Foot-Power Loom Weaving FOOT -POWER LOOM WEAVING EDWARD F. WORST ii Supervisor of Elementary Manual Training and Construction Work, Chicago, 111. Second Edition Enlarged rHE BRUCE PUBLISHING COMPANY MILWAUKEE, WIS. TS Copyright, 1918, 1920 by Edward F. Worst fff INTRODUCTION HE suggestions offered in this manual are for those who believe that the more advanced weav- ing 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 combination and design than does the craft of weaving. Girls taking the various household-arts courses will find weaving a great aid in understanding 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. Double weaving as it was done in the early days is such a mystery to the home weavers of today that it was thought advisable to add a chapter on this branch of the work in the present edition. scarcity of linen at the present time suggested to the author the addition of a few good linen weavers. Flax is so e;isily cultivated and prepared for use that those interested will find little diffi- culty in preparing the flax from the seed to the finished piece of cloth. The descriptions given are for the amateur weaver who will find them more easily understood 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. 450515 TABLE OF CONTENTS CHAPTER I THE LOOM, WARPING AND THREADING Loom Weaving The Construction of Plain Cloth The Essential Parts of Loom Preparing a Long Warp The Warping Board and Its Use Taking Off the Warp The Warping Reel Alternate Method of Warping with Four Threads Keeping Account of Threads Warped Warping a Number of Threads at Once Turning on, or Beaming The Warp Spreader Laying in Sticks Knotting the Heddles Heddle Sticks Threading the Loom The Reed Threading and Placing the Reed Tying the Loom The Cloth Beam The Shed The Small Shuttle Bobbin Winder The Temple The Reel 7-39 CHAPTER II PATTERN WEAVING Rag Rugs Introducing Color Plaids Pat- tern Weaving Beginning the Threading Threading the Reed Tying the Heddle Sticks Weaving the Pattern Weaving a Border Second Change in Pattern Using Checked Paper Adaptations of Patterns Rose Path Pattern Threading and Weaving the Pattern The Lambs 40-54 CHAPTER III COLONIAL PATTERNS Reading a Pattern Draft The Big Diamond Pattern The Tie-up Weaving the Pattern The Treadling Draft Where to Begin the Threading for Large Patterns Block Work Pattern Chariot Wheel Pattern Orange Peel Pattern- Governor's Garden Bonaparte's March Weaving the Borders Blooming Flowsr Snail's Trail Pine Knot Federal Knot- Wheel of Fortune Irish Chain Rings and Chains Old Quilt Pattern Miscellaneous Patterns Wind Flower Pattern Whig Rose Pattern Sun, Moon and Stars Pine Cone Bloom Lily of the Valley 55-100 CHAPTER IV ANALYSIS OF WOVEN PATTERNS How to Make a Draft From a Woven Pattern Another Analysis Blocking Out a Pattern From a Draft 101-107 CHAPTER V LINEN WEAVES The Weaving of Linen Martha Washington Towel Betsy Ross Towel Mollie Pitcher Towel Three Har- ness Linen Weave Treadling Draft for Three-Harness Weave M's and O's Pattern 108-114 CHAPTER VI DANISH AND NORWEGIAN WEAVING Expressing Danish Patterns Reading a Danish Draft Tying the Treadle Norwegian Pat- terns 115-120 CHAPTER VII SWEDISH WEAVING Swedish Way of Writing a Draft Irregular Threading Three-Harness Draft Eight-Harness Pattern Hed- dle Frames Tie-up for Two Sets of Lambs Six-Harness Pat- tern Six-Harness Loom Eight-Harness Loom Miscellaneous Swedish Patterns 121-163 CHAPTER VIII DAMASK DOUBLE WEAVE Damask Weave Threading the Reed- Tie-up Ten-Harness Tie-up Table Mat Rug Weaving in Wool Operation of Treadles Sea Shell Pattern Tie-up for Virginia Beauty Transposing a Four-Heddle Draft 164-170 TABLE OF CONTENTS Continued CHAPTER IX DOUBLE WEAVING Double Weaving Entering the Double Warp in Harness Weaving Double Cloth Double Pattern Weaving Warp for Double Woven Pattern Threading and Tie-up for Double Woven Pattern Explaining the Tie-up Equipment of Loom for Double Weaving Miscellaneous Materials Threading the Reed for Double Weaving Tie-up Double Weaving with Several Changes Analysis of Double Woven Pattern Tread- ling The Warp Beam Double Weaving with Two Harnesses Pattern Harness Tabby Harness The Figure Harness Ex- plaining the Tie-up Miscellaneous Double Woven Pat- terns . 177-214 CHAPTER X TEXTILES AND WOOD Combinations of Textiles and Woo.d Foot Stool Waste Basket Screens 215-223 CHAPTER XI DESIGN AND CONSTRUCTION OF LOOMS Danish Loom Swedish Loom 224-232 DYES AND DYEING Mordant Formulae for Dyeing Yellow Reds Preparation of Olium Blue Dyes Green Dyes Green with Birch Leaves Violet Dyes Violet with Cochineal 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 of Woolen Goods Hand Measures 234-257 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 independ- ent art workers are becoming interested. This gives hope that at some time in the near future the domestic occupa- tions of weaving 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 appreciation of handwork lias, during the past decade, increased 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 successful line of home in- dustry is carried on to great advantage 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 teen written of the beautiful hand- weaving done by the women in the mountains of Kentucky and Tennessee. So attractive is this work that little diffi- culty is experienced in disposing of the articles woven. Since the introduction of machine spinning and weav- ing, 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 produced 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. FOOT-POWER LOOM WEAVING ' : l v he 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 and other countries. Through the exercises given it is hoped the weaver m.ay 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 longitudinal threads. Fig. 1 shows the ar- rangement 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 intersected 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 Fig. 1 A Piece of Plain Cloth ESSENTIAL PARTS OF A LOOM it soft so the warp and weft are easily pressed together into a linn material. The weaving of mats and baskets from local materials and from ral'Iia, 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 warp upon, so that the weft may be readily interlaced with it. The more elaborate frame constructed for this purpose has by uni- versal 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 weft threads is suggested; but the lease, the one universal and indis- pensable contrivance used in weaving, has been omitted. While not shown, it must have been there, for no loom could be operated without it. Fig. L' illustrates the three steps in the construction of a simple loom. The construction is similar to the looms made by the pupils of the lower grades. l-'ig. -. "A" shows the loom without the thread. "R" shows the warp threads wound upon it length- wise. "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 alter- Pig. 2 Simple Loom nate strings cross eacli other in regular succession. While the rods "D" are kept in their position in the warp it. is im- possible for the threads to get out of place or to get hope- lessly entangled, as they certainly would if any great num- ber of threads were used. This cross is called the lease and is really the one in- dispensable part of the loom. Xo two looms may be alike in any other respect but in the case of the lease. One can- not dispense with this simple yet perfect contrivance for keeping the warped threads in order when a long war]) made up of hundreds of threads is required. Preparing a Long Warp A warj) longer than the loom cannot be made upon the loom as was shown in A, T5, C, Pig. 2. 10 FOOT-POWER LOOM WEAVING C B A E D j w o O ' O @ C B D or -- - C ^-"-:-~-r_-_-;J 1 ^ L C 5 P) Pig. 3 Use of Warping Board This being true, some sort of apparatus must be con- structed 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 tension 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. This process of preparing the threads is called irarp- ing. 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 ten 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 be- tween 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, Fig. 3. Guide the thread under peg B and over peg C. Then follow the dotted line, as shown in No. SECURING THE CROSSES 11 2, Fig. 3, by allowing the thread to pass outside the pegs 1, 2, 3, back to 4, then to pegs 5, G 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 I! and (\ and 1) and E. Two threads have now been warped, having a length of ten yards be- tween the crosses. The second thread having been carried around and over peg A, went under B and then followed Exactly the course of the lirst thread until it reached E. Then, fol- lowing 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 hoard as soon as the crosses have been made secure. One can readily understand by the above explanation that a great amount of time would be consumed in making a war]) by handling one thread 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 shows clearly the way it is done. The letters in- dicate the pegs of the warping board ; the heavy lines are the threads of a warp, which may be of any number of threads. C f> A E D gr*.. Pig. 4 Securing the Crosses The important crosses are shown between C and B and between 1) 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 important. A short cord may be drawn through the loop at peg A, and the threads may l>e tied all together. J FOOT-POWER LOOM WEAVING C B ft. D ffl us Fig. 5 Taking off the Warp 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 conveni- ence in transfering 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. 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 Avarp 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 Pig. 6 Chain Made with Warp from Warping Board 13 *-ll 1 > i rt i 1 J- P r* ^X 1 ^ i T - 3 H2C f Tl r t ^ J s. J S oc ev- 09- T s CJ I 3 o be 2 Q bo c 15 i- o t- bo E ^ w . -P lot : 5' i! ; ,tr'. II a o n 00 bi 14 FOOT-POWER LOOM WEAVING *rr Fig. 9 Working Drawing of Spool Rack A B C Fig. 11 Method of Starting Threads Fig. 12 Threads Passed over Lower Pegs Fig. 10 Spool Rack f\ B C Fig. 13 Another Method of Starting Threads drawn through the loop. This is continued until the en- tire warp has been removed from the board. The process of taking off the warp will be recognized 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, Avhich may now be called a chain, on the warp beam of the loom, another method of warping will be considered. The Warping Reel The use of the warping reel, sometimes called the warping mill, somewhat simplifies the process of warping. Pig. 7 shows a working drawing of a warping reel, and Fig. 8 shows the finished reel. 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 THE WARPING REEL 15 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 un- wind, will answer the purpose. Fig. 9 shows the 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 can-led 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 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 belaw. 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 sam< 1 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 be- tween 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 device 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. Fig. 14 Keeping Account of Threads Warped 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 I), and the other end through the opening next to E, as shown in Fig. 14. The warping continues until five more groups have been warped or reeled, as the process is sometimes called. The end of the colored cord or tape marked "f," Fig. 14, 16 FOOT-POWER LOOM WEAVING Fig. 15 Removing the Warp from the Reel 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 number of threads has been reeled. 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 an- WARPING SEVERAL THREADS 17 other. Arrange the spools on the spool rack, as shown In Fig. 16. A paddle-shaped piece of 14" 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 the greatest num- O O O O O O O n Pig. 16 Spools on Rack O O O O O O O Fig. 17 A Paddle Pig. 17A Method of Using Paddle ber for the amateur. The cuds 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 I In-ended 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 posi- tion so the Hi reads 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 18 FOOT-POWER LOOM WEAVING Fig. 17B Reeling Eight Threads with Paddle WARPING SEVERAL THREADS 19 Fig. 18 First Thread Pulled Down Fig. 19 Second Thread Pulled Down hand on the lowest thread on the right side of the guide and pressing it downward. Fig. IS. The thread just pressed down passes under the linger and over the thumb. With the thumb press down the lowest thread on the left side of the guide, Fig. 10. This thread passes under tin- 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 linger 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 cross- ing 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 is carried over and under the pegs the same as was de- scribed 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 pos- sible 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 tits into the back of the loom frame, as shown in Fig. 20. For demonstration, suppose I hat the cloth to be woven is 22 inches wide and there are to he L'l threads to each inch. The warp then contains .~>2s threads, and this number is made up of (>0 groups of eight threads each. It will be re- membered that count was kept of the groups by means of the cord or tape between the pegs I) and E while the warp- ing was in progress. The Warp Spreader (Raddle) Fig. 21 shows a working drawing of the spreader, also failed raddle. 20 FOOT-POWER LOOM WEAVING Fig. 20 Loom with Parts Named Till'; WARP SPREADER 21 l\ . A Bill of Material ir&a.Tj'^ u.'^^Tjrj^yiyj ! r.-gjgj:'iiia-jtfJ:-' L-JL^TI Recea 1 , r^hA 45 -45 i DOW^I p.n= ^ -W-i^' L ' IJ 5 BO 1 1C W . > 1 T> 4 .i D'am a Fins >2 i T ] H" rr ^T | rfc Grove i deep cut in upper rail to fit over dow? s o i > 1 V t- il TT j J^JuUliJUiiUULiyULJlJLJUUL^JU^^^LL-; j i Fig. 21 Working Drawing of Warp Spreader or Raddle Fiji. -- shows the drawing of the finished spreader with the top removed. The spreader is most simply described as a comb, with a movable cap to cover the ends of the teeth. The frame is made of wood. The teeth may be made of dowel rods or hard wire. Nails have sometimes been used. The cap is deeply grooved above the teeth and has holes near the ends. Through these holes (lie sides of the frame pass in order to fix it on, as shown in Fig. 22. A loom fully equipped has in the equipment a couple of rods, one to be used in placing the warp on the beam. With the chain at hand and taking the end which, O Fig. 22 Warp Spreader with Cap Removed FOOT-POWER LOOM WEAVING Fig. 23 Method of Keeping the Cross 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. From the front of the loom remove the beater, some- times 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. 12 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 distributed 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 Pig. 24 Spreader in Place on Loom USING THE SPREADER 23 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. AVith the top of the spreader removed the groups of thread may now be dis- tributed in their regular order. Since there are 528 threads in all and eight threads in each group, there will IK- exactly GG groups. There are to be 24 threads to each iuch. 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. 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. Fig. 25 Stand to Hold Spreader Pig. 26 Warp Distributed 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 becom- ing 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 arc wound on to the beam, lay in more strips. A stand may l>e made to hold the spreader, as shown in Fig. 25. Fig. 2G shows the warp distributed. 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. FOOT-POWER LOOM WEAVING Fig. 27 Lease Rods in Place The beam is turned until the other end of the chain or warp is reached. Care should be taken to 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. Later the loops are cut, causing the ends to hang in- stead 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 Heddles The warp placed on the beam, it now becomes neces- sary to consider the knotting of heddles or leashes, as they are sometimes called. In order that each heddle may be of exactly the same size, a heddle frame is constructed about 12 inches by 1% inches by 3 inches, shown in Fig. 29. The pegs are numbered a, b, c and d. About iy 2 " from each end a peg 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 remov- ing 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. Pig. 28 Loops Hanging Over Lease Rods KNOTTING THE HEDDLES 25 I I i i : I LJ L J u - j - rt- i j Fig. 29 Working Drawing of Heddle Frame Fig. 30 Method of Tying Reddles Fig. 31 Heddles in Place for Threading Heddle Sticks Iii 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 shown in Fig. 31. The person who is to do the threading sits in the front of the harness. FOOT^POWER LOOM WEAVING Fig. 32 Threading the Heddles TPIREIAD1NG THE LOOM Threading the Loom The harness consists of two sets of heddles, one direct- ly back of the other, as shown in Fig. 31. 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 com- fortably seated himself in front of the harness, as shown in Fig. 32. First a heddle on the front sticks is pushed along. X 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 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 witli the fourth thread. Fig. 33 The Reed This is continued until all threads have been used. The heddles must be so placed on the slicks that each one may be slipped along without interference 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 reg- ular 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 Fig. 34 Reed In Position for Threading 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 importance, as one mistake will throw out the whole succession of remain- ing 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. 28 FOOT-POWER LOOM WEAVING 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." 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 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 I .1 Fig. 35 Reed Hooks 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 thi-eads has been entered they are tied into a bunch. This is done partially for safety, as the reed may slip in 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 THREADING THE LOOM 29 Pig. 36 Loom Ready for Tying Up weaver can sit in a comfortable position while doing the reed put in its proper place in the batten, as shown in threading. Fig. 36. The threading having been completed the harness and The loom is now ready to be "tied up." This process reed are brought forward. The batten is hung and the is called "gating the loom.'' 30 FOOT-POWER LOOM WEAVING 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 Fig. 38 First Step in Making Loop for Slip Knot Fig. 37 Method of Tying Slip Knot F-g. 39 Loop Completed ends, both of which are necessary for the adjustable slip- knot. 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. TYING THE LOOM 31 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. I'.y using I lie 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 he found that the knot will not give way no matter what the weight of the pull may be. If i he cord is to be lengthened the knot is loosened and the cord is adjusted. The harness, which is made up of the heddles and heddle sticks, hangs just behind the l>eater and is sus- pended by tying the heddle sticks to the heddle horses. The heddle horses are tied one to one end of a piece i f No. 1C) blocking cord and one to (lie other. Fig. 41 is the drawing cf a heddle horse. The rope is thrown over the Pig 40 Two Ends of Cord Placed in Loop roller just al>ove. allowing one horse to hang to one side and one to the other. Two other heddle horses are tied and hung iu 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 horses to the top heddle sticks. From the center of each lower heddle stick a loop of No. 12 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. o - Fig. 41 Heddle Horses FOOT-POWER LOOM WEAVING Fig. 42 Method of Tying Heddle Sticks to Treadles 42. When pressure (in this case the foot) is applied to a treadle the part of the harness tied to that particular treadle draws the threads downward. Upon releasing this treadle and applying the pressure to the other treadle the other half of the threads is drawn downward. The Cloth Beam The ends drawn through the reed are now hanging 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. 12 blocking cord is drawn. Fig. 43 Method of Preparing Cloth Beam 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. 15 and the rod is pushed through it. The cord is now threaded THE CLOTH BEAM 33 through hole No. 4 and tied to the other end of the rod, as shown in Fig. 43. The cord is cut Jong enough to allow the rod to be brought up and over the breast beam up to the reed. The ratchet which is connected with the cloth beam is now turned, rolling on the cord until the rod is about ,8 or 10 inches from the reed. The ends now hanging irf bunches are untied. About 30 threads are held in one/gVoup. 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 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 Un- threads passing through the front heddle eyes and those passing through the back heddle eyes. This sjnice comes just in front of the reed when the lie;iter is swung back, as shown in Fig. 4."). This space is called the "Shed," and it is through I his opening that the woof is passed. The wool' once in place, and the treadle released, the beater is 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 Pig. 44 Warp Tied to Cloth Beam again passes through the shed from the left, the beater and reed pressing it into place the same as in the first thread. If rags or similarly heavy materials are used, they are wound on what is called a shuttle which in this case is FOOT-POWER LOOM WEAVING simply a piece of quarter-inch bass, poplar, or pine, cut as shown in Fig. 47. 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 coars- er materials for the woof and will, therefore, iise 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 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 M [nil Fig. 46 Small Shuttle Fig. 47 Shuttle Stick wire is put in place very much as a bobbin is placed into Fig. 45 The Shed the shuttle of a sewing machine stick. Fig. 47 shows a shuttle THE SMALL SHUTTLE 35 1 Pig. 46a Working Drawing of Small Shuttle Bobbin Winder Fig. 4S shows a bobbin winder extensively used in Norway and Sweden. Small wooden spools are slipped mi to the shaft of the winder, or a piece of paper may be tightly wrapped around the shaft. The end of the thi-ead lo lie 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 available, a spinning wheel may be equipped to do Fig. 48 Bobbin Winder Fig. 49 Spinning Wheel Used for Bobbin Winder the work. A plug with an extension may be forced into the spindle, as shown in Fig. 4!(. The spool or the paper may be wrapped around this extension, and the wheel may be turned just as when spinning. 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 36 FOOT-POWER LOOM \\'J4AV1NU <:.-* '2. The war]) is reeled and placed on the warp beam just the same for pattern weaving as for plain weaving. Let the pattern shown in Fig. 01 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. r 55 Fips. iii;, 58, 59 Woven Rag Rugs 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. FOOT-POWER LOOM WEAVING If the article to be woven is to be about 22 inches wide and there are to be 20 threads to the inch, it Avill require 456 threads to be reeled, including 21 threads for the selvages. If four threads are reeled at a time, it will re- quire 114 groups of four threads to make the required number. The length depends upon the weaver. Having placed the heddles on the heddle sticks and the warp on the beam, the worker is ready to do the threading. Seated as shown in Fig. 32, with the pattern as shown in Fig. Gl at hand, the work of threading is begun. 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 are number 1, the next number 2, the next number :{, and the farthest number 4. The row of squares in the pattern marked No. 1 indicates that all the threads in this row must be threaded in their order through 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 through 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 <>ye 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 Fif. 60 Plaids THREAPING A PATTERN Fig. 61 Monk's Belt. Draft of Pattern ro\v and is passed through the eye of the first liedille 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 tirst heddle on (lie third pair of heddle sticks and is pushed along. Tlie fourth thread passes through the eve of tin- tirst heddle on the first pair of heddle sticks and is pushed along. The fifth thread passes through the eve 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 hut once, at the beginning and at the end, unless otherwise indicated. The threading of tin real pattern begins after the selvage has been threaded. I'pon investigation it will he toimd that :'.(' threads make one repeat of the pattern. Fig. til. If there are 4.">li threads in all and '21 are used for the two selvages, 432 threads remain. If it requires 36 threads to thwad the pattern 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 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. Uohack to the beginning, which is tli first thread on the fourth row after the selvage. In this way thread 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 at the right or beginning. Fig. 62 shows another way of expressing the pattern shown in Fig. and through the shed ;JL ; Jl. : Jt.-A ; A JV Jl 1VA Fig. 73 Borders 52 FOOT-POWER LOOM WEAVING 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 IB ahd 4 Binder 2 and 3 2 and 4 Binder 3 and 4 ll and 3 Binder 3 and 4 2 and 4 Binder 1 and 2 2 and 3 1 and 4 1 and 3 Binder '2 and 4 Binder 1 and 3 Binder 1 and 4 2 and 4 Binder 2 and 3 1 and 3 Binder When the above has been completed all the changes possible in this threading are shown. On ruled paper have the piipils make as many com- binations of the above changes as possible. Figures 72 and 73 show a few of the combinations woven into borders. The Rose Path is full of interesting combinations which may be used in borders for curtains, bags, table run- ners 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 remembered, however, that the finer the warp the more threads there must be to the inch. For extra fine work the mercerized cotton may be used. This is obtainable in various sizes. Numbers 3 and 5 are most commonly used. Jap silk No. 20 makes a very Pig. 74 Tie-up, Using Lambs WEAVING ROSE PATH PATTERN 53 good warp for liner :trt ides. 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 st irks 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 15, Figs. 74 and 120. By the use of the lambs, the loom may be so tied up that one foot will press down the desired number of heddle sticks at one time. The tying of the upper heddle sticks to the heddle horses is the same as shown at A and as previously de- scribed. On examination of B it will lie found that instead 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. ' , 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 tin- two center ones. The fourth combination is 4 and 1' which is tied to the last treadle. The plain weaving for this pattern is done by press inu down heddle sticks 1 and l! at one time, and '.', and 4 * the next. This means that lambs 1 and 2 are. tied to the yi! :|Trr;{:!!rti4fi-r"rT-!-^:- lMi:f;tif i is ; ; y?f|:ji-|g j!+H I :: i i 3 TIJJ r i i .ft Tr _LL LLI__ nf 1 1 Tn Pig. 78 Right Side of Finished Weaving Fig. 79 Under Side of Finished Weaving 58 FOOT-POWER LOOM WEAVING 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 vised after each pat- tern 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 com- binations. Sometimes the combination consists 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. The Treadling Draft A "treadling draft" for each threading draft is not necessary as the "threading draft" is used as a "treadling draft" in the following way : Attention has already been called to the fact that the threading is done in groups, each small square represent- ing a thread. If the combination 3-2 is used four times in succession, making eight threads, it means that the treadle pulling down the combination 3-2 is pressed down eight times and a pattern thread carried across each time with a binder after each. Any group of threads within a brace is repeated in the treadling as many times as is indicated by the figure below. In this way the threading draft be- comes the treadling draft. The weaver has no doubt learned by this tinii' that all horizontal spacing is determined by the number of times a certain combination is threaded and cannot be changed after the pattern is threaded. The vertical spacing is con- trolled by the weaver and may be changed at any time. For example if the threading draft calls for the com- THE THREADING DRAFT 59 biuation 34 four times it means that eight threads are drawn through the heddle eyes; in weaving the pattern it means that eight pattern or woof threads are passed Ihrough the shed made by drawing down the combination 3-4. If the weaver desires only 4 woof threads the com- bination 34 is drawn down only four times or it may be drawn down only once, thus changing the vertical spacing cadi time, but leaving the horizontal the same. In this way the threading draft becomes the treadling draft. It is only when the treadling is irregular that a separ- ate draft is necessary. The drafts are all written so that the pattern begins and ends in a convenient place, making it possible to sew i \vo strips together. If the draft is that for a table runner or pillow top the entire draft is given, showing both borders. There is little or no difficulty by comparing the threading draft with the finished pattern to find the parts of a draft that will produce certain parts of the finished pattern. The repeats marked 7X, etc., leads one at once to what the Kentucky women call the "Table" in the finished pattern. Locating any one part of the de- sign is a guide to all the other parts. 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 pat- tern is produced by pressing down treadles 2 and 3 as many times as desired. Then 1 and 3 as many times as de- sired, 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 art- read in the draft as above described. Fig. 80 The Double Snowball. Draft of Pattern 60 FOOT-POWER LOOM WEAVING Pig. 81 Finished Weaving Using Double Snowball Pattern x Fig. 80 shows the original draft for the Double Snow- ball, and Fig. 81 shows the woven pattern when the draft shown in Fig. 80 is followed. It requires 396 ends for one repeat of the pattern. 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 together 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. 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 Snow- ball. It is not difficult to find the part of the pattern used in the original pattern. This particular part when used alone as in Fig. 82 is often called the Dogwood Blossom. Selvage Fig. 82 Adaptation from the Double Snowball. BEGINNING TO WEAVE Figure 82 shows the draft for the adap- tation and is read as follows: First : 704 threads required for the en- tire 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. 1' and 4 to the fourth treadle. The plain weave is done by tying laint's : 1 and 2 to the right middle treadle. 3 and 4 to the left middle treadle. The material is a two-ply unbleached cotton warp. I'se a No. 15 reed, placing two threads to a dent. The material used in the pattern may !( n colored four-ply carpet warp or a No. 3 mercrri/.cd cotton. The two-ply carpet war)) may be used for the binder or a fine mercer- il-ed 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 example, the iirace marked IX means all within the brace is woven seven times before proceeding with the remainder of the pattern. 61 x0xoxox0x0x0xox m Kit -Right Side of Table Runner Pig. 84 Under Side of Table Runner FOOT-POWER LOOM WEAVING Fig. 86 Finished Weaving of Block Work 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 w r hat is known as Block Work, the original of which is shown in Fig. 86. This design, as well as many of the old Colonial patterns, is full of suggestions for pillow tops, table runners and even counterpanes. 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. Fig. 85 The Block Work. Draft of Pattern READING DRAFT OP FIG. 76 63 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. 8'JJJ i i i i i ' ^rtriririrtriririrtiYi Fig. 87 Finished Pillow Top Observe that the last thread of the right selvage is omitted in the second threading. This is don,- to avoid two threads eojning together on the same heddle stick. Fig. 88 Table Runner Woven from Block Work 64 FOOT-POWER LOOM WEAVING !_ ! HUyHHHH' Selvage T>or-der- 2x Pig. 89 The Chariot Wheel. Draft of Pattern 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 thread- ed with Fig. 89. Figure 91 shows the under side of Fig. 90. Very often the under side of the weaving is more at- tractive than the upper which is the right side. The de- Fig. 90 Pillow Top Woven from Chariot Wheel Pattern sign of the under side is usually more broken, thus mak- ing it many times more desirable from an art standpoint. 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. 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. 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 i 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. READING DRAFT OF- FIG. SO b'5 t W H ft \\1\\1\ ,v U u > ^&?& < woven, carrying Pig. 92 Counterpane Woven from Chariot Wheel Pattern FOOT-POWER LOOM WEAVING the "Chariot Wheel" into the various borders. Such a set includes the counterpane, 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 mer- cerized cotton. The loom was threaded 30 ends to the inch. A num- ber 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, however, 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 ma- terials, as almost any threads may be woven into most at- tractive fabrics. In weaving curtains it is always well to make a liberal allowance for shrinkage. Almost all materials whether of wool, cotton or linen will shrink. Pig. 93 Curtain Woven with Border from Chariot Wheel ORANGE PEEL PATTERN 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. !*7. Should a counterpane of this pattern be de- sired the threading is done the same as shown in Fig. 95, omitting the left border each time. The number of times the pattern is repealed depends upon the width of the loom and also the width of the couch cover or counterpane de- sired. It must be remembered that the strips are sewed together and must be made to match. The weaver will have gained by this time sufficient 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. Fig. 94 Original Pattern from Orange Peel .Border Selvage 6X 2X Beginning of "Pattern omit this thread first repeat of borderX Kig. 95 The Orange Peel. Draft of Pattern 68 FOOT-POWER LOOM WEAVING Fig. 96 Pillow Top Woven from Orange Peel 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: Wool, four-ply carpet warp, or No. '> mercerized cotton. 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. Fig. 97 Under Side of Pillow shown in Fig. 96 THE GOVERNOR'S GARDEN 69 Selvage 2X Fig. 98 The "Governor's Garden." Draft of Pattern For the plain weave tie : 1 and 2 to the right middle treadle. 3 and 4 to the left middle treadle. This pattern lias a few irregularities. First tin- sels-age is threaded and then the right border. The pat- tern is then threaded live times from one arrow to the other. After the tilth 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 bonier. This is done to avoid two threads coming together on the first heddle stick. The threading of the left l>ordcr completes the pattern. Pig. 99 Original Pattern of Governor's Garden FOOT-POWER LOOM WEAVING *:^^ Fig. 100 Pillow Top Woven from Governor's Garden 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 topvS, counter- panes, etc. 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. 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. 2 and 3 to the third treadle. 3 and 4 to the fourth treadle. BONAPARTE'S MARCH PATTERN 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 weav- ing, while Fig. 101 shows the under side. The border on the front and back edges of any weav- ing is always taken care of by weaving the repeat of the border as many times as is suggested in the draft. Bonaparte's March Figure 103 shows the woven sample of Bonaparte'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 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. 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 (lie making of borders. Figure 104 shows a draft taken from draft 102. It is that part of the draft that will make an interesting pillow top. Fig. 101 Under Side of Pillow Shown in Fig. 100 Figure 102 reads as follows: Count the number of threads in the pattern. lOach lower heddle stick is tied to a lamb. The lambs are tied a.s follows: 1 and 4 to the tirst treadle. 2 and 3 to the second treadle. 1 and 3 to the third treadle. FOOT-POWER LOOM WEAVING Selva* 5C 7x 9X x 7x Pig. 102 Bonaparte's March. Draft of Pattern 7x i iQnuiii ifn imuiMf irii iifig "\\\ : !i -'tfii'ii II"' 1 " i'.i'J l " l "C l U l C I "" "."-' 1 ."- 1! - ll -"- M - ll - ll -"iHiiCiMMi ' ' i: '' Pig. 103 Original Pattern of Bonaparte's March el It will be observed that only three treadles are neces- sary 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 before men- tioned. 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. ftfcfclf 1 7x 9x 7x Pig. 104 Draft of Pattern for Pillow Top. Adaptation of Bonaparte's March SNAIL'S TRAIL AND THE BLOOMING FLOWER 73 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 : 1 and - to the right middle treadle. :'. 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 together 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. Fig. 106 Original Pattern, Snail's Trail and Cat's Paw For the pattern the lambs are tied as follows: 1 and 1 to the first treadle. 1 and :: to i he second treadle. 2 and 3 to the third treadle. Border 5elvgge 14- 7x _L r i : i | i i i i AT Fig. 105 The Snail's Trail and Cat's Paw. Draft of Pattern FOOT-POWER LOOM WEAVING Fig. 107 The Blooming Flower. Draft of Pattern Fig. 108 Original Pattern, Blooming Flower 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 pattern lends itself to several interesting combinations. If the weaver has read what has gone before 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 abso- lutely necessary. Each treadle may be tied 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. PINE KNOT AND FEDERAL KNOT PATTERNS Selvaoe 1 Fig. 109 Pine Knot. Draft of Pattern Pig. 110 Original Pattern, Pine Knot Pig. Ill Federal Knot. Draft of Pattern 76 FOOT-POWER LOOM WEAVING Federal Knot Fig. Ill shows the draft for the "Federal Knot" and Fig. 112 shows the woven sample. This pattern, the same as those previously described, is full of suggestions. Fig. 112 Original Pattern, Federal Knot The material before mentioned may again be used in. this pattern. The draft reads as follows : 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 weaye 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 (the woof) may be any one of the materials already mentioned. For 2-ply carpet warp use a No. 15 reed, for 3-ply use a No. 12 reed, for 4-ply use a No. 10 reed. It requires 2G2 threads for one repeat of the pattern. The selvage requires eight threads; and the border for a counterpane, 160 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. 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. IRISH CHAIN AND WHEEL OF FORTUNE 3 and 4 to the left middle treadle. The weaver must always remember that a great deal of judgment must be exercised when doing the weaving. Four treadles may be used, one tied to each lower treadle stick. In such a case two treadles must be pressed down at the same time. Almost any kind of material may be adapted to the work. When the material is coarse there must be fewer threads to the inch. Figure 114 shows the finished weaving. Irish Chain The "Irish Chain." sometimes called the "Nine Win-els." 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 material Fig. 114 Wheel of Fortune. Original Pattern used in the pattern (woof) may be any one of the ma- terials already mentioned. .Selvage m R. Iff Border I Ox Fig. 113 Wheel of Fortune. Draft of Pattern 3x 78 FOOT-POWER LOOM WEAVING Fig. 115 The Irish Chain. Draft of Pattern Fig. 116 Irish Chain. Original Pattern MIIIIHI Xirwimil DK iimiiii IIIMKII XIE Mlllllll XIJC IIIIIHPI IE Illllllll X I Illllllll XIX Illllllll I A IlllNHI DCIJC Illllllll YiK iiiiiiill 3C1JC Illllllll Xi if. Illllllll Y i XT Illllllll TtlJC 111111111 Tf 1 1C Illllllll Fig. 118 Rings and Chains. Original Pattern Border z ^ Fig. 117 Draft of Pattern. Rings and Chains RINGS AND CHAINS PATTERN 79 Number 15 reed, placing two threads to a dent, 288 threads required to complete one repeat of the pattern. The Tie-Up The lower noddle sticks are tied one to each lamb. The lambs are tied as follows: - and 3 to the first treadle. 2 and 4 to the second treadle. 1 and 1 to the third treadle. 1 and 3 to the fourth treadle. For the plain weave: 1 and 2 ta the right middle treadle. - and 4 to the left middle treadle. Figure 118 shows the original pattern woven by fol- lowing 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. 1 17 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 certain number of threads of each combination repeated a number of times, the number of repeats depending entirely upon the width of the border desired. The front border is always produced by following the draft shown within the brace marked "border," repealing the weaving as many times as is indicated. 80 FOOT-POWER LOOM WEAVING I Upon examination it is found that to produce the fin- ished 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. 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 thread- ing for the border in the curtains is the same as shown in Fijr. 117. In weaving only the treadles are used that will O Or 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 Ganger, 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. ! > \m _. Pig. 120 Curtains with Border from Rings and Chains OTHER COLONIAL PATTERNS 81 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. 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. 7G sug- gests the way the draft may be divided in 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 de- termine this, but for the present the one given is sufficient. With the knowledge previously gained tl tie-up" for each of the following drafts may easily lie determined. Wind Flower The "Wind Flower 1 ' is a good example of a counter- pane in whick two drafts are used; one to l>e followed in Fig. 121 Counterpane Woven from Old Quilt Pattern 82 FOOT-POWER LOOM WEAVING 1 1 1 ! 1 4 - - - - BE .. 2 Fig. 122 Old Quilt Pattern. Draft of Pattern Fig. 123 Leopard Skin. Original Pattern Fig. 124 Leopard Skin. Draft of Pattern MISCELLANEOUS COLONIAL PATTERNS 83 WHHWMKJW1S3 -Ox Fig. 125 Fox Trail. Draft of Pattern Fig. 126 Fox Trail. Original Pattern m ~%m -#< mtm twm mm & r-rxv* Fig. 127 Doors and Windows. Original Pattern 4 3 a Fig. 128 Doors and Windows. Draft of Pattern FOOT-POWER LOOM WEAVING 1 Fig. 129 Double Chariot Wheels. Draft of Pattern Pig. 130 Double Chariot Wheels. Original Pattern Fig. 131 Scarlet Balls. Original Pattern 4 3 i 9X i Fig. 132 Scarlet Balls. Draft of Pattern .V / >v ' A7, /,. I \EO US COLON I A L PA TTEENS 85 Fig. 133 Sea Star. Draft of Pattern J i i ;j ijjjl 2* ^C^iy..,^?^ M.H..X... - ;,. iSHwv "" 4 'M*MMBMr ' _ ^IMMMMcvJ^ J ^MiiiUJ II Fig. 134 Sea Star. Original Pattern 'Fig. 135 The White House. Original Pattern Fig. 136 The White House. Draft of Pattern 86 FOOT-POWER LOOM WEAVING Fig. 137 The Indiana Frame Rose. Draft of Pattern Fig. 138 The Indiana Frame Rose. Original Pattern Fig. 139 Window Sash. Original Pattern Fig. 140 Window Sash. Draft of Pattern MISCELLANEOUS COLONIAL PATTERNS 87 Fig. 141 Parson's Beauty. Draft of Pattern Fig. 142 Parson's Beauty. Original Pattern Fig. 143 Braddock's Defeat. Original Pattern mmm T| 4. 3 z 9X I Fig. 144 Braddock's Defeat. Draft of Pattern FOOT-POWER LOOM WEAVING- 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. 2 " m Fig. 148 Queen's Delight. Draft of Pattern MISCELLANEOUS COLONIAL PATTERNS 89 m Fig. 143 Old Irish Quilt Pattern. Draft of Pattern ii y. \\ \\ II. fl; Fig. 150 Old Irish Quilt Pattern. Original Pattern Fig. 151 The Cross. Original Pattern Fig. 152 The Cross. Draft of Pattern 90 FOOT-POWER LOOM WEAVING l~ 1 I 1 1 1 1 1 1 I 1 I 1 1 1 ^~ ^ ^ 1 1 1 1 1 1 1 1 1 1 1 1 '- 1 1 1 1 i i i i i i i i i i i i i i i i i 1 i | i J- i f i i i Jx Fig. 153 Double Bow Knot. Draft of Pattern MISCELLANEOUS COLONIAL PATTERNS AVAVWWOs WVWA \VX[V" VWyWAVA^ swwy S'O*^vVV-VV J ^x / / and 2-4 arc usually reserved for plain weaving. Third The combinations 1-2, 14, 2-3, 3-4. make the pattern. Fourth The last thread under one block of color is alwavs the first thread under the next block of color. Fifth All blocks in vertical and horizontal lines are made by the same combinations of heddles. Sixth There is a row of plain weaving after each row of pattern. It is well in the beginning to select a small pattern such as is shown in Fig. J83. From this pattern pick out the unit of design which is repeated over again from the first. This consists of a square which extends from A to 1~5. When this is decided, we are ready to represent our blocks of color, beginning at the upper-right-hand corner of the unit and working diagonally to the lower-left-hand end. Fig. 184. Any one of the four heddle combinations may be chosen for the first block of color. Count the number of warp threads under the block. In this case there are eight. Suppose the first combination is 4-1; we then mark alternately on the lines representing the fourth and first heddles, using .as many as will correspond to the number of warp threads needed. According to principle 4. the next combination must be one that has in it the last number just used. In the diagram, the last number was 1, so the combination 1-2 101 I 102 FOOT-POWER LOOM WEAVING Pig. 183 Complete Pattern Repealed must be used next. This is represented as before on the lines representing those heddles, counting the 1 already there as the first number and using as many alternately, as there are to be warp threads under the second block of color in this case 8. Again according to principle four, the next combi- nation (block 3) must be one that has in it the last num- ber just used. In the diagram the last number was 2, so the combination 2-3 must be used next. This is repre- sented as before on the lines representing those heddles, counting the 2 already there as the first number and usin,; as many alternately, as there are to be warp threads under the third block of color in this case 8. Block 4 is the next to be considered. This block must be one that has in it the last num- ber just used. The last number was 3,- so the combina- tion 34 must be used next. This is represented as before on the lines representing those heddles, counting the 3 already there as the first number and using as many alter- nately as there are to be warp threads under the fourth block of color in this case 4. Block 5 is the next to be considered. According to principle five, it is easily seen that bloc!; y is simply a repetition of block 3 and is represented by the combination 2-3. Here is i?e first difficulty. The las! heddle used was 4, and our next block in order to be lit- the third, must be made with the combination 2-3. In order to have the last thread be the first in the next, 3 must be the last heddle used. This can be made right by adding another thread to the war]) threads under tin- fourth block and putting it through the third heddle. We are then ready to use 3-2 two times, using the third heddle first. Block (> is to be next considered. ANALYSIS OF WOVEN PATTERN 103 According to principle live, block G is on a line ver- ticully and horizontally \villi block 1 and should be repre- sented by (lie combination ">-!. In order to have the last thread the first in the next. :5 must be the last heddle used. This can be made right by adding another thread to the warp threads under the fifth block and putting it through the third heddle. \Ye are then ready to use ,'5-4 two times. Block 7 is to be next considered. According to principle live, block 7 is on a line ver- tically and horizontally with block ."> and should be repre- sented by the combination .".-I'. The last thread used was 4. This can be made right by adding another thread to the warp threads under the sixth block and putting it through the third heddle. We are then ready to use 3-2 two times, using the third heddle first. Block 8 is the same as blocks -4 two times. Block '. is the same as block :\ and should be repre- sented by the combination '2-'.',. Since the last thread of block S was four, it becomes necessary to add another war]) thread to block 4 and thread it through the third heddle. .We are then ready to use 3-2 eight times. Block 10 is the same as block 2 and is represented by the combination 1-2. Since the last thread of block !) was 2, we are ready to use 2-1 four times. Block 11 is the same as block 1 and is represented by Pig. 184 Unit to be Analyzed 104 FOOT-POWER LOOM WEAVING 1?EPEAT FROM BEGINNING Fig. 185 A Pattern Analysis ANALYSIS OF }\'(>VE.\ PAl&ERN 105 the combination 4-1. Since the last thread of block 10 was 1, we arc ready to use 4-1 i'onr times. Block 12 is (lie same as blocks 4, 0, and 8, and is rep- resented by the combination 3-4. The last thread in block 11 was 1. We arc ready to use the combinations 4-3 two times. The drat' I as written at the top of Fig. 184 when re- peated several times makes a very interesting all-over pat- tern. It will be observed that the draft ends with a "1". In repeating it the first "4" at the beginning must be omitted. If both the last and first "4" are used it will bring two threads on (lie same heddle stick, thus causing two threads to go down or up, as the case may be. Another Analysis Always, before beginning any analysis, pick out of the pattern Hie unit of design which is repeated backward or over again to produce the all-over pattern. Fig. 1S.~> shows a more complicated pattern, consisting of two parts a diamond and a square extending from A to 15. Number the blocks of color, beginning at the upper right-hand corner of the unit, diagonally to (lie lower left- hand end, as shown in Fig. 1S5. Any one of the four heddle combinations may be chosen for the tirst block of color and for counting the number of warp threads under the block. In this case there are eight. Suppose 4-1 is chosen for the first combination. This combination is then written as many times as Avill corre- spond to the number of warp threads needed, as shown above, block 1. (Fig. 185). Block No. 2 is represented by the combination 2-1. Block No. 3 is represented by the combination 2-3. Block No. 4 is the same as number 2. Block No. 5 is the same as number 1. Block No. 6 is represented by the combination 3-1. Block No. 7 is the same as block 3. Block No. 8 is the same as block (>. Block No. 9 is the same as block 1 . Block No. 10 is the same as block 2. Block No. 11 is the same as block 3. Block No. 12 is the same as block 4. Block No. 13 is the same as block 1. Block No. 11 is the same as block (i. Block No. 15 is the same as block 3. From here the blocks are the same as <> and 3. alter- nately. It must always be remembered that all blocks in the same lines vertically and horizontally are represented by the same combination. The draft at the top of Fig. 1S5 shows the combina- tions in figures. The draft below shows the same thread- ing. How to Block Out a Pattern From a Draft Blocking a pattern from a given draft is no less in- teresting than making a draft from a woven piece of 106 FOOT-POWER LOOM WEAVING fabric. Drafts may be had from various sources without the woven fabric. It is a great satisfaction to the amateur weaver to be able to block out the draft at hand and thus know before the loom is threaded what sort of pattern a certain draft will look like when woven. Pig. 186 Draft of Solomon's Delight The draft shown in Fig. 186 is known as Solomon's Delight. To block out this draft, finst secure a piece of paper ruled in eighth-inch squares. Along the left edge write the draft as shown in Fig. 187. The first combina- tion is 1-4- There are four threads in this combination, but as a matter of convenience only two threads are shown in Fig. 187. The 14 is written ; the sign (") below indicates another 1-4. Each square represents a thread. The en- tire draft is written in this way. There is no objection to using the number "of threads shown in the draft. This simply doubles the size of the blocks. The draft is again written at the top of the checked paper. In Fig. 187 each vertical row of squares represents a warp thread. To fill in the blocks as shown in Fig. 187 begin at the upper left-hand corner. The first combination at the left is 1-4, and the first combination at the top,4sL_l-4. The Fig. 187 Blockout of Draft, Solomon's Delight four small squares are rilled in with a colored pencil. Fol- lowing across the paper each time that the combination 1-4 is reached a square is filled in as shown at a, b, c, d, e, f . and g. Fig. 187. The next combination at the left is 4-3 and the second BLOCKING OUT A PATTERN 107 Fig. 188 Fig. 189 combination at the top is 4-3. This means that where the vertical and horizontal threads cross, the block is colored as shown at h, i, j, and k. Fit;'. 1ST. In this way the en- tire pattern is blocked out on the squared paper and pro- vides a means by which the weaver may get a good idea of the pattern without threading the entire loom. It will be observed that the draft in Fig. 186 has been repeated along the left side and also across the top of the checked paper, Fig. 187. This is done to give the weaver a better idea of the pattern. Any four-harness draft may be worked out in this way and is a means of detecting mistakes so often made in copying drafts. Any mistake in a draft is easily found and may be made right by the one who is checking it over. Make patterns on checked paper for Figs. 188 and 189. CHAPTER V Linen Weaves Linen Weaves So new is the return of weaving that few amateurs have ventured to do much in the way of reproducing the old linen weaves so generally used in the early days. Under ordinary conditions linen threads are not in the least difficult to secure from various dealers in textile materials. It is a very simple matter to raise one's own linen, thus making the linen products of the loom doubly inter- esting. The apparatus necessary to the heckling, scutch- ing, and spinning of the flax may be purchased of the Community Shop, Lockport, Illinois. The following drafts are not only suitable to the weav- ing of linens, but any material used in other weavings may be here used with great success. Martha Washington Towel The draft shown in Fig. 100 is that for the Martha Washington Towel. Pig. 191 Finished Pattern. Martha Washington Towel. Pig. 190 Martha Washington Towel. Draft of Pattern 108 MARTHA WASHINGTON TOWEL 109 The Warp Owing to the scarcity of linen, the warp may be of cotton. Jap Silk, No. 70, makes a fine warp. The Reed There should be at least 4S threads to the inch and one thread through each dent, excepting at the edges where; two threads are drawn through each of the first and last / three dents. The filler is of a fine one-ply linen. A num- ber 5, mercerized cotton makes a very interesting filler. Fig. 191 shows the finished woven pattern. Tie-Up Attention is called to the numbering of the harnesses, counting tin- hack harness No. 1, the next No. 2, etc. The harnesses are tied as follows: Numbers 1, '2, and 3 td the first treadle. Numbers 1, 2, and 4 to the second treadle. Number 5 to the third treadle. Numbers 1, :!. and 4 to the fourth treadle. Numbers 2, :!. and 4 to the fifth treadle. / Tram]) Tramp Tramp Tramp Train]) Tramp Tramp treadle treadle treadle treadle I reaille treadle treadle Treadling 5 and then 5 and then 4 and then 4 and then 1 and then 2 and then 1 and then Draft treadle 3. treadle 3. treadle 3. treadle 3. treadle 3. treadle .".. treadle 3. Fig. 193 Finished Pattern of Draft Fig. 194 Modified Treadling Tramp Tramp Tramp Tramp Tramp Tramp Tramp Tramp Tramp Tramp Tramp Tramp treadle treadle treadh; treadle treadle treadle treadle treadle treadle treadle treadle treadle 1 and 5 and 5 and 4 and 4 and 5 and 5 and 1 anel 1 and 2 and 2 and I and then then then the'ii then then then then then then then (lien treadle 3. treaelle- 3. treadle 3. tre-aelle 3. treadle 3. treadle 3. treaelle 3. treadle- 3. treadle' 3. treadle 3. treadle; 3. treaelle; 3. 110 FOOT-POWER LOOM WEAVING >11 times Tramp treadle 4 and then treadle 3. Tramp treadle 5 and then treadle 3. Tramp treadle 5 and then treadle 3. Tramp treadle 1 and then treadle 3. Tramp treadle 1 and then treadle 3. Tramp treadle 2 and then treadle 3. Tramp treadle^ and then treadle 3. Only one shuttle is used. Use the double tie-up as described on page 129. Betsy Ross Towel Fig. 192 shows the threading draft of the Betsy Ross Towel. This is a most interesting four-harness pattern. Fig. 193 illustrates the finished pattern. Fig. 194 shows another pattern made by a slight- change in the order of treadling. f Fig. 192 Betsy Ross Towel. Draft of Pattern Use a No. 48 reed, one thread to the dent, excepting the first and last two through which two threads are drawn. For warp use the No. 70 Jap Silk. Attention is called to the numbering of the harnesses : Tie-Up The treadles are tied as follows : tie to the first treadle. 4? 1-4 tie to the second treadle. V 2-4 tie to the third treadle. ^2.2-3 tie to the fourth treadle. / 1-2 tie to the fifth treadle. 3-4 tie to the sixth treadle. Treadling Draft 3 ) 4~ Tramp 1 then 3 3 ^ Tramp 1 then 4 to , . Tramp 2 then 4 J> > 4 Tramp 2 then 3 Repeat this group six times 2> t b Tramp 1 then 2 -/, ^ Tramp 3 then 4 Kepeat this group_eight times Tram]) 1 then :', . -2 Tramp 2 then 4 Repeat this group .eight times 3) Tramp 1 then 2 ^ ^ Tramp 3 then 4 j Any number of modified changing the order of the treadling groups. Repeat this group eight times be had by Mollie Pitcher Towel Fig. 195 illustrates the threading draft for the Mollie Pitcher Towel. The weave is most interesting and in- volves the use of only one shuttle as do all the other linen weaves. Fig. 19G is the finished pattern obtained by following the treadling as given above, while Fig. 197 shows another pattern produced by making a slight change in the order of treadling. BETSY ROSS TOWEL 111 For warp, use a No. 70 Jap Silk. No. 48 reed; one tin-end to each dent, excepting the first and last three into which two threads arc drawn. Tie-Up I'sc (lie double tie-up, as suggested on page 130. Harnesses 1, 2, and 4 tie to the first treadle. Harnesses 1. I', and 3 tie to the second treadle. Harness ."> tie to the third treadle. Harnesses 2, 3, and 4 tie to the fourth treadle. Harnesses 1, 3, and 4 tie to the fifth treadle. Treadling Draft for Fig. 196 Tramp 1 then 3 Tran i p i' then 3 Tramp 1 then :: Tramp 4 then 3 Tramp 5 then 3 Tramp 4 then 3 Tramp 2 then 3 Train]) 2 then 3 Tramp 1 then 3 Tramp 1 then 3 Tramp 1' then :; Tramp 2 then 3 Tramp ."> then 3 :! times Tramp 5 then 3 Tramp 4 then 3 Tramp 4 then 3 Tramp ."> then 3 Tramp 5 then 3 8 times 4 times Tramp 2 then 3 Tramp 2 then 3 Tramp 1 then 3 Tramp 1 then 3 Tramp 2 then 3 Tramp 2 then 3 Tramp 4 then 3 Tramp 5 then 3 4 times "sjfc 1^*3 rffct ; Ctt aa 20 a o -'.'. fft a o CIK a. oe ,. 1? *& If -^- = fcfi * a -- .~~< ^( Fig. 196 Mollie Pitcher Towel 112 FOOT-POWER LOOM WEAVING .Ti T : p ~tf *? '"'-V ^O ' O tj 'Qj ' 't?. ' ' t$* ' ~ iaii tj?i C ?.? o B -js: n a,* WJJ^*^ ^' J* Jt, J= * B^^ .b, o o . *j ^ KJfcJ-Q^iTt 1 of 4> fcft.'-tf igj'SJ P: (>S & ..jC. ,v:v Pig. 197 Mollie Pitcher Towel times Tramp 4 then 3 Repeat from beginning. Treadling Draft for Fig. 197 Tramp 1 then o 1 rS tunes Tramp 2 then :! > Tramp 1 then 3 Tramp 4 then i! Tram]) Z then 3 Tramp 4 then 3 Tramp 1 then 3 Tramp 1 then 3 Tramp 2 then 3 Tramp 2 then 3 Tramp 1 then 3 Tramp 1 then 3 Tramp 4 then 3 Tramp 4 then 3 Tramp 5 then 3 Tramp 5 then 3 Tramp 4 then 3 Tramp 4 then 3 '3 times 1 Pig. 195 Draft for Mollie Pitcher Towel THREE-HARNESS LINEN WEAVE 113 Fig. 198 Draft for Three Harness Weave Tramp 1 then 3 Tramp 1 then 3 Tramp 1* then 3 Tramp i' then 3 Tramp 1 then :'> Tramp 1 then 3 Tramp 4 then :; Tramp 5 then 3 Tramp 4 then 3 llepejit from beginnin U times Three Harness Linen Weave Fig. 198 gives the draft for the weaving of very prac- tical towels. Cse | he same materials as described in previous towel drafts. There are only three harnesses, six treadles, thus giving a variety in weave. Fig. ]!)< shows the finished pattern. Harnesses 1 and 3 tie to the first treadle. Harnesses 1 and '2 tie to the second treadle. Harness 3 tie to the third treadle. Harness 2 tie to the fourth treadle. Harnesses l! and 3 tie to the fifth treadle. Harness 3 tie to the sixth treadle. The double tie-up suggested on page Il2!t is best for all linen weaves, especially when an odd number of har- nesses is involved. Fig. 199 Finished I'aiti rn of Throe Harness Linen Weave 114 FOOT-POWER LOOM WEAVING Treadling Draft 3 times Tramp 4 then 1 Tramp 5 then G Tramp 4 then 3 -i Tramp 3 then 2 Tramp 1 then 2 L times Tramp 3 then 2 Tramp 3 then 4 j Tramp 5 then (i 3 times Tramp 2 then 1 Tramp 1 then 4 Tramp 4 then 1 Tramp 1 then 2 Tramp 5 then (i 3 times Tramp 4 then 3 Tramp 3 then 2 Tramp 2 then 1 Tramp 3 then 4 Tramp 3 then 4 Tramp 2 then 1 Tramp 1 then 4 Tramp 4 then 1 Repeat from beginning. ' Fig. 200 M's and O's. Draft of Pattern M's and O's The short threading draft shown in Fig. 200 is known iii Kentucky as M's and O's. Use cotton for the warp, and a number 20 linen for the filler. The 2/20 cotton unbleached used in the counter- panes is suitable for this pattern. Fig. 201 shows the fin- ished pattern. _ I ! Pig. 202 Modified Draft in M's and O's The Tie-Up . Harnesses 3 and 4 are tied to the first treadle. Harnesses 1 and 2 are tied to the second treadle. Fig. 201 Completed Pattern, M's and O's Fig. 203 Completed Pattern of Fig. 202 Harnesses 1 and 3 are tied to the third treadle. Harnesses 2 and 4 are tied to the fourth treadle. Treadling Draft Tramp first two treadles eight times alternately, then 3 and 4 treadles eight times alternately, always beginning at the right. Fig. 202 shows a modified draft of the M's and O's. Fig. 203 shows the finished piece of work. The weaver must remember that the horizontal di- mensions in weaving depend upon the number of times certain threads are repeated in the draft. The vertical dimensions depend upon the number of times certain treadles are pressed down. This is very clearly demon- strated in the modified draft. Only one shuttle is used, as no binder is necessary in any of the linen weaves. CHAPTER VI 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 > ffirirnrif. The work is carried on to a very great extent in the homes. This is largely due to the fact that the gov- ernments of these countries encourage weaving as a home industry. Kach of these countries has its own way of writing and reading drafts. It is the purpose of this man- ual to give to amateur weavers an explanation of the way each of the three nationalities writes and interprets its drafts. Reading a Draft Figure 204 shows a four-harness pattern woven by using three treadles. The lower lieddle 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 Xo. 3, etc. Figure 205 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 i 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 and is threaded through FOOT-POWER LOOM WEAVING Fig. 204 Fig. 205 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 number of threads has been threaded. It will be observed that only two treadles are used while there arc four harnesses for plain weaving. The be- ginner 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 ver- tical lines to the right of the threading draft. With this Fig. 206 Pig. 207 tie-up, each time a treadle is pressed down, one-half the threads are drawn down. This practically does what two harnesses would do. l>y using four sets the threads arc 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. 20G shows a somewhat checked material. To pro- duce this pattern the warp is made up of blue and white threads. The threading is done the same as in Fig. 205, but first two blue and then two white threads are threaded until the entire number of threads has been used. When weaving, two blue threads are used and then two white. This necessitates the use of two shuttles. It is also under- stood that when preparing the warp chain, the spools of warp are so placed on the spool rack that two blue and two white threads are reeled or warped at one time. The DANISH PATTERNS 117 Fig. 208 Pig. 209 Fig. 210 Fig. 211 stars marked on the vertical lines indicate that first one treadle and then the other is to be pressed down. Fig. 207 shows another four-harness, but practically 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 ver tical 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 20.S shows a four-harness pattern, a little more irregular in its threading. The greatest care must be exercised win n 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 treadles arc to be pressed down. The, order is first treadle I, then 3, 2 and 1. Then back again to I, :!, 2, 1. This order is con- tinued throughout the entire weaving. Figure 20!) shows a most interesting weave for towels. The warp and woof should be of linen. The 111 reading 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. 118 FOOT-POWER LOOM WEAVING o 14- ItfWfflffi Fig. 212 Fig. 213 Figure 210 shows a serge. The warp and woof should be of wool. Threading and tie-up are as indicated in the draft. Figure 211 shows another serge weave. Figure 212 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 ti'eadles are pressed down. Figure 213 shows an interesting weave to be used in towels. The dark, vertical stripe shows a number of col- ored threads reeled in the warp, while the horizontal dark stripe indicates that the same color is used as woof. Fig. 214 Fig. 215 This pattern is commonly known as the "Goose Eye." The threading and treadling are done as indicated. Two threads are drawn through each dent. Figure 214 shows a canvas weave. The threading is done the same as in previous patterns. The little circle placed below and between the groups of threads only indi- cates 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 NORWEGIAN PATTERNS '119 Pig. 21 G Fig. 217 Fig. 218 Fig. 219 in the draft. When weaving, the lirst and fourth woof Urn-ads arc to bo double. Figure -\r> shows a very interesting curtain material woven by using four harnesses and three treadles. The plain stripe is shown in the first part of the tin-ending draft. This number of tin-ends 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 nvo 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 th:- draft. In Figs. -Mil. L.M7. IMS and I'l'.l are given examples of five and six harness patterns. While these drafts are threaded and tied up the same as 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 1'liO shows n very interesting pattern and draft which may be produced on a four-harness loom, using eigh! treadles. In reeling the warp, eight threads of one color are used i 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 ] asses through the shed two threads are carried at the same time. 120 FOOT-POWER LOOM WEAVING 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 indicate the order in which the treadles are pressed down. This order of treadling is continued until the desired amount of fabric is woven. Figure 221 shows a pattern in which the reeling is done by running three blue threads and one white thread on the beam. The entire warp is made 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. 222, 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. Pig. 220 Pig. 221 Fig. 222 CHAPTER VII. 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 following way: Fig. 223 shows a plain two-harness weave. Each vertical line indicates a thread. In Figure 224 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 hack lieddle sticks, and then two through the eye of the first heddle on the tirst or front heddle sticks. It may also be done by threading only one thread through cadi eye but using two heddles on the same sticks. Two threads may he drawn through each dent of the reed. Figure L'I'I; 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 remem- bered that each lamb is tied to a lower heddle stick. Ty- ing to the lambs is the same as lying 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 neces- sary to use both feet in pressing down two treadles at the same time. The treadles marked 1 and 1 indicate that these are the first to be pressed down and mean treadles 1 and 3. Two and 2 indicate the second change and in- dicate that the second and fourth treadles are pressed down. Figure 225 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 lines repre- sents 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 '2'2r> 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 the second, and the fourth thread 121 122 FOOT-POWER LOOM WEAVING 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 trea- dles are pressed down in the order of first 1, then 2, 3, and 4. This order of treadling is kept up until the de- sired amount of material is woven. In Fig. 227 is shown the same threading, but a dif- ferent 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. 228 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. 1 to the fifth treadle. 2 to the sixth treadle. Fig. 223 Pig. 224 Fig. 225 4 3 Fig. 226 While this pattern requires six treadles, there will be no difficulty in understanding the tie-up. Figure 229 shows the same threading and two \v;iys SWEDISH PATTERNS 123 Pig. 227 Fig. 228 vwMmm &m$i%*fu iiffiil .i .^.r.*.., i. 1 I J 1 { 1 I 1 1 4 3 2 1 2 2 j 3 3 44 1 Pig. 229 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 desired 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, 230 to 233 inclusive, the threading is the same as in previous patterns. The tread- ling is done by following the order of numbering. In rig. -i:\-l the number 5 means that the third treadle is to be pressed down, and number G indicates the second treadle pressed down. In Fig. 234 the threading is done the same as in the two-harness loom draft shown in Fig. L'l'l. Irregular Threading In Fig. l'.'!,") is shown the first irregular threading. The first thread passes through the first, lieddle 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 lieddle stick, the 124 FOOT-POWER LOOM WEAVING fourth thread to the second heddle on the third heddle stick, the fifth thread thi'ough the first heddle on the sec- ond 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. 23G is shown another irregular threading ; first between the 3rd and 4th heddles and then between 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 trea- dles. This order is kept up until the desired amount of material is woven. Figure 237 shows what is known as the "Honey Comb Weave." There will be no difficulty in understanding 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 desired width is obtained. The next Fig. 230 Fig. 231 Fig. 232 Fig. 233 SWEDISH PATTERNS 125 Fig. 234 Fie. 235 Fig. 236 IP* T pix 1 I S 1 L. 3 1 1 4 3 step is to go back to the fourteen threads. The treadles arc tied one to cadi lainh. 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, a heavy thread passed through the shed. The next is to press down trea- dles two and four at the same time, and is indicated by the figures 2 and 2 and a heavy thread passes through the shed. 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 2.'5i) shows a threading which is the same as that of the Rose Path, Uy following the order of tread- ling as indicated by the figures used, a most pleasing all- over pattern results. Figure 240 shows two threads passing through the eye of the lied die 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 indi- cates 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 241 shows the Swedish way of expressing the 126 FOOT-POWER LOOM WEAVING Fig. 237 10 w 7 3 11 1413 iiiTn.r Fig. 238 Fig. 239 Fig. 240 Pig. 241 Fig. 242 t ,1 1 4 3 2 1 8 7 6 5 4 3 2 1 1 1 1 2 2 Z 3 3 3 4 A 4 Fig. 243 21 THREE-HARNESS SWEDISH PATTERNS 127 pattern known as the "Goose Eye 1 ." Observe the order of (mulling. 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 indicated 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 I'll' shows a four-harness pattern which may In- accomplished by using four treadles or eight treadles. Observe the difference in the tie-up. If four treadles are pressed down in their regular order, 1 to 4. time treadles 1, 2, and 3 are all pressed same time. This is indicated by the three Treadles 1, 2, and 4 are next pressed down, indicated by three twos. The next time treadles 1, '.\ 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 24:5 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 suflicicnt knowledge of the two and four-harness drafts not only to do the threading successfully but also to "tie-up"' for any pattei'n desired. Occasionally a draft appears Pig. 245 Pig. 244 Pig. 247 Fig. 246 128 FOOT-POWER LOOM WEAVING which is written in three harnesses, as shown in Fig. 215. When such is the case the upper heddle sticks are tied as shown in Fig. 244. The tying of the treadles is the same as for patterns already described. Figure 245 shows the way five harnesses are tied. Figure 246 shows the tie-up for a six-harness draft and Fig. 247 shows the tie-up for seven harnesses. Any of the above may be tied as shown in Fig. 253. The pulleys used may be purchased of any dealer in hardware or may be made of wood, being turned on a wood lathe. Figure 248 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. 244 shows the way the upper heddle sticks are tied. Figure 249 shows a threading quite different from that shown in Fig. 248. The first thread is drawn through the eye of 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 250 shows the draft and sample of an interest- ing 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. Fig. 248 Fig. 249 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 SWEDISH PATTERNS Eight-Harness Pattern Figure 251 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. 251. The difficulty, if there is any, grows out of the fact that the heddle sticks or harnesses after being drawn down refuse to return to their original position when the foot releases the treadle. Sometimes weights consisting of rec- Pig. 251 Pig. 252 tangular pieces of iron are hung at each end of the heddle sticks. These weights draw the harnesses back in place when raised. 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. Figure 252 shows an eight -harness pattern, threading / and treadling drafts. Another Way of "Tie-Up" I-Mgnre 25.'i 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 same brackets as hold the upper lambs, only lower down. This is shown 130 FOOT-POWER LOOM WE A VING 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 the loom an- swers 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 is removed and replaced by the apparatus shown at A and B, Fig. 253. A detailed section is shown at Fig. 254. If an eight-harness loom is desired, sixteen pieces are constructed as shown in Fig. 254. Eight of these are placed to the right upper half of the loom and the other eight to the left upper half. The various sections are held in place by a half-inch dowel rod as shown at 1 and 2, Fig. 253. The rods are supported bj" two pieces of 7-8" maple constructed as shown in Fig. 255. This sort of frame work replaces the roller as shown in the finished loom in Fig. 256. The "Tie-Up" Returning to Fig. 253, loops of No. 12 blocking cord are tied and hung from each outer end of the levers as shown at C and D in Fig. 253. 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 Fig. 253 EIGHT-HARNESS SU'KIHtlf PATTERNS 131 of the levers II and (!. a piece of blocking cord is tied, one cud 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 l>y passing between the harness and ties the same as all other connections have been made. Each lower licddle 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 Fig. 254 upper lambs are tied to the treadles the same as in every other "tie-up," (lie cord passing between the lower lambs. The lower lambs an- also tied to the treadles by using the loops not used in tying the upper lambs. I'.y 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 pre- viously mentioned for drawing the harnesses back in place are no longer necessary. Fig. 253 shows only a four- treadle loom. This is done to avoid complication in the explanation. Any number may be used. This method of tie-up is especially desirable when an odd number of hed- dle sticks (harnesses) is used. It does away with pulleys and heddle horses, Fig. 250. The fact that each part of the harness must either pull up or down makes a most perfect sued, thus avoiding the skipping of threads, so 'common in weaving when the shed is not perfect. Figure 257 shows a very interesting pattern produced 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 he used in a counterpane as well as in a bathrobe, if so desired. Pig. 2!>5 133 FOOT-POWER LOOM WEAVING Pig. 250 SIX-HARNESS SWEDISH WEAVES 133 J Fig. 257 i The warp is run off in two colors in the following order : 111' white 18 red (12 white 18 red SU white is red 62 white 18 red I1l> white The woof is of both red and white. Six-Harness Draft The secret of success in weaving is getting all parts "tied up" so there is no irregular pulling in any way. (I real, care should ho 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 lakes 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 fpr towels, dress goods, coats, upholstering, ta- ble 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 explanation is not necessary. If possible, the loom should be equipped with the parts shown in Figs. 254 and 255, and placed as shown in Fig. 256. For the regulation four-harness loom the one 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 ad- vances the various additions may be added as the neces- sity requires. Six-Harness Loom The Swedish loom, as described and illustrated in this manual, is constructed in such a way as to permit of ad- ditional parts, making possible the production of many complicated patterns. The drawing shown in Fig. 253 shows the construction of parts which make easy the weaving with six harnesses. The various drafts in six harnesses which follow have 134 FOOT-POWER LOOM WEAVING : . _ been very carefully worked out and found practical iu 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 sug- Fig. 259 gestions. This, together 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 Fig. 258 of threads may be worked out in a very course thread and made to serve an entirely different purpose from what it was originally intended. 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. Fig. 260 Fig. 261 SWEDISH PATTERNS 135 Fig. 262 Fig. 265 Fig. 263 Fig. 266 Fig. 264 10' 11213 Fig. 267 136 FOOT-POWER LOOM WEAVING Fig. 268 Pig. 271 Pig. 269 Fig. IT .1 T Pig. 270 Pig. 273 TL *&*p taBSiHrijtSSS EIGHT-HARNESS SWEDISH PATTERNS 137 Eight-Harness Loom Fig- 274 The loom as described for six harnesses will answer (lie description for the eight harness loom. The parts necessary are described in Figs. 253, 254 and 255. These parts are shown properly placed in the complete loom on page 138, Fig. 256. The next group of patterns from Fig. 277 to Fig. 424 inclusive, concerns the eight-harness loom. The threading and tie-up have hern so carefully described in previous patterns that there can be no difficulty in un- derstanding the drafts for the eight-harness patterns as Fig 2 ?5 here given. It will be found that the threading for many of (lie eight -harness patterns 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 tread- ling. Numerous interesting weaves which may be used for upholstering, suiting material, towels, etc.. are produced. Fig. 276 138 FOOT-POWER LOOM WEAVING Fig. 277 Fig. 280 8!7 Fig. 278 4 3 Fig. 281 101! 12 Fig. 279 87 Fig. 282 X ss SWEDISH PATTERNS 139 Pig. 283 Fig. 234 > 1 c 1 S i a 1 a i * t t 1 j. 9 1 $ 9 4 1 * 8 1 7 IS IU 6 3 11 5 13 11 12 S 13 3 11 6 2 10 7 15 1 9 8 S Fig. 286 Fig. 287 17 CIS 4>32 I I I I i ! 1 I i [ 8 7 ? 6 10 5 1! 4 12 3 2 : " 1 i Fig. 285 Fig. 288 1 1 * I | | | <- j A 8 3 7 2 6 1 5 4 B 3 7 2 G 1 f 140 FOOT-POWER LOOM WEAVING Fig. 289 Fig. 292 Pig. 290 Pig. 293 Pig. 291 Pig. 294 SWEDISH PATTERNS 141 I | 4 | | I I \ 8 o 1 7 1 S 17 11 2 c 1C 3 I 9 * 5 Q 3 6 ! 10 I 7 1 S 1 H 1 8 6 ^ Pig. 295 1 * * 1 ! i ; I i 1 C 3 1 7 1 5 2 6 2 3 5 3 5 3 3 6 i 2 7 1 5 1 8 Pig. 297 21 617 Pig. 298 Fig. 296 Pig. 299 142 FOOT-POWER LOOM WEAVING Fig. 300 Fig. 301 5!6 7 I i . . ; 1 S .- 1 ? . >] * /. 1* . ~ / y 9 : s 18 i : * 7i6 5 f 3 2 1 5 15' 14 13 it M|10 9 1 3 : 3 ! A 5 5 1 2 3 H 5 61718 9 10,11 !i;i3 1415 i | i/ 3' 2. 1 5 6 i I Pig. 303 Pig. 304 Fig. 305 SWEDISH PATTERNS 143 Pig. 306 Fig. 309 8 7 6 l i Fig. 307 4 8 7 6 n Fig. 310 1 1 J 1 1 1 I 5 1 1 S I I 5 I I { 1 1 S , 1 1 ? 4 8 3 7 2 6 1 5 4 8 3 7 2 6 1 5 S Fig. 308 Fig. 311 8 7 2;1 43 6i5 ft'7,6 144 FOOT-POWER LOOM \YKAVING Fig. 312 Fig. 313 Fig. 314 Fig. 315 Fig. 317 e 1 1 I ! Hi o e --to e 4 c I SI '& j_i a 8 8 7 6 5 4 3 2 1 I 15 It 15 1! IIJIO'D! 1 i|i H 5 6 7 8 3 to 11 1' 13 It 15| 1 I I I SWEDISH PATTERNS 145 Fig. 318 Pig. 321 Fig. 319 i i ,' 1 i < i i 1 I I 8 1 9 7 15 2 10 6 n 3 1! 5 13 11 * 1? 5 13 3 11 6 2 10 7 15 1 9 a Fig. S22 Fig. 320 E 10 ? 56 7 3.2 1 4- 5 , 87' 10 if _LI_ IT Fig. 323 146 FOOT-POWER LOOM WEAVING Pig. 32* Pig. 325 Pig. 326 7!6 ill 3 5V 11 IT 6J5 Pig. 327 Fig. 328 7|6 1 1 IT 2 4 10 1211 11 SWEDISH PATTERNS 147 Fig. 329 13. Fig. 332 Fig. 330 Fig. 333 4 3 87 Fig. 331 1 i { i i S 1 I ! 1 5 1 1 < 1 i S 1 4 3 5 1 6 1 1 t 3 5 2 6 1 7 ! Fig. 334 148 FOOT-POWER LOOM WEAVING Fig. 335 Fig. 336 Fig. 337 a y I ! v, 9 .5 . I j o g !*> a 3 C . C I J id ! J ' o i 5 4 3 iS 7 2 6 1 5 4 8 3 I 7 2 6 t 5 1 Fig. 338 Fig. 339 Fig. 340 1415 8 7 10 21 6 7 4- 3 SWEDISH PATTERNS 149 Fig. 341 716 10 10 r~r Fig. 342 7'6 ,5 6 7'6 Sill Fig. 343 87 i, ,1 Fig. 344 8 7 9 (011 1314 Fig. 345 Fig. 346 15 l? 10 * 1 9 * \ \ 5 * 1 1 * i I 8 I 1 ? 1 ' 1 1 5 1 4 >r 3 8 7 2 6 1 5 t & 3 7 2 6 1 5 j 150 FOOT-POWER LOOM WEAVING Fig. 347 Fig. 348 Fig. 349 * 1 1 1 1 1 1 1 1 i I 1 1 1 * * 8 7 6 5 4 3 i 1 10 12 13 If i r Pig. 350 Pig. 351 SWEDISH I'ATTERNS 151 Fig. 352 JLI* 1 I . V i B . * . 1 . . . . i ' 1 * . i K 8 - i 9 , 7 5 I 6 '0 1- ] 11 13 4 "i 56 I3.lt 4 3 5 2 7 " 2 j S B 1 Pig. 353 Fig. 354 Fig. 355 Fig. 356 32 5|6 T T 7|6 11 10 3 3 4 5 ,32 i 4 9 8 101IJ i 152 FOOT-POWER LOOM \YEAVI.\U Fig. 357 t r; 1 -> J * 1 & a 1 W 1 i K * 1 1 $j 1 1 1 a 9 I* i m 8 1 7 1 5 2 6 2 4 3 5 3 5 3 3 6 2 4 2 7 1 5 1 8 1 Pig. 358 Fig. 359 I L Fig. 360 Fig. 361 Fig. 362 SWEDISH PATTERNS 153 Fig. 363 Pig. 366 I I Pig. 364 Pig. 365 Pig. 367 ! I JJ 1 1 t i i S 1 ! N t> IIIN * O 1 S 1 * c 1 1 > 8 7 6 5 4 3 5. 1 S Pig. 368 . . I 3? e s 3" i 1 Hr.< ( l . 2 * . * i '5 8 1 9 7 )5 2 H 6 If 3 11 5 13 4 12 12 5 13 11 14 2 ID 7 '5 1 9 8 > 154 FOOT-POWER LOOM WEAVING Fig. 369 1213 1415 Fig. 370 Fig. 371 1011 I. .11. J I Fig. 372 Fig. 373 Fig. 374 SWEDISH PATTERNS 155 Fig. 375 3 Pig. 376 T~T Fig. 377 Fig. 378 Fig. 379 Fig. 380 1 M2 1 1 ftl 1 W , | 1 SI 1 1 it, 1 s i 1 1 1 1 s^ & 8 7 6 5 4 3 2 1 1 2 3 5 It 1 ? 3 4 5 6 7 8 3 2 1 4|5 156 FOOT-POWER LOOM WEAVING 1 i * * * * ' * ij 8 1 9 7 15 2 10 6 \k 3 11 5 13 4 12 4- M 5 13 3 11 6 H 2 10 7 15 i 9 8 1 Fig. 383 Pig. 381 . . I 1 i | . i . -T -T ; s 1 % 8 1 1 9 7 2 6 2 10 6 14 3 5 3 5 13 4. 12 IZ fa 3 11 6 14 3 5 2 10 7 15 2 6 1 9 a i A- 3 Fig. 382 Fig. 384 SWEDIXII PATTKRXS 157 Fig. 385 Fig. 388 Fig. 386 Fig. 387 Fig. 389 Fig. 390 7)6 15 It 9 10' 1*15 158 FOOT -POWER LOOM WEAVING Pig. 391 Pig. 393 Pig. 392 . . I 1 , 11! 1 e ! -^* * 1! . t \\ II 3! . 8 7 15 1 i 6 1 2 9 10 1 6 14 3 5 3 11 5 13 11 4 5 13 3 11 6 14- 3 5 i 10 7 15 2 6 1 9 8 1 i Pig. 394 SWKDlXfl PATTERNS 159 Pig. 395 I I T 1 I J I Fig. 398 131* 1111 Pig. 396 32 7|65 Pig. 399 Fig. 397 Pig. 400 160 FOOT-POWER LOOM WEAVING Fig. 401 Fig. 402 * i $ a i I * i i i i i 1 * * fl 8 1 1 9 7 15 1 6 2 10 6 14 3 5 3 11 5 13 * 4 12 k n 5 13 4 3 II 6 14 3 5 2 10 7 15 2 6 1 9 & 1 3 Pig. 404 , 1 1 * 1 1 1 1 J 1 > J . * III 8 1 1 9 7 15 2 6 2 10 6 14 3 5 3 11 5 13 4 4 12 4 It 5 13 3 11 6 14 3 5 2 10 7 15 2 6 1 9 8 1 Pig. 405 Fig. 403 ri rig. 406 I I I SWEDISH PATTERNS 161 Fig. 407 Pig. 410 Fig. 408 Fig. 409 15 Pig. 411 V Fig. 412 1 a E 1 'C J? 1 1 1 1 1 1 8 1 1 9 7 15 2 6 2 10 6 14 3 5 3 11 5 13 12 4- 12 5 13 4- 3 11 6 1* 3 5 2 10 7 15 2 6 1 o 8 1 ! 162 FOOT-POWER LOOM WEAVING Fig. 413 716 5 432 Fig. 414 ! 43 I 4:3 8I7I6 Fig. 415 Fig. 416 1 1 8|7 101)1 Fig. 417 Fig. 418 2 1 5 21 6J7 I I I > r ir /:/>/>// /M '/"/'/;/.' .v ,< 16:! Fig. 419 9 IT 11 II * * u 1 c . e * '"it 1! '( 1 3 s . - '' ~ i I 5 Pig. 422 II 1 1 II II t II II II II II II II II 4 3 5 2 6 1 7 4 3 5 2 6 J 7 Fig. 420 32 8l7]e 5 Fig. 423 I 1 I I 1 1 t 1 1 III 1 * III 1 * III 1 III 1 87 6 5 H 3 2 1 Fig. 421 8765432 II U II II II I I I I I I T I I I gsfc SSKi^*- Fig. 424 J 4- J 1 J 1 .1.1 .1 1 TT I T II J I CHAPTER VIII. Damask Weave Damask Weave Figure 425 shows a most interesting ten-harness da- mask weave which may be used in weaving napkins and tablecloths. The draft is written just as the Norwegians write it. There will be little or no difficulty in accom- plishing 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 in each heddle. 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 nine slanting lines. The third change is the same as the first, which threads from the first through the tenth. n i \ \\V\\\\\\\ Pig. 425 The entire pattern is made up by repeating the draft shown in Fig. 425. 164 DAMASK WEAVE 165 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 arc 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 indicates a treadle. These I readies are divided into two groups, I and II. (Jroup 1 operates the first five, and Group II operates the second live. The treadles are tied as indicated by the stars. The double set of lambs should be used. See Fig. 253. 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. l->om here the treadling goes back to the tenth through the ten twice. This order of I rcailling is continued throughout the entire weaving. The weaver soon learns to repeat any order of treadling as many times as is neces- sary to produce the desired effect. Ten-Harness "Tie-Up" If the plan for "tie-up" suggested in Fig. 253 is not used, the device shown in Fig. 1-Mi is easily constructed and used to work ten harnesses. Fig. 426 Fig. 427 166 FOOT-POWER LOOM WEAVING Bor-cJer. JH Tl TT JU- XDJ in i 15 1413 16 514 7 6 1 10 514 8 2 16 5 4 "Body. IDTI.T1 IT n Pig. 428 Eight-Harness Damask Weave The lowest pulley controls the two middle harnesses, the one above controls the two harnesses, 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. 427 shows the ropes tied to one end of the heddle sticks. Figure 428 shows the draft for an eight-harness da- mask weave written in the Swedish way. In this draft the space between two lines represents a pair of heddle sticks. EIGHT-HARNESS DAMASK \VKAVE 167 I .com -,-c \ .&ocU{ | .Border C J >! e ]* j O o .> e 2L a A- 3 2 1 4 3 1 Fig. 429 4 3 2 1 4 4 3 2 2 1 432] threads to the left. The number of times the center is re- A ~ 3 9 1 4 ? peated depends upon the width the material is to be when 4 \J 3 t 2 1 1 432 finished. After the center, or body, has been threaded the 4 3 2 1 4 3 2 1 4 3 ' 432 desired number of times, the border is ajjain threaded. 4 4 3 3 2 2 1 1 432 .432 Number of Threads 4 4. 3 3 2 2 i ' 4 3 i. 432 In doinji' work of this kind there should be at least 3 2 1 432 1.1 threads used to an inch. A number 15 reed may be 4 ' 2 2 1 1 432 432 used, drawing three threads through each dent. 4 3 2 1 4 3 2 I 4321 432 "Tie-Up" 4 4 3 3 2 2 i i 4321 Figure L'51 shows one way to tie up, usiui; one set of 4 3 2 1 4321 lambs. '* 4 3 2 i i i 4 3 9. i 4,. Figure lT>:! shows the double set of lambs. If the 4 3 I i double set of lambs is used the dots indicate the upper 4 4 O 3 2 2 i i lambs tied to the treadles. The squares without dots in- dicate the lower lambs tied to the treadles. This method The threading begins at the rijjht and is reai to\\ard nf "tie-up" has already been explained. the left. When tlie lirst part is threaded. l>e-iii at the left (! r the second. Order of Treadling The arrow indicates the end of the border. The lifjures just below the dots indicating the "tie-up" The center begins with the arrow and includes all show the order in which the treadles are pressed down. 168 FOOT -POWER LOOM WEAVING H d o u u t PR bo E OX O^ fO con coco rO lr> to IO >O w-> 1.0 >o 04 VTO W>"O DAM AUK WEAVE 169 Pig. 431 Fig. 432 Pig. 433 Pig. 434 Tliis has already liccn explained in detail. Fiji'ure ll".l shews another interesting damask weave done with eight harnesses and cijjlit treadles. The lie-ii|) is indicated by the dots and the order of treadling by figures just below the dots. The "tie-up" may lie with tl ne set of lambs or with the doubh set. The body part of (lie threading is repeated as many 170 FOOT-POWER LOOM WE A VING times as is necessary to give the desired width. The border also ma}- be repeated several times. Fig. 435 Pig. 436 Figure 430 shows the threading for a ten-harness da- mask weave. There are three arrangements shown. The tie-up and order of treadling are given for the first one only. The weaver has, no doubt, learned by this time that the threading indicates the treadling. While Figs. 431, 4:52, 433, and 434 do not show the regular damask weave, they do show good examples of linen toweling and even good examples of materials that might be used in upholstering. The threading and "tie-up" for Fig. 431 and Fig. 432 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. 433 and Fig. 4:54 are the same. The difference in pattern is brought out by a difference in treadling. Figure 435 shows a very good diagonal weave in eight harnesses. While this draft is not good for toweling, ere., it is exceptionally good for coats, suiting, etc. The thread- ing, ''tie-up" and treadling are all read from Fig. 435. Figure 43(i 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. Table Mat Figure 43S shows a table mat woven of Xo. 3 mercer- ized cotton warped in two colors. The draft shown in Fig. 437 indicates only two changes in the grouping of the threads. The colors used are iireeu and golden brown. \VKAVING TABLE MAT 171 ABAABABA ABAABABAABAABA Fig. 437 Table Mat. Draft of Pattern The selvage is of green. The lirst group of four threads, marked "A." is of golden brown. The next four tin-ends, marked "15," are green. Tliis is repeated three times, first A and then H. It will be observed thai I lie threads run in groups of four, A always being of golden brown and 1? of green. Figure -l:'.S requires HIS threads of two colors to be warped as above described, a number L'll reed, one pal tern thread to a dent and two selvage threads to a dent of the lirst four and the last four dents of the draft. The woof is the same material as the warp, a No. '! mercerized cotton. The binder must be a much liner thread and of a different color. Fur the above colors, an orange binder \\orks in very harmoniously. The pattern lambs are tied in the following order: 1 and -2 to the lirst treadle. :> and li to the second treadle. 1 and 4 to the third treadle. :; and 1 to the fourth treadle. The plain weave is done by tying lambs 1 and 3 to the right middle treadle, and ! and 4 to the left middle treadle. Figure 43S, showing the finished mat, will give the weaver an idea of the way in which the treadles are op- erated to produce the design as given. The vertical bands are unchangeable. The horizontal bands may be made any width by repeating \-- and ''>--. always using the binder after each pattern 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 etl'ect of double weaving done with four harnesses. It is really a six-harness pattern re- duced to four. A little experimenting will suggest a very great variety of combinati< us of stripes and squares which the operator may work out. The combination of thread- FOOT-POWER LOOM WEAVING Fig. 438 Finished Mat Fig. 439 Finished Rug WEAVING WOOL RUGS 173 ing may he varied so as to produce most interesting pat- terns. Rug Weaving in Wool Figure 4:!'.l shows another kind of double weave. Tin- weave in Fig. 4;>S requires a hinder, while the finished rug shown in Fig. 4.'!!t dees not require a binder of any kind. Figure 440 shows the draft. The draft requires 240 threads. This allows for six selvage threads al the beginning and the end. Three selv- age threads are drawn through the eye of a heddle at one time. Only two heddles 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. The threading is done as shown in the draft, care be- ing taken to repeat the number of times as indicated. There are alxnit seven threads to the inch. Se/vtge cf .x 2x ox 2x 8x 2< ZX ox Fig. 440 Draft for Rug Since the No. l.~> 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 re- quires but four treadles to operate the six harnesses, which are tied in the following way: Lambs 2, :'> and 4 are tied to the first treadle. Lambs 3, 4 and 5 are tied to the second treadle. Lambs 1. '.\ and ."> are tied to the third treadle. Lambs 2, 4 and (i are tied to the fourth treadle. The double "tie-up" suggested in Fig. 25:5 may be used to advantage in weaving this particular pattern. To produce the pattern shown in Fig. I.",'.!, two shut- tles 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. Operating of Treadles Treadle four is pressed down and the shuttle contain- ing the blue is passed tli rough the shed. Treadle one is 174 FOOT-POWER LOOM WEAVING 1 1 1 1 1 I I I 1 1 I I 1 (L I 1 1 1 A 1 1 1 1 5 Fig. 442 Sea Shell. Draft of Pattern next pressed clown 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 Tig. 439. Figure 441 shows the same threading, hut a different order of treadling. Instead of using blue and white for the woof, tan and brown arc used. The weaving is started in the same way as in Fig. 439. After the band of one color is as wide as is desired, 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. 44:2 is that of a six-harness loom. The draft shows that ten treadles arc required to pro- duce the pattern shown in Fig. 443. It requires 148 threads for one repeat. The warp is of a two-ply Xo. 30 Egyptian twine, and the woof is of a Xo. 5 mercerized cotton. There are thirty threads to the inch drawn through the dents of a Xo. 15 reed, two threads to the dent. The lambs are tied lo the lower heddle sticks. The lambs are tied to the treadles in the following 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 (! are tied to the seventh treadle. Lambs 2 and <> are tied to the eighth treadle. The plain weave is done by tying : Lambs 1 and 2 to the right middle treadle. Lambs 3, 4, 5 and G to the left middle treadle. DAMASK WEAVES 175 Figure 14;$ 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 (he six harnesses and ten treadles. If the double "tie-up" suggested in Fig. !'.">: is used, there will be no difficulty in securing a good shed. Any shade of Xo. o mercerized cotton may be used. The draft itself indicates the order of treadling. It will be remembered that each dark square indicates a wool thread. In the first combination of threads 1 and 3 are given. This means that the treadle controlling harnesses 1 and .'{ is pressed down twice for the pattern threads with a binder after each pattern thread. Since this method of expressing the reading of a draft has previously been most carefully explained it will not be necessary to again go into detail at this time. The six harness patterns do not require to be woven so finely as the four harness designs. A number 24 reed, one thread to the dent, makes a very fine fabric. Figure 1 1 I shows the draft for what is known as the "Virginia I.eauty", to be transposed into a six-harness draft. To do this let the Combination l-4=Combination 1-t! and 1MJ. Combination .'{-(--Combination !-." and '2~>. Combination :!-.'{ -Combination 1-1 and J-l. c ( mbination \-'2 -Combination 1-:! and '2-',\. right through the draft, with the following draft, Fig. 1C. as a result. Fig. 443 Sea Shell 176 FOOT-POWER LOOM WEAVING Pig. 444 Virginia Beauty. Four Harness Fig. 445 Virginia The Tie-Up The tie-up for the pattern is found in the same way as. for four lieddle drafts. 1-6 is tied to the first treadle. 2-6 is tied to the second treadle. 1-5 is tied to the third treadle. 2-5 is tied to the fourth treadle. 1-4 is tied to the fifth treadle. 24 is tied to the sixth treadle. 1-3 is tied to the seventh treadle. 2-3 is tied to the eighth treadle. Tie-up for the plain weave is as follows: 1-2 to the rjght middle treadle. 3-4-5-6 to thi^left middle treadle. To Transpose a Four Heddle to a Six Heddle Draft Designs best suited to transpose from four to six heddles are those written in two's, four's, and eight's, or even multiples. Beauty. Six Harness The designs written in 3's, 5's, 7's, or 9's, or where those multiples appear in the design, are more complicated if transposed as written. The simplest way is to make such a draft over so that it reads in 2's, 4's, 8's, etc. In re-arranging a draft an additional one or two may have to be added or the draft may be reduced for a smal lei- design. The plain weave is found by checking through the draft, allowing the heddle stick that contains every other thread tie to one treadle and the opposite half of the threads tie to the other middle treadle. For example the first thread appears on heddle No. 1. The next thread is on heddle No. 6. One and six can- not be used together in the plain weave because two threads would be brought down together. The third thread is on the second heddle. The first and third threads may be used together because the second thread which is on heddle No. 6 comes between. Checking through the draft the plain weave is found to be as above stated. CHAPTER IX. Double Weave Double weaving is one of the most interesting phases of the art of weaving. It is a branch of the work that ama- teur weavers know the least about. It is difficult to under- stand just how the weavers of many years ago controlled the number of harnesses necessary to produce the seem- ingly complicated patterns found in old counterpanes pos- sessed by many of the old settlers. Plain double cloth of separate colors can be woven on a loom with a harness of four heddles, but the warp must be specially arranged for the purpose. If it be decided to make one cloth black and the other white, the warj) must be so made that the threads on the warp beam are black and white. This is easily done while reeling the warp. The spools, black and white, may be so arranged on the spool rack that the black and white threads alternate. The placing of the warp on the beam is the same as for all other kinds of weaving. Entering the Double Warp in Harness There are four heddles hung in the usual way. The warp of black and white threads is entered the same as when threading any four heddle loom, as shown in Fig. 44(i. The first thread is black and passes through the eye of the first heddle oil the fourth heddle sticks. It. will be fouiid that all the threads on the fourth heddle sticks will be black. Fifi. 446 The third heddle sticks will carry all white, the second all black and the first all white. 177 178 DOUBLE PATTERN WEAVING Weaving Double Cloth It requires two shuttles to weave double cloth, one for the white thread and the other for the black. When all is ready, weaving begins by drawing down all the white thread and half the black, as shown in Fig. 44G, treadle 4. A black thread is now passed through the shed, thus formed. This begins the black cloth and is on the upper side of the weaving. The white cloth is to be formed on the underside. In order to bring this about one-half the white threads are drawn down, the other half of the white and all the black remaining up, as shown in Fig. 446, treadle 3. A white thread is now passed through the shed. The next thread in the plain cloth is to be a black one. To do this all the black threads left up in treadle 4 must be brought down together with all the white threads, as shown in treadle 2. A black thread is now passed through the shed. The fourth thread must be another white one. The required shed is made by bringing down the white threads not brought down by treadle 3. By pressing down treadle 1, the right shed is made and a white thread is passed through. If this order of treadling is followed, a double cloth is woven which is black ou the top and white below. Double Pattern Weaving To understand double pattern weaving it is best to lirst thread a loom, as described in the weaving of plain double cloth. Through experimenting with the plain double tie-up one learns that only plain double cloth can be woven. In other words, no change is possible. The cloth throughout is black on one side and white on the other. To produce a change it will be necessary to add four more heddles. Figure 447 shows a double woven pattern which may be produced with 8 heddles, four of which will give the black squares and four the white. The draft written below the pattern, Fig. 447, is written out in full, while the draft at" the right is very much condensed, thus using less space. The Warp The warp may be of the regular four-ply carpet warp in two colors. It is reeled and handled throughout as de- scribed in the weaving of plain double cloth. There should be from 32 to 30 threads per inch, one-half being white and the other half black. Two threads, one black and one white, are drawn through each dent of a number 1(5 or 18 reed. The Threading The draft below Fig. 447 is so written as to show the number of threads that produce each part of the finished pattern. The little black square in the lower left hand corner of the finished pattern is taken care of by the first four threads in the draft. The little white square above it is taken care of by the second four threads. This is repeated four times. In the condensed form at the right this part of the draft is expressed by using a brace with 180 FOOT-POWER LOOM WEAVING the figures telling the number of times this order of threads is to be repeated. BWBW BWDW 8765 3 1 JL-'ICJ^I White Z>lad White GroupH x 1 . s \ C f V r ' i 3 r~? S-* \ ^ t_ /i T < ^ > J 1 1 > f \ X / > ^ >uroupl > \ ' N ' N / E ^ / > ^ > / C~ r > >> / f \ \ ' \ i c > f -Tbl^rk ) V / h f i \ / > i^iuL r\ f- Whit V / v 7 ' k y \ f ^ i ! N f N r Whit? y k X 1 y X ,' V S V p Fig. 448 Tie-Up Observe the threading- for the long narrow strip of black. Only heddles 8, 7, 6, and 5 are used. The white strip above is cared for by using only heddles 4, 3, 2, and 1. Note the way the changes and the repeats are expressed in the condensed way of writing the draft. The weaver must remember that the horizontal spacing in any design is controlled by the number of times a cer- tain portion of the draft is repeated. The vertical spacing depends upon the number of woof threads. The draft at the right tells in a very simple way the whole story of the pattern at hand. The heddle sticks are numbered at the left of the threading draft. The treadles are numbered at the top. Just below is the treadling for the front border. The first treadle is pressed down and a white thread is passed through the shed. The second treadle is pressed down and a black thread is passed through the shed. The 3rd, 4th, 5th, 6th, 7th and 8th are taken in their regular order. This order of treadling is re- peated four times. The remainder of the treadling draft is shown to the left. Tie-Up The tie-up part of the draft shows that heddles 8, 7, G and 3 are tied to the first treadle, heddles 8, 4, 3 and 1 to the second treadle, etc. The black squares simply tell the black heddles and the cross the white heddles tied to a certain treadle. At- tention is called to the fact that all the white threads are on heddle sticks 1, 3, 5 and 7, while all the black threads are found on heddle sticks 2, 4, G and 8. Explanation of Tie-Up In order to work intelligently the one operating the loom should understand the reasons for tying certain hed- dles to certain treadles. For convenience the treadles may be grouped as shown in Fig. 448 and marked I and II. The harnesses may also be grouped and marked I and II. DOUBLE PATTERN WEAVING 181 The black and white squares at the right mark the color of the threads carried by the various harnesses. The let- ters at the top, Fig. 448, indicate the color of the threads to be used as the filler. For example, a white thread is passed through the shed formed by pressing down the first treadle to the right. A black thread is used with the sec- ond treadle to the right, etc. Since there are but two changes in the pattern, the treadling draft is made out in the following manner. Do not become confused by considering the whole pattern but take only the large square of black in the lower right hand corner and the white rectangle above it. These two represent the two changes. Four harnesses and four treadles are ifecessary for each change. To weave in the first white thread of the white square beneath the large black one, it will be necessary to draw up all the black threads in this particular square and half the white throughout the pattern. In group I, Fig. 448, to the right, both black tin-ends are drawn up ;is indicated by the crosses opposite the black squares. The first, white is drawn up, the second white is left down, the next white is brought up, the last white left down. The second filler thread is to be black. To produce this all the white threads in group I, treadle 2, must be left down, which is so indicated by the crosses on treadle -, (iron]) I; half of the black are up throughout the pattern. It is always true that when a Pig. 449 182 FOOT-POWER LOOM WEAVING black thread passes through the shed, half of the black threads are up and the other half down. When a white thread passes through the shed half of the white threads throughout the pattern are up and the other half down. Cai'e must be exercised in not drawing up the 'Same threads in two successive white woof threads or two black. The third filler thread is a white and is woven in be- low the black square. All the black must be drawn up out of the way, as is indicated in Group I, third treadle. Half of the white must be drawn up. It is here that care must be taken not to take the same white as was taken when weaving in the last white thread. The second white thread is therefore drawn up and every other white thread throughout the pattern. The remaining black threads are left down as indicated on the third treadle. The fourth thread is black ; therefore all the white threads in Group I are left down. All the other white threads are brought up. Half of the black are up. The first black at top treadle -1 is left down because it was brought up on treadle 2. The second black thread, Group I, is brought up and every other black thread throughout is brought up as is indicated on treadle 4, Group I. The treadles in Group I, when used in their regular order, produce the large square. The or- der must be repeated until the desired square is woven. Group II Group II, Fig. 448, which is indicated by the dotted lines, takes care of the smaller black square. The first thread of the white square beneath the black is white and is woven in by raising all the black threads in the group, treadle 5, and half the Avhite as indicated. Consider at present only that part of the tie-up within the dotted lines and marked Group II. In order to find the white threads to be raised it is necessary to refer to treadle No. 3. It is found that the lowest white thread, Figure 448, was last raised. Treadle 5 must leave this white thread down. When all the blacks or whites in a certain group are used all the others are left down. Treadle No. 6 carries a black thread. All the white threads in Group II are left down, all the others outside the group are raised. Every other black thread within the group and also those outside the group are raised as indi- cated on treadle 6. Treadle 7 carries a white thread. All the blacks within the group are raised. All blacks outside the group are left down. Half the whites within and outside the group are raised. Treadle No. 8 carries a black thread ; therefore all the whites in Group II n)ust be down. All the other whites must be raised. Every other black, both within and out- side the group must be raised. It is now evident that the treadles in Group II when repeated over and over will produce the second change in the pattern. DOUBLE WEAVING 183 The Loom The loom used for double weaving should be equipped with the double set of lambs and the overhead fixtures, as shown in Figs. 253, 254 and 255. P.v this arrangement no part of the harness remains stationary, but is pulled either up or down, thus producing a good shed. One great difficulty in having but one set of lambs is that the heddles do not return to their original position after being pulled down. This is specially true when the harness consists of eight or more heddles. Other Materials In most of the old-time double woven counterpanes the colored warp is of wool while the white is cotton. It has been found practical to make the entire warp of cotton, using the desired colors. The colored woof may be of wool. If both wool and cotton are used there should be 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 l>e placed as shown in Fig. 449. An extra pair of warp beam brackets is placed below the pair already on the loom. Pegs are used just above the ends of the lower beam to prevent it from being drawn upward as the war]) is tightened. See A, Fig. 44!t. The two beams are absolutely necessary unless the wool used has a very hard twist, thus preventing it from stretching. The separate beams make it possible to tighten the 8765432 6x An REPEAT FROM ARROW 6x Pig. 450 wool beam to meet the tension of the white warp. When two l>eams are used il is best to place the warp of wool on the upper beam. Separate lease rods are used and ends of the white warp are carried right over the blue warp beam. 184 FOOT-POWER LOOM WEAVING I2x Zx 2x 2x Repeat from Arrow E 2x Pig. 451 When threading, a thread is first taken from the blue and then from the white beam. A very superior thread for double weaving, known as Swiss Tidy cotton, number 12 or 15, may be purchased of the Western Thread Com- pany, Elgin, Illinois. This thread may be had either bleached or unbleached. Figure 450 shows a very simple eight heddle pattern. The threading draft is written above the pattern and the treadling draft is written at the left. The tie-up is shown to the left of the threading draft. The black squares and Fig. 452 crosses show the number of black and the number of white heddles tied to eacli treadle. Figure 451 shows another interesting eight heddle dou- ble weave. The entire threading and also the treadling drafts are written in the condensed form. It will be observed that the first part of each treadling draft takes care of the front border. If a pillow top is desired the border must be repeated around the entire center. The borders at the sides must be cared for in the DOUBLE WEAVING 185 Left Border Border 6x 6x 1x llx Ix >x 6x 6* Re f>e2 shows another interesting series of squares and oblongs arranged so as to form a pleasing pattern. Material I "se a No. 12 Swiss Tidy Cotton in blue and white, forty threads to the inch, twenty of which are white and twenty blue. I'se blue wool for the tiller I woof) and white cotton the same as was used in the warp. Threading the Reed I se a number 20 reed, drawing a blue and a white thread through each dent. The threading in this draft is indicated by white and black disks placed on the lines representing the different heddles. The Tie-Up I The tie-up is indicated by stars placed where; the lines representing the heddles and those representing the treadles cross. Fig. 453. Treadling The light, and heavy dashes on the ver- tical lines indicate the order of treadling. Fig. 453. Fig. 45:', also tells the weaver that when a treadle on which a light, dash appears is pressed down, a white thread passes through the shed. A heavy dash indicates that a blue thread passes through the shed. In weaving, two shuttles are required, one with a bob- bin of blue and the other with a bobbin of unbleached Swiss Tidy Cotton. i '" 186 FOOT-POWER LOOM WEAVING The first treadle to the right in group I is pressed down and a white thread passes 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. n i TT Pig. 454 The front border is made by repeating the first two changes in the treadling draft. The weaver must use his own judgment in the number of wool threads to use. Figure 454 shows the Danish way for writing an eight heddle draft for double weaving. The threading re- sembles that of the Damask weave. Double Weaving with More Than Two Changes Figure 455 shows a double woven pattern, involving four changes. Analysis of Pattern The process of analyzing a double woven piece of cloth is more simple than that of the ordinary four-harness patterns. The changes are very definitely marked, and the draft more easily written. The fact that it requires double the number of harnesses makes the weaving a little more dif- ficult. Until the weaver becomes familiar with the various steps in analysis, it is well to draw out the pattern to be analyzed on paper, as shown in Fig. 455. Draw the ver- tical lines that mark each change as shown below the pat- tern. Since there are four changes, draw horizontal lines which cross the vertical lines at right angles. Within the spaces thus formed write the number of threads in each change. It must be remembered that there are always double the number of threads than appear on either the upper or under surface. For example the first square is recorded as having three threads, this means that there are three threads of another color in the same square of the under surface. It has already been stated, and the weaver should have experienced the fact by this time, that four heddles or harnesses are required for each change, two for the white and two for the blue. As a matter of convenience divide DOUBLE WEAVING 187 Fig. 455 188 FOOT-POWER LOOM WEAVING Beginning- Ei i ::i ::i illHILHILHW M1IM1IM Repeat from Beginning Fig. 456 Completed Draft. A Pattern Analysis the checked paper on which the draft is written into sec- tions and mark one, two, three and four, as indicated in Fig. 456. If each change in the pattern is lettered, the number of threads recorded, and the checked paper marked off into sections, there will be no difficulty in writing the draft for any particular square. That part of the draft between the arrows shows the unit that is to be repeated. The place of beginning is mai'ked in Fig. 455. After the pattern or unit has been repeated the de- sired number of times, the border which follows is thread- ed. This places the border along the left edge only, and is woven with the understanding that two strips are to be sewed together. If the woven piece is to be a pillow top, the border should be threaded at the beginning as well as the end, thus making a border around the entire weaving. Figure 45G is the completed sixteen-harness draft. The Ko. 14 Swiss Tidy Cotton, (furnished by the Western Thread Co., Elgin, 111. ) , makes a very good warp. It has been suggested that the entire warp, in both white and blue be made of cotton. The colored filler or woof may be of wool and the white filler of cotton. If wool is used in the warp it should have a very hai'd twist to avoid stretching so much as possible. The Reed A number 20 reed is used. Two threads, one white and one blue, are drawn through each dent. (Reeds may be purchased of E. R. Street, 543 W. Washington Blvd.. Chicago. ) DOUBLE WEAVING 189 lEepeal from Arrow The Treadling There are sixteen treadles. As a convenience the trea- dles may be divided into sections or groups, to correspond with the division shown in the harness, Fig. 457. It re- quires four treadles for each change in the pattern. The weaver soon learns the particular four treadles that will operate that portion of the harness which will produce any one change of the pattern. The complete treadling draft is shown in Fig. 457. Counting from the right it is the third set of four treadles that produces the first part of the pattern. Each time that a treadle marked by the dark square is pressed down, a blue thread passes through the shed thus formed, and each time a treadle marked by a cross is pressed down a white thread passes through the shed thus formed. This series of treadles is pressed down three times in succession. The second change in the pattern is formed by pressing down the second four treadles from the right. The third change is produced by the first four treadles and is repeated as many times as the figure before the brace indicates. The entire treadling draft is followed as above described. The double set of lambs is used in the tie-up. A iK-tter shed is produced if the lambs and treadles are lengthened. This is easily accomplished by placing brackets to the side of the loom thus allowing the lambs to extend beyond the loom as far as the brackets will permit. Tliis extension of the lambs gives (lie treadles at the left a greater leverage and thus produces a better shed. Fig. 457 Treadling Draft 190 FOOT-POWER LOOM WEAVING ( -rirh:---> l 8 l 1sr '" tl .J.nn ft?* ^~ 12 x 4x < t 4 < 4 . . JLJLJLJLJ I.)*! ^ * fRepeat frorr Beginning of Border Qfor each ne ---s'nV--- jftft^- T*>tt Beg P A JOt mning 432 1 1 s * ) 3 ' Zx I 8 ' \ f " z, |z 1 I 5 ' t from Arrow Fig. 464 Treadling Draft for the Lover's Chain n /;.! r/.vr; m m ' 195 Fig. 465 Lover's Chain 196 Repeat rom Beginning FOOT-POWER LOOM WEAVING 3* 6 ia< 0* 19* 3 Fig. 466 Draft for Lover's Knot Pattern The tie-up complete, the third black treadle is pressed down and at the same time the first white treadle in the tabby. This is indicated by the double line drawn from the third black pattern to the first white tabby. A white thread is passed through the shed thus formed. The sec- ond shed is formed by pressing down the third white trea- dle and the second black of the tabby at the same time and is indicated bv the single continuoiis line drawn from the third white pattern to the second black tabby. A black thread is passed through the shed. The third shed is made by pressing down the third black pattern treadle and the second white tabby, and a white thread passed thi*ough the shed. By carefully following the treadling draft the weaver cannot go astray. All solid black lines indicate colored threads while the double lines indicate white. All lines within brackets indi- II 1 11,^ -ii i ii 1 1 1 in uvi U IWVfl 1 1 1 1 1 1 1 fllUHfl U LfftflTT niiiiiijiiiiiiiimliiiiiiiiiiiiiiii liroii^^ ill !:::: i! i!:::: Wm^ :;!;:!;;:;;;:':';^!!^!^:;!;!^ ! ::::::::;;;i;::-::-: ^^litil^MlilttnMny U 1 1 1 iMliin^ illll III II II LHH 20< 10- 3* 6x Fig. 467 Threading Draft of the Lover's Knot Two Harness LOVE If* k'.\OT PATTERN 197 1 2 A 2 1 A ? 1 -7 b Z Z b ZOx ^ t = 3 -2 lOic J3 * IS, |e "Repeal from Arrow Fig. 48& Treadling Draft for Two-Harness Lover's Knot Fig. 469 Lover's Knot FOOT-POWER LOOM WEAVING "Repeat from Beginning 2x 3x 2* 2* 3* 3 3x HI D 1 Zx Zx 24 I6x Pig. 470 Threading Draft, Mosaic Pattern Single Harness cate the number of times a series of threads is to be re- peated. It is well to arrange the shuttles so that when the right, white tabby treadle is pressed down the white shuttle is thrown from the right -and when the right black tabby treadle is- pressed down the shuttle carrying the black or blue thread is thrown through the shed. When the left white tabby is pressed down the shut- tle carrying the white is thrown from the left. liy follow- ing the above order it greatly simplifies the handling of the shuttles. The treadling draft, Fig. 459, is a key to all the other drafts. Figure 460 shows a most attractive double pattern. The treadling draft is shown in Fig. 461, and is followed the same as in Fig. 45!). Figure 465 shows what is known as Lover's Chain. Upon inspection it is found to contain but four changes. The draft is written in .two ways. Fig. 462 shows the threading draft and tie-up without the tabby draft. The pattern is threaded from the beginning to the arrow as many times as desired. The part of the draft following the arrow is the border and is threaded only once. The thread- ing draft becomes the treadling draft in the double weav- ing just as it does in the four harness weaving. When Aveaving, the treadles in group I are pressed down first. Groups II, III and IV follow in their regular order. The treadling then goes back to groups I and II and then down to group IV. Repeat any particular group as many times as is in- dicated by the bracket and figure. Figure 463 shows the threading draft for Lover's Chain when the double harness is used. Figure 464 shows the treadling draft for Lover's Chain when the double harness is used. Another well known double weave is shown in Fig. -169. i 4* ....I.I. . . , i ] f 1 wn f i::::::::: i "Repeat fror* Begl "'a! 3, Sx 6x Sx *. 3, 3. 3. 2 2- J5- 2* 3H i ' ' 1 1 i ji!: ! 1 i i \ ::i;i!:? : : j I ; I ' : ! : ; I ; i i : !ii'i'|iii!!!;i: bfl 1 1 1 bofl i II 1 i! 1 LU Fig. 471 Threading Draft for Double Harness, Mosaic Pattern MO* AW PATTERN DRAFT 199 I 23 z ; i i ; c 2x 3 Zx Z, 3. 3x 3x Z, K 'F eat f ! or n Ar row 5, ^< tt i* 3- Fig. 472 Treadling Draft of the Mosaic Pattern Pig. 473 Mosaic Patt. rn 200 FOOT-POWER LOOM WEAVING I Z345 Z r 5432 I Repeat from Arrow Pig. 475 Treadling Draft for Counterpane Pattern Fig. 474 Counterpane Pattern DOUBLE WOVEN COUNTERPANES 201 - - 1 . 1 _ -.,1, ...... I.I. ....I.I I 1 3x L>(* jp^''"'"'' \\mw^f^m iiiliji j ;! Ij- = = ' ! !; IIIILH shows the four changes written l>y u.sing sixteen harnesses. The threading draft becomes the treadling draft as previously described. The tie-up is shown at the end of the draft. It is well to remember that the part of the draft which follows the arrow is the border. Figure 467 shows the threading draft when two har- nesses are used. Figure 4(iS gives the treadling draft for the two har- nesses. ' Figure 47:> gives the completed pattern for what is known as Mosaic. Figure 470 shows the threading draft when only the single harness is used. Fig. 471 shows the pattern draft for the double harness method. Figure 472 gives the order of treadling the double harness. The weaver will find the double harness method very Beginning ' from Beginning, 5x I . I . I . I . 1 JOE Beginning o[ Border Fig. 477 Threading Draft for Pattern Shown in Fig. 479 202 FOOT-POWER LOOM WEAVING I 234 5 2211 54.32 1 10 z* Zx, r from Beginning of Pattern Pig. 478 Treadling Draft for Pattern Shown in Fig. 479 Pig. 479 DOUBLE WOVEN COUNTERPANES 203 __ -f 1 5^" 1 1 i i l^B mr ff::::::::s!g!i!i! !i!: j: j: j: j:j: j::: n :::!:!:!:!:!:!:;i;i::i n ;;;;;;;^: a ' 8 -;;;;;;;;;;--;;;;:;;;;;;!;;;;^;;;;;;!i;;;:;!;;;? 1 1 1 1 1 f f 1 1 f HTH n il 1 1 n i n rt"T~M 1 1 i-i m 1 1 1 1 f 1 1 nn 1 1 1 1 1 1 1 1 1 MI [ i r-i-n 10 >-^- -4tttttr - iiiillh ^ ^f ,-, I'll:::;: ;::!::::::::;:::::::::;i! i! :::jijii!!!:J::i!i!jiji|i|ii! !: ::i!i!::::i!s!i!s!B!i!:j Pig. 480 Threading Draft for Counterpane (See Pig. 482) pnirticiil and tlirou-jli its use most complicated patterns may be reproduced. It must he remembered tliat tlie double harness thread- ing is the same as threading the entire pattern twice. First the pattern is threaded and then th(> tabby harness is threaded by drawing these same threads through the long eyes of the tabby harness. The order in this threading is simply 4, 3, 2, 1, every other thread being colored. Figure 474 shows an interesting counterpane pattern, involving five changes. If the threading draft was written for the single har- ness it would require twenty heddlcs. I!y using the double harness it requires ten heddles for the pattern and four for the tabby. Figure 47( gives the threading for the pattern, while Fig. 475 gives the order of treadling. Since this is the same as for the four-change patterns which have already been described, it will not be necessary to give further detail. Figure 47!l is a pattern involving live changes. Fig. 477 is the threading draft for the pattern and Fig. 478 gives the treadling draft. 204 FOOT-POWER LOOM WEAVING- ' 2345 221 1 5432 1 -1 :- :! 3x >10x 3n _"Repeat from Arrow- 5x Pig. 481 Treadling Draft for Counterpane (See Fig. 482) DOUBLE WOVEN COUNTERPANES 205 H * II * r t ii i H * Fig. 482 Double Woven Counterpane Fig. 483 Counterpane in Blue, Green and White 206 i 3x 3x 3x 4x 3x 3x 3x 6x 6> ESE JK ITI ICE ffl rrr ffl Trr BBS? 58 ---,-,--- .._!_,__. _S_S FOOT-POWER LOOM WEAVING Repeat from Besinnme f i 2 Bx 6x 3x 3x 3x 4x 3x 3 3x 6x 6x \^:\^^m p-i - [ M A j t *--p - i B.gi LRJ 3Hi'- ' nn f g-i IHHf I.::::: :::-|-i:::::i-i:::;||-i:::: 8 i-|f:f:::::::: ::::::':!:-i;i::::-, a i::^,-, s : 3 ;::::::::::: ::::: gV g : 8 ::::::::::::::::: a : B : sV :::::::::::: ? :E:- V :::: iV :::: g , ^s 1 :^;;;;;;:;;;;;;;;;^;;;;;:;:;:^!^!;;;;;^;;;::;;;;!!^:;;^!^!:: -i::::-i:i!:: ::::::::::: :;s!i!:;;;;;;;;:;;;;:;8!;E si ^4:^| 2x 2x 2x 6x Fig. 484 Threading Draft for Counterpane (Fig. 483) 12345 EZ11 -Repeat from Arrow It must be remembered that the threading- of the tabby harness is always the same regardless of the number of changes in a pattern. Figure 482 shows a double woven counterpane that came originally from the State of New York. The name is unknown to the author. The pattern threading draft. Fig. 480, shows five changes. Attention is again called to the threading of the pattern which is threaded from the place marked "beginning'' to the arrow. The part of the draft which follows the arrow is the border. To find the number of threads necessary for any par- ticular draft, count the threads in a repeat and then mul- tiply by the number of times the pattern is to be repeated. The border is threaded but once. Forty threads are usually used to the inch, twenty blue and twenty white. A number twenty reed is used, a blue and a white thread drawn through each dent. Each pattern is written so tliat two Fig. 485 Treadling Draft for Counterpane Illustrated in Fig. 483 Dol'liLE }\'OVK.\ COUNTEL'I'. I \ /:.-< 207 I 23.4 5 3211 54321 1 epe a1 from A rrow Fig. 4S7 Treadling Draft Fig. 486 A Pattern in Three Colors 203 FOOT-POWER LOOM WEAVING 2. 2 2. 2t I.Ox Z. uiiiiiiiitffliiiiiiiiiiiiiiiiii^^ fflniiJiiiffliiiyiiiiiiiiiiiiii^ i;;;:;:;';!;;!;!!;!;;;;;:;;;! 1 ; 1 !; 1 ;:::;;;::;;;^:: Fig. 488-rThrcading Draft for Counterpane Illustrated in Fig. 486 Fig. 489 Pattern and Analysis of Counterpane Illustrated in Fig. 492 DOUBLE WOVEN COUNTERPANES 209 "Repeat from Beginning 3x Jfe i Mi! m .:.:: i:i:::::i;i::::;i;i!:::::::::::: ::::::::::::::::: i'liii!;- : ;i!i!;-;j;;; - - - ,1,1 .1,1 ;;;!;:;i' s '-;-; s ' s '-: : ;:;;;:;;;::;;::;::;:;:;:::::::;;:;;;::::: It i 1 - 1 t mam Fig. 490 Threading Draft for Pattern in Fig. 489 strips may be sewed together, the seam coming through the center of the unit. It must be remembered that the two harness plan of weaving (lie double counterpanes is the same as threading two distinct looms. The pattern draft is threaded through the small eyes. These pattern threads after In-ing drawn through the small eyes are all again threaded through the long eyes of the tabby harness, which hangs directly behind the batten or beater, as it is sometimes called. Figure 481 gives a detailed treadling draft which when accurately followed produces the finished pattern shown in Fig. 482. Figure 483 shows a finished counterpane into which a third color has been introduced. The prevailing back- ground is blue, the small squares are of green and the ecu ters and border are of white. When reeling the warp for three color weaving, care must be, taken that the green and blue are reeled together to produce the green squares on a blue background. If the green squares are to appear on a white background the white and green must be reeled together. 210 FOOT-POWER LOOM WEAVING 1 Z3 1Z ii ii 10- 4- 8-1- 456 Ei 11 654 3E1 -)H -IE J H -10 ...a i e i 2 ' )z, \ ! -' H ^ ~ H - J a = = i ---3 Z \I8*- " V* y f ,. TCep jj sat frc - m A row 2x Z* fl. Fig. 491 Draft lor Treadling (See Pig. 492) Pig. 492 Counterpane in Blue and White DOUBLE 1lV>l7v'.Y rOTAT/-;///'.! .YA'N 211 Fig. 493 Pattern and Analysis of Counterpane Shown in Fi. 496 212 FOOT-POWER LOOM WEAVING Beginning ^ginning of Border s's'a Pig. 494 Threading Draft for Fig. 496 The pattern threading draft for Fig. 483 is given in Fig. 484. No draft is given for the tabby because of the fact that it is always the same for all patterns. The thread- ing is the same as for the plain double weave, namely; 4, 3, 2, 1. Figure 485 gives a detailed treadling draft for the draft Fig. 484. Fig. 486 gives another five change pattern in which a third color is introduced. In this case the small squares are of a madder red. If the red squares are to appear on DOUBLE WOVEN COUNTERPANES 213 123.45678 2 13-1 12 II IlllfW- I I 8763-132 I I J Repeat from Beginning of PaHern tig. 495 Treadling Draft for Counterpane (Pig. 496) Fig. 496 Counterpane 214 FOOT-POWER LOOM WEAVING a white background the red is warped with the white. In this particular pattern the red squares appear on a blue background, so the red is warped with the blue. In the threading and treadling drafts a slight varia- tion has been made from the pattern given in Fig. 4SG. Instead of giving the border its shown in 480 a pine tree border has been substituted. If the weaver will carefully follow the threading draft shown in Fig. 488 and the treadling draft shown in Fig. 487 the pattern shown in 486 will be produced with a pine tree border. All the patterns in this chapter are for coun- terpanes and are written in such a way that the two strips necessary for a counterpane may be sewed together. Figure 489 shows a pattern in which six changes ap- pear. The detailed analysis is given by drawing the verti- cal and horizontal lines indicating the changes. The num- ber of threads in each change is placed in its proper place, directly below the spots in the pattern. The threading pattern fully written out is shown in Fig. 490. If the single harness plan of weaving were used in this particular pattern it would require a harness of 24 heddles. By using the double harness as given in Figs. 490 and 491 only sixteen harnesses are required, twelve for the pattern and four for the tabby. Figure 492 shows the completed counterpane in two colors, blue and white. Figure 493 shows an interesting pattern in. which eight changes appear. The entire analysis is given to aid in understanding the writing of the pattern draft. To weave this pattern, using the single harness, would require a harness of 32 heddles. By using the double har- ness only 20 heddles are necessary, l(i for the pattern and 4 for the tabby. Figure 494 shows the pattern threading draft. Fig. 495 gives the treadling draft and Fig. 496 shows the com- plete pattern and border in a counterpane. CHAPTER X. Textiles and Wood Applications to Furniture Heretofore very little has been done in the combina- tion of hand-woven textiles and wood, yet there is no com- bination 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. 497 shows the working drawing of this unique, but simple, lit- tle foot stool showing the wide possibilities for individual design. Here is a problem that a whole class may con- struct, and no two made alike. AVe have given a few sug- gestions 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 threading on the same loom. This material might be used wherever upholstering 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 498 shows the completed stool made from the working drawing shown in Fig. 497. The design used for weaving the material used in upholstering this stool is one of the many possible ones of the Rose Path pattern. Waste Basket Figure 500 shows the working drawing of a very sim- ple waste basket that any sixth-grade boy could build with- out 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 215 216 FOOT-POWER LOOM WEAVING Seat to be upholstered Sugg estions FOOT 5T001. Fig. 497 Working Drawing of Upholstered Foot Stool TEXTILES AND WOOD Fig. 499 Finished Waste Basket and the bottom. Hems are sewed at both eiids 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 499 shows the finished waste basket. The bor- der around the top of the cloth is woven with the Hose Path pattern. If the tapering of the sides of the waste basket seems too difficult, a straight sidrd sewing basket may be con- structed as shown in Fig. 501. The construction is the same as for the waste basket. The design of the hand-woven cloth is another possibility of the Rose Path pattern. Screens There is no article of furniture in which handwoveu cloth may be used so effectively as a screen. Fig. 502 shows the working drawing of a screen in which the panels are of hand-woven material. 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 it. 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. Pig. 498 Finished Foot Stool FOOT-POWER LOOM WEAVING Clath Bottom II of WA5TE. BASKET Fig. 500 Working Drawing of Waste Basket TEXTILES AND WOOD That this combination makes a beautiful as well as useful piece of furniture may be seen from the photograph shown in Fig. 503. 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 indi- vidual one; the boys to make the frame, and the girls to weave the cloth. Figure 504 shows the working drawing of another very attractive screen of different construction 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 505 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. Observe how beauti- fully the panels are broken by skilful designing. Pig. 501 Finished Sewing Basket 220 FOOT-POWER LOOM WEAVING -20 Woven Cloth insert .11 1 fy ! . CrOSS Sect, on Thru A"B owing methcd of inserting cloth SCRE.HN Fig. 502 Working Drawing of Screen TEXTILES AND WOOD 221 223 FOOT-POWER LOOM WEAVING l^rr. ~)0^ -l-i- L j--ii--H **4!" ^ *J4t*~' Detail ot Cor nor. Bill of Material N* Name kXffllt W.dlh 'meVnoij 6 Sides 60 i S * T?ai1 ni 2 i a 5 IT T 3C* 1 t el[ 4- iPtwelPin 7 j |'_ g.||- ;;.| t * _| iBolt r^" ""^CiN /^\ TlMl-t: 2 I 1 1 . "M "L MJV \ V>4''* i 'i\ ~JK- \ >s*^ -i.ipm T 0- - o -t!- DTI i'^^) Kalchet Wheeli-MaKefc ! Warp and Cloth Ibeams-Mahe z f Method o( fastening Loom together o _ . . <=t r i j u- ' \ Ui- i~f T* " "S^ ~k n z\ -' i I ,^JJ i u A ^.: S$) i Morse 5-Mahe A Pig. 509 Working Drawing of Loom Details FOOT-POWER LOOM WEAVING Fig. 510 Finished Loom Swedish CONSTRUCTION OF LOOMS 229 14 JS- -3- -se; ft I 1 ' fi H o -o ^ T d TKONT VII.W Fig. 511 Working Drawing of Swedish Loom 230 FOOT-POWER LOOM WEAVING SIDE. VIEW Pig. 512 Working Drawing of Swedish Loom CONSTRUCTION OF LOOMS 231 J_.CLL Dea ter Warp Beam SI 39. 3 e -a 3 pi -i-i-Jj-i . rfftl _-jj.,jj rleddie Sticks Mane 10 LLiLi Cloth Beam Pig. 513 Working Drawing of Swedish Loom Details I ' '. '-- ; '''':; ;'*, e 232 FOOT-POWER LOOM WEAVING ,'.' Towhidf Fitter 2exJtound5rIBor Ijxg Siovttolb^ \ / \ K^J jxlxljxlj Anglflron $ J =^== =j= / N | 1 f 1 THRU A -A FLY SHUTTLE 5EATER Fig. 514 Fly Shuttle I XrXwt-uDE PICKER -I- T SECTION TH?U C-C :*ff*- g 5rcTioN THFU : CHAPTER XII. 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 par- tially explored. It is true that vegetable dyes may be duller and that they do not run through such a lengthy, diverse and bril- liant 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 ex- quisite 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 dis- coveries. 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 may 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 ob- tain definite results care must be taken to weigh all ma- terials 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. The first washing is done in eight parts of water con- taining 200 gr. of soda. The second washing is done in 10 parts of water to 100 gr. of soda and 200 grams of good soap equal in qual- ity to Ivory soap. The third washing is done in 10 parts of water and 110 grams of soap only. Care should be taken not to wash too large a quantity of wool at one time. From 2 to 5 kilograms in the bath at one time is quite sufficient. If the wool is very dirty wash it in two solutions of soda and water and then proceed as above directed. The washed material is first rinsed in lukewarm wa- ter and then in several cold waters. 233 234 FOOT-POWER LOOM WEAVING Mordant 2. Greenish Yellow All material is mordanted before dyeing. Sometimes Yarn 250 gr. the mordant is placed in the dye itself but more often Fresh wild parsley 1 kg. the material itself is mordanted before placing in the dye. Alum (mordant) 35 gr. Alum is a useful mordant for most vegetable dyes. When Boil the parsley one hour, drain, add the alum, stir alum is used it must be boiled in order to become thor- well until alum has dissolved. Boil material in solution oughly dissolved. All goods must be wet before entering from i/ 2 to 1 hr. the mordant. If vitriols are used in mordanting they must be placed 3 - Greenish Yellow in lukewarm water only. Mordant materials from one to Yarn 250 gr. two hours. Alum (mordant) 32 gr. When mordanting the material should be well cov- Fresh alder 1 kg. ered with water. Mordant the material first. Boil the leaves 1 hr., drain, add mordanted material and boil y 2 to 1 hr. Formulae for Dyeing 4. Strong Greenish Yellow The following recipes have been successfully tried out and are offered to those who are interested enough to not only use what is here suggested but to make further in- vestigation in the broad field of vegetable dves. Barberry leaves 500 gr. Mordant the material first. Boil the fresh leaves 2 ,, hr., drain and add mordanted varn, boil from 1 to 2 hr., Yellows according to darkness of color desired. 1. Wax Yellow Yarn 250 gr. 5. Greenish Yellow (Alum (mordant) 32 gr. Yarn 250 gr. Fresh bayberry leaves. .500 gr. Dry Mrch ]eaves 500 ^ Mordant before dyeing, boil the leaves one hour, drain, Alum (mordant) 32 gr. add material and boil one hour. Soak the leaves the day before using. YELLOW DYES Boil the soaked leaves for one hour and strain. Add the alum to this solution and boil yarn in it from y 2 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 be- fore using. It is then boiled two hours and strained. Boil the mordanted yarn in the bark liquid from i/> 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. 7. Gray Yellow Yarn ................. 250 gr. Alum (mordant) ...... 40 gr. Kinnikiiinic .......... 1 kg. Chop the kinnikinnic fine ;m hr. Drain and boil the mordanted material in the liquid from 1 / L . to 1 hr. 8. 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 Ihr. or longer according to the depth of color desired. Reds 9. Dark Red Yarn 250 gr. Cream of tartar 16 gr. ) ,, f Mordant Alum 65 gr. ) Madder 250 gr. Mordant the yarn for two hours and let it remain 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. 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 luke- warm the mordanted yarn is added. This is heated slowly to 00 degrees or 70 degrees Centi- grade 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 mad- der liquid that heats the quickest gives a stronger color 236 FOOT-POWER LOOM WEAVING than the other. The red coloring matter in the madder l2 ' UgU Yellowish Red dissolves without boiling, but with boiling the other in- gredients in the madder are also dissolved and these cause '^ ^ r ' IVi '1 M M f^l* ^ O"T* the red color to lose its brightness and change it to brown. When the yarn has been in the madder liquid for the re- ^ J^l*^ *' " ^ ^ ^ **** quired time it is allowed to remain in the solution until cool. Keep stirring until cool. jg Pale Red It is then rinsed and washed in several waters to re- Yarn ^50 r move the loose madder. Alum ' ( ' mordant J \ [~ 32 gr. When the yarn is allowed to dry after being mordanted Madder 25 r the red color becomes a little darker. All dark madder Treat as in No 12 colors are absolutely fast. The lighter ones fade a little as the years go by. 14. Rose Red Yarn 250 gr. Alum (mordant) 40 gr. 10. Medium Madder Red Madder 50 gr. Yarn *"' r - Mordant the yarn as usual ; when cool wrap the wet Cream of tartar 16 gr. [ Mopdant material in a cloth so it does not dry out. Allow it to lie Alum 40 gr. ) j n t n j s wav f rom 6 to 8 days. It is then treated with mad- Madder 175 gr. (j er ag above mentioned. Treat the same as No. 9. The yarn should be squeezed in a little lukewarm wa- ter before putting it in the color liquid. 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. 15. Terra Gotta Yarn 250 gr. Cream of tartar 16 gr. Alum 48 gr. Madder 125 gr. Oak gall 13 gr. Mordant RED DYES 237 Mordant the yarn as usual. When the madder liquid is lukewarm add the yarn and heat slowly, allow it to boil i/> 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 l /o 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 becomes 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 wa- ter. The yarn is now returned and boiled for a few min- utes, then it is removed, cooled and rinsed. The lighter madder color may be had by coloring the mordanted yarn in the cool liquid left in 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 4 gr xitrii' add "'. y.'.v : : : : 50 gr : Water 150 to 200 gr. 'ream of tartar 50 gr. Cochineal 100 gr. The cream of tartar and the cochineal are soaked. When the water for the coloring is boiling add the cochi- neal and cream of tartar and boil for ten minutes. Keep the liquid well skimmed. After the scum has been re- moved 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 ] /2 hr., according to darkness of color desired. Remove, cool and dry. Yarn 250 gr. Tin 4 gr. ] Nitric acid 25 gr. > Mordant Water 75 to 100 gr. J Cream of tartar 50 gr. Cochineal 50 gr. Treat the same as in No. 16. IS. Iiri(/lit If >'d Yarn 250 gr. Tin 8 gr. "I Nitric acid 50 gr. I Mordant Water 150 to 200 gr. J Cream of tartar 50 gr. Cochineal 25 gr. When the water for the coloring comes to a lM>il, put in the cream of tartar and let it dissolve; add the cochineal. 238 FOOT-POWER LOOM WEAVING Boil for 10 minutes, keeping the scum skimmed from the surface of the boiling mixture. Add the yellowish tin solution as in No. 17 and put the dry yarn into the boiling mixture, turn it quickly around and later turn a little more slowlv. Boil 1 hr. Mordant the yarn as usual. Boil the yarn for y 2 hr. in the solution left from 16 or 17. The color becomes lighter after the use of No. 17 than after No. 16. 1!. Flag Color Yarn 250 gr. Tin 8 gr. Nitric acid 50 gr. Water 150 to 200 gr. Cream of tartar 50 gr. Cochineal 50 gr. Treat the same as in No. 18. 20. Mordant Mordant Dark Carmine Yarn 250 gr. Cream of tartar l(i gr. Alum 8 gr. Cochineal 16 gr. Mordant the yarn for 2 hrs. and cool. In fresh water put the powdered soaked cochineal and boil for 15 minutes. The yarn is added and boiled for 2 hrs., when it is taken out and dried. 21. Carmine Yarn 250 gr. Alum (mordant) 40 gr. 22. lAyht Carmine Yarn 250 gr. Alum :>2 gr. Cream of tartar. . . :>2 yr. Mordant Starch :52 15 gr. Cochineal Cream of tartar 6 gr. Mordant the yarn 1 hr. The starch must be mixed with a little cold water be- fore it is added to the mordant. Boil the soaked cochineal and cream of tartar in fresh water for 15 minutes. The mordanted yarn is boiled in this from i/ to 1 hr. Dull Carmine Yarn 250 gr. Alum 50 gr. Cream of tartar .'52 gr. Cochineal 25 gr. Madder 20 gr. Starch !'! gr. Mordant as usual. Mordant RED DYES 239 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 y to 1 hi-. L'4. Rose Red Yarn 250 gr. Alum (mordant) 32 gr. Boil y hr. in mordant. Boil i/o hr. in solution left in 17. If the color is to be it a light shade double the amount of yarn or throw a wax- half the color solution and add clear water. 2"). Salmon Red Yarn 250 gr. The dry unmordanted yarn is boiled from y to y 2 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 Xo. 18 than when using No. 19. 26. Red from Brazil Wood Yarn 250 gr. Alum 40 gr. Cream of tartar 16 gr. J 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 Xo. 9 and allowed to re- Mordant main 1 hr. The Brazil wood which has been soaked is placed in a bag and this is boiled in clean water y 2 hr. The bag is now removed and the madder colored yarn is IIOAV boiled in this solution from y 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 solution and the yarn is re-entered and left for 10 or 15 minutes. Allow the yarn to remain in the solution 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 Mordant Yarn 250 gr. Alum 40 gr. Cream of tartar 16 gr. 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. During the dyeing the yarn is treated the same as was described in Xo. 9, for madder coloring, hut 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 following way : 240 FOOT-POWER LOOM WEAVING 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 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 before 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 beautiful 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 sulphuric 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 allow 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 before 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 pa- per. If the filtered dye is still blue, then the indigo has been properly dissolved, but if not, the dye will be white or light blue. When Olium is to be used in dyeing, it should be meas- ured 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 the 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 OLIUM BLUE DYES 241 contimiing 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 Soldier 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 tin- used liquid remaining after dyeing 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 1/2 hr. and dry. When dry, it is again wrung in warm water so that it becomes thoroughly wet. To the new luke- warm 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 Mordant be the red of the under dye, with the corresponding amount of Olium added. 30. Light Soldier Blue Yarn 250 gr. Alum 75 gr. Olium 15 gr. 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 stirred. The red dyed yarn is added. ( The yarn must first be wrung out of warm water.) It is then heated slowly, stirred constantly and boiled 1 hr. Handle as above. It may also be dyed red in used madder liquid. 31. Greenish Blue Yarn 250 gr. Alum (mordant) 40 gr. Olium 8 gr. When the yarn has been mordanted, it is dyed light yellow in one of the used yellow dye liquids. It is wrung out of this and then dyed blue as above. If a paler dye is wanted, add 5 gr. of iron sulphate after it has been dyed blue, and boil 10 to 15 minutes. It may now be washed without first drying. Goods dyed with iron sulphate must be left well cov- 242 FOOT-POWER LOOM WEAVJNG ered by the dye until cool, unless they are constantly stirred in the dye. This liquid forms a crust on the sur- face in the cooling which spots the goods or yarn near the surface. 32. Dull Medium Blue Alum (mordant) 40 gr. Oliuin 8 gr. Madder 15 gr. The yarn is mordanted as usual. Some of the mordant water is thrown away and enough cold water is added to make the liquid lukewarm. Add the Olium, stir well, put in the yarn and heat slowly, stirring constantly. Boil % hr. and take out. Add enough cold water to the liquid to make it lukewarm and add the dissolved mad- der and stir well. Add the yarn and heat slowly, stirring constantly and evenly. Boil 1/1; hr., then cool, rinse and wash. 33. Bright Medium Blue Yarn 250 gr. Alum (mordant) 40 gr. Olium 5 gr. The yarn is mordanted and dyed as above. When it is through boiling in the dye liquid the yarn is cooled, rinsed and washed. 3-1 Light Blue Yarn 250 gr. Alum (mordant) 30 gr. Handle the same as above. 35. Water Blue Yarn 250 gr. Alum ( mordant ) 30 gr. Olium 5 to 10 drops Handle as above. The lighter colors with Olium are not absolutely fast, They become slightly greenish after being used and cannot be washed in soda water. 36. Dark Blue with Ground Pine Yarn 250 gr. Ground pine 250 gr. Logwood 100 gr. The ground pine is chopped fine and soaked in as much water as is needed for the dyeing. The whole is heated daily and is placed where it can be kept lukewarm. AVhen after three or four days it has acquired a sourish odor, it should be Avell boiled and strained. The water will diminish in the boiling, 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 1 hr. and then removed. The yarn is now wrung out of the ground pine liquid and boiled in the logwood liquid y 2 hr. to 1 hr. It GREEN DYES 343 is then taken out and dried. When dry, place it for sev- eral hours in a weak lurch 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 liner covers or rugs. In time it l>ecomes slightly gray- ish in color. .'57. Dtirk Him iritli Chi<-kireed Yarn 250 gr. Fresh chickweed 1 pail Alum (mordant) 32 gr. Logwood 50 gr. The chickweed is boiled 1 hr. and drained. The alum is added to the liquid, and well stirred. The wet unmor- danted 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 logwood bag. The yarn lies in the liquid until cold. It' a darker dye is wanted, use more logwood. Green Dyes The pure green colors are always composed of a yel- low and blue dye stull'. 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. P>y adding madder or iron sulphate, the green will l>ecome darker but it is an- other 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. 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 arc 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 straining, the leaves are rinsed with a little clear wa- ter, 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 Olinin. Olium is measured in a graduated glass or is dropped I count ing the drops) carefully into the water which has been heated to about 20 <\ and is well stirred. The wet, well wrung yarn, already mordanted, is placed immedi- ately in the lukewarm blue liquid. It is stirred and turned quickly around with a stick. This is kept up constantly 244 FOOT-POWER LOOM WEAVING 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 y 2 nr - Unless one is exceedingly ca!reful in the blue dyeing, the yarn becomes clouded and this cannot be corrected la- ter, 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 material 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 cal- culate 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. For the light after-dyes, add to the cooled dye 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. 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. 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. Birch leaves 750 gr. Boil in birch-leaf dve 1 hr. GREEN DYES 245 41. Light Blue Green Yarn 250 gr. Alum (mordant) 40 gr. Olium (blue dye) 1 gr. Birch leaves 500 gr. Boil in birch-leaf dye y 2 to 1 hr. 42. Dark Strong Green Yarn 250 gr. Alum (mordant) 50 gr. Oliuin (blue dye) 3 gr. Birch leaves iy. 2 kg. 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 y 2 to 1 hr. 43. 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. 44. Light Green Yarn 250 gr. Alum (mordant) 40 gr. Olium (blue dye) 1 gr. Birch leaves 1 kg. Boil in birch-leaf dye y 2 to 1 hr. 45. Yellow Green Yarn 250 gr. Alum (mordant) 30 gr. Olium (blue dye) 15 drops Birch leaves 1 kg. Boil in birch-leaf dye y 2 to 1 hr. 4G. Dull Grass Green Yarn 250 gr. Alum (mordant) 40 gr. Olium (blue dye) l 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. 246 FOOT-POWER LOOM WEAVING 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 14 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 i/> 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. according 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 Baylerry Yarn 250 gr. Alum (mordant) 40 gr. Dried barberry leaves . . 500 gr. Iron sulphate 10 to 20 gr. Soak the bayberry leaves and boil 2 hrs. The mor- danted yarn is boiled in the strained liquid for 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. 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 Avater 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. Mordant VIOLET DYES 247 If more logwood is used, the color will be darker less log- wood makes it lighter. .".:;. Dark Grass Green Yarn 250 gr. Mulberry 80 gr. Alum 40 gr. Oliuin 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. 51. Olive Green Yarn 250 gr. Alum (mordant) 40 gr. Olium (blue dye) 5 gr. Mulberry 62 gr. Tameric Acid 40 gr. .Madder ];{ gr. Iron sulphate 3 gr. The yarn is mordanted and dyed blue, just as is done in birch-leaf dyeing. The mulberry having l>een 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 lias boiled 1 hr. in the yellowish liquid. it is taken out. The dve 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 i/> hr. Dissolve the iron sulphate and add it to the cooled liquid, after taking out the yarn. Stir well. Put yarn back and lx)il for 14 to y 2 hr. Take out immediately and cool. With moi-e madder, the color becomes browner, with less, more green. More iron sulphate makes it duller. If the madder is omitted, the color becomes a pure green. These colors are not durable. In time they become 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 satisfactory in coarse or hard cloth. The finer dye shades require soft wool. By using different kinds of mordant, violet shades may he obtained from the blue dye in logwood. These colors are not as pretty or fast as the others above mentioned. 248 FOOT-POWER LOOM WEAVING Violet with Cochineal 56 ' Dark Blue Violct For violet, the yarn must first be dyed blue, then red. Ya 25 gr> The yarn is done in the same manner as for green. Alum ( mordant ) 50 gr When the yarn has been boiled in the blue dye, it is dried )Hu ? (blue dye) 5 gr ' without rinsing. Cochineal 25 gr. Cochineal is powdered fine and put to soak the day before doing the red dyeing. It is then put in clear water, 57. Medium Blue Violet boiled for ten minutes and well skimmed. Lay the dry Yarn .250 "T blue-dyed yarn in the boiling dye, turn it around quickly Alum (mordant) . . .. . . . 50 gr' so that it gets wet, and boil, stirring constantly for the re- Olium (blue dye) 3 gr. quired time; then take it out and cool before washing. Cochineal 15 gr. If the color does not seem to be red enough, the yarn Handle as above but boil i/ 2 to 1 hr. 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 58 ' Blue Violet little more soaked cochineal and let the yarn boil longer. Yam 25 8 r - If the color is redder than desired, boil the varu a A J Um ( moi ' dant ) 40 gr. , ,. . ,, Olium (blue dye) 50 drops shorter time in the red dye, but not less than half an hour. Cochineal 5 hr. in Yarn 250 gr. the after color of No. 56. Alum (mordant) 50 gr. Olium (blue dye) 10 gr. - Dark Red Violet Cochineal 50 gr. Jf ; 25 & Alum ( mordant ) 50 gr. Mordant the yarn as usual and dye blue. When dry, Olium (blue dve) 4 gr. boil 1 hr. in cochineal dye. Cochineal . . . . 40 gr. VIOLET DYES 249 The yarn is mordanted and dyed blue as the former have been and is boiled in the red dye i/> to 1 hr. accord- ing to the redness required. ll. Indian Red Violet Yarn 250 gr. Alum (mordant) 50 gr. Olinm (bine dye) 2 gr. Cochineal 20 gr. Handle as above. Ill', lirii/lit Red Violet Yarn ..250 gr. Alum (mordant) 40 gr. Olinm (bine dye) 30 drops Cochineal 10 gr. Handle as above. G3. Lit/lit Red Viol < I Yarn 250 gr. Alum (mordant) 32 gr. Handle as No. .">!! and boil in the red after-dye of No. (ill or No. 61. Violet with Cochineal or Madder When madder is to be used with cochineal for red dye- ing 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 lirst be squee/.ed in warm wa- ter 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. 0(5. 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 250 FOOT-POWER LOOM WEAVING 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 ivith Ground Pine Yarn 250 gr. Ground pine 250 gr. Logwood 50 gr. Mordant and dye as No. 3G. 68. Blue Violet with Chickivccd 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 suit must often be added to the yellow or red dyestuff. When these salts, such as iron or copper vitriol, are adder!, 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 added, 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 oh 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 Baybcrry Leaves Yarn 250 gr. Alum (mordant) 40 gr. Bayberry leaves ( dried). 750 gr. The yam 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. 70. bellow 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 BROWN DYES 251 2 lirs. and left until cold. If wanted still darker it may be dried and boiled again in new aider hark dye. This color darkens in time. 71. Bronzt- linnni iritli Buckthorn Hurl; Yarn ................. 250 gr. Dry bark ............. 500 gr. Alum Chop the bark line, soak and boil 3 hrs. To the strained liquid, add the alum and when it is dissolved, the dry un- mordanted yarn is laid in the boiling dye. Boil in this 1 to 2 hrs., and let it remain until cold. 72. Bronze Broini irifli Walnut Lcarcs 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 Broicn iritli Jinii/icr Yarn ................. 250 gr. Alum ................ .">2 gr. Creani of tartar ....... IS gr. Copper sulphate ....... IS gr. Ammonia chloride ...... l.'i gr. Juniper berries ....... 1 to 2 liter ' Copper acetate ......... l(t 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 y to y 2 hr. 74. I/iyht 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 1/2 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 iy 2 kg. Crush line the stone lichens and strew well between 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 between 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 G hrs. 252 FOOT-POWER LOOM WEAVING If the yarn is to be very dark, it must be treated again with new lichens and in the same manner. 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 l 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 gray- ish 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 % 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. 80. Dark Bed-Brown with Madder Yarn 250 gr. Alum 45 gr. Cream of tartar 10 gr. Madder 125 gr. Oak gall 12 gr. Iron sulphate 10 gr. Mordant the yarn as usual 1 hr. Put the soaked mad- der in clear water. When the liquid is milk warm, add the Mordant GRAY DYES 253 Avet mordanted yarn, heat and boil, keeping in even mo- tion 14 hr. and then take out. Add the crushed oak galls and stir. Boil the yarn in this */ 2 hr. Take out, add iron sulphate, cool a little and put yarn back. Boil, stirring evenly for 14 wr - Gray Dyes All plants that contain tannic acid, will make gray dyes. Many kinds of bark contain much tannic acid from Avhich. by adding iron salts, gray to black dyes may be ob- tnined. Boil the plants and the material first in this dye, which will give it a yellow, red 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 propor- tions between the strength of the dye and the amount of iron sulphate. In a weak dye. a dark gray dye cannot be obtained, however much iron sulphate is added. SI. Gray Broicn iritli Alilo- Hurl; Yarn 250 gr. Alum i inni-daiit I 32 gr. Alder bark 4 kg. Iron sulphate 10 to 150 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 14 to i/ 2 hr. 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 unmordaiited yarn in the liquid 1 hr. Add the iron sulphate and boil the yarn 14 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. Kit. When boiled, add iron sulphate and boil yarn 14 to- 1/2 hr. 254 FOOT-POWER LOOM WEAVING 85. Green Gray with Lady's Mantle Yarn 250 gr. Alum 260 gr. "I Cream of tartar 16 gr. > Mordant Fresh lady's mantle . 1/2 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 loilh 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 1/2 to 1 hr. 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 1/2 hr., and then the sumac and oak gall are added and boiled. The yarn is placed dry in the boiling dye, and boiled i/> 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 iy 2 gr. Madder y 2 gr. Iron sulphate 3 gr. The oak gall, mulberry wood, and madder is boiled y 2 hr. The dry, unmordanted yarn is put in the boiling dye and boiled y 2 hr. The yarn is taken out and the iron sulphate added. The yarn is again put back and boiled 1/2 hr. By taking more or less of the different dyestuffs, 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 tannic 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 blue, black may be obtained from it by vising 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. Uutinned cop- per may be used, but not tinned copper kettles. Logwood is always put in a bag to be boiled and, to BLACK DYES AFTER DYES 255 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 dye- ing 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 absolutely fast. S'.t. lilnrh- ,,-illi Korri'l Yarn 250 gr. Fresh sorrel 1 to 1% kg. Logwood 175 gr. Birch ashes 250 gr. Boil the sorrel 1 to 2 hrs. in a clean scrubbed iron ket- tle. 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 dye ing. jind boil in clem- water 2 hrs. and take the bag out. 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 ll' lire, 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 re- gards 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 com- mon 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 together and the alum added at once. With after-dye of heather, cotton and linen may both be dyed yellow. This is a pretty color for the warp in simple rugs and carpets. In the after-dye of ground pine, wool and cotton 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 carpet rags. Red After-Dyes Madder dye may be used to the last drop. Wool, rags und 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 l>e 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. 256 FOOT-POWER LOOM WEAVING Cochineal dye may be used until there is only the clear water left. The light red almost colorless dye makes pretty light tints for old pure wool, white dresses and blouses, and a large amount of woolen sweater yarn 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 14 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 lirst 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, however, 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 are 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 lir.st be well washed and then boiled *4 hr. in soda water (which must not be strong enough to injure the goods) so that as much of the original dye is removed as possible. Then rinse it well. After that handle as the white. When old goods is to be dyed, a darker color than I lie original must be chosen. For success 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. \vry 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 duckweed 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 originally, 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. //A/','. I < 'HIM I tiOODSMEA SI 7,'A'N Bleaching of Woolen Goods No matter bow well woolen goods is washed and the fats removed, it will never he 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 lie poured over them. In the bleaching of woolen goods sulphur is used. This Meacliing may easily be done at home by using sulphur in a tightly closed room where damp woolen goods has been linng. For bleaching, a large tight box or barrel with cover may lie 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 ninst he provided with a cover. At the top of the barrel or box, on the inside, strips of wood must In- nailed on which the stick, holding the yarn, may be rested. Sometimes the wool is hung from a large spool or placed loosely in a net. After the yarn has been thoroughly 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 heaping tablespoon. 20 gr. mulberry 1 heaping tablespoon. 15 gr. logwood 1 heaping tablespoon. 20 gr. cochineal 1 heaping tablespoon. 8 gr. pulverized alum 1 heaping teaspoon. s r. coarsely powdered cream of tartar 1 heaping tablespoon. 12 gr. coarsely powdered potassium chromale - 1 heaping teaspoon. 10 gr. iron sulphate 1 heaping teaspoon. 10 gr. coarsely pounded copper sulphate 1 heaping teaspoon. 1 gr. olium ."> drops. INDEX Abbreviations: (w. d.). working drawing; (111.), illustration; (pat.), pattern; (dr.), draft. Adaptations, of borders, in pattern weaving, 48; of double woven pattern, 186; (ill.), 187 Analysis of woven patterns, 101 Beaming, 19 Betsy Ross towel, 110; (dr.), 110 Big Diamond pattern, 55; (dr.), 56; (ill.), 57 Bleaching woolen goods, 257 Blocking out a pattern from a draft, 105 Block Work pattern, 62; (dr.), and (ill.). 62 Blooming Flower pattern, 73; (dr.), and (ill.), 74 Blue dyes, 241; after-dyes, 256 Bobbin winder, 35 Bonaparte's March pattern, 71; (dr.), 72; (ill.), 72 Borders, adaptations in pattern weaving, 48 Border combinations, 52; (ill.), 51 Borders in pattern weaving, 46 Braddock's Defeat pattern, 87; (dr.), 87 Chariot Wheel adaptations, 65; (ill.), 65, 66 Chariot Wheel pattern, 64; (dr.), and (ill.), 64 Checked paper, 48 Cloth beam, 32 Cloth, construction of, 8 Colonial patterns, 55 Color, introducing of, 40 Counterpane, 65, 79, 81 Counterpane patterns, 203, 206, 209, 214; (dr.), 200, 201, 202, 203, 204, 206, 207, 208, 209, 210, 212, 213; (ill.), 200, 202, 205, 207, 210, 213 Cross pattern, 89; (dr.), 89 Crosses, securing of, in warping, 11 Curtains, 48; (ill.), 49, 50, 53, 66, 80 Curtain weave, Danish, 119 Damask-double weave, 164 Danish and 'Norwegian weaving, 115 Danish draft for eight-heddle double weave, 186 Dog Tracks pattern, 92; (dr.), 92 Doors and Windows pattern, 83; (dr.), 83 Double Bow Knot pattern, 91; (dr.), 90 Double Chariot Wheels, 84; (dr.), 84 Double Snowball adaptations, 60; (dr.), 60; (ill.), 61 Double Snowball pattern, 60; (dr.), 59; (ill.), 60 Double weaving, 177 Double weaving, counterpanes, 203,. 206, 209, 214; (dr.), 200, 201, 202, 203, 204, 206, 207, 208, 209, 210, 212, 213; (ill.), 200, 202, 205, 207, 210, 213 Double weaving, arrangement for, 183 Double weaving, Lover's Chain, 198; (dr.), 194, 195; (ill.), 195 Double weaving, Lover's Knot, 198; (dr.), 196, 197; (ill.), 197 Double woven pattern, 178; (dr.) and (ill ), 179 Draft, Danish, 115 Draft for double woven pattern analysis, 186; (ill.), 188 Draft, Norwegian, 164; Swedish, 122, 123, 124, 125 Draft, reading a Swedish, 121 Dyeing, formulae for, 234 Dyeing old goods, 256 Dye liquids, use of, 255 Dyes and Dyeing, 233 Dyes, yellow, 234; red, 235; blue, 241; green, 243; violet, 247; violet with cochineal, 248; brown, 250; gray, 253; black, 254 Eight-harness Damask weave, 169; (dr.), 167 Eight-harness Damask diagonal weave, 170 Eight-harness Damask weave,, Swedish draft, 166 Eight-harness loom, 130, 137; (sketch), 132 Eight-harness Swedish pattern, 129, 137 Eight-heddle patterns, double weaving, 184; (ill.), 183, 184 Expressing Danish patterns, 115 Fancy Work bag, 48; (ill.), 49 Federal Knot pattern, 76; (dr.), 75; (ill.), 7G Figure Harness, for double weaving, 194 Fine threads, use of, 52 Five-and-six harness Danish pattern, 119 Fly shuttle, 224; (w. d.), 232 Foot stool, textile and wood, 215; (w. d.), 216; (ill.), 217 Four-harness Danish pattern, 115 Four-heddle weaving, principles of, 101 Four Wheels, 91; (dr.), 91 Fox Trail pattern, 83; (dr.), 83 Goose Eye Danish pattern, 118 Governor's Garden pattern, 70; (dr.), 69; (ill.), 69 Green dyes, 243; after-dyes, 256 Guess Me pattern, 93; (dr.), 93 Handbags, 99, 100; (dr.), 99, 100 Hand measures, 257 Harness, 31 Heddle frame, 24; (w. d.), 25 Heddle hook, 27; (w. d.), 28 Heddle horses, 31; (w. d.), 31 Heddle sticks, 25 Heddles, knotting of, 24 Heddles, threading of, 26 Heddles, wire, 24 Honey Comb weave, 124 Honey Suckle, 99; (dr.), 99 Indiana Frame Rose, 86; (dr.), 86 Irish Chain pattern, 77; (dr.), 78; (ill.), 78 Irregular threading in Swedish patterns, 123 Irregular treadling, 59 859 260 INDEX Continued King's Flower pattern, 88; (dr.), 88 Knitting Bag, 48; (ill.), 49 Knotting the heddles, 24 Lambs, tie-up for pattern weaving, 53; (w. d.), 52 Laying in sticks, 23 Lease, 9 Lease rods, 24 Leopard Skin pattern, 82; (dr.), 82 Lily of the Valley, 97; (dr.), 98; (ill.), 98 Linen draft, 108 Linen towels, 108, 109, 110, 111, 112, 113, 114 Linen weaves, 108 Loom, Danish, 224; (w. d.), 225, 226, 227; sketch, 224 Loom, parts for pattern making, 53; (w. d.), 52 Loom, parts of, 9; (ill.), 20 Loom, power, 7; simple hand, 9 Loom, Swedish, 224; (w. d.), 229, 230, 231; sketch, 228 Loom, threading of, 27; tying of, 30 Looms, design and construction, 224 Lover's Chain pattern, 198; (dr.), 194, 195; (ill.), 195 Lover's Knot pattern, 198; (dr.), 196, 197; (ill.), 197 Making a draft from a woven pattern, 101 Martha Washington towel, 108; (dr.), 108 M's and O's pattern, 114; (dr.), 114 Mollie Pitcher towel, 110; (dr.), Ill; (ill.), Ill Monk's Belt pattern, 41; (dr.), 43 Mordant, 234 Mosaic pattern, 201; (dr.), 198, 199; (ill.), 199 Norwegian patterns, 119, 166 Old Irish Quilt pattern, 89; (dr.), 89 Old Quilt pattern, 80; (ill.), 81; (dr.), 82 Olium, preparation of, 240 Orange Peel pattern, 67; (dr.), and (ill.), 67 Paddle, construction of warping, 17; (w. d.), 17 Paddle, use of, 17 Parson's Beauty, 87; (dr.), 87 Pattern, alternate analysis of, 105; analysis of double weaving, 208, 211 ; analysis of, 104 Pattern harness, for double weaving, 190 Pattern repeat in weaving, 102 Pattern weaving elements, 41 Pattern weaving in textiles, 48 Patterns, Colonial, 55 Patterns, Colonial, 97; (dr.), 98; (ill.), 98 Patterns, Colonial, Big Diamond, 55; (dr.), 56; (ill). 57 Block Work, 62; (dr.), and (ill.), 62 Blooming Flower, 73; (dr.), and (ill.), 74 Bonaparte's March, 71; (dr.), 72; (ill.), 72 Braddock's Defeat, 87; (dr.), 87 Chariot Wheel, 64; (dr.), and (ill.), 64 Cross, 89; (dr.), 89 Dog Tracks, 92; (dr.), 92 Doors and Windows, 83; (dr.), 83 Double Bow Knot, 91; (dr.), 90 Double Chariot Wheel, 84; (dr.), 84 Double Snowball, 60; (dr.), 59; (ill.), 60 Federal Knot, 76; (dr.), 75; (ill.), 76 Four Wheels, 91; (dr.), 91 Fox Trail, 83; (dr.), 83 Governor's Garden, 70; (dr.), and (ill.), 69 Guess Me, 93; (dr.), 93 Honey Suckle, 99; (dr.), 99 Indiana Frame Rose, 86; (dr.), 86 Irish Chain, 77; (dr.), 78; (ill.), 78 King's Flower, 88; (dr.), 88 Leopard's Skin, 82; (dr.), 82 Old Irish Quilt, 89; (dr.), 89 Old Quilt, 80; (ill.), 81; (dr.), 82 Orange Peel, 67; (dr.), and (ill.), 67 Parson's Beauty, 87; (dr.), 87 Pine Cone Bloom, 96; (dr.), 98; (ill.), 98 Pine Knot, 74; (dr.), and (ill.), 75 Platform, 93; (dr.), 93 Queen's Delight, 88; (dr.), 88 Rings and Chains, 79; (dr.), 78; (ill.), 78 Scarlet Balls, 84; (dr.), 84 Sea Star, 85; (dr.), 85 Snail's Trail and Cat's Paw, 72; (dr.), 73; (ill.), 73 Sun, Moon and Stars, 96; (ill.), 97 (dr.), 97; Virginian Snowball, 92; (dr.), 92 Wheel of Fortune, 76; (dr.), 77; (ill.), 77 Whig Rose, 94; (dr.), 96; (ill.), 95 White House, 85; (dr.), 85 Wind Flower, 81; (dr.), 94; (ill.), 95 Window Sash, 86; (dr.), 86 Pillow Tops, 63, 64, 65, 68, 70, 71 Pine Knot pattern, 74; (dr.), 75; (ill.), 75 Placing a Reed, 28 Plaids, weaving of, 40 Platform pattern, 93; (dr.), 93 Preparing a long warp, 9 Queen's Delight, 88; (dr.), 88 Raddle, 19; (w. d.), 21 Rag Rugs, 40 Reading a draft, 55 Red dyes, 235; after-dyes, 255 Reed, the, 28; threading of, 28, 44 Reel, 16; warping, 14; (w. d.), 13 Reels, 37; (ill.), 37, 39; (w. d.), 38 Removing warp from reel, 16 Rings and Chains pattern, 79; (dr.), 78; (ill.), 78 Rings and Chains adaptations, 79; (ill.), 79, 80 Rose Path border, 50, 53; (dr.), 50 Rose Path Swedish pattern, 125 Rug weaving, 173 Rug, wool, 172, 173; (dr.), 173 Scarlet. Balls pattern, 84; (dr.), 84 Screens, textile and wood, 217, 219; (w. d.), 220, 222; (ill.), 221, 223 Sea Shell pattern, 174; (dr.), 174; (ill.), 175 Sea Star pattern, 85; (dr.), 85 Selecting the heddle combinations in pattern weaving, 101 Sewing Basket, textile and wood, 217; (ill.), 219 Shed, 33 Shuttle, 34; (w. d.), 35 Shuttle stick, 34; (w. d.), 34 Six-harness loom, 133; parts of, (w. d.), 130 Six-harness Swedish pattern, 133 INDEX Concluded 2til Snail's Trail and Cat's Paw pattern, 72; (dr.), 73; (ill.), 73 Solomon's Delight pattern, 106; (dr.), 106 bpool rack, 15; (w. d.), 14 Stool, foot, 215; (w. d.), 216; (ill.), 217 Sun, Moon and Stars pattern, 96; (dr.), 97; (ill.), 97 Swedish weaving, 121 Tabby harness for double weaving, 190 Table Mat, cotton, 170; (dr.), 171; (ill.), 172 Table Runner, 61, 63 Temple, 35; (w. d.), 36 Ten-harness Damask weave, 164 Textiles and wood, 215 Three-harness linen weave, 113; (dr.), 113 Three-harness Swedish pattern, 127; diagonal weave, 128 Threading for Damask double weave, 165 Threading for Big Diamond pattern, 56 Threading for pattern weaving, 42 Threading for Rose Path border, 50; (dr.), 50 Threading for ten-harness Damask weave, 170; (w. d.), 168 Threading of loom, 27; of reel, 28, 44 Tie-up for Irish Chain, 79; Rings and Chains, 79 Tie-up of Lambs for pattern weaving, 53; (w. d.), 52 Tie-up with double sets of lambs, 129 Towel weave, 117 Turning on, 19 Two-harness Danish pattern, 117 Two-harness double weaving, 190 Tying heddle sticks for pattern weaving, 44 Tying heddle sticks to treadles, 32 Tying the loom, 30 Unit analysis in pattern weaving, 103 Utensils for dyeing, 233 Violet dyes, 247; after-dyes, 256 Virginia Beauty pattern, 176; (dr.), 176 Virginian Snowball, 92; (dr.), 92 Warp, 8; distribution of, 23; removing from board, 12; from reel, 16 Warp beam, 14 Warp spreader, 19; (w. d.), 21 Warp stand, 23 Warp, taking off, 12 Warping, alternate, 15 Warping a number of threads at once, 16 Warping board, construction of, 10; (w. d.), 13; use of, 10 Warping reel, 14; (w. d.), 13 Warping threads, keeping account of, 15 Washing wool for dyeing, 233 Waste Basket, textiles and wood, 215; (w. d.), 218; (ill.), 217 Weaving a border in pattern weaving, 46 Weaving double cloth, 178 Weaving plaids, 40; (ill.), 42 Weaving a pattern, 41 Wheel of Fortune pattern, 76; (dr.), 77; (ill.), 77 Whig Rose pattern, 94; (dr.), 96; (111.), 95 White House pattern, 85; (dr.), 85 Wind Flower pattern, 81; (dr.), 94; (ill.), 95 Window Sash pattern, 86; (dr.), 86 Wood and Textiles, 215 Woof, 8 Yellow dyes, 234; after-dyes, 255 X 14 DAY USE RETURN TO DESK FROM WHICH BORROWED ENVIRONMENTAL DESIGN LIBRARY This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subject to immediate recall. ;.: ss U*fi 9. 7 IPfifl HQV6 1968 JAN 2 J> 19(59 DEC 2 1969 MAR 3 13-7 SEP 7 1997 1 AUG20RECD 1 .' LD 21A-50m-9,'67 , General Library (H5067slO)476 university of California Berkeley 377