80 to 90 C, for 1 hr. 
 
 If the color is wanted more brown, let the yarn 
 boil in the red dye. 
 
 64. Very Dark Brown Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 8 gr. 
 
 Cochineal 5 gr. 
 
 Madder 25 gr. 
 
 Mordant the yarn as usual, and dye blue as in 
 the case of former blue violet dyes. 
 
 65. Plum Color 
 
 Yarn 250 gr. 
 
 Alum (mordant) 50 gr. 
 
 Olium (blue dye) 3 gr. 
 
 Cochineal 5 gr. 
 
 Madder 20 gr. 
 
 Handle as above described. 
 
 66. Light Brown Violet 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Olium (blue dye) 1 gr. 
 
 Cochineal 2 gr. 
 
 Madder . 15 gr. 
 
 Handle as before. 
 
 In all these red after-dyes, many violet shades 
 may be dyed according as the liquid is dark or light, 
 more or less red or blue. A little of the blue dye 
 will always be left in the red dye. 
 
 The yarn for these after-dyes is mordanted as 
 usual and is boiled in the cooled red liquid. It may 
 also be dyed light blue so that the red becomes the 
 chief color. 
 
 67. Blue Violet with Ground Pine 
 
 Yarn 250 gr. 
 
 Ground pine 250 gr. 
 
 Logwood 50 gr. 
 
 Mordant and dye as No. 36. 
 
 68. Blue Violet with Chickweed 
 
 Yarn 250 gr. 
 
 Chickweed 1 pail 
 
 Logwood 30 gr. 
 
 Alum (mordant) 32 gr. 
 
 Mordant and dye as No. 37. 
 
 Brown Dyes 
 
 Brown is obtained by mixing yellow, red and 
 black dyestuffs. 
 
Several brown dyestuffs are found complete in 
 certain barks and roots and in a number of lichens. 
 From herbs and leaves, brown is seldom obtained. 
 
 To bring out the brown colors, a copper or 
 iron salt must often be added to the yellow or red 
 dyestuff. When these salts, such as iron or copper 
 vitriol, are added, they must be well dissolved and 
 the dye must be cooled before the goods is put back 
 in the liquid. 
 
 In all dye to which iron or copper vitriol is ad- 
 ded, the goods must not lie still after it is through 
 boiling. It is best to take it out immediately, cool 
 quickly and rinse in clean water until it is washed. 
 
 A dark scum will always form on the dye when 
 it cools and this will spot the goods. The same effect 
 will be had also if the dye-stuff is allowed to run 
 down a part of the goods after being hung up. 
 
 69. Yellow Brown with Bayberry Leaves 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Bayberry leaves (dried) . . . 750 gr. 
 
 The yarn is mordanted and dyed as for yellow 
 (see No. 4) and is taken out and 15 to 30 gr. copper 
 sulphate is added. Boil the yarn | to 1 hr. 
 
 If a very dark color is desired, let it boil again 
 in the same or a new dye. The yarn must be dried 
 between each dyeing just as in the heather dyeing. 
 This is-'a very fast color. 
 
 201 
 
 70. Yellow Brown with Alder Bark 
 
 Yarn 250 gr. 
 
 Alum 32 gr. 
 
 Alder bark (dry) 5 kg. 
 
 The yarn is mordanted and dyed like the yellow 
 with alder bark (see No. 8). But it is boiled in the 
 liquid 1 to 2 hrs. and left until cold. If wanted still 
 darker it may be dried and boiled again in new alder 
 bark dye. This color darkens in time. 
 
 71. Bronze Brown with Buckthorn Bark. 
 
 Yarn 250 gr. 
 
 Dry bark 500 gr. 
 
 Alum 35 gr. 
 
 Chop the bark fine, soak and boil 3 hrs. To the 
 strained liquid, add the alum and when it is dis- 
 solved, the dry unmordanted yarn is laid in the 
 boiling dye. Boil in this 1 to 2 hrs., and let it 
 remain until cold. 
 
 72. Bronze Brown with Walnut Leaves 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Fresh walnut leaves 1 kg. 
 
 Boil leaves 1 hr. and strain. 
 
 The mordanted yarn boils in the dye 1 to 2 
 hrs. and is left till cold. 
 
 73. Olive Brown with Juniper Berries 
 
 Yarn 250 gr. 
 
A/r , 
 Mordant 
 
 202 
 
 Alum ....... ............ 32 gr.l 
 
 Cream of tartar ..... 18 ST. 
 
 Copper sulphate .......... 18 |r. 
 
 Ammonia chloride ........ 13 gr.J 
 
 Juniper berries ......... 1 to 2 liter 
 
 Copper acetate ........... 16 gr. 
 
 The mordants are dissolved in boiling water and 
 stirred. Put in the yarn and boil one hour and leave 
 until cold. 
 
 The dry, ripe berries are broken, put to soak 
 and boiled one hour in clear water. Put in the 
 mordanted yarn and let it boil with the berries 1 to 
 2 hrs. and then take out. Strain the liquid and 
 add the copper acetate. Boil the yarn again \ 
 to \ hr. 
 
 74. Light Red-Brown with Gray Stone Lichens 
 
 Yarn ................... 250 gr. 
 
 Dry lichens .............. 1 kg. 
 
 Crush fine the lichens and soak over night, and 
 then boil in a copper kettle in a reasonable amount 
 of water. Boil the unmordanted yarn in this \ to 
 2 hrs. As this dye becomes very thick, the yarn must 
 be stirred constantly. The hanks must be hung far 
 apart and be well shaken. This color becomes 
 clouded easily unless this is done. 
 
 A fast brown color is the result. 
 
 75. Dark Reddish Brown with Stone Lichens 
 
 Yarn ................... 250 gr. 
 
 Lichens .............. 1 to 1| kg. 
 
 Crush fine the stone lichens and strew well be- 
 tween the yarn which is laid in layers with the 
 lichens in an iron kettle. The yarn must be well 
 covered and some large pieces of lichens placed be- 
 tween each layer of yarn. The yarn must be wet 
 when laid down. Pour on cold water. Let it soak 
 a few hours before boiling. Boil slowly and evenly 
 2 to 6 hrs. 
 
 If the yarn is to be very dark, it must be 
 treated again with new lichens and in the same man- 
 ner. If one has some used madder dye, this may be 
 used instead of water. Wool may be dyed in the 
 same manner. This is more easily dyed but the 
 yarn is apt to be clouded unless one is very careful. 
 It must have plenty of room. 
 
 76. Dark Greenish Brown with Tree Lichens or Moss 
 
 Yarn 250 gr. 
 
 Lichens 1 to 1| kg. 
 
 This color is handled as above. 
 
 77. Light Brown with Iceland Moss. 
 
 Yarn 250 gr. 
 
 Moss 250 gr. 
 
 Clean, rinse and chop the moss fine. This is 
 placed between the layers of yarn in a kettle. The 
 yarn must be well covered with moss. Pour on water 
 and boil 1 to 2 hrs., or longer. The yarn may also 
 be hung on sticks and boiled with the moss like the 
 light yellow brown with stone lichens. 
 
78. Dark Brown with Iceland Moss 
 
 Yarn 250 gr. 
 
 Moss 500 to 750 gr. 
 
 Cooking salt 50 gr. 
 
 The moss is handled as above and laid in layers 
 with the yarn in an iron kettle. 
 
 Strew the salt between, and pour on water and 
 keep warm and boil for 48 hrs. It may stand in an 
 oven or on a heating stove. 
 
 Handle afterwards like the other lichen colors. 
 If one has not enough lichens, the color may be 
 darkened by adding iron sulphate to the dye. But 
 the yarn must first be taken out. This brown color 
 will be a little more grayish if lichens only are used. 
 All these dyes are absolutely fast. 
 
 79. Sandal Brown (Gray Brown) 
 
 Yarn 250 gr. 
 
 Santalic acid 50 gr. 
 
 Madder 50 gr. 
 
 Mulberry 50 gr. 
 
 Oak gall 15 gr. 
 
 Iron sulphate 10 to 15 gr. 
 
 Madder, santalic acid, mulberry and oak gall 
 are pounded fine, put in a bag and boiled f hr. The 
 yarn is put dry into the liquid and boiled with the 
 bag \ hr. and then both are taken out. Add the 
 iron sulphate and cool, and then boil the yarn 5 to 
 10 minutes. 
 
 If wanted darker, use more iron sulphate. 
 
 203 
 
 80. Dark Red-Brown with Madder 
 
 Yarn 250 gr. 
 
 Alum 45gr.l Mordant 
 
 Cream of tartar 16 gr.J 
 
 Madder 125 gr. 
 
 Oak gall 12 gr. 
 
 Iron sulphate 10 gr. 
 
 Mordant the yarn as usual 1 hr. Put the soaked 
 madder in clear water. When the liquid is milk 
 warm, add the wet mordanted yarn, heat and boil, 
 keeping in even motion \ hour and then take out. 
 Add the crushed oak galls and stir. Boil the yarn 
 in this \ hr. Take out, add iron sulphate, cool a little 
 and put yarn back. Boil, stirring evenly for \ hr. 
 
 Gray Dyes 
 
 All plants that contain tannic acid, will make 
 gray dyes. 
 
 Many kinds of bark contain much tannic acid 
 from which, by adding iron salts, gray to black dyes 
 may be obtained. 
 
 Boil the plants and the material first in this 
 dye, which will give it a yellow, rod or greenish color. 
 Remove the goods and add the iron sulphate, which 
 will change the color to gray. This gray will always 
 have a tone of the foundation color which the plant 
 alone gives; but the more iron sulphate that is added, 
 the darker and more gray the color will become. 
 
 It is necessary always to maintain accurate 
 proportions between the strength of the dye and the 
 
204 
 
 amount of iron sulphate. In a weak dye, a dark gray 
 dye cannot be obtained, however much iron sulphate 
 is added. 
 
 81. Gray Brown with Alder Bark 
 
 Yarn 250 gr. 
 
 Alum (mordant) 32 gr. 
 
 Alder bark 4 kg. 
 
 Iron sulphate 10 to 30 gr. 
 
 Mordant the yarn and dye yellow with alder 
 bark, as in No. 17. When it has boiled one hour in 
 the alder bark, add the iron sulphate (see No. 
 54) and boil the yarn again \ to hour. 
 
 82. Gray Violet with Birch Bark 
 
 Yarn 250 gr. 
 
 Dry birchbark 600 gr. 
 
 Iron sulphate 10 to 20 gr. 
 
 The bark is put to soak the day previous and is 
 boiled 1 hr. Strain and boil the unmordanted yarn 
 in the liquid 1 hr. Add the iron sulphate and boil 
 the yarn | hr. 
 
 83. Gray Reddish with Mountain Ash Bark 
 
 Yarn 250 gr. 
 
 Alum (mordant) 40 gr. 
 
 Dry bark 2 kg. 
 
 Iron sulphate 30 to 50 gr. 
 
 Boil the bark 1 to 2 hrs. strain. Boil yarn in 
 this dye 1 hr. Add iron sulphate and treat as 
 described in No. 54. 
 
 84. Blue Gray with Kinnikinnic 
 
 Yarn 250 gr. 
 
 Kinnikinnic 1 to 2 kg. 
 
 Iron sulphate 5 to 20 gr. 
 
 The yarn is mordanted and dyed as for yellow 
 (see No. 16). When boiled, add iron sulphate and 
 boil yarn J to \ hr. 
 
 85. Green Gray with Lady's Mantle 
 
 Yarn 250 gr. 
 
 Alum 260gr.| 
 
 Cream of tartar 16 gr. [ Mordant 
 
 Fresh lady's mantle . . .\ to 1 kg.J 
 
 Iron sulphate 5 to 30 gr. 
 
 The yarn is mordanted as usual. 
 
 Boil the lady's mantle 1 hr. and strain. Boil 
 the mordanted yarn in this liquid 1 hr. Remove 
 this. Add the iron sulphate. Boil the yarn in the 
 liquid until the color is dark enough. 
 
 86. Green Gray with Sorrel 
 
 Yarn 250 gr. 
 
 When in the sorrel dye, yarn has been dyed 
 black (see No. 89) ; from the after-dye one can get 
 a gray green after color. The wet unmordanted 
 yarn is boiled \ to 1 hour or longer in this liquid. The 
 liquid may easily stand 1 to 2 days in an iron kettle. 
 
 87. Gray with Sumac 
 
 Yarn 250 gr. 
 
 Mulberry wood 10 gr. 
 
 Sumac 25 gr. 
 
Oak gall 10 gr. 
 
 Iron sulphate 10 gr. 
 
 The mulberry wood, which has been soaked, is 
 boiled | hr., and then the sumac and oak gall are 
 added and boiled. The yarn is placed dry in the 
 boiling dye, and boiled f to 1 hr. Iron sulphate as 
 usual is added (see No. 54) and the yarn is again 
 well boiled. 
 
 88. Light Gray. 
 
 Yarn 250 gr. 
 
 Oak gall 3 gr. 
 
 Mulberry wood 1 gr. 
 
 Madder ^ gr. 
 
 Iron sulphate 3 gr. 
 
 The oak gall, mulberry wood, and madder is 
 boiled ^ hr. The dry, unmordanted yarn is put in 
 the boiling dye and boiled \ hr. The yarn is taken 
 out and the iron sulphate added. The yarn is again 
 put back and boiled \ hr. 
 
 By taking more or less of the different dye- 
 stuffs, the color will have a yellowish, reddish or 
 violet tone. More iron sulphate darkens it. 
 
 Black Dyes 
 
 Black dyes can, like the gray, be made with 
 the aid of iron salts from the plants containing tan- 
 nic acid. But they can also be obtained from the 
 blue dye-stuff in logwood. This latter is now most 
 generally used. Although the dye-stuff in logwood is 
 
 205 
 
 blue, black may be obtained from it by using different 
 sorts of mordants. In order that the black shall not 
 be too bluish, a little yellow dye should be added to 
 the logwood. 
 
 For black dyes, an iron kettle is best. Untinned 
 copper may be used, but not tinned copper kettles. 
 
 Logwood is always put in a bag to be boiled 
 and, to save time, the goods may be boiled at the 
 same time as the bag. But it must have plenty of 
 room in the kettle. 
 
 Goods dyed black must be dried immediately 
 after dyeing and then washed well in strong soap 
 water and rinsed in clean water until it is absolutely 
 clear. When the black dyes are well boiled and 
 properly handled, they do not crock, but are abso- 
 lutely fast. 
 89. Black with Sorrel 
 
 Yarn 250 gr. 
 
 Fresh sorrel 1 to H kg. 
 
 Logwood 175 gr. 
 
 Birch ashes 250 gr. 
 
 Boil the sorrel 1 to 2 hrs. in a clean scrubbed 
 iron kettle. Strain, scour the kettle before putting 
 the dye back. In this the wet unmordanted yarn is 
 boiled 2 hrs. and lies in the liquid until cold. The 
 yarn should be a dark gray green. Put to soak the 
 logwood, the day before dyeing, and boil in clear 
 water 2 hrs. and take the bag out. 
 
206 
 
 The mordanted yarn which has been squeezed 
 out of the sorrel dye and rinsed in lukewarm water 
 is put in the logwood liquid and boiled 2 hrs. When 
 the logwood dye is nearly cold, it is mixed with 1 to 
 2 liter of lye which is made by pouring boiling water 
 on the birch ashes, stirred and let stand till cold 
 and clear. Let the yarn lie in this lye for 12 hrs. 
 and then dry. Wash later. 
 
 Further Use of Used Dye Liquids 
 
 When yellow or red dyes have been made, the 
 after liquid will always contain enough dye so that 
 they may be used again to dye woolens and cotton 
 goods goods that do not require a decided color. 
 These after-dyes are more or less fast, but are very 
 pretty. The most are fast as regards washing and 
 can be used for articles that are not much exposed 
 to sunshine. 
 
 The goods is mordanted and is handled the 
 same as previously described. If one is dyeing rags 
 and such common things, the mordant, if it be alum 
 or cream of tartar, may be put in the after-dye direct. 
 
 Yellow After-Dyes 
 
 Different yellow after-dyes may be mixed to- 
 gether and the alum added at once. With after-dye 
 of heather, cotton and linen may both be dyed yel- 
 low. This is a pretty color for the warp in simple 
 rugs and carpets. 
 
 In the after-dye of ground pine, wool and cot- 
 ton may be dyed. If they be re-boiled in used log- 
 wood dye, a good blue gray color is obtained both in 
 wool and cotton. It may be used for warp and car- 
 pet rags. 
 
 Red After-Dyes 
 
 Madder dye may be used to the last drop. 
 Wool, rags and cotton yarn may be dyed in it. It 
 must boil and the goods will become a light brownish 
 red. Cotton and linen dye very light and fade in 
 the sun, but the color is very pretty and may be 
 used for warp where white is not wanted. The after- 
 dye may also be used as the foundation color for 
 darker red and brown shades. A little dye-stuff may 
 be saved for this. 
 
 Cochineal dye may be used until there is only 
 the clear water left. The light red almost color- 
 less dye makes pretty light tints for old pure wool, 
 white dresses and blouses, and a large amount of 
 woolen sweater 3^arn may be dyed light red in such 
 liquid. 
 
 If salmon color is desired, a tin solution is 
 added, and the clean dry goods is allowed to boil in 
 the liquid \ to \ hr. The amount of tin solution is 
 regulated by the weight of the goods. For 250 gr. 
 goods use 50 to 100 gr. prepared clear yellow tin 
 solution. 
 
If a more bluish red is wanted, mordant the 
 goods first in alum and then boil without the tin. 
 Madder and cochineal dyes may be mixed. 
 
 Blue After-Dyes 
 
 Indigo gives no after-dyes, as the goods always 
 draws all the color into itself. In logwood dye, how- 
 ever, light gray blue after-dye is found. 
 
 Violet After-Dyes 
 
 The same is true of these dyes, as for the red 
 after-dyes, where madder or cochineal has been used. 
 
 Green After-Dyes 
 
 Green after-dyes arc not worth while using. 
 They only give a dirty, undecided color. 
 
 Brown gray and black after-dyes will give 
 lighter shades. The gray after-dyes may be quite 
 dainty and pretty. 
 
 From black logwood after-dyes, gray blue is 
 obtained. 
 
 Dyeing of Old Goods 
 
 If one wishes to dye old, faded goods, this must 
 first be well washed and then boiled j hr. in soda 
 water (which must not be strong enough to injure 
 the goods) so that as much of the original dye is re- 
 moved as possible. Then rinse it well. After that 
 handle as the white. 
 
 When old goods is to be dyed, a darker color 
 than the original must be chosen. For success 
 
 14 
 
 207 
 
 a great deal depends on the foundation color, as the 
 new must be dark enough to cover the old. 
 
 Only pale yellow or pink may be dyed yellow. 
 
 Pale yellow, pale violet, light gray, light brown, 
 very pale green and red may be dyed red. 
 
 Pale yellow, pale green, violet, blue gray and 
 light brown may be dyed blue. With ground pine 
 and chickweed dyes, pretty blues may be obtained. 
 
 Blue and red may be dyed violet. 
 
 All other light colors may be dyed brown. 
 
 All colors, light or dark may be dyed black. 
 
 It must be understood that with re-dyeing, the 
 new color, unless it is very light, will always have a 
 tone of the old ground color. 
 
 Unless one knows what dyes were used original- 
 ly, it is best to dye a sample especially if the goods 
 be of value, as the result may prove to be a different 
 color than the one planned for. The old color is 
 dissolved, so to say, by the new, and forms an 
 entirely new compound. 
 
 Bleaching of Woolen Goods 
 
 No matter how well woolen goods is washed 
 and the fats removed, it will never be perfectly 
 white. If one wishes chalk white yarn or woolen 
 cloth, it must be bleached. A peculiar odor will be 
 noticed from these goods if boiling water be poured 
 over them. 
 
208 
 
 In the bleaching of woolen goods sulphur is 
 used. This bleaching may easily be done at home 
 by using sulphur in a tightly closed room where 
 damp woolen goods has been hung. 
 
 For bleaching, a large tight box or barrel with 
 cover may be used. On one side, and quite near the 
 floor, cut out a piece large enough to admit a fairly 
 good sized iron kettle. The hole must be provided 
 with a cover. At the top of the barrel or box, on 
 the inside, strips of wood must be nailed on which 
 the stick, holding the yarn, may be rested. Some- 
 times the wool is hung from a large spool or placed 
 loosely in a net. 
 
 After the yarn has been throughly washed and 
 rinsed it is allowed to dry enough so that the water 
 does not drop from it. It must be evenly wet, 
 without dry spots. It is hung in the barrel or box, 
 and the top is well covered. 
 
 Glowing charcoal is placed in the iron kettle 
 or dish. A handful of coarsely powdered sulphur 
 is placed on the glowing coals and the opening is 
 quickly closed. 
 
 There must be a large enough opening near the 
 bottom to allow draft enough to burn the sulphur. 
 
 The yarn or other goods is left in the box or barrel 
 about 12 hrs. If it is white enough, it is rinsed in 
 cold water and dried. If not, bleach again. Care 
 should be taken not to hang the goods too near the 
 kettle. 
 
 It is not necessary to bleach woolen goods to be 
 dyed with plants. As a rule it is not done, but if 
 one does not object to the work, certain light, 
 dainty colors become cleaner when bleached, but 
 some are duller and not as pretty as when using 
 the bleached yarn. 
 
 Hand Measures 
 
 25 gr. soda 1 handful. 
 100 gr. greensoap 1 heaping wood spoon. 
 25 gr. madder 1 " tablespoon. 
 
 20 gr. mulberry 1 " 
 15 gr. logwood 1 " 
 20 gr. cochineal 1 " " 
 
 8 gr. pulverized alum 1 heaping teaspoon. 
 8 gr. coarsely powdered cream of tartar 1 
 
 heaping tablespoon. 
 12 gr. coarsely powdered potassium chromate 
 
 1 heaping teaspoon. 
 10 gr. iron sulphate 1 heaping teaspoon. 
 10 gr. coarsely pounded copper sulphate 1 
 
 heaping teaspoon. 
 1 gr. olium 5 drops. 
 
INDEX 
 
 Abbreviations: (w. d.), working drawing; (ill.), illustration; (pat.), pattern; (dr.), draft- 
 
 Adaptations of borders, .">_' 
 
 Adaptations of patterns, 51 
 
 After-dye liquids, 206 
 
 After-dyes, yellow, 206; red, 206; blue, 207; 
 
 violet, 207; green, 207 
 Alternate method of treadling for rug weaving, 
 
 161 
 Alternate method of warping with four threads, 
 
 16 
 
 Hi -lining, 20 
 
 If. :nns. for double weaving, (ill.), 164 
 
 Big Diamond pattern, (dr.), 60; (pat.), 61 
 
 Black Dyes, 205 
 
 Bleaching woolen goods, 207 
 
 Block Work pattern, 66 
 
 Blooming Flower pattern, 78 
 
 Blue Dyes, 191, 193 
 
 Bobbin winder, 37 
 
 Bonaparte's March pattern, 76 
 
 Borders, 76 
 
 Border weaving in double or Damask weave, 
 
 1C,4; (dr.), 165 
 Borders, adaptations of, 52 
 Hi -ad< lock's Defeat, 91 
 Brown Dyes, 200, 203; after Dyes, 207 
 
 Canvas. Danish pattern, 105 
 
 Chariot Wheel pattern, 68 
 
 Checked paper, 51 
 
 Cloth Beam, 34 
 
 Cloth, construction of, 8 
 
 Colonial, patterns, .")!; double weaves, 162 
 
 Color, introducing of, 43 
 
 Construction of plain cloth, 8 
 
 Counterpane, 69, 84, 85 
 
 Crosses, securing of, in warping 12 
 
 Cross pattern, 93 
 
 < 'uriaiii. 70, 84 
 
 Damask weave, 151 
 Damask weave Danish pattern, 165 
 Diinish uixl Norwegian patterns, 101 
 Danish loom, 175; (w. d.), 176, 177 
 
 Danish rrethod of writing draft for double 
 Dan. ask weave, 165 
 
 Danish patterns, 101 
 
 Diagonal weave for eight-harness Dare ask 
 weave, 157 
 
 Diagonal weave in three-harness Swedish pat- 
 tern, 114 
 
 Dog Tracks pattern, 96 
 
 Doors and Windows pattern, 87 
 
 Double Bow Knot, (dr.), 94; (pat.), 95 
 
 Double Chariot Wheel pattern, 88 
 
 Double Snowball, (dr.), 63; (pat.), 64; adapta- 
 tions, 64 
 
 Double tie-up for double Damask weave, 164; 
 Danish way of writing draft, 165 
 
 Double weaving, 162; beams for, (ill.), 164 
 
 Draft, Danish, 101; reading 59 
 
 Dyeing old goods, 207 
 
 Dyeing utensils, 183 
 
 Dyes, yellow, 184; red, 185; blue, 191; green, 
 193; violet, 198; violet with cochineal, 
 198; brown, 200; gray, 203; black, 205 
 
 Dyes and Dyeing, 183 
 
 Eight-harness and eight-treadle Damask weave, 
 
 154 
 
 Kight-harness Damask weave, 153 
 Eight-harness Damask weave. Danish draft, 165 
 Kit;ht-harness Damask weave, diagonal, 157 
 Kight-harness loom, 124 
 Kight-harness Swedish pattern, 115 
 
 Federal Knot pattern, (dr.), 79; (pat.), 80 
 
 Fine threads, use of, 56 
 
 Five-anil-six-harness Danish pattern, 105 
 
 l-'ivc-liariiess Swedish pattern, 113 
 
 Foot Stool, textile and wood, 166; (w. d.), 167; 
 
 (ill.), 168 
 
 Formulae for dyeing, 184 
 Four-harness cotton table mat, (dr.), 158; 
 
 (pat.), 159 
 
 Four-harness Danish pattern, 101 
 Four-treadle loom, 118 
 Four Wheels, 95 
 
 209 
 
 Fox Trail pattern, 87 
 
 Goose Eye Danish pattern, 104 
 
 Governor's Garden pattern, 72; (dr.), 74 
 
 Gray Dyes, 203, 205; after dyes, 207 
 
 Green Dyes, 193, 198 
 
 Guess Me pattern, 97 
 
 Hand measures, 208 
 
 Harness, 32 
 
 Heddle frames, 116 
 
 Heddle horses, 32: (w. d.), 33 
 
 Heddle sticks, 26 
 
 Heddle sticks, tying of, 33; (w. d.), 34, 48 
 
 Heddles, threading of, 27 
 
 Heddles, knotting of, 25 
 
 Heddles, wire, 116 
 
 Holding the warp, 23 
 
 Honey Comb Swedish weave, 110 
 
 Indiana Frame Rose pattern, 90 
 
 Introducing color, 43 
 
 Irish Chain pattern, 82 
 
 Irregular threading in Swedish patterns, 110 
 
 Keeping account of threads warped, Hi 
 King's Flower pattern, 92 
 Knotting the heddles, 25 
 
 Lambs, f>7 
 Laying in sticks, 24 
 Lease, 10 
 Lease rods, 25 
 Leopard Skin pattern, 86 
 Linen draft, 157 
 Longitudinal threads, 8 
 Long warp, preparing of, 10 
 Loom, parts of, 9: (ill.), 21 
 Loom, power, 7 
 Loom, simple hand, 9 
 Loom, threading of, 26 
 Loom, tying of, 31 
 Loom, eight-harness, 124 
 Loom, four-treadle, 118 
 Loom, six-harness, 121 
 Loom, gix-treadle. 105 
 
V 
 
 /tt^UMt 
 
 I 
 
 - 1 -4. 
 
 210 
 
 Looms, 175 
 
 Looms, Danish, 175; (w. d.), 176, 177, 178 
 
 Looms, Swedish, 179; (w. d.), 180, 181, 182 
 
 Mordant, 184 
 
 Nine Snowballs, 82 
 Nine Wheels, 82 
 Norwegian patterns, 106 
 
 Old Irish Quilt pattern, 93 
 Old Quilt pattern, 85; (dr.), 86 
 Olium, 190 
 Orange Peel pattern, 71; (dr.), 72 
 
 Paddle, construction of warping, 17; (w. d.), 18 
 Paddle, use of, 18 
 Parson's Beauty pattern, 91 
 Patterns, adaptations of, 51 
 Patterns, Colonial, 59 
 
 Big Diamond, (dr.), 60; (pat.), 61 
 Block Work, 66 
 Blooming Flower, 78 
 Bonaparte's March, 76 
 Braddock's Defeat, 91 
 Chariot Wheel, 68 
 Cross, 93 
 
 _ Tracks, 96 
 Doors and Windows, 87 
 N Double Bow Knot, (dr.), 94; (pat.), 95 
 N Double Chariot Wheel, 88 
 Double Snowball, (dr.), 63; (pat.), 64, 
 
 adaptation 64 
 Federal Knot, 80; (dr.), 79 
 Four Wheels, 95 
 Fox Trail, 87 
 ^v*vO^-Xi/ Guess Me, 97 
 
 * Governor's Garden, 72; (dr.), 74 
 Indiana Frame Rose, 90 
 Irish Chain, 82 
 King's Flower, 92 
 Leopard Skin, 86 
 - Old Irish Quilt, 93 
 Old Quilt, 85; (dr.), 86 
 Orange Peel, 71; (dr.), 72 
 Parson's Beauty, 91 
 xPine Knot, 79 
 Platform, 97 
 Queen's Delight, 92 
 
 . 
 
 /vkou 
 
 INDEX Continued 
 
 Rings and Chains, 83 . 
 
 Rose Path, 53 $ <~ 
 
 Scarlet Balls, 88 
 
 Sea Star, 89 
 \Snail's Trail and Cat's Paw, 77 
 
 Virginian Snowball, 96 
 N Wheel of Fortune, 81 
 V Whig Rose, 99; (dr.), 100 
 
 White House, 89 
 
 Wind Flower, (dr.), 98; (pat.), 99 
 
 Window Sash, 90 
 Patterns, Damask, 151 
 "t)anish, draft, 165 
 
 Danish draft, eight-harness, 165 
 
 diagonal, eight-harness, 157 
 
 eight-harness, 153 
 
 eight-harness and eight-treadle, 154 
 
 Sea Shell, 163; (dr.), 162 
 
 ten-harness, 151 
 
 rug, alternate stripes, 161 
 
 rug, six-harness, 161 
 
 table mat, 159; (dr.), 158 
 
 table mat, four-harness, 159; (dr.), 158 
 Patterns, Danish, 101 
 
 "Norwegian, 101 
 
 canvas, 105 
 
 five-and-six-harness, 105 
 
 four-harness, 101 
 
 Goose Eye, 105 
 
 two-harness, 101 
 Patterns., Norwegian, 106 
 eras, Swedish, 107 
 
 diagonal weave, three-harness, 114 
 
 eight-harness, 115 
 
 five-harness, 113 
 
 Foot Stool, 166; (w. d.), 167; (ill.), 168 
 
 four-harness threading, 108 
 
 four-harness, 113 
 
 Goose Eye, 1 12 
 
 Honey Comb, 110 
 
 Rose Path, 111 
 
 six-harness, 113, 120 
 
 six-treadle, threading, 108 
 
 three-harness, 113 
 
 tie-up with sets of lambs, 116 
 
 tie-up for seven harnesses,' 1 14 
 
 two-harness, 107 
 
 two-treadle or four-treadle draft, 107 
 
 Textile and Wood, 166 
 
 Pattern weaving, 44 
 
 Pattern weaving, threading of, 46 
 
 Pegs, 11 
 
 Pillow Tops, 67, 68, 73, 75 
 
 Pine Knot pattern, 79 
 
 Placing beams for cotton and wool weaving, 163; 
 
 (w. d.), 164 
 Placing the reed, 30 
 Plaids, weaving of, 44 
 Platform pattern, 97 
 Power loom, 7 
 Preparing a long warp, 10 
 
 Queen's Delight, 92 
 
 Raddle 20; (w. d.), 22 
 
 Rag Rugs, 43 
 
 Reading a draft, 59 : Danish, 101 
 
 Red Dyes, 185, 190; after dyes, 206 
 
 Reed hooks, 30 
 
 Reed, the, 27 
 
 Reed, threading of, 29, 47 
 
 Reel, 16 
 
 Reel, warping, 13; (w. d.), 14 
 
 Reels, 42; (ill.), 40; (w. d.), 41 
 
 Removing warp from reel, 17 
 
 Rings and Chains pattern, 83 
 
 Rose Path pattern, 53 
 
 Rose Path Swedish pattern, 111 
 
 Rug, wool, 159, 161 
 
 six-harness pattern. 160 
 Rugs, weaving of, 43 
 
 Scarlet Balls pattern, 88 
 
 Screen, textile and wood, 168; (w. d.), 171; 
 
 (ill.), 172, 170; (w. d.), 173; (ill.), 174 
 Sea Shell, (dr.), 162; (pat.), 163 
 Sea Star pattern, 89 
 Selvage, 47 
 
 Sewing Basket, textile and wood, 170 
 Shed, 35 
 
 Shuttle, 36; (w. d), 37 
 Shuttle stick, 36 
 Simple loom, 9 
 Six-harness loom, 121 
 Six-harness Sea Shell pattern, (dr.), 162; (pat.), 
 
 163 
 
 Six-harness Swedish pattern, 113, 120 
 Six-harness wool rug pattern, 160 
 
A^ 
 
 Six-treadle loom, 105 
 
 Snail's Trail and Cat's Paw Pattern, 77 
 
 Spool rack, 15 
 
 Starting threads on the reel, 15 
 
 Swedish draft of Goose Eye pattern, 112 
 
 Swedish loom, 178; (w. d.), 179, 180, 181, 182 
 
 Swedish weaving, 107 
 
 Stool, foot, 166; (w. d.), 167; (ill.), 168 
 
 Table mat, cotton, (dr.), 158; (pat.), 159 
 
 Table Runner, 65, 67 
 
 Taking off the warp, 12 
 
 Temple, 38; (w. d.), 39 
 
 Ten-harness Damask weave, 151 
 
 Textiles and Wood, 166 
 
 Threading a four-harness Swedish pattern, 108 
 
 Threading a six-treadle Swedish pattern, 108 
 
 Threading a two-harness Swedish pattern, 107 
 
 Threading damask weave, 152 
 
 Threading for eight-harness double weave, 163 
 
 Threading for pattern weaving, 46 
 
 Threading for Kose Path pattern, 54 
 
 Threading for ten-harness Damask weave, 156 
 
 Threading the heddles, 27 
 
 Threading the loom, 26 
 
 Threading the reed, 29, 47 
 
 INDEX Concluded 
 
 Three-harness Swedish pattern, 113 
 Three-harness Swedish pattern, diagonal weave, 
 
 114 
 Tie-up damask weave, 152; eight-harness, 154; 
 
 double weave, 164 
 
 Tie-up for seven-harness Swedish weave, 114 
 Tie-up pulley, 152 
 
 Tie-up with sets of lambs, 116; double, 164 
 Turning on, 20 
 
 Two-harness Danish pattern, 101 
 Two-harness Swedish pattern, 107 
 Two-treadle or four-treadle Swedish draft, 107 
 Tying heddle sticks for pattern weaving, 48 
 Tying heddle sticks to treadles, 33; (w. d.), 34 
 Tying the loom, 31 
 
 Utensils, for dyeing, 183 
 Upholstering, suggestions for, 166-168 
 
 Violet Dyes, 198, 200; after dyes, 207 
 Virginian Snowball, 96 
 
 Warp, 8 
 
 Warp, distribution of, 24; (ill.), 25 
 
 Warp, holding of, 23 
 
 Warp, removing from reel, 17; from board, 12 
 
 211 
 
 Warp spreader, 20; (w. d.), 22 
 
 Warp stand, 24 
 
 Warp, taking off, 12 
 
 Warping, alternate, 16 
 
 Warping a number of threads at once, 16, 17 
 
 Warping board, construction of, 10 
 
 Warping board, use of, 11 
 
 Warping reel, 13; (w. d.), 14 
 
 Warping Threads, keeping count of, 16 
 
 Waste Basket, textile and wood, 168; (ill.), 168; 
 
 (w. d.), 169 
 Weaving a border, 50 
 Weaving a pattern, 49 
 Weaving, double, 162 
 Weaving of plaids, 44 
 Weaving of rag rugs, 43 
 Wheel of Fortune pattern, 81 
 Whig Rose pattern, 99; (dr.), 100 
 White House pattern, 89 
 Wind Flower pattern, 99; (dr.), 98 
 Window Sash pattern, 90 
 Woof, 9 
 
 Wool, washing of, 183 
 Wood and Textiles, 166 
 
 Yellow Dyes, 184, 185; after dyes, 206 
 
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14 DAY USE 
 
 RETURN TO DESK FROM WHICH BORROWED 
 HJVIRONMEH3-A1 DESIGN LIBRARY 
 
 This book is due on the last date stamped below, or 
 
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 Renewed books are subject to immediate recall. 
 
 FE6 141367 
 
 JAN 28 1973 
 
 /! 
 
 ; yr, ^ ^ 1973 
 
 CCT1S 1bb7 
 
 : A \W\ 
 
 L qMW 
 
 , * 1 
 
 DEC 1 1 1973 
 
 1989 
 
 
 NOV 9 1969 
 
 
 
 
 *ft 7 1970 
 
 
 JOY^ 1970 
 
 
 
 
 OCT 27 1971 
 
 
 
 
 MAR 15 WZ 
 
 
 
 
 LD 21-40m-10,'65 
 (P7763810J476 
 
 General Labrary 
 
 University of California 
 
 Berkeley 
 
i.