E- A. POSSELT, Publisher & Bookseller, 2152 N. 2Ist Street, Philadelphia. THOMAS WOOD & CO FAIRMODNT MACHINE WORKS, 22d & Wood Sts., Philadelphia, Pa. ( POV/ER LOOMS. ' Patent Bobbir Patent Cop V Improved Pre Plain Beamin: Improved Re( Improved Pn Plain Spooler Warp Splittii Hank Twistii Warping Mill Single and D Dyeing Mach Cradle and C Fulling Mills. Calendering I Self-Acting W Yarn Bundling Loom Beam Trucks (DecoratixicArt QoUe^oru ST^l^Ll N G ANDFRANQNE CLAIUC ART INSTITUTE LIBRART .^men, etc. tiproved hecks. ( 1 1 csacs. SHAFTING, HANGERS, PULLEYS, ETC. SELF-OILING BEARINGS, PATENT FRICTION PULLEYS, PATENT SELF- OILING LOOSE PULLEYS WITH BEVEL FLANGE, GEARING, ROPE TRANSMISSION, SPECIAL DRIVING. ELBVATORS. / K ^ ■^ ^ ^ ^^I^INGKI^ \p^ O MANUFACTURERS OF ^^ 'S Single Lift Jaequard Machines, Double Lift Jaequard Machines, Raise and Drop Jaequard Machines, Witch Motions, Dobby Machines, Heddle Machines, Jaequard Card-Lacing Machines. PIANO STEAM-POWER CARD- STAMPING MACHINE. For Jacquard Cards. The speed is comp'etelv at the wi'l of the operator, and will punch as high as lyoslrokes per minute. The capacity is about double that of a foot-power machine. Two cards can be stamped at once. JACQUARD MACHINES. Made for weaving figured goods of all kinds, from the light- est to the heaviest, either for silk, cotton or wool. Single lift, double lift or raise and drop machines. Harness tied up and made ready to set on looms of any make. Our raise and drop are especially adapted to weaving the finest silk and worsted goods. PIANO FOOT-TREADING CARD-STAMPING MACHINE. I have lately re-constructed this machine, making it more compact by a novel and durable escapement of the rack. The only successful machine ever introduced for this pupose. Far superior to hand lacing for regu- larity and durability. Light-running, simple and durable. Can be operated by a small girl or boy. Will lace 800 to 2000 cards per hour. Thoroughly and satisfactorily tested. Weighs about 500 pounds. Machines now in operation and ready for the inspection of manufacturers. Machines placed on trial with re- sponsible parties. JACQUARD CARD-LACING MACHINE. Nos. 14 to 36 Canal Street, Ptiiladelplnia, Pa. {Take red car on Third Street to Frank ford Avenue and Canal Streets.) KNOWLES LOOM WORKS, WORCESTER. MASS. BUILDERS OF LOOMS FOR ALL STYLES OF WEAVING THE ILLUSTRATION ON THIS PAGE REPRESENTS OUR MEAVY WORSTED LOOIVL Of Twenty-five or Thirty Harness Capacity 4x4 Box, with Single or Double Beam, made from new and heavy patterns and fitted with every device that experience has shown to be practical, while we have striven not to overload it with useless attachments which would be a source of vexation or expense by reason of breakage. The Loom is built with Entire New Driving Gears, Friction pulley if desired, Positive Box Motion, Heavier Upright Shaft and Gears, complete system of Positive and Conditional Take-up Motions, Filling Stop Motion, Equal Driving Gears for crank and bottom shafts, and other new devices which combine to make this the very best loom in the market, and one upon which we guarantee to weave every variety of fabrics from the simplest to the most intricate that can be woven on any loom in the world. This Loom is also arranged with Jacquard for more extensive and intricate patterns in Fancy Worsteds, etc. The Superiority of the Open Shed principle of weaving has been fully established by the success of this loom, and we are more fully persuaded than at the first that it is the true theory. The ver- dict of the numerous manufacturers who have them in successful operation is lufiicient guaranty of the merits of the loom. (Send for Circialar.) KNOWLES LOOM WORKS, WORCESTER, MASS. THIS ILLUSTRATION SHOWS OUR VKIvVKT AND RLUSH LOOM. A Loom designed especially for this class of goods, and made with 12, 20 or 30 harness capacity and with Single Box at each end, or Double Stationary Boxes at each end designed to run two shuttles at each pick, or with two or three pairs of Drop Boxes at each end, arranged to use two shuttles at each pick and call either pair as required by the pattern. THE HARNESS AND BOX MOTION ARE THE SAME AS ON THE FANCY WORSTED OR CASSIMERE LOOM. The goods are cut automatically in the loom. The Take-up Motion is positive and very accu- rate in its operation, and the Let-off for Pile Warp is operated positively from the head motion, and controls the length of the pile on the goods. Many of these Jooms are in successful operation on this class of goods. We desire most respectfully to call the attention of Textile Manufacturers to the various Looms built by this Company for all kinds of fabrics, including Worsteds, Woolens, Dress Goods, Flannels, Blankets, Jeans, Ginghams, Uphol- stery, Draperies, Shawls, Ingrain Carpets, Silks, Satins, Ribbons, Suspenders, Bindings, Wiekings, Webbings, etc., which have within the past years been introduced into most of the mills in the country, and where they have, by superior workmanship and perfect operation, won for themselves the reputation of being the best looms made, and established beyond question the claims made for them on their introduction to the public many years ago. (Correspondence Solicited.). ERBEN, SEARCH & CO., Phiilad.elph.ia, Pa. FAIRMOUNT WORSTED MILLS. Mills, 2416 Spring Garden Street. TACONY WORSTED MILLS. Mills, Tacony, Philadelphia, Pa. Worsted. Yarns — English or Krenchi Systems; Also Woolen, Nlohair, IVlerino and Genapped Yarns. Delivered on Cops, Shuttle Bobbins, Skeins, Six-inch and Dresser Spools, in Oil or Colors. Technology of Textile Design. Being a Practical Treatise on the Construction and Application of Weaves for all Textile Fabrics, with minute reference to the latest Inventions for Weaving. Containing also An Appendix showing the Analysis and giving the Calculations necessary for the Manufacture of the various Textile Fabrics. BY- .VV' E. K. POSSELT, Head Master Textile Department Pennsylvania Museum and School of Industrial Art, Philadelphia, Pa.; Author of "The Jacquard Machine analyzed and explained, the Preparation of Jac guard Cards, and Practical Hints to Learners of Jacquard Designing,'^ WITH OVER 1000 ILLUSTRATIONS. PHILADELPHIA: Published by the Author. HENRY CAREY BAIRD & CO., INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS, 8io WALNUT STREET. LONDON: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON, Limited, ST. dunstan's house, fetter lane, fleet street. 1889. GOPYP^IGHTED, 1887, — BY — E. A. POSSELT, Press of ROYAL PRINTING COMPANY, N. E. Cor. loth and Tilbert Streets, Philadelphia. PREFACE. An experience of several years as Principal of The Textile Department of the Pennsylvania Museum and School of Industrial Art, has shown the author of this work the necessity and value of a Text-book on Textile Designing and Weaving. The absence of any such guide to the study has Induced him to prepare this work, which he trusts will be useful not only to the student as a Text-book, but also to the manufacturer as a book of reference. The results arrived at by the completion of this work, will be greatly enhanced in their value to practical men, when assured that a life-time of actual service in the mills of this country and Europe has been enjoyed by the author, and that the ripe experience of such practical knowledge has been closely interwoven with the results herein fully set forth. The favor so generously accorded his previous book entitled "The Jacquard Machine Analyzed and Explained ; the Preparation of Jacquard Cards, and Practical Hints to Learners of Jacquard Designing," greatly encouraged him In the prepara- tion of this work, and it Is sent forth with the earnest desire that It may likewise win the approval of the public and aid in developing and extending a deeper interest in the subject. While much indebted to his many friends for their kindly hints and suggestions, he more particularly acknowledges the services of Mr. Theodore C. Search, who has been so unremitting in his zeal for the advancement of the work, and through \ whose generous assistance the author has been enabled to reach a more speedy termination of his labors. \ (^ -* Philadelphia, Pa., November, 1888. 'J- Digitized by the Internet Archive in 2012 with funding from Sterling and Francine Clark Art Institute Library http://archive.org/details/technologyoftext1889poss2 CONTKNTS. PAGE. Divisions of Textile Fabrics, According to their Construction, Squared Designing Paper for the Different Textile Fabrics * . 9 Foundation Weaves, The Plain or Cotton-Weave, 13 Fancy Effects Produced with the Plain Weave, 14 Twill Weaves (Method for their Construction), 16 Combinations of Two or More Colors for Producing Figured Effects upon Fabrics Interlaced on Twills, 22 Satin Weaves (Method for their Construction), 25 Influence of the Twist of the Yarn upon Fabrics Interlaced with Satin Weaves, 29 Arrangement for Commencing the Satin Weaves for Special Fabrics, such as Damask Table Covers, Etc. , 29 "Drawing in the Warp in its Harness" and the Preparation of Drawing-in Drafts. The Harness, 31 Principles of a Drawing-in Draft, 31 Different Divisions of Drawing-in Drafts, 32 Sub-Divisions of Fancy Drawing-in Drafts, ■ 32 A. — Broken Draws, 32 B. — Point Draws, . 33 C. — Drawing-in Drafts having a Section Arrangement, 34 D. — Skip Draws, 35 E. — Mixed or Cross Draws, 35 Specimen of a Complete Drawing-in Order, 35 Draftmg of Drawing-in Drafts from Weaves, 36 Rules for Estimating the Number of Heddles Required on Each Harness, 38 The Reed, and Reed Calculations, 39 Derivative Weaves from the Plain or Cotton Weave. I. — Common Rib-Weaves, 41 II. — Common Basket Weaves, 42 III. — Fancy Rib-Weaves, 43 IV. — Fancy Basket-Weaves, 45 V. — Figured Rib-Weaves, 46 Effects Produced by Using Two or More Colors in Warp and Filling in Fabrics Interlaced upon Rib and Basket-Weaves, 48 VI.— Oblique Rib- Weaves, . 50 Combining Common, Rib and Oblique Rib-Weaves, . . 51 CONTENTS.— Continued. Derivative Weaves from the Regular Twills. page. I. — Broken Twills, 52 Using Two or More Colors in Warp and Filling for Producing Effects in Fabrics Interlaced with Broken Twills 55 II. — Steep Twills or Diagonals, 56 III. — Reclining Twills, 60 IV. — Curved Twills, 62 v.— Skip Twills, 63 VI. — Combination Steep Twills, 67 VII.— Corkscrew Twills, 68 VIII. — Entwining Twills, 75 IX. — Twills having Double Twill Effects, 77 X. — Twills Producing Checker-board Effects, . 78 XI. — Fancy Twill Weaves 80 XII.— Pointed Twills, 81 Derivative Weaves from Satins. Double Satins, 84 Granite Weaves, 85 Granite Weaves as Constructed by other Methods than having Regular Satins for their Foundation, . 88 Combination of Different Systems of Weaves for One Design, 90 Figured Effects upon Fabrics interlaced with Derivative Weaves Produced by Arrangement of Two or More Colors in the Warp or the Filling, or in Both at the Same Time, 93 Single Cloth Weaves for Fabrics of a Special Construction and Peculiar Character. Honeycomb Weaves 98 Imitation Gauze Weaves, 102 Combination of Weaves for Fabrics Constructed with One System of Warp and Two Systems of Filling. Combining Two Systems of Filling with One Kind of Warp for increasing the Bulk in a Fabric, . . 105 Combining Two Systems of Filling with One Kind of Warp for Figuring with Extra Filling upon the Face of the Fabric, 108 Swivel Weaving, 109 Combination of the Swivel Effect with figuring through the Warp, iii Swivel Loom, . iii Combination of Weaves for Fabrics Constructed with Two Systems of Warp and One System of Filling. Two Systems of Warp and One System of Filling for Producing Double faced Fabrics, . . . 114 Using an Extra Warp for Backing for Heavy-weight Worsted and Woolen Fabrics, . . . . 115 Figuring with an Extra Warp upon the Face of a Fabric Otherwise Interlaced with its own Filling, 117 Lappet Weaving, , 123 Tricot Weaves, . 126 CONTENTS.— Continued. Double Cloth. page. Description of the Construction and the Purposes for Making Double Cloth Fabrics 129 Rules for Designing Double Cloth Weaves, 130 Double Cloth Weaves having for their Arrangement One End Face to Alternate with One End Back in Warp and Filling, 132 Double Cloth Composed with Different Proportions of Face and Back Threads, 134 Double Cloth Weaving without Stitching both Fabrics, 137 Double Cloth Fabrics in which the Design is Produced by the Stitching Visible upon the Face of the Fabric, 138 Rib Fabrics, 142 Three-Ply Fabrics, 146 Four and Five-Ply Fabrics, 147 Pile Fabrics. Pile Fabrics Produced by Filling. Velveteens, Fustians, Corduroys 149 Chinchillas, Whitneys, 152 Chenille as Used in the Manufacture of Rugs, Curtains, etc., 153 Chenille Cuttmg Machine, 158 Chenille as Produced in the Manufacture of Fringes, 160 Pile Fabrics in Which the Pile is Produced by a Separate Warp in Addition'to the Ground Warp. Structure of Warp Pile Fabrics, 166 Terry and Velvet Pile, 166 Method of Operation in Producing Warp Pile Fabrics, 167 Velvet and Plush Fabrics 168 Figured Velvet, . . 171 Astrakhans, 173 Machines for Curling Warp-threads for Astrakhans, 180 Tapestry Carpet, 185 Brussels Carpet, 188 Double Faced Pile Carpets, 193 Double Pile Fabrics, 194 Terry Pile Fabrics, 216 Pile Fabrics of a Special Method of Construction, 221 Two-Plv Ingrain Carpet, . , 225 Gauze Fabrics. Principle of Their Construction, 228 Combination of Ordinary and Gauze Weaving, 231 Gauze Weaving Mechanism for Open-Shed Looms 237 Jacquard Gauze, 240 Cross Weaving for Chenille Fabrics, 244 Cross Weaving as Used for the Manufacture of Filtering Bags, 246 Cross Weaving as Used for Producing Fast Centre Selvages, 247 The Jacquard Machine, . 250 Modification of the Single-Lift Jacquard Machine, 252 Card Stamping, 253 The Jacquard Harness, 253 The Comber-board and Methods of Figuring for it, 254 Gobelin Tapestry, 256 CONTENTS.— Continued. APPENDIX. PAGE. Analysis of the Various Textile Fabrics and Calculations Necessary for Their Manufac- ture. I. — Ascertaining the Weight Per Yard of the Finished Fabric, and its Finished Texture, . . 257 II. — Ascertaining the Weave, 259 III. — Ascertaining Raw Materials Used in the Construction of a Fabric, 261 IV. — Ascertaining the Texture for Fabrics as Required in Loom, 263 V. — Ascertaining the Arrangement of Threads in a Sample, According to Their Color and Their Counts, for the Warp and Filling, 264 VI.— Ascertaining the Size of the Yarns (their counts) Found in Sample, and the Amount and Direction of Twist, 264 VII. — Ascertaining the Weight of Cloth Per Yard from Loom, . 265 VIII. — Ascertaining the Process of Finishing Necessary and the Amount of Shrinkage of the Fabric, . 268 Grading of the Various Yarns Used in the Manufacture of Textile Fabrics According to Counts. I. — Cotton Yarns, 269 II. — Woolen Yarns, " Run System," . . . • 270 III. — Woolen Yarns, " Cut System," 271 IV. — Worsted Yarns, 272 V. — Silk, 273 Rules for Finding the Equivalent Counts of a Given Thread in Another System. A. — Cotton, Woolen and Worsted Yarn, 274 B^. — Spun Silk Compared to Cotton, Woolen or Worsted Yarn, 275 B^. — Raw Silk Compared to Spun Silk, Cotton, Woolen or Worsted Yarn, 275 Tables of Relative Lengths Of Cotton Yarn by Numbers and Woolen Yarn by Runs, 276 Of Cotton Yarn by Numbers and Woolen Yarn by Cuts, . . 276 Of Cotton Yarn by Numbers and Worsted Yarn by Numbers, 276 Of Woolen Yarn by Runs and Cotton Yarn by Numbers, ' . 277 Of Woolen Yarn by Runs and Woolen Yarn by Cuts, . . . 278 Of Woolen Yarn by Runs and Worsted Yarn by Numbers, 278 Of Woolen Yarn by Cuts and Cotton Yarn by Numbers, 279 Of Woolen Yam by Cuts and Woolen Yarn by Runs, , 279 Of Woolen Yarn by Cuts and Worsted Yarn by Numbers, 280 Of Worsted Yarn by Numbers and Cotton Yarn by Numbers, 281 Of Worsted Yarn by Numbers and Woolen Yarn by Runs, . . . 282 Of Worsted Yarn by Numbers and Woolen Yarn by Cuts, 282 Miscellaneous Yarn Calculations, 283 Tables of Relative Measures for Length, Whight and Capacity Between the Metric Denominations and Those Used in the United States, 285 Index and Glossary, 287 Divisions of Textile Fabrics According to Their Construction. Every fabric, commonly classified as "woven," is composed of two distinct systems of threads (warp and filling) which interlace with each other at right angles. The arrangement of this interlacing is technically known as the " weave." All woven fabrics, as to their general principle of construction, can be graded in two great divisions : Fabrics in which one system of parallel threads is interlaced at right angles with a second system of parallel threads. (For illustration see diagram. Fig. i.) Fabrics in which threads of one of the before-mentioned two systems of threads, the warp, in addition to the interlacing, are twisted with threads of its own system. (For illustration see diagram, Fig. 2.) Fig. I. Fig. II. The first mentioned system of fabrics is divided into the following sub-divisions : Single cloth, double cloth, and three or more ply cloth, pile fabrics. Before commencing with the construction of the weaves, as required for the various textile fabrics, it is necessary to give an explanation of the purpose and use of the Squared Designing Paper for the Different Textile Fabrics, and its relation for indicating the method of interlacing warp and filling. In this n designing paper each distance between two lines, taken in vertical direction, represents one warp-thread, see Fig. 3 ; and each distance between two lines, taken in a horizontal direction, represents one filling-thread, see Fig. 4. 1st 2d 3d 4th vVarp-thread. 4th Filling. 3d 2d I St Fig. 4. Fig. 3. (9) 10 1st 2d 3d 4th Warp-thread. n / r i k / m e f S h a b c d Fig. 5. 4th Fining. 3d 2d 1st It will readily be seen by the student that the different small rectangles illus- trate the place where a certain warp- thread meets with a certain filling- thread. Thus in our illustration, Fig. 5, the rectangle marked a will indicate the meeting of warp-thread i and filling i. Rectangle marked b will indicate the meeting of warp-thread 2 and filling i. Rectangle marked c will indicate the meeting of warp-thread 3 and filling i. Rectangle marked d will indicate the meeting of warp-thread 4 and filling i. Rectangle marked e will indicate the meeting of warp-thread i and filling 2. « « jr it <( i, u « 2 " << 2 " " p. >' i( <( << a << " y^ « " it tt tt « tt • tt it tt i, ,, t( it t it tt It (( « ii ti / tt It tt f( (f « " ^ " " " II n « " ^ " " It tl u (I tl Q tt It tt t( (( It It >, tt tt tt Ii ,( tl It y It It It it „ The classifying of the n designing paper is done by enclosing a number of small rectangles, horizontal and vertical, within a certain distance by a heavy line. Such enclosures are known in practice ^.s " squares." In mentioning a certain kind of u designing paper, the warp dimension is indicated first, and a design paper having eight rectangles vertical, with eight horizontal, is variously read and indicated as 8 by 8, 8 x 8 or */§; a design paper having eight rectangles vertical, with ten hori- zontal, is read and indicated as 8 by 10, 8 x 10 or ^/iq. Diagrams Fig. 6 represent some styles of n designing paper frequently used. The size of the square may vary in each kind of paper, and must be selected according* to the fabric. For example, there are two different styles of 8 X 8 n designing paper illustrated: one forming ^ inch heavy squares and one forming ^ inch heavy squares. These sizes may still be varied. The principle of these two kinds of n designing paper is identical, the size preferred being left to the pleasure of the designer. Certainly it will be understood by any student that in preparing a design or weave with a large number of threads for repeat, it will be advantageous to use a design paper containing the smallest sized rectangles practical to use. 3 2. 4 2. I 3- 2 3- 3 3. 4 3- I 4- 2 4- 3 4- 4 4. Practical Use of the Heavy Square in Designing Paper. The heavy square serves as a unit of measurement, as well as a means of calculation, and shows readily and exactly the size of the weave or design. The eye becomes accustomed to grasping the meaning of this large square, and comprehends at a glance the situation. For instance : 11 6x6 -1 i " 2 3k7 6x6 •^M ■ JvQa Jil I I I I I I I I Sx9 dxjo ^ " * t ^~ ~~ 6xJ2 '^^ " .^ _ ^ __ 1 — »— ^^ _^ ^^^ ^^ ' — 1 — — — — 4- X 5 — = = ^ y ^ ^ ^ = — — ^ ^ ^ ^ ^ =. = ^ = J^ :=z ^n — ^= ^ "E — — — — 4x20 4x24 1 , . 1_. . . , 5x6 2 6xJ0 6xJ2 _i___i__i_— — I — 6x3 9xJO irzE~ iEEEE~iEE~E~: 70x24 J Ox JO 4- h , .,_ - /;x/j JOxJ2 :q;:::::::::::f ::::::: __________ _- J2xJ2 dx/6 24xJ2 5x26 Fig. 6. 12 On 8x8 paper 3 squares mean 3x8, or 24 rectangles each way; on 10 x 10 paper 3 squares mean 3 x 10, or 30 rectangles each way, etc. In designing for regular harness work we generally use n designing paper containing the same number of rectangles each way; thus even paper, as 8 x 8, lox 10, 12x12, etc., without taking into consideration the texture the fabric is constructed by. On the other hand the entire variety as shown are used, and accordingly selected from for the designing of textile fabrics requiring the Jacquard machine for their construction. For such fabrics we give a rule for Selection of Designing Paper. The proper character 01 the designing paper is ascertained by the number of warp and filling threads required per inch in the finished fabric. For example: a fabric with a texture when finished of ^ / m (80 ends warp and 120 picks per inch) will require a designing paper of corres- ponding proportion, or as 80 is to I20,=8 x 12. Diagram Fig. 5, and its previously given explanations, clearly illustrated the object of the small rectangles, t. e., the places of meeting for certain warp and filling threads. Two ways for interlacing of warp and filling in a fabric are possible: either we raise the warp-thread, thus allowing the filling to go under it, or lower the warp-thread and allowing the filling to cover it. In the first case the warp will be visible, prominent on the face of the fabric ; in the other, the filling. Through this exchanging of warp and filling as visible on the face of the fabric, technically known as " Raisers or Sinkers," we form the interlacing of both systems of threads, known as " the Weave." Rule : Indications of any kind in a certain rectangle inside the repeat of the weave upon the designing paper mean " warp up " in its corresponding place in the fabric. Rectangles left empty inside the repeat of the weave upon the designing paper mean " filling up " in its corresponding position in the fabric. * Figs. 7, 8 and 9 are designed for illustration of the preceding rule and explanations. ^ . ^ tt '• 10. *' *^ - LIUIL T T u nir 11 B. A. B. A. B. A. Fig. 7. Fig. 8. Fig. 9. Fig. 7 shows under A the enlargement of a warp-thread taken from a regular designing paper, and containing in its repeat 12 picks in rotation. A careful examination of the diagram, and commencing to read from the bottom, illustrates the warp-thread alternately down and up; also at B the reproduction of the warp-thread and necessary picks from a fabric. 13 Fig. 8 illustrates the design and working of a similar warp-thread with the same number of picks in repeat, but with the arrangement : One up two down, four times repeated=twelve picks. Fig. 9 illustrates the design and working of a similar warp-thread as used before with the same number of picks in repeat, but interlacing with the arrangement: Two up two down, three times repeated. The interlacing of both systems of threads, or, in other words, the different weaves are generally divided into 3 distinct main divisions (Foundation weaves) : The Plain, The Tzvills, The Satins ; forming the foundation of all the other sub-divisions of weaves classified as ^^ derivative weaves." New weaves are also formed by the combination of weaves from the, various sub-divisions, etc., thus forming a field impossible to cover in detail as respects each particular weave or special fabric ; but we will, however, by means of our future lectures, impart the principles for their construction, thus giving the student sufficient knowledge to master any and every combination required. IV. Foundation Weaves, I. THE PLAIN OR COTTON-WEAVE. Fig. 10 represents a fabric constructed with the weave techni- cally known as " the plain'' or " the cotton-weave T In this diagram two distinct sets of threads, crossing each other at right angles and interlacing alternately, are visible. The threads running longitudinally (marked W), or lengthways in the fabric, are the warp-threads ; the traverse threads are the filling (indicated by F in diagram.) Fig. II shows the design or pattern, executed correspondingly to fabric sample, Fig. 10. The shaded squares indicating warp up; the empty squares representing filling up. Fig. 12 is the section-cut of a fabric woven on "plain" weave, showing one warp-thread light ( I ), the other shaded (2). The filling is represented in full black. An examination of Fig. 10 will convince the student that this weave produces a very firm interlacing of the two systems of threads employed, in fact it is the most frequent exchanging of warp and filling possible. The fabric produced with this weave will be strong, as each thread, by reason of the interlacing, supports the others to the utmost. This frequent exchanging of warp and filling in the "plain'' weave will also produce a fabric more or less perforated. These perforations are regulated by the size of the threads used in the construction of a fabric, and by the twist employed in the manufacture of the yarns. Rule : ist. The thicker in size the threads are, as used in the construction of the fabric, the larger the perforations will be. 2d. Soft twisted threads reduce the perforations to a lower point than hard twisted threads of equal size and direction of twist. j^. The perforation will again be reduced by employing a twist for warp and filling, which, when both are interlaced, runs in the same direction. Fig. II, Fig. 12. 14 I Fig. 13. Fig. 14. of colors. To illustrate this last rule Figs. 13, 14, 15 and 16 are constructed. Fig. 13 represents a thread twisted from the right towards the left, which is called technically '^ left" twist. Fig. 14 shows us a thread twisted in the opposite direction, or from the left towards the right, which in turn is classified as " right" twist. Fig. 15 illustrates a fabric, woven on ^' plain" in which the direction of the twist is opposite in warp and filling when interlaced, thus larger perfora- tions will appear than in Fig. 16 which illustrates the same fabric, but having, when interlaced, the same direction of twist in both systems of threads. The plain weave is very extensively used in the manufacture of fabrics composed of all kinds of materials, as cotton, wool, worsted, silk, hair, wire, glass, etc. Fancy Effects Produced with the Plain Weave. The first move towards figuring a fabric constructed with the plain weave is made by varying the thickness of the threads in the warp or filling, or in both systems at the same time; for example, in " repp" cloths as used for ladies' dress goods, and also for decorative purposes. In these fabrics either one kind of warp and two kinds of filling (one pick heavy, one pick light) or two kinds of warp (one thread heavy to alternate with one thread light) and the before men- tioned two kinds of filling are used. These changes of heavy and light threads are also used for forming borders, as observed in some cambric handkerchiefs or similar fabrics. Fig. 17 is given to illustrate one corner of such a fabric. Another step towards figuring in plain weaving is made by the arrangement 12 3 4 Fig. 16. ¥10. 17. 15 Weave Sop C c* (W E cr a Arrangement of Warp. I ■□■nnnnnnnnnnriDn Efifect. c: :; These effects are used to a large extent in the manufacture of ginghams, ladies' all-wool dress goods, as well as in the lightest qualities of fancy cassimeres. It will be easily understood by any student that a fancy color arrangement (dressmg) of the warp will, in connection with one-color filling, produce corresponding stripes; therefore we will devote the attention at once towards the fancy color arrangement for warp and filling. Among the simpler effects may be found what is technically known as a "hair-line" effect, and is derived through an alternate arrangement of i end light, i end dark in warp and filling. Each filling must cover its own color. Therefore when the shed of the warp is formed by the dark set of threads up, the light set of threads down, the light-colored filling must be interwoven. Again, if the dark set of threads are down and the light set of threads up, the dark-colored filling has to be thrown through the shed. Fig. 1 8 illustrates the effect as produced by this arrange- ment If the interweaving of the filling, as explained in fig. i8, is changed to the other pick, we get the stripe effect across the fabric or in the direction of the filling. This efifect, known as " imitation tricot," is illustrated in Fig. 19. By combining, alternately for certain spaces, the hair-line effect with the tricot effect, " checkerboard" efifects are obtained. It will be readily seen, that the regular arrangement of repeating i light, i dark, will produce either one of the before-mentioned styles. Therefore, by allowing, in a distance of a certain number of ends (according to the size of the efifect), 2 ends from one color to be used, we will change from one efifect to the other. Fig. 20 illustrates one of the many styles possible to be derived. There are 9 ends of warp and filling for each effect, therefore 18 ends for the repeat. Figs. 21, 22, 23 and 24 illustrate a few more of the many different efifects which may be obtained. The principle observed in exchanging the two main or foundation efifects (hair-line and tricot) is left undisturbed. In Fig. 21 the arrangement of warp and filling is 2 ends light, i end dark, forming the "broken-up" efifect. Fig. 22 is constructed of 2 ends light, 2 ends dark, in the repeat of its color arrangement, and forms a " star" efifect. Diagram for explain Ing figs. 18, 19,20, 21, 22, 23 and 24. ■CB' OBI II -[ HH I ; > 1 KU DHH ant. DHK ame- DHBDBE :■; :■:--□&□ ■ ,!jnDa_ :-y a 'a '□ :: K; □: :□ a c:i lama ly :: H-ia :: :: t; a t: c: 'j: a :: z: a -a :: :: aaa Fig. i8. -a-^a ~inm "" a a JDB m . □f-.T ri r -^ n n '.i r,'\ r.i r.i r.^ r.^ r i r.T r^ DtS -i .1 i caa aaaaaaaaaaaa Dtt . . ' 1 D*: .. - -J • : . i ^ I •■ ' % Daa aaaaaaaaaaaa §Ha .aaaaaaaaaaaa □□□□□□□aaaaaaaa |PBnnnnr]nnnnnnnnnnnnnr] Daa aaaaaaaa' c aa aaaaa::ac: Fig. 19. cc:a ::aaaa::aa :; [.! :■: L ■ a a a a c aa a: :: a a a: L,i . , .a^ a: a- a L.aa' a' '■:■-. -a :;■ a: u . a. a a a^ r.aa. a a a a at Gi- i : a a a a Gaai a a a a a:, DtiU:^_jauatauaL-:.,;_ . QBBaaHBBHaBHBQHaSUaQBa I ; a a. a a- a' !i 3 a: a a a a 1 a a □ a a A a a □ a a M i """" 1 aaaa j 1 aaaa ? 1 aaaaj I Fig. 20. ■DBnnnnaDDDnnnDD PHnHsaaHna^^aaBHB ■ ■ a : a a ibb _ ■ ■ "ja^ ■- a - "an aa aaa a aac; a^ 1 I ^^ a _ a 1 ; aa a aaa a aa:] L aa :; aaa a aaa CBB^aaaasaaQBaaa ■DBnoDnnnnnnnDDn DBi^BgHawiwnasHpiaaH _c ■ ■ OD_ CM,' -a a ^aB caa. aaa laaa aaaa rpjB ' ^aac; aaa r.aa L a:: "a:)a"aaa"aaa l" : "a ' '"a . "aa [ ::c; aaa aaa aaaa L aa aaa: aaa aaa □BBuaaBaHaaMHC3BB Fig. 21. 1 Fig. 22. ■DBnannnDDnnnnna DBnHBsnBianHiisiaHKlHa ■ ■ aa aa aa aa _■ ■ ■ I aa aaaaa aaaaa r : : :a ■ . a :; a I aa aaaaa aaaaa L a a a a r aa aac3c;a aaaaa I :; a a a L aa aaaaa aaaaa Lj..;'- a •: a a . ^a GHHL, DBHl DaHUi-jaaaaa..-! aaa ■ iaa aaa □■BaBaBBBHBBtrigaa I Fig. 23- Fig. 23 is constructed as follows: Arrangement of warp. 1 end light, 2 ends dark, 3 ends in the repeat. Arrangement of the filling: I pick light, to alternate with i pick dark, 2 picks in the repeat. 16 ■nBonnnnnmnGGna DBDBBHHHBQaBHana SDBaBBHBHHHBBaaa ■DBnDaaanaaaana_ ""DHEDBaQHBaaaHaHQ UBBDBaBBaHHBBaHB :]aHnBHC3HBaaa«Hi3C3 DBBDHHBaBmiHBaBB ^HHDBcaanBHHaaaHa DBBnHHisiaPiasipBaflB 3Ha rinna---innnMaHa DBM ii !:-M-i' iH-1 !■ ta ti ^□Hi 1 laa:; iiiHc: ia::a DBBDWE :: - i: M ghqdbh:;:: :i::u r.:yj □HBDBDi- U . - .. -'^' J J I Fig. 24 is constructed as follows : A t. r i-u 2 ends light, Arrangement of the warp, ^ ' 2 ends dark, 4 ends in the repeat. Arrangement of the filling : i pick light, to alternate with i pick dark, Fig. 24. "~ 2 picks in the repeat. Similar effects upon the plain weave, as illustrated in Figs. 18 to 24 inclusive, can also be arranged for 3 to 4, or more colors in warp or filling, or for both systems combined, for producing one effect. II. TWILLS. In twill weaves (or tweel from the French ttiaille) the warp and filling threads do not inter- lace alternately as in the plain weave, but only the third, fourth, fifth, etc., thread is used. The peculiarity of the twill weaves consists in having every successive pick interlace correspond- ingly with its successive warp-thread, thus ; If the first pick ties in the first warp-thread, the second pick must interlace in the second warp-thread, the third pick must interlace in the third warp-thread, etc. Continuing to design in this manner until all the harness required to be used are taken up will give us 'the "repeat!' This . manner of interlacing warp and filling will produce a distinct pattern upon the cloth, i. e., lines running in a diagonal direction across it. Comparing the twill weaves with the plain weave in respect to thickness of the cloth to be produced, will show that the twill weaves permit of the introduction of more material into the fabric, thus making it closer in its structure than the plain weave. The reason for it is found in the fact that in twill weaves the warp and filling interlace only at intervals of two, three or more threads, thus permitting the warp and the filling to lie closer together. We mentioned before that the twill weaves form diagonal lines on the cloth. These lines can be arranged to run from the left to the right or from the right towards the left. It will be the clearest visible to the eye in the fabric by using the twill in the weave the same direction of twist the warp-thread has. Twills commence with the 3-harness, and can after this be made on any number of harness. Various methods are in practical use in classifying common twills. The most proper course will be to divide the general system into two divisions : A. Uneven-sided twills, or twill weaves in which more or less warp-up indications appear on the design, compared with filling-up indications, or the amount of indications balance but the general arrangement is different in one compared with the other. For example: \ ^ 1 ^^ f > but differently arranged for each side. (For indicating this division of twills the letter u is used throughout the chapter.) B. Even-sided twills, or twill weaves in which the amount and arrangement of warp up and filling up is completely balanced. (For indicating this division of twills the letter e is used throughout the chapter.) ■■DHMD ■DBIDH saHDHHn IDBBDIH 1 3 Fig. 25. 3-harness twill. ti. Warp for face. □□■□□■ DMnnMQ ■□nana snnMnnB nMnnan 1 3 Fig. 26. 3-harness twill. — u. 2 Filling for face. Commencing the designing of twills on ^-harness, we find one twill possible to be made upon it, which is the u twill : 1 down 2 up or i up 2 down ; also technically represented with warp face ^ ^, filling face ^, and weaves shown in Fig. 25 and Fig. 26. 17 Fig. 27 illustrates the plan of the fabric obtained with weave Fig. 26. Fig. 28 represents the longitudinal section cut of fabric shown in Fig. 27. Numbers as used on weave, fabric and section cut are selected correspondingly. A in section cut indicates warp-thread No. i in plan. Fig. 28. 4.-Harness Twills. -. — Examining four, we find 2 kinds of twills .possible to be obtained : i down 3 up (?<;), or I up 3 down {u), and 2 up 2 down {e), this being the first even-sided twill obtained. ■■■PBMMP PnPMPPPB ■■PBMBPM PPBPPPBC MPBBMPBM PBPPPMPL PBMmPBMB BPPPMPPC 4BBMPBMHP 4PPPMPnPB ■■PBMIPM PPIPPPin ■PHBMPBH PMPPPBPr IPMMMPMBB mPPPMPPP 14 14 8 7 Fig. 29. Fig. 29a. 6 4-harness twill, 4-harness twill. 3 I Warp for face. Filling for face. 5 4 LUMHnnBM PBmPPBHP ■■QPMMPP ■PPMMPPM 4PPBHPPMM □MBPPBMP ■MPPMMPP IMPPMMPPB 1 4 3 2 I Fig. 30. 4-harness twill. Warp and filling equal. Fig. 31 illustrates the fabric obtained with weave Fig. 30. Fig. 32 represents the longitudinal section cut of fabric shown in Fig. 31. ^ = warp-thread No. I ^-Harness Twills. — In five-harness we find three different kinds of twills, as follows : Warp Face. Filling Face. I down 4 up {li), or i up 4 down (//). 3 up 2 down {u), " 3 down 2 up [ii). I down I up, I down 2 up {u), " i up i down, i up 2 down {u). 18 ■■■DHHHBDK ■ ■□■■■■=!■■ ■□■■■■DHBM ■■■DIHBIDH ■HDBBBHnBH ■naaHMDHMH 1 5 Fig, 33. 5 -harness twill. I u. nnnnmngnaM nnnananDBn nnMnnnnmnn BMnnnDBDna nnngannnn nnnMnnnnBD iMnnanaannn 1 5 Fig. 34. 5-harness twill. I ■ 71. 4 ■■□nHHinrnH ■DDKBIDDaH □■■■nnaian ■■■DDMBIDn SHBDDaaHDDM ■ DLIBaBDDHI nnHHBDDBaM □■■■□DBVBQ 1 5 Fig. 35. 5-harness twill. 3 u. nnMBnaaBMH namnnnMann ■■□nnMHnnn ■□nnBBnnnM nnnMManaBg snnBBnnnBBd nBBnnDMBDn BBonnBBPnn BnanBBnnDB innnBBnanBB 1 5 Fig. 36. 5-harness twill. 2 n. BDBBDBnBBD nBBDBDBBDB BBDBDBBDBn BDBDBBDBDB □BnflBDBDBB 5BaBBDBDBBa □BBDBDBBDH BBDBDBBDBa BDBDBBDBDB laBDBBDBQBB 1 5 Fig. 37. 5-harness twill. I 2 DBnDBaBnnB ■□nBnBonBn pnBnBDnBnB □BnBnnBnBn BnBnnBDBnn snBnnBDBnnB BnnBDBnaBn nnBnBnnBnB nBDBnnBnBn iBnBnnBDBnn 1 5 Fig. 38. 5-harness twill. I I u. I 2 6-Harness Tzvills. — On six-harness five different twills are found Filling Face. 1 up 5 down {u), 2 up 4 down (u), I up I down, I up 3 down (?/), or Warp Face. 1 down 5 up {u). 2 down 4 up {u). I down I up, I down 3 up («), nnnnnBoaannH BnanBnnnnnBn nnnBnunnnBnn nnBDnnnnBDnn □BnnnnnBnnnn BannnnBonnnn ennnnDBnnnnnB nnnnBnnnnnBn nnnBannnaBna PDBnnnnaBnnn □BaannDBnnnn iBnannnBDnnnn 1 6 Fig. 39. Warp and Filling equal. 3 up 3 down {e). 2 up I down, I up 2 down {e). 6-harness twill. I 5 M. ■BBBBDBBHBBn BBBBnBBBflflnB ■BBDBBBBBDBB ■BDBBBBBaBBB BDflBBBBnBBBB DBBBBBOBBBBB eBBBBBDBBBBBa BBBBDBBBBBZIB BBBnBBBBBDBB HBUBBBBBUBBB BDBBBBBDBBBB inBBBBBQBBBBB 1 6 Fig. 40. 6-harness twill. I u. ■□nnnBBnnnnB nnnnBBDnnnBB □nnBBnnnnBBn □nBBnnnnBBnn DBBDnDDBBann BBnnnnBBnnna 6BnanaBBnnnnB nnnnBBnnanBB □□□BBnnnnBBD nnBBnnnnBBPa □BBnnQnBBnng iBBannnBBnnun 1 6 Fig. 41. 6-harness twill. 2 — u. DBBBBDOBBBBn ■BBBDnBBBBnn BBBnDBBBBDDM BBnnflBBBDDBB ■□□BBBflDDBBB nDBBBgnDBBBB enBBBBdDBBBBn SBBBDnBBBBnn BBDDBBBBDaB BnnBBBBanBB BnnflBBBDDBBB inDBBBBDOBBBB. 1 6 Fig. 42. 6-harness twill. _4 2 u. DBnnnBnBnnnH ■nnnBnBnnnBD DonBnBnnaBnB nnBnBrjnnBDBn □BnBnnnBDBnn BnBaDDBnBnnn BDBnnoBnBnnnB ■nnnBnBnnnBD nnnBnBannBnB □DBnBnnnBDBa □BnBnnnBDBDn iBnBnanBDBnnn 1 6 Fig. 43. 6-harness twill. I I u. UnBBBDBDBBBd □BBBDBnBBBaB ■BBDBaBBBnBd BBnBDBBBnBDB nnBDBBBDBnBi nBDBBBDBnBBB eBnBBBDBDBBBn □BBBnBDBBBDB ■BBnBDBBBnBP ■BDBDBBBnBDi ■□BDBBBnBDBi IDBDBBBDBni 1 6 Fig. 44. 6-harness twill. I 3 I I Ji. 19 §nDHHBnnnaBa ■■■□□□■■■□a ■■■nnDaBBDDD ■□□DaMinnnBH DnDBMDDDIHH nnMBBnnnBBMD DBBHDDDBBBDn IBBBDnnBBBDDn 1 6 Fig. 45. 6-harness twill. 3 . HnBDnBBnBDniB PBnnBBDBnnBB HDDHBDBnnBan □DBBDBDnaaDB DBBnaDDBBDan aanannaanann sanannaananna panaaaDanaaa ■□DaaDanaaan ODaaDannaana naananaaanan laanannaanana 1 6 Fig. 46. 6-harness twill. 2 I I e. '^-Harness Twills. — On 7-harness eight different kinds of twills are found, all uneven-sided. Filling Face. 1 up 6 down 2 up 5 down 3 up 4 down 1 up I down I up 4 down 2 up I down I up 3 down 2 up 2 down I up 2 down I up 3 down I up 2 down I up I down I up I down i up 2 down Filling for Face. □□nannaannntina nnnnnannnnnaan nnnnannnnnnanp □nnannnnnnannn nnannnnanannnn naannnnnannnnn annnnnnannnnnn Tnnnnncannnnnna Bnnnnannnnnnan Bncnannnnnnann GnnannDDDnannn nnannnnanannnn nannnnnnannnnn lannnnnnannnnnn 1 7 Warp Face. or I down 6 up, 2 down 5 up, 3 down 4 up, 1 down I up I down 4 up, 2 down I up I down 3 up, 2 down 2 up I down 2 up, I down 3 up I down 2 up, I down I up I down i up i down 2 up. /-harness twill. I Fig. 47. ■nnnnnaannnnnw nnnnnaannnnnaa nnnnaannnnnaau nnnaannnnnaann nnaannnnnaannn naannnanaannnn aannnnnaannnnn Tannnnnaannnnna nnnnnaannnnnaa nnnnaannnnnaan nnnaannnnnaann nnaannnnnaannn naannnnnaannnn laannnnnaannnnn 1 7 /-harness twill. Fig. 49. aannnnaaannnnM aunniraaannnnia nnnnaaannnnBJM nnnaaannnnaifin nnaaannnnaaann naaannncaaannn aaannnnaaannnn 7aannnnaaannnna annnnaaannnnaa nnnnaaannnnaaa nnnaaannnnaaan nnaaannnnaaann naaannnnaaannn laaannnnaaannnn 1 7 /-harness twill. 3 Fig. 51. nannnnanannnnn ■nnnnanannnnan nnnnanannnnana nnnanannnnanan nnanannnnanang nananannanannn anannnnanannnn 7na'j:-'^-Bna-nn- !b annnnanannnnan nnnnanannnnana nnnanannnnanan nnanannnnanann nanannnnanannn lanannnnanannnn 1 7 Fig. 53. /-harness twill. I I I 4 Warp Face. aaaaaanaaaaMan aaaaanaaaaaana aaaanaaaaaanaa aaanaaaaaanaaa aanaaaaaanaaa^ ^ anaaaaaanaaaa naaaaaanaaaaa 7aaaaaanaaaBaaa aaaaanaaaaaana aaaanaaaaaanax aaanaaaaaanaam aanaaaaaanaaaa anaaaaaanaaaaa inaaaaaanaaaaaa s 1 Fig. 48. naaaaannaaiaan aaaaannaaaaann aaaannaaaaanna Saannaaaaannaa annaaaaannaaa annaaaaannaaaa nnaaaaannaaaaa 7naaaaaDnBaBaan SBaBannaaaaann aaannaaaaanna aaannaaaaannaa aannaaaaannaaa annaaaaannaaaa innaaaaancjuuiiK Fig. 50. nnaaaannnaaaan naaaannnaaaann aaaannnaaaannn aaannnaaaannna aannnaaaannnaa annnaaaannnaaa nnnaaaannnaaaa 7nnaaaannnaaaan naaaannnaaaann aaaannnaaaannn aaannnaaaannnH aannnaaaannnaa annnaaaannnaaa innnaaaaunnaaaM 1 7 Fig. 52. ■naaaananaaaan naaaananaaaana aaaananaaaanan aaananaaaanana aananaaaananaa ananaaaananaaa nanaaaananaaaa lanaaaananaaaan naaaananaaaana aaaananaaaanan aaananaaaanana aananaaaananaa ' ananaaaananaaa inanaaaananr 7-harness twill. 6 /-harness twill. 5 /-harness twill. 4 /-harness twill. I 4 I I Fig. 54. 20 ■□■□□nBin«nnn» □MannMBnBnnnBH ■□□nBBDBnanBBa nanBBnBDanBBnB □□BBnBnnnBBnBa nBBnBnunBBDBnn BBnBnnnBBnBDnn 7BnBnnnBBnBnnnB nBnnnBBnBDanBB BnnnBBnBnnaBBD nnnBBnBnnnBBDB nnBBDBnnnBBnBD DBBaBnaaBBOBna iBBnBannBBnBnrun 1 7 7-harness twill. 2 I ~i 3 DBQBBBnDflnBBBD ■aBBBDnBDBBBan □BBBnnBnBBBDDB BBBnnBDBBBnnBn BBQnBDBBBnaBDB BDDBDBBBnDBaBB □□BDBBBDQBnBBB TDBOBBBDnBaBBBn BDBBBDDBnBBBDD □BBBnDBDBBBanB BBBanBOBBBODBn BBnaBDBBBnnBDB BDrJBnBBBDnBaBB IDDBaBBBnCIBIIIBBB 1 7 7-harhe.ss twill. I 3 2 I Fig. 55. Fig. 56. MnDBQaBBnnBnnB pnBnnBBnnBnnBB □BanBBnnBnnBBn ■□□BBnnBnnBBDQ nnBBcnBnnBBnnB nBBnaBnQBBnnBn BBnnBDnBBnnBnn 7BnnBnnBBnnBnnB nnBnDBBnnBnnBB nBnnBBnnBnnBBn BmBBnniBpnBBna □nBBnnBnnBBnnB DBBnaBaDBBnoBa iBBnnBPnBBnnBnn 1 7 Fig. 57. 7-harness twill. 2 I 2 2 DBBnBBnnBBnBBD BBQBBnnBBnBBnn BnBBCinBBnBBnnB □BBnDBBDBBnDBB BBnnBBaBBDnBBn BaDBBnBBDDBBDB nnBBDBBanBBDBB 7nBBnBBDnBBnBBn BBaBBnDBBDBBnn BDBBnDBBaBBDnB DBBnnBBDBBnnBB BBDDBBnBBnnBBa BnDBBDBBaDBBafl innBBDBBaQBBaBB 1 7 7-hainess twill. 2 2 2 I Fig. 58. □nnBnnBnnnBDnB nnBanBunnBDnBD nBrnBnnrJBi:' -Bnn BnnBuanBnnBrjnn nnBqnnBJDBUDnB □BDdnBnnBannBn BnnnBDnBDnnBnn TnnnBnDBnnnBDnB □DBUuBC :;:b: ; 'm> i nBnnBnnnBnnBnn BnnBnnnBnDBnnn nnBi-j' 'Br:nB tigb □bd: :jb--_ ■:.-i_:nB3 iBnnnBnnBnnnBna 1 7 Fig. 59. in 7-harness twill. I I 3 2 BBDBBnBBBnBBDB BnBBDBBBDBBDBB □BBnBBBDBBDBBB BBDBBBDBBnBBBD BnBBBDBBaBBBDB DBBBOBBaBBBOBB 7BBflnBBnBBBnBBn BBDBBDBBBDBBDB BDBBnBflBDBBDBB nBBnBBBtJBBDBBB BBnBBBaBBDBBBD BnBBBDBBnBBBDB inBBBDBBnBBBDBB 1 7 Fig. 60. 7-harness twill. 3 2 nunBanBnBnBanB ■OBnnBnBnBnnBn nBnnBDBnBnnBnB ■pnBnBnBnnBDBn nnBnBnBDDBnBnB nBnBQBnnBnBnBn BnBDBnnBnBnBnn 7nBnBnnBnBnBDnB BnBnnBDBnBnDBn DBnPBnBnBnnBnB BnnBnBDBnnBDBQ □nBnBnBnnBDBnB nBnBnBnnBPBnBn iBnBnBnnBnBPBnn 1 7 Fig 61. 7-harness twill. I I I I I 2 BPBPBBP PBPBBP BPBBPBP PBBPBPB bbpbpbp: bpbpbp:_, PBPBPBB! 7BPBPBBP □ BPBBPf : BPBBPBP PBBPBP BBPBPBP BPBPBPB IPBPBPBB 1 PBPBBP PBPBBPB BPBBPBP PBBPBPB BBPBPBP ^PBPBPB PBPBPBB " PBPBBP PBPBBPB BPBBPBP PBBPBPB ^BPBPBP BPBPBPB PBPBPBB 7-harness twill. I I 2 I Fig. 62. For 8-harness, we find the followintr Hvills . Filling Face. npppappBPPPPPPPB dpppppBPPPPPPPBn QPPPPBPPPPPPPBPP □PPPBPPPUPPPBPPP §ppBPPPPPpnBPPPP PBPPPPPPPBPPPPP BPPPPPPPBPPPPPP BPPPPPPPBPPPPPPP gpppPPPPBPPPPPPPB PPPPPPBPPPPPPPBP PPPPPBPPPPPPPBPP §PPPBPPPPPPPBPPP PPBPPPPPPPBPPPP □BPPPPPPPBPPPPP OBPPPPPPPBPPDPPP IBPPPPPPPBPPPnpPn J 8 Fig. 63. Warp Face. I BBBBBBPflBBBBBBP BBBBBBPBBBBBBBPB ■■■■DiMaaaHanHBH ■■■aHBaaHaanHBH BPBBBBBBBDBBBBBB m BBBBBBPBBBBBBBP BBBBBPBBBBBBBPB BBBBPBBBBBBBPBB BBBDBBBBBBBPBBB BBPBBBBBBBPBBBB BuBBBBBBBLIBBBBB BPBBBBBBBPBBBBBB IPBBBBBBBPBBBBBBB 1 8 11. Filling Face. ■PPPPPPBBPPPPPPB PPPPPPBBPPPPPPBB PPPPPBBPPPPPPBBP PPPPBBPPPPPPBBPP PPPBBPPPnPPBBPPP PPBBPPPPPPBBPPPP PBBPPPPPDBBPPPPP BBPPPPHPBBPPPPPP 8BPPPPPPBBPPPPPPB PPPPPPBBPPPPPPBB PPPPPBBPPPPPPBBP PPPPBBPPPPPPBBPP PPPBBPPPPPPBBPPP PPBBPPPPPPBBPPPP PBBPPPPPPBBPPPPP IBBPPPPPPBBPPPPPP 1 8 Fig. 65. u. Warp Face. PBBBBBBPPBBBBBBP BBBBBBPPBBBBBBPP BBBBBDPBBBBBBPPB BBBBPPBBBBBBPPBB BBBPPBBBBBBPPBBB BBPPBBBBBBPPBBBB BPPBBBBBBPPBBBBB PPBBBBBBPPBBBBBB 8PBBBBBBPPBBBBBBP BBBBBBPPBBBBBBPP BBBBBPPBBBBBBPPB BBBBPPBBBBBBPPBB BBBPPBBBBBBPPBBB BBPPBBBBBBPPBBBB BPPBBBBBBPPBBBBB IPPBBBBBBPPBBBBBB 1 8 Fig. 66. 6 //. 21 BHnnnnnMiiMnnnnaM ■□annnBBBnannDBM nnnnnBBBannnnBMm nnnnMBBnnnnDMBBn nnnBBBnanpnMBBnn nnBBBnnnndBBBnan □BBBnnnaaBBBnnnn BBBnnannBBBLinnnn sBBannnnBBBnnnnnB BnnnnnBBBnnannBB nnnnDBBBnnnnnBBB □nnnBBBnananBBBn nnnBBBnnnanBBBnn nnBBBnnnnnBBBunn nBBBnnannBBBnnan iBBBnnnnnBBBnnnnn 1 8 Fig. 67. u. nBnBnnnBnBDBnnnB BDBannBnBijBnDnBn nBanDBnBaBnnDBnB BnnnBrjBnBannBDBn nnnBDBnBnnnBnBnB DnBDBnBannBnBnBa nBDBiBnnnBnBDBnn BnBnBnnnBnBDBnnn sDBnBnnnBnBnBnnnB BnBnnnBnBDBnnnBn DBDnnBnBnBnnnBnB BnnnB- jBnBnnnBnBD nnnBnBnBnnnBDBziB ^^B^B^B^^^B^B^B□ DBOBL iBnnnBnB-JBnn iBnBnBnanBnBjBDnn 1 8 Fig. 71. I I //. nBnnBnnBnBnnBnDB BnnBnnBnBnnBnnBn nnBnnBnBanBnnBnB □BnnBnBanBnnBnBn BnnBDBnnBnnBnBnn nnBnBnnBnnBDBnnB □BnBanBnnBnBDnBn BnBnnBnnBDBnnBnn snBnnBnnBnBnDBanB BnnBnnBnBnnBanBD nnBnnBnBnnBnnBDB nBnnBHBnnBnnBnBn BnnBnBnnBnnBnBnn DnBnBnnBnrjBnBnnB nBHBnnBnnBnBnnBn iBnBDnBanBnBunBcn 1 Fjg. 75. I I I ?/. ngBggDgBanBaDnnB DBngnnBnnBnnnnBn BmnnBnnBnnnnBDn pmnBcnBDnnnBDnB BnniianBannnBnnBu □□BnnBnnnnBnnBDn QBmBnnnnBnnBnnn BaDBnnnPBnnBnnnn sngBnnpnBnnBnnnnB DBnngDBnnBnnnnBn BnnnnBnnBnnnnBnn DnnnBDnBcnnDBDnB □□nBDnBnnnnBnnBn □□BnDBnnnDBnnBna □BnnBnnnDBnDBnnn iBnnBnnnnBnnBnnnn Fig. 79. //. ■■■nanDBBBBannnB BBnnnnBBBBnnnnBB BnnnnBBBB"nnnBBB nnngBBBBnnddBBBB BSSIS""nnn3BBBB3 Ey555"nnnnBBBBna ■■BBnnnnBBBBnann BBnmnBBBBnnnnBB BnnnnBBBBnnnnBBB mnnBBBBnnnnBBBB nnnBBBBDDnnBBBBn ngBBBBnnnnBBBBna ^■■■■□□□□BBBBam iBBBBnnnnBBBBnnan Fig. 83. pnBBBBBDDnBBBBBn. □BBBBBnnnBBBBBDD BBBBBDUDBBBHBJnQ BBBBnnDBBBBBanDB BBBanDBBBBBDUDBB BBrjnnBBBBBnDDBBB BnanBBBBBDaaBBBB nnDBBBBBDHtDBBBBB snnBBBBBnnaBBBBBD DBBBBBDnDBBBBBDa BBBBBDDDBBBBBnnn BBBBnnnBBBBBDnDB BBBnODBBBBBDnDBB BBnnnBBBBBaauBBB BnngBBBBBnnnBBBB innDBBBBBDaDBBBBB 1 8 Fig. 68. 5 //, BgBnBBBDBaBnBBBD DBnBBBnBnBnBBBDB BgBBBQBnBnBBBnBa DBBBDBnBDBBBDBDB BBBDBDBiaBBBDBaBD BBDBaBDBBBDBDBaB BaBDBnBBBLIBaBDflB □■aiDBHaDBDinaHM sanHDHIMDIUHDMBKa nKDHaHninHDHMBnH ■□■■■nBLiianaBaaBn □BBBDBnBDBBBDBDB ■BBnBDBDBBBnBnflD BBnBDBDBBBnBnBnB ■nBnBnBBBnBDBDBB IDBDBnBBBnBnBDBBB A 8 Fig. 72. I I tt. HgBBDBMaBnMBniiBn gBBnBBnBnBBnBBDB ■BDBBnBnBBnBBnBn ■gBflnBDBBDBBQBDB njBgiinMBnBBnMnBM ■■gBggBDBBnBnBMn ■□■gMMnMBDMnBana □■nBHaBBnaDBiDaM 8|inMHnBBnBnySniiB" sssyaHas°""D<«"" MMgMBgBgBBDBBnBn ■□BBnBDBBaBBDflaB gBflnBnBBDBBDBDBB ■BDBDBBnBBDBDBBn ■gBgBBDBBnBDBBnB inBDBBnBBDBDBBDBB Fig. 76. zc. MBnHBBMDBBDBBBBn ligBflBBDflBnBflBB'B nHflBBDBBDBBBBDBB ■BBBnflBnBBBBDBBn MBBaflflnHBBBnBBaB MBaBBDBBBBDBMDflfl ■gBBnBBBBDBflnflBB SBIIDaHMBDHMnBaMS" ■■■■g""g»«B«nBBn ■■■□■■□■■■■naana ■■gHBaHiaanaiDiiS idhkdhhhbdhiqhmSh 1 8 Fig. 80. I I u. ■■gBgnaBMBnBannB ■gBnanBBBDBnnnBB DBnaggMnHnn-iBBB nugBBBnannnaMBaB HS55HSB°nnBBBnBn ■SHgSDMBBnBnnnBB □■□□gBBBHBnnnBBB MnnnBBB-iBnnnBBBD nngBBBnBannBBBnii □gBBBriBnaaBBBntf" □BBBnBDnnBBBaBna i«i««nMaanBBBnanna * 8 Fig. 84. gigpQnnBnMannnD0 MnggnnBnBnnnnDBn □□nnaBDBnnnnnBnB annnBDBnnnnnBnBn □ngBnBDnannBDBnn □□■DBDnnnDBnBnnn □BnBnnnnDBDBnnnn ■nBDDnnnBnBannDn sgBnnnnnBijBDnnnPB ■nngngBnBnnnnnBn nagnnBnBnnnnnBnB ngngBnBnnaaDBnBn nnnBDBnnnnnBDBnn □□BnBnnnnDBnBunn nBnBnnnnnBnBnnna iMaBQnnnnBnBnDPnn 1 8 Fig. 69. I 5 H. ■□■□nnnB«dinnnn« gBnnunBBnBnanPBB ■nnnDBBnBDnnnaBn nnngBBUBQnnnBBnB □ngBBDBnnnnBBDBn □□■BnBnnnaBBnBnn nBBnBonnnBBnBnnn ■BnBnnnnBBnBnnnn sBDBnDnnBBnBnnDDB nBnnnnBBnBnnnnBM BnnnnBBnBnnnnBBn □nnnBBnBDDDnHBDB mgBBnBDmnBBnBg nnBBnBnnnnBBnBDd nBBDBnnnnBBnBnnn iBHnBnnanBBLJBnnnn 1 8 Fig. 73. —% 71. I 4 nnBMnMi|DgnMMn»Mn gBBgBBggnBBDBBnn ■BnBBnndBBnBBDDn ■gBBngnMBnBBDnnB gBBggnBBDBBnanBB MBnDnBBnBBnnnBBD ■ggnBBnBBnnnBBnB □gnBBnBBnndBBnBB sggBBQBBnnnBBDBBn gBBnBBnnnBBnBBnn MBnBBnnnBBnBBnnn ■□BBnndMBDBBnnDB □■BnnDMBnBBnnnBB ■■□□nBBnBBDDnBBn Bg inBBDBBnnnBBDB innDBBnBBnnnBBDBB 1 8 Fig. 77. I u. ■□aaBnaBMnnDBnn* □□□BdDBBnnnBnDBB DgBggBBnnnBnnBBn gBnnBBnnnBnnBBDn ■nnBBngn«nnBBnnn □nBBnnnBonHBnnnM nBBggnBnnBBQnnBQ ■BnnDBnnBBDnnBDn sBggnBnnBBnnnBDnB nnaBDDBBnnnBnnBB gnBnnBBnnDBnDBBn □■nnBBnnnBnnBBnn ■gnBBnnnBnnBBnm □gBBggDBnnMBnnnB □MBDDDBnnBBnnDBa iMBnnaBnnBBnnnBDa ^ 8 Fig. 81. I u. ■dMnKnnBBUBnBnnM gBnBnnBBDBDBnnBB DBggBBnBnBnnBBnB ■nnBBnBDBnnBBnBD SHSSHnMnnBBnBdBn sBgBgBnnBBnBdBnnB giigBgnBBnBnBnnBB ■□BnnBBDBnBnnBBn gBggSBnBnBnaBBDB BnnBBnBnBDDBBnBn BBBnBnBnnBBnBnBn i«HniMPBnnBBn*nBnd 1 8 Fig. 85. gBBBBBLIBnBBBBBDB ■BBBgBDBBBBBnBDB ■■BnBUBBBBBDBDBB ■flgflgBBBBBDBaBBfl ■gBgBBBBBDBPBBBB DBPBBBBBDBDBBBBB SBgflBBBBnBDBBBBfl" gBHaaBPinBiaBMDB MaaanHPaBBBBDan H5HSBS5*"""n"n"* iSSSyHSlSBn^naaaa ipaaaaaaapapaaBBB ■*■ 8 Fig. 70. I 5 I I u. gapaaaappapaaaap RyHHHH°°"nM"««up ySSSHggHPaaaaana SHSHBy"nB"««npap aaaggapaaaannapa aapgagaaaannanaa aggapaaaacpapaaa ppapaaaappapaaaa syMgSSHHgpapaaBBP agaaaappauaaaapp ySSHJiPnapaaaappa aaappapaaaappapa aanDapaaaappanaa anpapaaaapnaaaaa ippapaaaappapaaaa ^ 8 Fig. 74. u. ■amappaaappapna aggaggaaapnapnaa pgaggaaappanpaaa yapgaaappappaaap aggaaappappaaanp ppaaappappaaappa yaaaggappaaappap aaappappaaappapp saapnappaaappaSpB annappBBBPpappBa ppanpaaappappaaa pappaaappBPpaaBP anpaaappappaaapp ,SH5HSnappBBappBP laaappappaaappapp *■ 8 Fig. 78. I — 7(. paaapaappaaapaan aaapaappaaapaapp aapaappaaapaapna apaapgaaapaappaa gaaggaaapaappaaa aaggaaapaappaaap apgaaapaappaaapa ppaaaL.aanpaaapaa sySSHygapnaaapaap ■■■g""ugaaapaanp aapaanpaaapaappa agaapgaaapaappaa gaaggaaacaappaaa aagpaaapaappaaap apgaaagaannaaana ippaaapaappaaapaa 1 8 Fig. 82. I u. gaapappapaapappa aapapnapaapapnap agapnanaapappaPB gapnapaapappanaa anpapaapapnapaan ggagaapappapaaPB gagaagappapaapap apaapappapaananp sgaagappapaapappa aagaggapaanapnap BPBPpapaapanpana gagpapaapapnanaa appapaapappapaap pgapaapappapaapa gagaapappapaapap lapaapappapaapapp 1 8 Fig 86. 22 Figs. 83 to 86 inclusive are the even-sided twills on 8-harness. The same method observed in designing every common twill possible frpm 3 to 8 warp- threads in repeat, as shown, is continued for twills of any higher number of harness repeat. The more harness we can use, the larger the variety of twills which may be obtained. Combinations of two or more Colors for Producing different Effects upon Fabrics interlaced on the "Twill" System. In this system of weaves an endless variety of effects are produced by the different arrange- ments of colors. The same are extensively used in the manufacture of ladies' dress goods, fancy cassimeres, fancy worsteds and similar textile fabrics. Weave cog B cT* (re 13 Arrangement of Warp. In Fig. 87 is illustrated the 3-harness twill applied to 2 ends light I end dark Effect. ■riHnnnrnnnnnnnn ■■ , , nnonnn. ''} >< ■ 1 ^ a^ a ■'i.-j ; .kLi : ! ua^ la ,. a^ 3.-} a -a. 3H_.a : a DitiaHkia Fig. 87. 3 ends in the repeat for the color arrangement of warp and filling. The interlacing of the different color threads is arranged so that each color, in filling, covers its own color in the warp ; hence the dark filling must be interwoven in the shed, which has all the dark warp-threads in the lower part, and all the light warp-threads raised. The effect represents what is technically known as " hair line." Weave Fig. 88, illustrating the 4-leaf twill - — ■■■DDnnnnnannnan can I ■ ^■■a: '! "sa ii-i-iai M 1 _L ■■■ aaac ^ -.. ■ ,t.^ : □ iH a 3H a c D ■M a mt-i a a a , ^ also be used for producing a " hair-line " effect by using for the color arrangement of the warp and filling 3 ends light, I end dark. □ [3BLjHBiBB^Myaiab3BdlBi Fig. 88. ■■nnnnnnnnnnnnnn ■nn«HHHBnt3Hat3HBa rinHBaaneiaa^BsaHB .^DBHGi 1 nnnnannnan. nwnnnafflf^naiinHHBH nraidr-:a' " 'a' ■■>*i-ia^nn nc3a aa aa :aa- li i riaa aa aaa' aaa^ ia r 11'-: .aa ::::- aa: :< i [ .M- i a -a :: ■< • \ 1 ;aa aa :• aC'i ^aai ; i [ aa aa ^aaa ::aa: a I : aa i cja c:a. ^ \ 1 . a ■• : la : ■ .a: \ » i I aa ^aa'j laa' i .aai ui uaa'-jHaHaaayaaayQ Fig. 89. ■■■nnnnnnnannnnna □■■"a^ a-*a: 'a' la la -i SDBBa ,a :a, ia .c: --a' -i o;-* ■ ; 1 ~naa a aaa aaa aa a a laaa i :a a a I , , la^ i' 1' la- N i. ,a. i L jaauHuawaaaNHaHri ■■■nnnnnnnnnnnnn iBDDBHa ' ' "arf >^/''n anrnmaS' aa ,-;,^ ,a rin«B«aa ; i ^aa « :. '• ia :; ! ! la- tua :; ' i la^ ii . i ;a aac::: ; laaaa :a , .■ c; . : I la _ ia I ■ c: Ii la oaHauQaaa' i .aaaa aaaa i la DOHiiiULirii lafl---!-! I la' i -i-it-iPiaiTiFjt'si □uBauuuaaiiBay.-iaBBaasaaaa ::■} LMMI Dijai GEM ona: □en. L^aa. □GSU, Fig. 92. ment of 2 ends light, I end dark, 3 ends in repeat for the warp and filling. Figs. 93, 94 and 95 illustrate similar effects pro- duced on a warp and filling arrangement of I end light, I end dark. aaai aaaac: aaa aaa :: a lana naa a lafan ia ai ia a 'a ,1 a 'aaa a 111 aaaaa ; i' ia x;aa' la ia ia ;^at:;-j.-j.j^-jajaua- Fig. 93. inanannnnnnnnnnnnnnnnnn 2 ends in the repeat. ■CBDBni aai JH'jBaana ■GaoBBi .a' .a CB'-BB' Ba a a :i a ■□BnanannnnnnnnnonaDanD' Fig. 93 illustrates the fabric produced with '"-n^Pi the 5-harness ~~ twill. Fig. 94 calls for the /-harness " ^ ' ^ ^ — j twill, and Fig. 95 for the 9-harness ^ / ^^ / — j BOBaanB^ DBGBnBi I BDBGBr Bl GB B BB BGB'^BB ■ gb<:bb b ijaa la I a G G iG! c: aat GGrt ' CGHa: CDfcG a a a i ill twill a a i I a c;aa ..a..i_^j I ji iJaaai.jGi la. GGGMaWGOGa- GcrjHaBGaaa GIji Mie6i'-i' inn- G! 7 ,aaa a Gir ii / a Lii,ji.,aaa a DDGi ■ a. □□Gaaa a:: aau noGaaa a:: onri DDGaaa a:: "iGGGnana iaeiaaQBQ anaaHBH aGaaaen , j.JGGGD ■^'-jGnaa " i| 1! 1 a aaaaa ia' i ■ ,i I. :^ laaaaaaa ' 3iiBa :aaaaaQH ___^_j«BBa """"'a a .:aaa a ;a a^ laBH ::a a ^aaa :: :; saaa a :; ana aaaa a a a_a Fig. 94. Fig. 95. In diagrams Figs. 96, 97, 98 and 99, four specimen effects of three-color arrangements in warp and filling are given. Such combinations find extensive use in the manufacture of fancy cassimeres and fancy worsted suitings. ■GGI GGBl gbb: ■Gr IGGGGGGGGGnnnnnnnnnGn ,.■-■- ,-^ --..,■ , -.^ ■asm .asm ■ -azm • mmm ■■-. . ■■ i: ssm 'Styi^B '- -fssim i i^QB bggbb B: .: -.isam fSE^B mfim • irsebb □GBBi BB' ' SSm ES&B - EShllB ' f3Sm DBB^i'^BB I : , 1 ■ ■ i' 1 1 ^I^^-T' ►l<'HKJBISfflHHH □GfflHffla ^,a5iaE3 SEEB* r' SEasan^ G .QBQIil G:-.BBBBl. •►lit? I a rmn S i5EL"H i-:E3aB ~i -BBSBI " i ■ as' i _i a- ' ■ ni>:sh' ish ammm ■■■ J OGHH:.. .■■■' ;»■■■■' >:aH □DHPIJI ;i i: IBMfflEilri, iHilffl'J [nr f.--- ■ ;ii!^ : ■ -■' fa ■ 'M C' ec >5aaaH- aeasH cj"bb ■■■ .£■■■■ isa c f- ■ a ■' iffla r ;-' aaa ►::!'■■■■ aHHia Diagram Fig. 98 illustrates the effect derived from the j 6-harness even-sided twill, by the following color arrangement : I end light, ^ color No. i. I end medium, V or, " No. 2. I end dark, ) " No. 3. 3 ends repeat in coloi* arrangement, the same repeating twice in one repeat of the weave, also, one repeat of effect in fabric. umar--m - ■■ ■ ^- - -^ ' ■ ■^^■j ■ar: ■■ : aaaa laaea aaaa i .aaaH ' ^aea* aaaH DOCJHHH >i I' igjaaH ' i iSEsaH :-.. :aaaH i :-:asaa . :. .aaiSH- i i .asffla QnBHBLJUULJULJLJl JLIUUUUl Jl _F_ ILJLl' J'JIJI Ji JL JJUIJLJI. J' il IIUUU'JI Jl JJiJaQLJ DBBBDDDoanGDaDaDDaDDDDnDDfiannnaaannDaaannaannDDn ■■■DaDDDnnDannDDnGaGGrinonnnaDnGnnnnnmnnannnnnDD ammaaaummmmmm'"-' aaa :■ r aa -a ■' -" -^asB ammaDammmmss'-v aa a ■ aa wsm DffiEBDDDfflfflSffiB3HfflB: iSBaB ] aafflH :SfflaaH 'asBseHBaafflfflfflffl □BBfflUiJDfflBBfflfflfflffla! I !fflfflffiH.^E=;fflSfflEaHi4fflfflEaHQBfflfflfflfflE3fflfflfflffl;1fflfflaffl DEaffiaGDBHBfflfflfflBBWEHaESfflBBlfflHfflfflSiHBfflfflaSfflfflfflfflfflSEBEBfflfflfflWMfflSffla DBBGGGn^aBBEBanBHHii^aHaHHasEBHaMt^BaaHa'- t-^sbbB' fvibbbb DHBDDGnr" " •bbb: k " ■mfBW !'■ :i':i 'Ba: ■ . -'B' " " ' ^': '■ W \ 'r'^'lilHB nHPaaci n<>ns aa ■ , ■ a ■ aa : -isfflB DBBDOG' aa a a aa aaa ■ ^sbbb DfflfflDGDffi.-.. -BBBBi-;^,-^BaBB.,J^BBQBB.^aBSaBaBBBBBBBSB;-JSfflfflffl DBBGGLIIIHtUSBaBBIiaaBaaiifflBaBBBBBBSBBBfflBBiaffifflaBI=fM]BBaffi GBaUDGnnaSBBBMIBBBaBBfflaBBaGBafflaMffiBBBaBQBSBaM^nBBaB DaBGGGBBBBaBBBaaBBBBBBnBBBBBSSBaBB-ianBBBBnHBBBSa DBBGGLIi ■ !■ iBBffli • ' ' aB^ i ' 'B' ' '■ ,• . m: : i ■ i. t v?! ap i ; '.'ifflSB DBBGDGi aa : a ■ < ■ ' bb aaB ■ ■ :fflfflfflB □BMGGi. B. ■ aa aaa : ■ aaa ; ■ bsbb □fflS' T' aaaa aaaaa BaaBaaaBaaBaaBa-^BBBaffi' cbb bbbbb BBBaaaaBBaBfaBBB bbbbb : - bbbb^ urns BBBBaaaaB-BBBBBa aatBaa bbbB' . bbbb' i GBBG^L aaBBaaBBB' aaaaa aaaa '- aaaa aaaaB' i GMMGDL ^ aa ,a a aa Baa : GBBDor' a ' 'B - ■ aa aaa bbb ;. t s ifflfflsiai ! BM < ! !: laa i- !' I 'Baa ■ ■ .aaa ■ ■ 'as' i- ii ( r ifflei«ti , JHBSflfflSEBfflfflBBfflfflfflfflffifflfflfflBsafflfflfflEI • .BBfflffl: r r-vmrnm cfflfflGcaafflaaBBBBaaaafflaaffiBBaaaffiBBaafflsr!; 1 -bbbb: i^BaaBB QBfflUrGBaBBBBBBBIHBBBfflBBPiafflaBBHHaBBBi'' BBBBB" IBfflfflBBB GBBGGGBB' 'BBBBB- I'-'-'BaBa^^^BBBB'^'^BaBBB' BBBBBBBBBBBafl GBBCG a ■ : ' a ' BB BBB BBB .BffliiS QSiBGaa ■ ; : a ;_ ^ ^ aa ^S'-ja _ ^ aaa aa ^ .sfsa In diagram Figf. 100, a specimen example is oaBGdGWBaBBBBBBBBfflBafflB&raaBBaSiifflfflBBi i-ii-iHfflBB' i-iBBBia Fig. 98 Fig. 99 illustrates the same weave as used in Fig. 98, arranged for 3 ends light, 3 ends medium, I end dark. or, color No. I. " No. 2. " No. 3. 7 ends repeat in color arrangement, and as this 7 is no multiple of the 6 (repeat of weave) or vice versa, 7 X 6 = 42 threads in warp and filling gjJBgB:. are required for one repeat of the effect. GBBaaaBBBBSBBBBHBBBBBBWBBBaSBBBBBBn-fflBBBl _• „ „r -. 1^„„ „„„„„^ J :„ „.,J CU:^^ ,,„„., DfflBaDCBB"''fflBfflBfflfir-fBBBBm"*"1BBEBa@BBBBB>iBBBHBBBBB3BBffla ffiven 01 T, colors arranged m warp and niimg upon □bbdgcb aaaa aaaa bbbbb BBBBaBaaaBBBBBB aaaa the 4-harness twill for producing a hair-line dIIBBB it aaa bIb* ^^'' "i'^ '^' a «liS 1 ^ r- o GBaanGBBBSBfflffiffiffl: BBBBE BBBa BBBB BBaBB BBBBBB „£r„_i- „„ ,,<,„^ ;.-, 4-U-^ ,>-,-, ,-,,,f^^f,i,-£» ^f -..r/^/^l^it-. or.^ oaanGGBBMBBBBBi s iBBBB aaaa aaaaa BaaBBBaaaBBBa errect, as used m tne manuiactuie 01 woolen and QHaaaca j 1 raaanM ^bbbb bbbbb BBBBaaBaBEBBBQB isaaa aaBDaaaHaaBBByyaBBBBiiBBBBBBaBBBBBaaBidaBBBaaBBBBB Fig. 99. iBDaDDGaGnnnnonnaDD ■GBBaaaBHBBBBff GBBI Cc-v GBB GBB G~ ■ o- LBB DBB 'Bl -^BI :Ba iriaa ]GG BB .--^aa BB -BB :Ba BB BB '-nmu BB -l-^Bl ,jBB.:;)iiiffll niBI -^'4BI color No. I. " No. 2. " No. 3. Fig. 100. worsted trouserings, etc. Arrangement of warp and filling : 2 ends light, | I end medium, V or, I end dark, j 4 ends in repeat. In placing the filling in this present sample as well as similar effects, each individual color infilling must cover the same color in the warp, according to rules given for producing effects with two colors. It will be seen by the student that these effects, until now produced with two or three colors in each example, can readily be extended to effects with four or more colors in warp, or in filling, or in both systems combined at the same time. The effects shown in Figs. 90, 92, 93, 94, 95, 96,97, 98 and 99 are designed on the basis of equality of texture in warp and filling, as also of similar thickness of thread for both systems; therefore, any changes in one or the other will have a corresponding influence on the effect. Satin Weaves. Satin weaves, also technically called satins, are without the prominent lines which are identical with the regular twills ; consequently satins are characterized by a smooth face. In twill weaves the points of intersection follow consecutively, but in satin weaves this is not the case ; they being arranged to interlace at intervals of one, two, three, four or more threads. The principles for the construction of satins are to arrange as much as possible distributed stitching, and to have it done at the same time, as regular as possible. The more scattered we can arrange the inter- lacing of the warp and filling the less these points of intersection will be visible in the fabric. The lowest satin that can be produced is found in the five-harness satin ; after this the same can be made " regular " on any number of harness, with the exception of six. The four-leaf broken- mannnMn twill is also sometimes classified as a " satin," but against the rules of construction ■"'jdannB ^^^ these weaves, as on two successive picks the interwoven threads are next to each ^nnSyBmS other (see Fig. loi). The points of intersection of the numerous satins are found by □■nnnann , ^ ., . , iMnnnMnnp the followmg ru/e : — Fig. ioi Divide the number of harness for the satin into two parts, which must neither be equal nor the one a multiple of the other ; again it must not be possible to divide both parts by a third number. After finding this number (which is technically known as " counter "), add it, commencing to count from one until all threads or harness are taken up. For example: Find satin weave for five-harness (5 equals 2 plus 3); commencing to count with one and adding always two points we find : 1 + 2 = 3 + 2 = 5+2 = 7 or 2 + 2:^4 + 2 = 6 or i giving the points for intersection in the weave as i, 3, 5, 2, 4, which means : The first pick intersects with the ist warp-thread (ist harness up). 3d 5 th 2d 4th (3d (5th (2d (4th ) " second " « third " " fourth " " fifth This construction is illustrated by Fig. 102, in its principle (arrow S indicating the rotation of picks, arrow O indicating the counting off of warp-threads for each successive pick). Fig. 103 illustrates the same, applied to the regular designing-paper, being filling up or 5th pick. 4th ^I 3d 2d " 1st I 2 4 2 2 I I 2 5 I 2 3 I r 2 '/ filling for face. nnnMnannMn nannnnMnnn nnnnBnnnnB nnBnnnnBnn ■nannMnnnn snanannnuBa DMnnnnMnnn nnnDanannM nnannnnMna 1 5 Fig. 103. Fig. 104 illustrates the same changed to warp up or warp face, by simply exchanging "sinkers" (down) to "raisers" (up). o 10 Fig. 102. MBaQHIBinM ■DBHHIDHMM ■■■■□■■■Mn ■ ■□■■HBU» nHBHaniBiB ■□■■MBDMBH ■■MMDiaaan 1 5 Fig. 104. (25) 26 Fig. 105 illustrates (enlarged) a fabric interlaced in the 5-harness satin, constructed, as explained before. The 5-harness satin, as well as other satins produced with any number of harness, can also be obtained by constructing the design lengthwise; in this case (taking the 5-harness for example) we find The first warp-thread must stitch in the ist filling, " second " " " " 3d " third " " " " 5th " " fourth " " " " 2d " " fifth " " " " 4th " This construction of the 5-harness satin is illus- trated by Fig. 106, in its principle (arrow S indicating the rotation of warp-threads, arrow O indicating the counting off of warp-threads for each successive pick). Fig. 107, the same, applied to the regular designing paper. Fig. 108 is the same satin warp up or warp for face. Sth pick. .4th " Ol3d " 2d I St 2 5 I I 2 4 3 I 2 2 2 I I I 2 d " * *- " ^^ ■4-t "U •c J2 M S Fig. 106. rO '^ 10 Filling for face. nnBannnann nnnDBnnnno nannnnHnnn □□nBnnnnHn MnnnnBnnnn snnMnnnnBnn nnnnBnnnnB □■nnnnanna □□nMnnnnaa ■ iMnannannant .1 5 Fig. 107. ■■■■naHBMQ ■□■■■■□■■■ ■■MDBHMHaa □■MBBDHHHM .'«■□■■■■□■■ ■■■■□■Hian ■■■DHMBBDM inHMMDMaKI 1 5 Fig. 108. A careful examination of Figs. 103 and 107 will show, as the only difference, the "satin twill " (which later on will be more particularly described), but taken in a general technical point of view, for constructing weaves both are identical. The first-mentioned rule, counting off the picks in rotation and the harness (or warp-threads), according to the "counter" obtained, is in general use. Design shown in Fig. 107 would also have been obtained by the first rule in using the other part the 5 is composed of, namely, the 3 for counting off, thus l+3=4+3 = 7-=2+3 = 5+3 = 8-3+3 = 6=i, or the stitch as i, 4, 2, 5, 3. 27 For 6-harness (6 warp-threads for repeat), as already mentioned, no regular satin is found, as 6 can only be divided in 2 plus 4 or 3 plus 3, which numbers are against the rules for constructing satin weaves. Being sometimes compelled to use a satin on 6- harness we must use the next best to a perfect satin as found in 1 — 3 — 5 — 2 — 6 — 4, illustrated in Fig. 109, filling for face; Fig. no, warp for face. For y-harness two regular (perfect) satins are found by dividing 7 into 2 plus 5 and 3 plus 4. □□□■nnnnnBnn DnnnDBnananM nBnnnnnBnnnn nnnnBannnaag nnMnnannanng ■□nnnnaandnS 6nnaMdnnnn«ai3 oaDDuBannnaB PBnnnnnBPana dnnnMnannnBD □□■□□□nnMnnn mnannnMnnann 1 6 Fig. 109. oaannMnnannnnBn nnaMnnnnaaanQP nMnnnnnnannnnn Countmg on tor the hrst kmd we get by usmg the 2 nannBnnnannBng ° _ „ «« □□■nnnnnn«nnna for counter • l4-2^=34-2=5-i-2 = 7-4-2 = Q = 2-u ■□nnnnnMnncnnn pnnBnnaannBnna dHannnnnMnnnnn □nnnndBnannnn« annnMnnnannana □□■nnnnnnMnana iBCinnQanwiinnnna 1 7 2 = 4+2 = 6 + 2 = 8 =1, or I, 3, 5, 7, 2, 4, 6, and illus- trated in Fig. 1 1 1 , filling for face ; Fig. 112, warp for face. Fig. III. aannMDnnnnnMnn •r , . ^ , , ,• ^ , , nnnnnBdnnnnnBg In the construction of the other satin for 7-harness and gggggggggggggg using the 3 for counting off we get 1 + 3 = 4 -^ 3 = 7 + SgSSHBBSBBgSSB 3 = 10=3+ 3^6-J-3 = 0=2 + 3 = 5+3^8 = i, nMnnannaMnnnng or I, 4, 7, 3, 6, 2, 5, illustrated in Fig. 113, filling up; ddMgdddddgdddS Fig. 114, warp up. • dddiddggggiggg iMdddnndMddnpdd 1 7 For 8-harness we find only one perfect satin as the 8 can only be divided into 3 plus 5. The count- ing off for the design, always adding 3, will be as follows : 1+3=4+3=7+3=10=2+3=5+3=8+3=11 =3+3=6+3=9=1. or I, 4, 7, 2, 5, 8, 3, 6, illustrated in Fig. 115, filling for face; Fig. 116, warp for face. Fig. 113. ■■■dHMMMHdlM ■■■■■dHHBIHd MdBHBHMdHMaM ■ ■■MdHMMHdM dHBHaHdaBMHB filBMdHMBadHB ■■■■■dHMMBBd ■dBaaKHdiBai aaaanaaaaada aadaaaaadaaa idr 1 Fig. I 10. idi . . idaaaaaadi adaaaaaadaaaaa aaaaaadaaaaaad aaaadaaaaaadaa aadaaaaaadaaaa TDaaaaaadaaaaaa aaaaadaaaaaada aaadaaaaaanaaa ■daaaaaadaaaaa aaaaaadaaaaaad aaaadaaaaaadaa aadaaaaaadaaaa idaaaaaanaaaaaa Fig. 112. odddnadddddddadn 3dadddddddaddddd 3ddddddaddddnnna 3dddadddddddandd daddddnddadddi3dg ndddddadddddddag dddadddddddadddd ■dddddddadd gB ddd sdddddadddddddadg ddadddddddadgddd dddddddadddddddi ddddadddddddaddd dadddddddadddddg ddddddadddddddad dddadddddddadddd ladddddddaddddddn 1 8 Fig. 115. aaaadaaaaaadaa adaaaaaanaaaaa aaaaadaaaaaada aadaaaaaadaaaa aaaaaadaaaaaad aaadaaaaaadaaa aaaaaaadaaaaaa 7aaaadaaaaaadaa adaaaaaadaaaaa aaaaadaaaaaada aadaaaaaadaaaa aaaaaadaaaaaad aaadaaaaaadaaa ipaaaaaadaaaaaa 1 7 Fig. 114. ■aaaayaaaaaaadaa aadaaaaaaadaaaaa aaaaaaadaaaaaaad aaaayaaaaaaadaaa adaaaaaaadaaaaaa aaaaaadaaaaaaadS aaadaaaaaaadaaaa naaaaaaadaaaaaaa eaaaaadaaaaaaanaa aadaaaaaaadaaaaa aaaaaaadaaaaaaad aaaadaaaaaaadaai adaaaaaaadaaaaaa aaaaaadaaaaaaadS ■■■gaaaaaaadaaaa idaaaaaaadaaaaaaa 1 8 Fig. 116. Upon g-harness, we can design two different satin weaves, for the number 9, in accordance with the rules, can be divided into 2 plus 7 and 4 plus 5. Commencing to count off with 2 for producing the first kind of satin we get: I, 3, 5, 7, 9, 2, 4, 6, 8, which is illustrated in filling for face in Fig. 117. If requiring warp for face read this as well as any of the following designs, illustrated in succession up to 1 6-harness, n for raisers (up), m for sinkers (down). Commencing to count off for the second kind of satin weaves on 9-harness, using the 4 for counter, we get: i, 5, 9, 4, 8, 3, 7, 2, 6, which is illustrated in Fig. 118. sngdddddan ngdddaddd gggadgddd gaddddddd gddddddna ddddddadd Hgddadddd ,Bnadddddd iMnnnndddS 1 9 Fig. 117. sgddddaddd gaddddddd ndddddand gdadddddd dddndddad dddaddddd dddddddda Bdddadddd ladddddddd 1 9 Fig. 118. For lo-harness one regular satin is derived by dividing 10 into 3 plus 7. Counting off with 3 gives 1,4, 7, 10, 3, 6, 9, 2, 5, 8, as points for intersecting. The design for it is illustrated in Fig. 119. lodddddddadd ddddadnddd dadddddddd ddddddddad dddddadddd ddaddddddd ddddddddCB ddddddandd nddadddddd laddddddddn 1 10 Fig. 119. 28 nnnnananannn nnnBLinunnnn nnnnnnnnnnB nnnnnnannnn nnannnnnnnn nnnnnBannBH nnnanMnnnan □■nnnnnnang nnnPMnnnniin , 1 11 Fig. I20. For ii-harness four difTer.ent perfect satins can be designed, by dividing the II in 2 plus 9, 3 plus 8, 4 plus 7, 5 plus 6. The " counter " most frequently used for the 1 1 harness is 4, giving the points for intersecting as follows : i, 5, 9, 2, 6, 10, 3, 7, 11, 4, 8. The design for it is illustrated in Fig. 120. i2nnnnn0ananan nnnnnnnnnnBp nanMnnnannno □nnnnnnnBnnn n«nnnnnnnnnn nnaannMnnnaa □nnnnnnnnnnB pnnnnnnnnBnn SaBannaaannn nnnnnnnBonnn mnnnnunnnnnn 1 12 Fig. 121. For i2-harness only one perfect satin is found by dividing the 12 into 5 plus 7. Counting off with 7 gives the points for intersecting as follows: I, 8, 3, 10, 5, 12, 7, 2,9,4, II, 6. The design for it is illustrated in Fig. 121. isannnannnMaann nnnMnannnnn'^n □nnnnnnnnnnMn nannnnannnnDn nMPnnnnannnan nnnannnnnMnan □□nn«annnnnnn □nnnnnnnnnnnB nnnnnnnHDnnnn nnBnnnnunnnnn □□annnnnnDMnn DDnnnBannannn iHnnanaannnann 1 13 Fig. 122. nnnnMrraannnnnn nannnnninnnnnaM nnnnnnnpBnnnDn pnnHnnonnnnnnn HnnnnnnnnnnnMn ppHPPPPPPnnpBn ppppppppnnnmpp ppppppMPPnnppp gMPPPnappppppp pppppppppPMnPQ PPPPPBUPPPPPPP IMPPPPPPPPPPPPP 1 14 For ij-harness we find five different perfect satins by dividing the 1 3 into 2 plus II, 3 plus 10, 4 plus 9, 8 plus 5, 6 plus 7. Counting off with (the number most frequently used) 5, we find the in- tersecting points to be i, 6, 11, 3, 8, 13, 5, 10, 2, 7, 12, 4, 9. The design for it is shown in Fig. 122. For i^-harness we find two perfect satins by dividing the 14 into 3 plus 1 1, and 5 plus 9. The design most frequently used for this number of harness, and which is illustrated in Fig. 123, is derived by counting off with 5, as follows: I, 6, 11,2, 7, 12, 3, 8, 13,4, 9, 14, 5, 10. Fig. 123. ispppppppppppmppp pppppppbppppppp pppbppppppppppB ppppppppppppppb ppppppppppmpppp ppppppMPPPPPpnn PPMPPPPPPPPPPPP PPPPPPPPPPPPPBP pppnpppppMPPPPP impppppppppppctpp Fi.;. 124. 16pppppppppppppmpp pppn-^.npprjnHPPPPii pppnPDPBPPPPPPnn " :pnp«npppppppppc 3BPPPnpppppppppn For I ^-harness three different regular satins can be made, as 1 5 can be divided into 2 plus 13, 4 plus 11,7 plus 8. The number most frequently employed for counting off is 4, which gives 6, 10, 14, 3, 7, II, 15,4, 8, 12. The design for it is found in Fig. 124. PPPPPBPPPPPPPuu 1 J r--y — --• to r. --- i EpppppppppppSpp the points for intersection as I, 5, 9, 13, 2, 6, 10, 14, 3, 7, 11, 15, 4, 8, i nPPPPPPPMPPPPPP r^-i A ■ c -^ • c ^ ■ ^■ ipppippppppppgn Ihe design for it is found in Fig For 16-harness three different satin weaves can be designed by dividing the 16 either in 3 plus 13 or 5 plus 1 1 or 7 plus 9. nnMnnnnnuuuuuuuu Using the number most frequently employed for counting off the PPPPPPPPPPPPPPPII • ^ r • . .• . r,,- 1 • u • c 1 pppppppnppppMPpn points for intersecting warp and filling, which is x, we find i, 4, 7, 10, 13, pnppppnnnMPPPPPP ^ &k &> j- >t. />»j> BppSpgSnpppppppp 16, 3, 6, 9, 12, 15, 2, 5, 8, II, 14, as represented in design Fig. 125. iBPPnpppppppppppp 1 16 Fig. 125. After the method given thus far for finding the different satins from the lowest number of harness (the 5-harness) up to the i6-harness, it will be easy for any student to find the different .satins for any number of warp-threads in repeat (harness) that may be required. Those given in our lecture will comprise those most frequently used. B^pppppppppppppm:: ppppnppppPMPPPi: pppppppnBPPUPPPC pppnaBnnpppppppn PPHPPPPPPPPPPPPC 29 Table fi ?r finding the Satin Weaves most frequently used. 1 Number of Harness. 1 SUCCESSION OF STITCHES. Number for Counting OFF. 5-harness... 1 3- 5- 2. 2. 4- 1 1 1 2. ' t 6 " ... 3- 5- 6. 4- 0. 7 " - ■ 3- 5- 7- 2. 4- 6. 2. 8 " ... 4- 7- 2. 5- 8. 3- 6. 3- 9 " ... 3 5- 7- 9- 2. 4- 6. 8. 2. lO " ... 4- 7- 10. 3- 6. 9- 2. 5- 8. 3- II " ... 5- 9- 2. 6. lO. 3- 7- II. 9- 4- 8. 4. ! 1 12 " ... I. 8. • 3- lO. 5- 12. 7- 2. 4- II. 6. 7- j 13 " - I- 6. II. 3- 8. 13- 5- lO. 2. 7- 12. 4- 9- 5- ! 14 " - 6. II. 1 2. 7. ^ 12. 3- 8. 13- 4- 9- 14- 5- 1 10. 1 5- 15 " - 5- 9- 13 2. 6. lO. 14. 3- 7- 11. 15- 4- 8. 12. 1 1 4- 1 1 i6 ' ... I- 4- 7- lo. 13- i6. 3- 6. 9- 12. 15- 2. 5- 8. II. 14. 3- Fig. 126. Influence of the Twist of the Yarn upon Fabrics interlaced with Satin Weaves. To produce certain effects on fabrics interlacing on a satin weave the same may require a certain twist of the warp or the fiUing, or in both systems. Fabrics made on a satin weave may for their effect require the satin twill to be more or less visible ; again it may be desired to see none at all. Therefore in all cases, before deciding as to the direction and amount of twist to be put in the yarn for any kind of a fabric to be made with a satin weave, we must consider whether the face is to be formed by the warp or the filling and whether the satin twill is to be visible or not. For example: Take a fabric to be made with the 5-harness satin. If we have to use warp for face and want the satin-twill effect distinct, we must use the design shown in Fig. 104 with a warp yarn twisted to the left. If we want to produce a fabric requiring a smooth face, as doeskin, kersey, beaver, etc., and have the warp yarn twisted towards the left, we must use the design illustrated by Fig. 108. Arrangement for Commencing the Satin Weaves for Special Fabrics, such as Damask Table Covers, Towels, etc. In fabrics where " warp up " and " filling up " satins are figured as in previously mentioned fabrics, we have to change the commencing of the weave from the beginning 30 with one, so as to get a perfect joining, respectively cutting off from the warp effect to the filling effect. In this class of fabrics the weave must commence in the following manner : The last warp and filling thread of one effect must work in an opposite direction to the commencing of the first warp and filling thread of the other effect. Hence the 5-harness satin for such fabrics will be 4, I, 3, 5, 2 (see Fig. 127). The 8-harness satin will read 3, 8, 5, 2, 7,4, 1,6 (see Fig. 128). The lo-harness satin 7, 10, 3, 6, 9, 2, 5, 8, i, 4 (see Fig. 129), etc., etc. nannn nnnna nn«an Mnnnn annMD Fig. 127. nnnnnBnn ■nnnnnnn nnnMnnnn nnnnnnan □■nnnnnn nnnnMnnn nnnnnnna nnaannnp Fig. 128. aanannnnna ■nnnnDnnnn □□□nnanmnn nann«nannn DBannnnnnn SnnannnaMn nnnnnBngan nnMnnnnnnn nnnnnnnnnM nnannnanna Fig. 129. MnM*MHnBBHMnBH«nnnBn«nBMBnnnannnnMnnnnBnMnBBMnnnMn ■■■■a«MMBnMMMBnBpnunBB««aBDcnnBnnnn«n'.jnnBB»BnBnnnn ■■nB«BBn«BB«aM«nnBnnBBnBBnnB'anDnBnnnnBnnMHnB«nnBnn n«BMBnBBBBn«BB«aaaaBn«BBBnnnnBpnunMnnLjnMDBBBBnnDnH BBBnBBBBnBBBBQBnBnunBBBnBnBunnnBnnnnBDanBBBnBaBnnn flJBBBB.IBBBB .BBBP.jLiBDB^BBB' :: :L:iB[_: .; iUB"^, -ll-KJBnBaBBBl'LL.Bn BBBB;jBBBauBBBa:'jB:'' ...". .bbbbjb:-.jl:i_,-bpi-;i ,r'Br;.vn; -BBBBnBr'Gi.in BBZIBBBB IBBBBUBB!!. fl.-JBB iBB-,PBrir:..|-BL1!J. :, BUI.'BBCiBBL.aBnLl □bbbbuBbbbijbbbb:": :: ,nB:jBflBB..:..jrjPB:_.P' ,pb :G.jrBiJBBBB!.;~.'.j:"B BBBPBBBB "IBBBBUB JBJ il.lBBB. jBPBl :L--iL:B-aL]L:BL-U: jBBBL-BPBULjn B.jBBBflJBBBBDBBB..:' !LIBDB_BBBL'i::nBnL:Dr B'_ iDn JBrjBrjBBBaiJDBD BBBBaBBBBnBBBBUBnnunBBBBnBnnnnBnnnnBnnnnBBBBnBnnnn BBnBBBBnBBBBZiBBnaBanBBnBBaaBnnanBnnnnBnDBBnBBDnBnn □BBBBnBBBBaBBBBnijuDBnBBBBnnnnBnnnnBananBnBBBBDDnnai BBBnBBBBnBBBBnBnBnuaBBBDBnBnnnnBnDnnBnnnBBBnBnBnnn nnnBnuaiiBjaunBjBUBBBanPBnBnBBBBnBBBBnBBBnnDBnBDBBB B.JZi:]_lB_iJ ,.]B:^PP JBBBB^B' :l-LjL_BBBBnBBBB BBBBi-BDIIirjUBBBBD naBpnnPBnnnnBnnBBnBBuaBPnBBDBBBBnBBBBnBBDnBnnBBriBB nnPPBPPPPBpnaPBPBBBBPPPPBPBBBBUBBBBPBBBBPPPnBPBBBB □BPPPPBPPUPBPPPBBBPBPBnpPBBBPBBBBnBBBBPBCBPPPBBBPB ■nBBBBnBBBBnBBBDnPBPBPBBBPPPBPnPPBPPPnBnBnBBBPPnBn ■BBBPBBBBPBBBBPBnnaPBBBBPBnnnPBPnnPBPnPPBBBBPBPPPn BBPBBBB 'BBBBPBBr fl lilBB: iBB: ::~IBL IPf.PBi P:.:'.:Bi:jPBB_iBBPPB:.n DBBBB-BBBB^BBBB^ . ! :B '.BBBB 'i: j! -BPLlPrjB'JPI^I :BPBBBBPCP'~B BBBPBBBBJBBBBPB.iB_r : :BBBPB: .B .iPPPB: 1 ;:LiB-crjBBBriBnBi-:L-p □□□BpnPnBPPPPBPBPBBBPnPBPBPBBBBnBBBBPBBBPnPBPBnBBB KPPnnBPPPnBPPnPBBBBPBPPPPBBBBPBBBBPBBBBPBDDPnBBBBP PPBPPPPBPnPPBJUBBPBBPnBnPBBnBBBBPBBBBDBBPPBnnBBPBB nnPPBPPPPBPnunBPBBBBPPPPBPBBBBPBBBBPBBBBPnPPBPBBBB OBPPnPBPnPIiBnnPBBBnBnBPPPBBBPBBBBnBBBBPBnBnPPBBBnB nnaBaPnPBPnPPBPBPBBBPPPBPBPBBBBPBBBBnBBBnnnBPBnBBB BDPPPBJnPPBPPPPBBBBPBPPPPBBBBPBBBBPBBBBPBPnPPBBBBn nnBnnnPBPPPnBpnBBPBBPPBnPBBPBBBBPBBBBPBBPPBPPBBPBB naPPBPPPPBPPPPBnBBBBPPnPBPBBBBnBBBBPBBBBPnnnBPBBBB nBnnPPBPPPPBnnPBBBPBPBPPPBBBPBBBBnBBBBPBPBPPnBBBPB nPPBPPnnBPPUPBPBPBBBPnnBPBPBBBBPBBBBPBBBPPPBCBPBBB BnPPnBnPPPBPPPPBBBBPBPnnaBBBBPBBBBPBBBBnBnnnPBBBBP nnBPPaPBPaPPBPnBBPBBPnBPnBBPBBBBPBBBBPBBPPBPnBBDBB nPPPBPPPnBPPPnBPBBBBPPPPBnBBBBPBBBBPBBBBPnPnBPBBBB nBPPnnBPnPPBnPPBBBPBaBnPPBBBPBBBBnBBBBPBPBPnnBBBPB b;_bbbb:ibbbbdbbbp: ! .bjbpbbb yjuB_..pnB j.:ppBr'Bi ibbbpulbp BBBB .BBBBPBBBBGB^ ";P' .BBBB JB :P; j-BPH:',; IBPnr'.nBBBBDBPaPn BBPBBBBPBBBBnBBPPBPPBBPBBPnBPPnPBnnnPBnnBBPBBPPBPD nBBBBPBBBBnBBBBnPnPBPBBBBPPPPBOnnPBPPPnBPBBBBPPPnB BBBPBBBBnBBBBnBPBnPPBBBPBnBPnnPBPnPnBPPnBBBnBDBDnn P JPBPa.j: :B jJ:j: 'B_iBPBBB IPJB'.'jBPBBBBnBBBB: :BBBPrjDBr:BPBBB •Bpn^-BPHPUB ::r 1 ~iBBBB' Bl_: ;:;PBBBBrJBBBBnBBBBaBPPPPBBBBP nPBmPPBPnaPBnPBBPBBPPBPPBBPBBBBPBBBBPBBPnBPPBBnBB nnPPBnPnnBaPanBPBBBBPnnPBnBBBBPBBBBPBBBBPnPPBPBBBB nBPnnaBPPPPBnPPBBBPBPBPPPBBBPBBBBPBBBBPBnBPnnBBBPB P'IG. 130. Fig. 130 is designed to illustrate a fabric figured with the 5-harness warp and filling satin, and Fig. 131 is designed to illustrate the figuring applied to the 8-harness warp and filling satin. iDpnnnBPPPPnpnnnn ■BBBBBBPBBBBBBBPBPnnPnnnBPPPPnPn ■BBBPBBBBBBBPBBBPPPBnPDPnPPBPPPP SnBBBBBBBnBBBBBBPPnnPnBPPPPnPPBn BBBBBPBBBBBBBPBPBPPnnPnnBPPPnnn ■bbpbbbbbbbpbbbbppppbpp: ippnnBPnn OBBBBBBBPBBBBBBBPPPPPPPBnnnnPPPB ■BBBBPBBBBBBBPBBPPBPnPPDDnBPDPPn ■BPBBBBBBBPBBBBBnnnnPBPPPpnnPBnn MBBBBBBPBBBBBBBPBnPPPPPPBDPPDPDa aiBBBaBBBBBBBPBBBnPPBPPPPPPPBDPPn ■nBBBBBBBaBBBBBBPPPPPPBPCnnnanBa ■BBBBBnBBBBBBBPBPBPPnPpnPBPPDDPn ■BBPBBBBBBBPBBBBPPPPBPPPPnPPBPnn nBBBBBBBDBBBBBBBPDnnnPPBPPPnnnnB ■BBBBPBBBBBBBDBBPPBPnPnPDPBPDPDn annppBPPnnnnnBPPBBnBBBBBBBPBBBBB BPnpnpnPBpnnnnppBBBBBBBnBBBBBBBn DPnBnnPDPnPBnnPPBBBBnBBBBBBBPBBB □PPPnnBnpnnppnBPBPBBBBBBBPBBBa0a §nPPnaPPPBPPPPnnBBBBBBPBBBBBBBPM pnnBPPPPPnnBPnnBBBnBBBBBBB::BBBM PpnPnPBPPPPPPPBPBBBBBBBPBBBBBaa nPBnPPnDPPBPPnnPBBBBBPBBBBBBBPaB □□□□PBnpnnPPPBnPBBnBBBBBBBPBBBaB MnnnppppBnpnnnpnBBaaaBanaBBBBaap nnnBpapnnnnBPannBBBBPBBBBBBBnBBB nnnnnnBPappnnpBPBnBBBBBBBPBBBaaM nBPanpppnBPnnnnnaBBBaBnBBaaaaaPB □panBnnpnppnBnnPBBaPBBBBBBBnaaBDi npaapppBnnnnnpnanBaBBBBBnBaBBBBB nnBaaannnnBnpnnPBBBBBnBBBBBBBnaB Fig. 131. Before proceeding with the construction of weaves (derivative weaves from the previously explained foundation weaves), we will next treat of drawing-in drafts, followed by drafting of weaves and reed calculations. / " Drawing in the Warp in its Harness," and the preparation of the drawing-in drafts. Description of the operation— Methods used for making out a proper drawing-in draft- Different systems of drawing in drafts. Drawing the warp-threads in the Heddles (which are adjusted to the different Harness frames) forms the beginning of the practical part in weaving; the making out of the order (or arrangement) in which this has to be done, constitutes one of the first lessons in the theory of weaving and designing. ^ THE HARNESS. The harness, or harness shaft, also termed a shaft, (see Fig. 132) consists of a "Frame'' (marked A), and the iron rod {B) for holding the heddles (C). Through the ej/es {£>) of the heddles the warp-threads are drawn as illustrated by B. For drawing in a warp in its " set of har- ness," two persons are required. The '' drawer^ in" inserts his " drawing- in hook " through the eye of the heddle, towards the second person called the " hander-in." The latter inserts one of the warp-threads in the "ejye of the hook," which in :sS««S!SSS!a]SS8SW88SS!«SSSS5&^««SSS«f*aWa5a^^^ WHm rott. (E /■- Z- 3.. 6- t % ar f .' ;: ; -.m-; 1 C WFtiTa-rotC a ^ MM -36xrne5j&- 6- 3- y- j- z- j- Reed,. fireoui? ;!;i - Black, fe Brown. j Brown. Blue. \% Pi • • • • « • 11 10 9 , 8 1 . ] / a / ■) ; , •< .^ -*. « ^ , i, r - . t -1 , ■ t Fig. 154. 36 Heddles required for the different harness : Numbers i, 3, 4, 9, 1 1, each 300 heddles Number 2, requires 750 " 5, " 600 Numbers 6,7,8, lO, 12, each 150 " 1500 750 600 750 3600 Having explained the general principles of drawing-in drafts for theoretical and practical work, also their classification, the next subject for the student to learn will be " the drafting of drawing-in drafts " from the different weaves. Drafting of Drawing-in Drafts from Weaves. Rule : Ascertain the " repeat " of the weave in the direction of both systems of threads. Next, examine each warp-thread separately (on the design) as to its rotation of interlacing in the filling. If each warp-thread shows different places (different picks) for interlacing, each thread requires a different harness. If there are warp-threads in the repeat of the weave which have throughout the entire number of picks the same intersecting places, they can be drawn on one harness. For example, examine the two warp-threads illustrated in Fig. 155 ; both are working the same way ( ^ ^ ^^ ^ ^ ) in its repeat of 8-picks, consequently these two threads can be drawn on one harness, giving the same result. nn ■M MB nn nn H inn 1 2 Fig. 155. In Fig 156 we illustrate 3 warp-threads over i6-picks. An examination of the same will show warp-threads marked I and 3 interlacing correspondingly with the filling, and hence can be drawn on the same harness ; whereas thread marked 2 works differently, therefore requiring a different harness. Weave. i2MnnnMBBnnnBBnBnBnMBnnnBBBnnnHnnnBnBnnn ■■nnnBBBnnnMnBnBnBnnnBBBnnnBBnnnBnBunn ■■■nnnMBHnnnBnMnBnnnBBBnnnBMBnnnBnBnnn □■MannniBiDnananHnnBHHaQDHHanaBBnBniMM nnBainnnHHnManiHnHBHanDHaannaBanHnaBH nnnaaannnaaanananaaannnaaannnaaananaaa annnaaannnaanananaananaaannnannnanannn aannnaaannnanananannnaaannnaannnanannn aaannnaaannnaanaannnaaannnaaannnanannn naaanDnaaanDananannaaaannaaaDaaananaaa nnaaannnaaananananaaannnaaannaaadanaaa innnaaannnaaanananaaannnaaannnaaanadaaa 1 38 Drawing-in Draft. lannnnnannnnnnnnngnnannannnnnannnanannn 2nannnnnannnnnnnnQpnQnannnnnannnnnnnnnn sSnannnnnannBannnannnannnnnannnnnnnnndn 4Snnanpnnnannnmnnnnannnnnannnaaananaaa snnnnannnunadnnnnnnannnnnannnnnnnnnnnnn ennnnnannnddadddddadddddadnnnnndddndddd Tndddddddundddadaddddnnddddddddnnddnndd sdnddddddnnddddadddddddddddddnnndddddnd 1 88 Fig. 157. leana ana nan nan ana nan ana dan adB ■da nan ada gna dan ada idan 123 Fig. 156, With Fig. 157 we illustrate a complete weave ^one repeat) with its corresponding drawing-in draft : 38 warp-threads "| 12 picks J in repeat. An examination of each warp-thread in particular will result as follows : Warp-threads i, 7, 23, 29, 33, 35 correspond, thus harness i 2, 8, 22, 28 " " " 2 3,9, 13, 17, 21, 27 " " " 3 4,10,20,26,30,31,32,34,36,37,38 " " " 4 " 5, II, 19, 25 " " " 5 6, 12, 18, 24 " " " 6 14, 16 " " " 7 Warp-thread 15 working independent, requires a separate harness; = " 8 37 Hence, we find dra\ving-in draft illustrated below weaves reading as follows: « The 1st warp-thread for harness i The 2d The 3d The 4th The 5th The 6th The 7th The 8th The 9th The loth The nth The 1 2th The 13th The 14th The 15 th The 1 6th The 17th The 1 8th The 19th 2 3 4- 5. 6 I 2 3 4- 5 6 3 7 8 7 3 6 5 The 20th warp The 2 1 St The 22d The 23d The 24th The 25 th The 26th The 27th The 28th The 29th The 30th The 31st The 3 2d The 33d The 34th The 35th The 36th The 37th The 38th hread for harness 4, « (t « u it u tt « It it K it tt it tt u ft 3 2 I 6 5 4 3 2 I 4 4 4 I 4 I 4 4 4 Some weaves will be found inexpedient to reduce to the lowest number of harnesses, as a drawing-in draft too irregularly distributed will be difficult to comprehend by the operative who uses the same for practical work. After making out a fancy drawing-in draft for a weave, the design for the " harness-chain " must be prepared. Rule for Designing the Same: — Reproduce each warp-thread only the first time called for by its drawing-in draft on a different harness. For example : Produce harness-chain for weave and drawing-in draft Fig. 157. Answer : The 1st harness must raise and lower as follows (reading downwards): The 2d The 3d The 4th The 5 th The 6th The 7th " The 8th " " " " " " " 13 2 3 3 2 3 1 3 3 3 2 3 3 2 3 1 3 3 2 S 1 finding in this manner harness-chain illustrated by Fig. 158. MtmaMMMQ ■■□nuBBO BBBnunnB nBBBnnBB □DBBBnBn nnnBBBBD BOngBBBD BBDnnBBn BBBDnnBLI DBBBdnnB ' 'DBBBnDB nnBBBBri Fig. 158. B 38 RULES FOR ESTIMATING THE NUMBER OF HEDDLES REQUIRED ON EACH HARNESS. Straight Dra"ws. Rule : Divide the number of threads the warp contains by the number of harness in the set used. Example: 4800 ends in warp — 8-harness straight draw. How many heddles are required for each harness ? Answer: 4800-^ 8 = 600; 600 heddles are required for each harness. If ends remain over the full repeat they are to be added, beginning with harness one until all are taken up. These harnesses will consequently require one more heddle. Example : 4800 ends in warp — 9-harness straight draw. How many heddles are required for each harness ? Afiswer: 4800 h- 9 — 533 full straight draws plus 3 threads. Thus, harness i, 2, and 3 must contain 534 heddles (1602) " 4, 5, 6, 7, 8 and 9 " " 533 " (3198) 4800 Fancy Drawing-in Drafts. i i Rule: Multiply the number of threads for each harness by the number of pattern repeats in the entire warp. Example: — 3200 ends in warp on the following drawing-in draft: 32 threads in one pattern, 3200 -^ 32 = 100 repeats of pattern in warp. nnnnaBnnnnnnannnnannuLiuunnnpnMBUi2 Harness, DnnaMnnonnnnnnHMnnnnncinnnnnnnunni 1 — IKpnanaannnnanannnnnnaBnnnnnnaio innpnBnnannnnnnannBnnDnnnnnDnp 9 ippppppppppBPPnnannMnnPMPPPPPd s / inppppKPPnpBnnnpnnpppnnppn 7 ^_jpppppppnpn««nnpnnnnPMPPnpp e jppppppmnnpppnppppnBPPPPnppS 5 "IPPPMPPPPpnnnnnPHppnPMpnnn 4 ipppppppppnppnnnoppppppnn 3 PBPPPPPPPPMMnpppppHn«pi3n 2 MPC inpppnnnpppppppppppM 1 32 Fig. 159. 3 3 -2 -2 -3 -2 -4 -2 -3 — 1 —4 —3 32 No. of Harness. I 2 3 4 5 6 7 8 9 10 II 12 Threads per Pattern. 3 4 I 3 2 4 2 3 2 2 3 3 X 100 Repeats. u a a O M, t3tf CD P Is- 3 P = Heddles. 300 400 100 300 200 400 200 300 200 200 300 300 32 3200 The repeat of the pattern will not always divide into the number of the ends in the warp. Sometimes it will leave a fraction over, which we have to add separately. For example, taking the drawing-in draft as before, and supposing the number of ends for the warp to be 3206. This will give us the 100 repeats of pattern as before, plus 6 ends. Numbers i, 3, 6, 10, 11 and 12- harness call for the first 6 warp-ends in the pattern, hence: 139 Number i harness will call for 301 heddles. " 1 " " " loi " 6 " " " 401 " 10 " " " 201 •'II " " " 301 " 12 " " " 301 " Harness 2, 4, 5, 7, 8 and 9 will remain the same as before. THE REED. The reed consists of two horizontal strips of wood, between which a series of narrow strips of metal (flat steel wire) are bound in. After a warp is " drawn in its harness," it has to be " reeded ;" one, two, three or more ends together are drawn in one dent orsplit of the reed. The purpose of the reed is. First : To guide the warp-threads after leaving the harness, holding the same during the entire width and length of the fabric evenly divided. Second : To strike the filling in evenly divided places all over the width of the fabric in beating up. The height of a reed (distance between both horizontal strips) varies according to the fabric it is used for. Silk fabrics requiring 2^^ to 3 inches height. Cotton fabrics " 2;i/^ to 31^; " Woolen fabrics " 4 to 4}4 " Carpets " 41^ to 5 It is advisable to have the height of a reed % io '^ inch higher than the highest lift of any thread in the fabric. It will never do to have this height lower than any thread of the upper shed lifts, as this would chafe the warp. The reed has to be movable the least bit in the width of the lay, but is required to be steady towards front and back in almost every kind of fabric ; except in the manufacture of turkish towelings, or similar textile fabrics, in which the reed is required to give way in a backward direction regulated by springs. To get perfect work the reeds must be evenly set, the wires must stand parallel with the warp and the wire must be neither too thick, nor too thin, too wide or too narrow for the work. The " riding " of threads can often be helped by different number of threads per dent, or by taking different parts of the pattern in the same dent. REED CALCULATIONS. The reed is named by numbers, the number in each case indicating how many splits are in each inch. Thus a number 8 reed means a reed with 8 splits in every inch over the required width. If we call for number 16}^ reed, we want a reed having 16^ splits in one inch, equal to 33 dents in every 2 inches over the entire width of the fabric. Whole numbers or half numbers alone are used for grading of reeds. Example: Suppose we have a number 9 reed, 4 threads in one split or dent, how many ends are in one inch? How many are in a full warp if 70 inches wide in reed? Answer : 9 x 4 = 36 ends of warp in one inch. X 70 width of warp in reed 2520 ends in warp. Hence, v\^e find as a rule for ascertaining the number of ends in the warp, if the reed num- ber, the threads per dent and the width of the warp in reed are known, the following : Multiply the reed number by the threads per dent, and multiply the result by the width of the warp in reed. Example : How many ends are in the warp if using 135^ reed, 6 threads per dent, 80 inches wide in reed ? 40 Answer: 131^X6 = 81 X8o^ 6480 ends in warp. The next process will be to ascertain the reed number, if the number of ends in the warp and the width in the reed are known, the threads per dent either given or to be selected accord- ing to the fabric. Rule : Divide the number of ends in the warp by the width in the reed, which gives the number of threads per inch. Divide this result again by the number of threads in one dent according to the weave or pattern required. Example : 6480 ends in warp, 80 inches wide in reed. 1st. How many ends per inch ? 2d. What reed number required if 6 ends per dent are to be used ? Answer: 6480-^80 = 81 ends per inch. 81^6 = 13^, number of reed required. It will be easily understood, how to find the width of the warp in the reed. Supposing the reed number, the threads per dent, and the number of threads in the warp are known : Rule : Divide the number of ends in the warp by the number of ends per inch, giving as the result the number of inches the warp will be in the reed. Example: Reed 12 X 3=3600 ends in warp. What width will this fabric have in the reed? Answer : 1 2 X 3 = 36 ends per inch. 3600^36 = 100 inches width of fabric in reed. The number of ends to put in one dent has to be regulated according to the fabric and the weave. Experience is the only guide for this. The coarser the reed, to a certain extent, the easier the picks go into the fabric. The finer the reed, the smoother the goods, and with perfect reeds the less reed marks. The same number of ends are not always used in each dent, but the preceding rules may be used for finding the average number of threads per dent. Example : What are the threads per inch ? Reed number 20 using I dent, 4 ends , I " 5 " Answer .-4-1-5=9 9-^2 = 41^ threads, average per dent, X 20 number of reed = 90 threads per inch. Example : What are the threads per inch ? Reed number 18 using I dent, 3 ends I " 4 " I " 3 " I " 6 " Answer : 3 + 4+3 + 6^ 16 threads in four dents. 16 -^ 4=4 threads, average per dent, X 18 number of reed:=72 threads per inch. Sometimes it happens that the average number of threads includes an inconvenient fraction. To avoid a calculation with this fraction, multiply the sum of the contents of the dents by the dents per inch, and then divide by the dents per set. Example: What are the threads per inch, warp reeded as follows in number 12 reed: I dent, 5 threads. I " 3 " I " 3 " 3 + 3 + 5 = II X 12 = 132. 132 -:- 3 = 44 threads per inch. Derivative Weaves. FROM THE PLAIN OR COTTON WEAVE. n 8. 6 % i m L '& I i ^ i, I. Common Rib-^A^eaves. This sub-division of the "plain" or "cotton" weave is classified into two distinct divisions, namely, weaves forming the face of the fabric by the warp (warp effects), and weaves forming the face of the fabric by the filling (filling effects). Warp Effects. The principle observed in constructing these weaves is to allow more than one pick to follow in succession into the same shed of a regular plain weave. This will require a high tex- ture for the warp in fabrics which are interlaced with them. The first common rib-weave to be formed is the change in 2, as represented in Fig. i6o, re- quiring for its repeat 2 warp-threads and 4 picks. Picks I and 2 are interwoven in the first shed of the plain weave ; picks 3 and 4 are interwoven in the other. Fig. 161 shows a clearly drawn out diagram of this weave and the corresponding interlacing of warp and filling in a fabric. Fig. 162 illustrates the section cut of the woven fabric. / Z,Z.t.5€.7 8, I JBnBnBHB nananana anananan aaananaG 4oaoaGa:3a Dananaaa aaaaaoaa laaajaGaG 1 2 Fig. 160. naGanana OBDaaana Daoaaaaa aaaGanaa aoB'^H lan aOB ■ HG CLja'^a ■ ■ GBi'ja B iB DBUBIJBUB aaBDanaD aaaaanan laaanBnaG 1 2 Fig. 163. L B -anani CB ■■.<_■■": J 1 4 Fig. 165. aanaaBnanna ■■■DnrBBBnDD ■■■DF' ■■■"DT annBHB bbb BBBCD_ BBBUGQ jgnGBBBIjCiaBBB IflBBDaDBBBDaa 1 6 Fig. 167. nnnni BBBB'' cnnri ■rr^' Fig. 166. BuOG^BBBI Fig. 168, ■BBB I "3 BBBB I " 7.1 BBBB luuGQ Fig. 165 illustrates the change for two warp-threads in succession, interlacing with one pick. Fig. 166 shows a diagram illustrating the 4-harness rib- weave and the corresponding inter- lacing of warp and filling in a fabric. Fig. 167 illustrates the change for three warp-threads. Fig. 168 illustrates the change for four warp-threads. Weave Fig. 165 has for its repeat 4 warp-threads and 2 picks. Weave Fig. 167 has for its repeat 6 warp-threads and 2 picks. Weave Fig. 168 has for its repeat 8 warp-threads and 2 picks. But each weave can be made, if required, on 2-harness by drawing warp-threads interlacing the same in the filling on i -harness. II. Common Basket-W^eaves. These are a combination of the common rib-weaves, warp and filling effect, having the same changes. Therefore, the principle of their construction will readily be found in the enlargement, warp and filling-ways, of the common plain weave. The first or most simple basket-weave to be found is produced by the exchanging of two successive warp- threads with two successive filling-threads, alternately up and down ; or an equal combination of rib- weaves. Figs. 160 and 165. Fig. 169 illustrates this basket-weave, requiring for the repeat four warp- threads and four picks. Warp-threads i and 2 are the first mate-threads. Warp-threads 3 and 4, the second. Picks I and 2 are the first mate -picks. Picks 3 and 4, the others. T'^BBH^BB C BB BB BB BB' J BB'JIJBBin ^DOBBnnBB 1. BB'. JBB BBOnBBCa IBBODBBGD 1 4 Fig. 169. 4;^ m ^j /. m 3^i 11 M ^ m y/. ^ m i- a 2 'J. 5.^.7.8. fM WA t Z. %. H5. Fig. 170. z ^ ~^H ■ threads working the same, and also illus- trates a combination of weaves, Figs. 164 and 168. III. — Fancy Rib-\Veaves. Warp Effects. The first step towards designing fancy rib-weaves is the combination of the regu- lar ''plain" weave with its sub- division the common rib-weave. Fig. 174 is designed to il- lustrate the combination of one pick "plain" to alternate with two picks of the common rib- weave ; or in other words, to put one pick in one shed, and two picks in the other shed of a regular plain weave. Fig 175 illustrates the diagram of this weave with a corresponding illustration of the interlacing of warp and filling in a fabric. Fig. 176 illustrates the section cut of the woven fabric. In its appearance in the 1 2 Fig. 174. Fig. 170 shows a diagram illustrating the 4-harness basket-weave, and the cor- responding interlacing of warp and filling in a fabric. Fig. 171 illustrates the section cut of the woven fabric. Fig. 172 illustrates the common 6-har- nccummnw- □uDBBBr II " DlOBBBCII. ' ■■■nnnHHi nnnni nan !■ ODD' :■ DDPi I l^r-' -I ':3U ■■■■I lua riaa nna ■■■; TjI il ■■■ ' ■■■ ■■■ [ I ■■■ ■■■ ■ ■■! J. . ■■■' 'jGQ , ■■■UUUBBBLJDa laaaaaaaBBDDa 1 6 one ■■■■ ■aaa ..aaaauijua jaaaaauDD Fig. 172. Fig. 173. ness basket-weave, having three successive warp and filling-threads working the same, Fig. 171. and forming also a combination of weaves, Figs. 163 and 167. Fig 173 represents the common 8-har- ness basket-weave, with four successive warp- fi i iS i i I i ^ I 2^i i i i i I I I i iX Wwm m I Z. 3. y J. ^7. 8. Fig. 175. 44 J^K&v^efJ- m ::¥^^ ^ I i. nKrxfta i rl ■ ^-°- rrlxEiTi i ^z / i: a a i ^ Fig. 178. or two changes of the plain weave and woven fabric this weave, as well as the following- similarly constructed weaves, will produce the fancy effect by alternately exchanging heavy and fine rib lines. Fig. 177 illustrates the change as to the size of the rib produced by one pick in one rib to alternate with three picks in the other rib. Repeat of weave: 2 warp-threads, and 4 picks. n. naDBDHDH oanBDaDB ■'^■""■naa ': ■ a^aaa ' ■ a :aGa [-.a.^ajana aGaaaaaa DaDaoana DaDaoaoa aaGaoaaa ilaaaaaaa Fig. 177. i. Fig. 179. Fig. 178 illustrates the diagram of the weave, with a corresponding illustration of the interlacing of warp and filling in a fabric. Fig. 179 illustrates the section cut of the woven fabric. Fig. 180 illu.strates a fancy rib- weave having two picks in one shed, to alternate with three picks in the other shed. Repeat of weave: 2 warp-threads and 5 picks. Fig. 181 illustrates a fancy rib-weave as prc- duced by a change of the shed of i, i and 3 picks one change of three picks in the same shed. caGaGana GauaoBGa GaoaGaGB auaGBGBG BGaGBGaG scBGaaaGB CB B'~'B'Da ra a m m i| IG 1 2 Fig. 180. lODBDBGBDB DBQBGBGB GaaBDBGB aGBGBGBG DaGBGBDB BGBDBGBG aaBGBGaa aGaoaGBG GBGaGBGa laGaGaaaa 1 2 Fig. 181. l^GBGaGBGa naaaGaaa GBGaGBGa aGBGaoaG aGaGBGaa GBGaoaGa aGanaGBG ■GBGIGIG bgbgbgbg gbgbgbgb qbdbgbgb ibgbdbgbg Fig. 182. Fig. 182 illustrates the combination of three different ribs, (as to its size) or the changes for picks in one shed, as i, 2, 3. Repeat of weave: 2 warp-threads and 12 picks. Filling Effects. In fabrics produced with these weaves, the rib-lines run in the direction of the warp-threads in the fabric. The face and back of the fabric will be produced with the filling, the warp forming the centre. 45 Fig. 183 illustrates the combination of one warp-thread in one filling change, to alternate with one filling change containing two warp-threads. Fig. 184 illustrates the warp change o( i and 3 in a fancy rib-weave. Repeat of weave : 4 warp-threads and 2 picks. ■DCBDDann CIBCHDM ■DDBnOBaD Fig. 183. CBHI l-RRl r^aaa ■ocr rn-na CBHH ■■■ ■■■ ■nn ■1 ' / ■ 11 jQ rBHH' ■■■ ■ ■■ B r ■ ' ~ ■ 'irrj ^: ■■■ ■■■ vvn lp._L .■^_'_ ■Jja 1 i Fig. 184. rCBHGCBBB BBCnCBBCOn cgbbb:^obbb bbgcgbbogg ggbbbgcbbb bbgggbbgog 2ggbbbg:jbbb ibbgggbbggg 1 5 Fig. 185. GBGGBGBB BGBBGBGG GBGGBGBB BGBBGBGG GBGGBGBB BGBBGBGG SGBGGBGBB 1 BGBBGBGG 1 8 Fig. 186. GBBGGGBGGBBB BGGBBBGBBGGG GBBGGGBGGBBB BGGBBBGBBGGG GBBGGGBGHBBB Bi:,OBBBGBBGna 2GBBi::GGflGGBBB IBGGBBBGBBGLjq Fig. 187. GBBGBB GBBGBB BGGBCJG 30BBDBa .OBBGBB iBGDBuO 1 s Fig. 188. GPBBBB^ GGBIBB': GGBBBBGGBBBB GGBBBBGGBBBB BBGGGGBBGGGG "IGGCGBBGGGG Fig. 185, with a change of 2 and 3 in its construction, requires for its repeat 5 warp-threads and 2 picks. Fig. 186, with a change of i, 1,2, requires for the repeat of the weave 8 warp-threads and 2 picks. Fig. 187, constructed by means of change 1, 2, 3, requires for the repeat of the weave 12 warp-threads and 2 picks. IV. Fancy Basket-Weaves. These weaves are obtained by combining common basket-effects of different sizes in one design. They also have their principle of construction in the combination of corresponding warp and filling effects of the fancy rib-weaves. Fig. 188 illustrates the fancy basket-weave produced with an alternate change of one and two threads, warp and filling ways. Repeat: 3 warp- threads, 3 picks. Fig. 189 is produced by the alternate changes of one and three threads, warp and filling ways. Repeat : 4 warp-threads, 4 picks. Fig. 190 illustrates a fancy basket- weave of a construction twice as heavy as the weave illus- trated in Fig. 188, or the alternate changes of two and four, warp and filling ways. Repeat : 6 warp- threads, 6 picks. Fig. 191 illustrates a fancy basket- weave pro- duced with a change of 3, i^ i, for warp and filling- Repeat : 10 warp-threads, lO picks. This weave will also indicate an important point in the con- struction of fancy basket-weaves with regard to their repeat. If changes are required, and warp and filling ways are of an uneven number, the repeat for warp and filling threads will be double the number of threads called for in those changes. For example take the present weave. Changes for warp and filling are 3, 1,1. Thus, as three is an uneven number, we find 3 -f i -(- i = 5x2=10 threads of warp and 10 picks necessary for one complete repeat. Fig. 192 illustrates a fancy basket-weave having for its foundation the change of i, 2, 4 for warp and filling. Repeat: 14 warp-threads, 14 picks. In addition to basket-weaves made with even changes 6GQBBBBGG1 OnBBBBGGBBBB GaBBBBGGBBiB GGBBBBGGBBBB BBGGGGBBGGGG IBBGGGGBBGGGG T 6 Fig. 190. GBMB' ■■■ gbbb; ■■■ mr^'Z Bi.:; , 4 BBB' BBB GBBBGBBB GBBBGBBB IBGGGBaGG Fig. 189. nBQOaBanBBGBaGGBGBBB GBGGGBGBBBGBGGGBGBBB CBGCDBGBBBGBGGGBnBBB ■CBBBGaGnrH'"!IBS"B" '^G GEGGGOGBea ■ ■ ■■fl ■GBBBGBGGGB .■■■ ■.. ij BGBBBGBGGLBL^BaB'_^BL.LjG BGBBBGBGGGBGBBBGBGGG GBGGGBGBBBGBGGGBGBBB BGBenCBnGGBrBBBnBGGG ioGar,GrH! bbb' '■>'' ^ bgbbb GDGl; .B' ■■■ ■ ■ ~;BBB GBGGLBL ,■■■!■: . BGBBB BGCBBGBGIJ .BL BBB B~ ~G GBGGGBGBBBGBfl : B BBB BGBBBGBGGGBGBBB B ,. G BGBBBGBGGGBGBBBi BljuG BGBBBGflQCaBGBBBGBGGG GBGGGBGBBBGBGGGBGBBB IBGBBBGBGDGBGBBBGBGGG 1 w Fig. 191. OBBnGOGBGGBBBBGBBGGGGBGGBBBl nBBGnGGBGGBBBBGBBGGGGBGGBBBB DBBGGGGBGGBBBBGBBGGGGBGGBBBB □BBGGGGBGGBBBBGBBGGGGBGGBBBB BGCBBBBGBBG' 'IGGBGGBBBBGBBGGGG BGGBBBBGBBGGGGSGGBBBBGBBGGGG CBBGGGGBnGBBBBJBBGGGGBGGBBBB BGGBBBBGBBGGGGBGGBBBBGBBGGGG BCCBBBBGBBGGGGBGGBBBBGBBGGGG aCGBBBBGBBGGGGBGGBBBBGBBGGGG BGGBBBBGBBGGGGBGGBBBBGBBGGGG GBBOGOaBGGBBBBGBBGGGGBGGBBBB GBBGOGDBGGBBBBGBBGGGGBGGBBBB BGGBBBBGBBGnGGBGGBBBBGBBGGGG i4GBIIGGGGBGGBBBBGBBGGGGBGGaBBB GBBGGGaBGGBBBBGBBGGGGBGaBBBB CBBGGr IGBGGBBBBGBBGGGGBGGBBBB OBBGGGGBr, BBBB iBBwGGGB'lGBBBB BGGBBBH/BB ] B : BBBB .BB 7 ^.GG BGGIBBB :BB7 , 'r,H- ,aBBB ,BBG GGG GaB.jGGL.iaGi aaaa. jbbgljGgbgi iaaaa aGGBaBBGBBG:.lGGBGaaBaBGBBaaGa BGGaaaaGBBGGGGaaGBaaaGBBGGGa an.' aaaa^aBGGGnaGGBBBBGBBGGGG B' '' BBBB BBG ': :~BG "BBBBGBBGGGG GBB J ' B ; BBBB :bb . :bggbbbb GBB ._. . B . BBBB 'BB .. ' ] JBGGBBBB lBG:-.BBBBGBBGGGGBGGBBBBaBBGaaU T- 14 Fig. 192. 46 for warp and filling, it may often be necessary to construct this division of weaves in one system heavier than in the other. The reason for constructing basket-weaves in this manner is found either in the difference of textures of warp and filling, or because of the different counts of yarn for the warp and filling. Figs. 193 and 194 illustrate two weaves constructed in this manner. nnnBBBnnoBHB DD' ■■■'.' 'cmmu ■■■ . ■■■'I'cia ■■■ ■■■GDG 4GL ■■■' ' !!■■■ a ■■■ ;GBaB ■■■ . , -.■■■GDG GuaBBBGCQ 1 Fig. 193. ■n j 6 warp-threads. P (4 picks. DDDnnHnDGGBBBI Dl .<: '■■■■i '' ~ .■■■■ □ r'l'ii !■■■■! I .. !■■■■ ■■■■ < ■ ■■■■'- .:JG ■■■■uUL JuMBBHuuGG BBBBGGGGBBBBGGGG eGGGGBBBBGDGGBBBB DGGGBBBBGi^'! i' BBBB GLiGI 'BBBB' ' '' BBBB BBBB BBBB IG BBBB BBBB JG lBBBB'...G..i ^BBBBGUGG 1 8 Fig. 194. P . j S warp-threads. V. Figured Rib-Weaves. These are the combination of common and fancy rib-weaves so as to produce a new weave. The following few examples, with the corresponding explanations, will illustrate methods by which each rib-weave (as numerous as they can possibly be constructed in plain and fancy) can be varied in an endless manner. The first step towards figuring will be to change the rib-line in a common rib-weave after a certain number of warp-threads. Figs, 195, 196 and 197 are designed for the purpose of illustrating this method. Fig. 195 contains for its principle the common rib-weave, Fig. ' _^^_ ! _„_ ! -^. ! 160, 2 ,. The rib is arranged for one pick higher for every six succes- BBRIPK^S^bPS^S^S^^gBggg 2 o 1 1 , • •, ^1 B B B t; :: :: B b BjaGHoa sive warp-threads. Repeat: 24 warp-threads and 4 picks. Thus, as 4 . 4%"b"b 'i " l^m'm'm'a'^nrin '^ ^ ^ '■ ., r 1 r GB B •□ :: a B B B n aGEJ picks form the repeat for the common rib, find the number of warp- iBGBGBGuaGaGaGBGBGBEGciGaa threads required for the full design as follows: Successive warp-threads, Fig. 195. X number of changes, ^ warp-threads required for full design. 6X4 = 24. Fig. 196 contains for its principle of construction the common rib-weave, Fig. 163, ? 3. The rib is again arranged for two picks higher for every six successive warp-threads. Repeat: 18 warp-threads and 5 picks. Fig. 197 contains for its construction the common rib-weave. Fig. 164, ^. The rib is arranged two picks higher for every eight successive warp-threads. Repeat: 32 warp-threads and 8 picks. Figs. 198, 199, 200 and 201 illustrate a second division of figured rib-weaves, having for their foundation fancy rib-weave warp effects. 12 3 12 GBGBGBGiSGfflGaU laGHG DnGH'^nBGBGBG OB B mfj fp ^l^ ■:■: 'a ihg i 2 s « 12 bgb ":B b b ibg CB B B-:< •;• •!< :■} □ la . , ;, , _>__j^_ B' b b b b mg b::bjb_,h- >i^ ■:<., u .hgh ' ■^ -' ^' ,— ".^,— a_^ b b b a ^hgh BGBGB fH iii ►a ::; ma 8aBnBQBGBpnnEr-:a~nB^BrBGBanGn~n~nG GHGHBaBn b b.jb .b/b bg BaBGB..'/ja m >2:: :: :: ^ dbgbcbgb;; :•> :•: :■;■ kb B' b B!"k i: :■; :rj BGBGBaBG b b b :b b ibg eoBGBGB ,iB !i_,t3;: :: :: j qbqbgbqbh :;_:■: :: b_ b b b__ :: :; a. a BOBGoaGta cc"h a hb_bjbg GBGBGBEQ >lj ^Ij a ^a a J DB^B'^B' BC a CI U B B< B. B . a U .Ui^.a BGBGB'^BG B B B B B BG GBGBjBfs a 'Sij :: :; ''a bgb b b ~a ::' :: r: ' b bgb^ b a .a'.aoa ■icn 'aB' 'bg b ■ b b b bg BGB.BGta jS a . a.;:a a B'^ b b b a a a a b b b a a a aGa b b\b bg b b b a aja B'_B„BGGfflGBGffl laGa ja BGBuBLBGL_a_a. aL_auBLBGBLBa_aLauaa B_BG:jaGa b ..b b.b.bjbg IBGBGBGGffiGfflGEaaGaaa^ IBCBCBGBGGQCGDaQEGBGBGBGBHUEaaaaa iBGBGBaB^ IBGBGBGBGBGBC^ Fig. 196. Fig. 197. Fig. 198. Fig. 199. Fig. 198 is constructed out of the regular fancy rib- weave, j (see Fig. 177). Repeat: 8 warp-threads and 4 picks. Fig. 199 is constructed out of the regular fancy rib-weave,^ j. Repeat: 12 warp-threads and 6 picks. Fig. 200 is constructed out of the regular fancy rib-weave, ~ g. Repeat: 24 warp-threads and 6 picks. Fig. 201 is constructed out of the regular fancy rib-weave, g- ^'^^ ^°^^ changes in the repeat, each change 8 warp-threads, thus: repeat 32 warp-threads and 8 picks. 47 Figs. 202 and 203 illustrate a third sub-division of the figured rib-weaves, having for their foundation the fancy rib-weave filling effect. Fig. 202 is constructed out of the regular fancy rib-weave, 3 -. Repeat: 4 warp-threads and 8 picks. DEJDQaQDBaaaDaaBUBaBaBaHi ■aanananainarianarjanariBna^ DHDE3DHaDaDaDDnannGBoi DHGHDHanaCiaCDHr/ErHBi:,'! CDH. :: GH: :■, BLB. BlB ac'B. lyLB. B B. Fig. 200. laaa IDBD r Ba a a H a ma ma BG ma K □ Il_BU 1:4 BGI ■ni DH, ■ai I .B a :■:, u u ■ a '.. .'Ul .Hi Hi H IH JHBGaUBLBi H. aaaBDBDBL irB^ar^i iH It Fig. 201. i''iaa I'JBU HUQ Hoa I JBD I: BD I' ]ma I BD ■ ~ BD ■ _.BLJ Hna I JBG I' ma I jBQ IijBG sannnnanD BGBBB7IBB [in |. :. a JO B'.)BBB..BB D.JJHU.:.GC3 ■aBGBBBD DaaaGGGa iBBBGaBBD 1 4 Fig. 202. Fig. 203 is constructed out of the regular fancy rib-weave , 4 — -. Repeat : 6 warp-threads and 12 picks. The next method for the designing of figured rib-weaves is the combination of the warp and the filling effects of the common rib-weaves. We may select both effects correspond- ingly, or combine two different effects. Fig. 204 illustrates the combination of the common rib-weave, ^ 5, warp effect, with the common rib-weave, ^ -, filling effect. Each effect is arranged for a repeat of 8 warp-threads and 8 picks. Repeat of complete weave : 16 warp-threads and 16 picks. isDBHannaHHnaa aanaaBaGOBBH DEHGPGGnanDa aC'~BBBB'~GBBa DHH -. HHGaa ■Cv BBBB 'GBBB □C HH. jGGHH ■BBB BBBBOa CCl _ HHl _,QDC3H ■BBBGOBBBBDa DanGHHGDnGHca laaaaaaaaaaoa 1 6 Fig. 203. locGnnnnnn '"BGBcana □BEiH' < BGBDBDa Dnr-r-,KKHn! B' iBGBDB EBHH ' B' BfBUa G' HHHHB B B' IBD EHHH . B B B' BG dggljKhhhb' b Bi-_;Ba QEEH ... ' B B BIjBD gbgblB iB. l!_ . nana DaQBOauBKHHHGGGa LB b:b bl'I '_ caaa QaGBGBGBHHQaQOGa ar^BGBGBGaGOGQEIHa B[ a: B' ■■BGHaHHaGQG Bi B a BGGGGGHHHa IBuBLB^BGHHEQaaan Fig. 204. lennHHnnnHDBnaDBGB HaDDHHnacBaaaana □oan^GHaGBGaaaGB Ea:''Gnn--r;rBaBGaDB Dran ., .anBGBGBGaa EH. .HH ; iBGBnBGBG □: ::h hhb b' b^bd EH HH a B. a BG na .a ,B..Bi .hh he aauBJBOBHH HHia DaGBGBDBr HH HE DBDBGBDBHH HH ^G ■naGBGa^iL hh.ji^.eb BGBaar^Bi HH ..lEEGQ BDaGB' B ' ■HEGGEE IBQBaB^BGHHGGHBGD 1 16 Fig. 205. Fig. 205" illustrates the combination of the common rib-weave ^, warp effect with the common rib-weave ^ -, filling effect. Each effect is arranged for a repeat of 8 warp-threads and 8 picks. Repeat of combination design: 16 warp-threads and 16 picks. These changes of warp and filling effects may also be arranged after the shape of a certain weave. For example. Fig. 206, which is arranged after the 4-harness broken twill (lmzo) \ BGuG / ■ ssnnBHBBnGEEGnnnBEBnBnBDBGEBnDanEB BE" GCEHHH BEG :. CCEHHH EEr I. nOGHHH BE' i UGHHHH BEL : GGEHHH EH [. hh: HC HH eg; HH HHHH aCGHHH B B B BEG HHB B a GGEHHH a B B BE'. HH B B a DCBHHH B B B BE HH a B B GGHHHH a B B BEG HHB B B BGBlIBuB HH BGBGBGB ""HHHH □Baaaa bhh canaGB' b hhhh hh naGB'. a bhh hh. hh dbl a a b ghhhh hh aGa_.B_.B._aH . hh ..hh ... IBDauBuB-^LEBEEuGEEuuuLjHEGGEBGHUD 1 o2 Fig. 206. EHHGa B BHH HE B B ' HHHH.jQ Bl bhh he a B ' HHHH .IG B B HH HE B a HHHHJG HH B BGBGaa ~ HHB BGBGaa :HH '. B. .BGBGB HH. BG.BGBGa IHH . BGBaBGB HH B'""-BnaG« •HH B.. B'^^B^BG HHB B B BG HH HE HHHHGG HH HE HHHH.JG HH HE HHHHLIG !H HE ^.^HHHE JG HHHHJG H HE HHHH'. iG iH ' . EB ..HHHH "IG HH .. HE 32nGBEaGBBaDBEaaEECBGBDBnBnaBBnnBB BEl i "'EH' . EE CGEH HH : EE' :: r.r. •r.r. r _.E EH EH C [ HH EH :: r : HH EB._. C-: GGHH EE! I ■:: L HH an EH IG HE HH HH EH HE I .HH .HE EH a:-: BI I B' BHH HH jG B Bi a B' c CO COB B Bi B B' C'3Cj aCj iG a B B B C:, CO EB B Bi B a CjC]1 HH JG Ha B B.B_:a a: -'„, h: a. B' b;ib h: a B..B.JB HC^ Ijl ;b I B~ BG ;:; 3 HC a I a BG HC aHB 1 B a ; "'" K,r HL 'ac m m a B_ a BE L Ea a: L an Ea. ai GB^B ,1 cm. m I ra' a 1 LB'. a I a.a B BOB :b "■Gr ~ HHl a a c: oa_^^ aa_ '"aa"'1aH . HH EB OH u EE OHGiG HE oa JG HE oa .JG EB '" G ;oE IBGBUaUBGBEi^LJBEGGBBuGEEGGUEUUEEGa 32 Fig. 207. For warp and filling face the same fancy rib-weave {^—^—^) is used. Each change in effect (after the 4-harness twill, as mentioned before) is arranged for 8 warp-threads and 8 picks repeat. Repeat of weave : 32 warp- threads and 32 picks. , 48 Fig. 207 also has for its principle the four-harness broken twill, rib-weaves are used in its construction, as follows : For the warp effect - Two different common for the filling- effect 4 ' 2 ^. Each change in effect is arranged for 8 warp-threads and 8 picks repeat. Repeat of weave: 32 warp-threads and 32 picks repeat. 32DBDBDI DBGB"' mam:: m ■nH' ■ omcM Dmcm DBCB aas ODOI □□H DDDKK □□a -- □a:aa aat C3HH aaa naa aaa DDLiaa . I .1 Hna ' aaai innD[3E3nCDHHHaDHBt3D«nBD«ai iaanr'"anE'^'T'^aa'"'~'"'~B'"BaBCi aa ^aaa aaa a bzibgi IDBD ir-:ma a a aa aaa^ :;aa^ ■■a: ■a ID ■a a a a TB^B'-BrB'-.n" L B B B Baaa LB B B B B B B . """a B_B^ X:a .BJBDBOBGB B I .'BGBGBDBCB B ;BJBGBGBGBaaaa„ ■GBCBuBGBGBaBaBaaaaaa ■DBGBGBGBGBQBGBGHaHG!" li DBOBaBaBaBaBaBaBaGGaai DBaBDBaBGB^B IBGBaaa^"' 1 BGBGBDBOBGB B B ? aa bgbgbgbgbgb.jb .■ aaa IBGBQBaBGBQBui IGBGBG ■ ' IBriBD I B BO aa .jG ; aaa aa GG ; aaa aa ,rja ; aaa [;:: " iG : aaa [;a . JG : aaa c;a I .iG ; ■ laaa aa JGG ; aaa -— _,ja ": lanEGBGB aa BGB aaaGBGB aa B' BGBQ B " BGBQ ,aaa ,. . . aaa B' bgbg a' aaa b b b jbgb aa:: .. b b bgbgb a aaa b b b bgb aaa b b b b bgbg a B B B B BjBa aaa ~Bl.:b b b^ .b":bg a B B/lB. B. B< B::GGa B B' B B B BaaUG a B B B B' B B ~GGa B B B B B aaaG B B B B B[:aa~ na 1 iGGi^Juua^^LjaaaujGciaa 32 c B a:: c aaa Ga^^_^_^aa Ba'""'a:: c aaa a a a:: r aaa ■ a a ■ r aaa ■ a a B B I ■ , m m _ aauBUBGB m m m BGBGBGB'. B B aac: BGBGBGB. B Baaa IBGBGBGkGB^jBG.G'iaat 1 aaa a : aaaG aaai^rjGa ; aaaG ''' TIGGGG .jQaBG 14 Fig. 208. Fig. 209. Fig. 208 illustrates a figured rib-weave having warp and filling changes equal (^-^), and with systems of effects arranged to exchange in the shape of the 4-harness even-sided twilh (BiiSa ). Repeat: 32 warp-threads and 32 picks. Fig. 209 illustrates warp and filling changes equal {- 3), both arranged to exchange in the shape of an even-sided twill. Examples 204 to 209 will indicate the great variety for figured rib-weaves. An endless number of them could easily be constructed. In the beginning of* our explanation of the common rib-weaves, we mentioned that in " warp effects " the warp forms the face and back of the fabric and the filling rests in its centre, while in " filling effects," the filling produces the face and back and the warp rests in its centre. To improve or increase the strength of the fabric we may interlace the warp or filling threads float- ing on the back of the fabric on an extra weave. Figs. 210, 211 and 212 are designed to give a clear illustration. 1-~B~B~B B B B GBGBGBaB::;B B GBGBaBGB B BC GBBBGB' B .BaB ~ aBDBGB:. BaB B □bobgb; :b. :b b bgbgbgb b b i BGB" B"'iBaB B I BGB BBB'^B B II BGBaflGBL'jBGBBI BBBGBGBGBaBGI IBGBGBOBGBGBGI 1 8 'BBBaaaGGBBBBB ' GGGBBBBBGGGGB B^IBBGGGGGBBBBB ■' -.i jggbbhbbggggg BBnBGGGGGBBBHa GGGCBBBBBGGGQa 10 asBGDaGGBBBBB ! jBBBBaaaaQa BBGGGGGBBBaa aai aaGGGGG BB ~ B^^BBB . B BBB.GJGGG HBl jL .^uGBBBHa jaGaGGBBBBBGaQaa GGGGGBBBBBGGGGGBBBBB BBBBBGaaaGBBBBBCjaGGa GGGGGBBBBBGGGGGBaBBB laaBBBaOGGGBBBBBGGGGO 1 10 [J. ■ aawa DGGl . BIBB^ 6GGGG'_ Fig. 210. Fig 211. Fig. 212. Fig. 210 illustrates the common g rib-weave (warp effect), having its warp-threads, as they float on the back, interlace in rotation once more with the filling, and thus giving additional strength to the fabric. Fig. 211 illustrates the common g ^ rib- weave (filling effect). The filling, when floating on the back of the fabric, is arranged to interlace additional, after the manner of a broken twill. Fig. 212 illustrates this additional interlacing arranged with the same twill for each rib. Effects Produced by Using two or more Colors in Warp and Filling of Fabrics interlaced upon Rib and Basket-Weaves. Rib and Basket-weaves are frequently used for producing various effects by different com- binations of colors in warp and filling. We will describe a few of the effects most frequently used,, thus giving the student the necessary points for the construction of any effect he may have occa- sion to produce. 49 Fig. 213 illustrates an effect derived I end dark, and a color arrangement of laced with the common rib-weave (warp by a color arrangement of the warp (dressing), I end light, the filling, 2 picks light 2 picks dark, upon a fabric inter- effect) ? 2. Diagram for Explain- ing Figs. 213 to 224. Arrangement Weave ot Warp (Dressing.) c 2, 1)^ IM g a> Effect. innnnnnDnnnnnn ■ B "la la la la-- la ■ ,. . I. jj I. 1, i: in. 1: 1 i. <~ I, II n 1 ! r I. I :. 1 I ■ . Li naaaaa:::::;:;:]a aaaaa:;;::::x::xj aaaaaaa aaaaaaa L iaa aaaaaaaaaaaa DB 1 riBi Drli ]. am' I naa ■□■nr nnonnnnnnDn nnst>;!iaMai -lat^H la .ai lauai iai-ia: lar-ia^ OB DBi DQa DBa' DH' !i DE-I. 11 □Ha aaa nn- n, I QHJcJuaaHHi la; a .] a ai lai la' la lai lai la la ik'^l ik^i IC'T 'CJ t:' a ;a' .a :: :: :} a a a a a a a a a a a a a a' :a la a ■nnnnnnnnnnnnna ■■E)i-=iHaMt^aaN(i3n[3 ■aa II laa i- laa LJi ■■ Liaa a ' ciaa a^ I I uaa a- 1 ! . Daa L.IU I uaa _ ,aai ;aa aa laai iaa' aa laa. laa! ,a::' :aa :aa a a a a ] laa laa laa aa aa aa a a aa a a aa -aa ■■nnnGnrinnnnanaa [ji '■■--!' -lan'-'f-iaaMfsaa ■■ I . ' ;aa ■ -aa' ■ 'aa ■ — a 1.1 li □BBLJBaHHL3uuaHaaa laai aaaatoaaaaaan I aa :;aaaaaaaaaaa 1 . ■ . ' ■ ■ m f aa a:3aaaaaaaaaa I ; ■ ■ : r-a [ aa aaaaaaaaaaaa I a:: aaaa::aaaaaaa daHDaaaaaadaaaaa Fig. 213. Fig. 214. Fig. 215. Fig. 2x6. Fig. 214 illustrates the same weave and the same arrangement of the warp as Fig. 213- The arrangement of the filling is also, 2 picks dark, 2 picks light, as used in Fig. 2 1 3, but is started on the opposite shed. In Fig. 213 the light filling covers the dark warp and the dark filling covers the light warp, and the effect produced are lines across the width of the fabric, (in the direction of the filling), each line having the size of two successive picks ; in Fig. 214 the light filling covers the light warp and the dark filling covers the dark warp, forming for effect a hair-line. Fig. 2 1 5 illustrates a heavier hair-line obtained with the common rib-weave filling effect ^ ^. Arrangement for the warp: 2 ends light, 2 ends dark. Arrangement for the filling: i pick dark, I pick light, each style of warp covered by its own colored filling. Fig. 216 illustrates the tricot effect produced on the same rib-weave as Fig. 215 ; also the same color arrangement for warp and filling, except that the light filling covers the dark warp, and the dark filling covers the light warp. inBCODDDnnDnDDDnnnnnn ■nBGDDnDGnDnoDDnnfJui'jn DQ iggnnnnnnaoDnDCDncnnnnnGcnDaDDDDnnnnn issaa □GBH' oaa oun - DGa om.- oaa D» DEE CGa DM '.■^ r.> r.i r,"« r— ■ -r r.-^ ry r.i r,'^ i j '■.-' n r.T r.-i I - . r-^r-^r.yr^ .aaaa' i-i laaaai . i aa aa .m aaaaaaaaaa j aa aa ,i ac:::aaaaaaa m aa aa n aaaaaaaaaa -i -aa ' aa n aaaaac:::aaa n ...J ' i.-;i-! l;l-;' i- aa^ ; ; ' • i aa i^i c:aa:;ar;aaaa: : aa. i aaaac;aaaaa. j,% ■aau-frr ^fr.M,.EKhMiaEtimBHt--.f .1 ii '-'r-,aamm ,t=,HHEEEBHEEHUMHHBHGEBEBEEHHEHH a a t^ fe^ a a a a aaaa aa c ■ ■ ■ -'- ■ a a a. "T-i-'^^a" - BHH [:■. ■ JQ L.B ■ ■ ■ 1 JO Ci 1 1 Gl 1' |. ^! ^a ;.; 5< a' w r:i ■ ' ^ ^' f. '.. *■' 'y id r. [ ': " - [' a a [ 1. ':': a 1 IB L Gl .ii-'iriuui-:" DDBHDUSr :; iT-ii=.elBf- :. mmmm .ana IHBB IGfiEL/iME' Fig, 217. Fig. 218. Fig. 219. lansH :a i-lB a ;""a :: a a a a a a a :: a a a a a a a -:a IE Fig. 217 illustrates an effect obtained by combining effects Figs. 215 and 216. Arrangement of the warp : 2 ends light, 2 " dark, 2 " light, 4 " dark, 2 " light, 4 " dark, 16 ends in repeat. Arrangement of the filling : one pick dark to alternate with one pick light. Fig. 218 illustrates an effect produced upon a fabric interlaced on the common rib-weave (warp effect) ? 3, with the following arrangement for the warp : 2 ends light, I end dark, I " light, I " dark, 5 ends in repeat Filling: all lU ight. 50 Fig. 219 illustrates a hair-line, upon a fabric interlaced on the fancy rib-weave j (filling effect). Dressing : i end dark, 2 ends light, = 3 ends in repeat. Filling : one pick light to alter- nate with one pick dark. Each color in warp is covered by its own color in filling. Fig. 220 represents another hair line, having more ground space between each line. Weave: fancy rib j -. Dressing: i end dark, 3 ends light, ^ 4 ends in repeat. Filling: i pick light, I pick dark. Each color in warp is covered by its own color in filling. Fig. 221 illustrates a heavy hair-line effect similar to the one shown in Fig. 215 and is pro- duced upon a fabric interlaced with the common 4-harness basket-weave. Dressing and arrange- ment of filling : 2 ends light to alternate with 2 ends dark. Each color in warp to be cov- ered by its own filling. Fig. 222 shows an effect produced with the same weave and dressing as Fig. 221. Filling: all light. ■unnDDDanuDnnDDa DBBH 1 DBi-i C3 : : :■; : K ; 1 □HK t: :: :: i DB- ::. :; :■; i DEH :: :: :: i am :: :: :: DHc: n :; :: i am^ ' :: :; :: ! Qsn K c: :; s □■i :; :; :; i DEK :: ■ :; :; i Dis :; :: :: i DEE :-> - ■ u :: i r Fig. 220. ■■□□DDDnDaDDnnaa DDBB^^BH^'^nHHilHa :)'"■■ ":' ..,,.-..., riHH I !. ::-;a 1 mc-i :■ i:-;a I ^an '■ : ':■::■: : ;h:-3 ■ laa :::: :;:: !HE :::; c;:; laa :::: :;:; :x; iHE 1 :::: :;:: :::j see i-i '! i .Hcl i :x: : lEE ; EH ::e ee iee r EE EE EE lEE I EE EE iEE LH. i, .. , EE :EE JUEQ ■■nDDDDDDDDnDDan ■■naaBBQHBQEiaBQQ OnHBiBSHHseiiHHBBHH r ■■ pOQDD t ; 'nms iEta lEH EE EE Fig. 221. Fig. 222. Fig. 223 illustrates a " star-effect " obtained upon a fabric interlaced with the 4-harness com- mon basket-weave. Arrangement for warp and filling : 1 end light, 2 ends dark, I end light, 4 ends in repeat. ■■nnnnnnnni^nnaDn ■■nDHEniHaaaaBHaa rjOBB'-'EE'=''EE'^^Ea^ DEE EEe"eEe"eEE DB:-.' E E E Fig. 223. ■nnDDn'JDDDDDnonnDDCiiBn innMEHHeaaBnHawHBBBBHr Fig. 224. Fig. 224 illustrates another small effect upon a fabric interlaced with the 4-harness basket- weave. Arrangement for warp and filling : 2 ends dark, 4 ends light. or color No. I. color No. 2. 6 ends in repeat of color arrangement, and 1 2 ends the repeat of the entire effect. It will be easily seen that an endless variety of effects can be produced, but those pre- viously given illustrate the most frequently used, and will be a guide for the student in construct- ing other effects on 2, 3, or more, color arrangements. VI. Oblique Rib-Weaves. This sub-division of the rib-weaves is used in the manufacture of a line of fabrics tech- nically known as " basket-cloth " ; and they are also used to a great extent in the manufacture of worsted suitings, cloakings, etc. For their construction we use the following rule : 51 Divide the repeat, which must be equal warp and filling-ways, in four equal squares. (For example, take diagram, Fig. 225. Suppose n a, b, c, d to form the repeat for the weave, warp and filling-ways. Small squares numbered I, 2, 3 and 4 are the four equal squares required.) Next, divide the main square {a, b, c, d) into eight parts by running two oblique lines from each corner through the centre (e) to the opposite corner. For illustra- tion, see diagram. Fig. 226: lines b to ^and a to c, in addition to lines / to h and i to g will divide the main square a, b, c, d into eight even parts, each of a tri- ,- angular shape, as indicated by numbers i, 2, 3, 4, 5, 6, 7 and 8. Two methods of construction can next be observed : either we fill out every triangle containing uneven numbers with filling-weave effect, and every even-numbered triangle with a warp-rib effect, or we select two connecting triangles such as i and 2^= a, e, b, for warp effect rib-weave, and the next two triangles 3 and 4. = b, e, c, for filling effect, to be followed by triangle c, e, d with warp effect, and triangle d, e, a with filling effect. Weaves Figs, 227, 228, 229 and 230 are constructed according to the first-mentioned rule. Figs. 231, 232, 233 and 234 are produced according to the second I 2 4 Fig. 225. method of construction. BS§:R5 p '^^^^ ( 6 warp-threads. □HOBBB Kepeat< ^ . i'^^ ■BBQBD t- \ 5 nicks. jGBHaa iBDBaag Fig. 227. V 6 picks. XHHHHBnBn EGGCBQI — eg::: IPFIbbb t> J S warp-; ■BBB ■ ■ Repeat- ^ ■ / GGGBBBi la ^ 8 picks. threads. -JDBGGGH IGBOBEEEB 1 i< Fig. 228. IGBGI BBBBB lOCG'" cnc GH OK Ga G. ■ Baa' a ] BBBLB' DGBGBaaaa' ; IBOBGBl J I I. L ^ 1 lu Fig. 229. Repeat! ^^^^•"P-t^^^^^^^' ^ [10 picks. laBHEEEEBGBGBG arrTT"!' 'BGBGBB □raaaaBGB' gg a a ' B BBBB a a aaB' ■ , a' a a ibbbbbb BBBBBB' .ai'ia a I ■ , Baai la o BBBB B' ! 'I :a a ij M Baaaa a BB B B E 1LB B Baaaaaa 1 12 F"iG. 230. Repeat f 12 warp-threads, [12 picks. enHDBGB EEGBOG GGGBBB BBBGGG CGB^EE IBGBGBa R Fig. 231. G^'"" BBBBB r"**B aaEH BBB B a UG c_B_BGa_Ea IBDBGBGEQQlJ Repeat-^ ^ • 1 ~ ^ [6 picks. threads. Fig. 233. Repeat-f^^^^T ^ (10 picks threads. S'BGEGBDBn GGEUBGBB BEHGBCGG DGGGBBBB BBBB' ''■' "'"G cr ■ B aaa IGBGI 1 ^a^a -D 4-/8 warp-threads. ^^P^^^\8picks. Fig. 232. isHr^BGEGBGBGBD G' a a B' B ^BB Eaa a'"'B bgg^g Gi_i B aaaBE ■BBB B a JO OGiJB B a asB BBGB._B_a..aja IGBOBUBOBaBDa I 12 Fig. 234. Tj f / ^^ warp-threads " (12 picks. isegbghgegbghghe: BGa a aaa a GCGCB B. BBBBB B IGI 1 Fig. 235. aa: BE ;^a"'d 'aaa _: . : J EBB Id Combining Common Rib and Oblique Rib-Weaves„ Design Fig. 235 illustrates the repetition of weave Fig. 234 with an additional common rib effect, warp and filling ways, which will form horizontal and vertical lines in the fabric for outlining the effect pro- duced by the oblique rib-weave. Repeat: 18 warp-threads and 18 picks. Derivative Weaves: FROM THE REGULAR TWILLS. Broken Twills. " Broken twills " are derived from the regular twills by running the direction of the twill one-half of the repeat from the left to the right ; and the other half from the right to the left. These changes of the direction of twill must be arranged so as to produce a well broken up effect. By means of this break, or change of twill, we produce a like change of the twill line, visible upon the face of the fabric ; hence this classification as broken-twill weaves. The first number of harness for producing a broken twill is four-harness, and the regular twill to be used for it is the i— twill. After interlacing the first warp-thread in the first pick, and the second warp-thread in the second pick, change the direction of the twill by interlacing the third warp-thread with the fourth pick, and the fourth warp-thread with the third pick. DDBDnDBQ oaDBDaaB DBDDQBaa ■DDaanaa 4DQ«nDDBa nnnBDaQB DBDnDBDa iBDDa«nna 1 4 Fig. 236. ■■GBBaDB BBBOBBBD BaBBBOBB nBBBDBBB ^BBQBBBGB BBBOBBBQ BIDBBBQBB laBBBQBBB 1 4 Fig. 237. BDDDBnan DBDQnBDD DDBaDDBD OBUDDBDna DDDBDOaB DDBDDDBD B _i::.B:j r. OBQDDBnn IDDBDaDBD 1 4 Fig. 238. DDDBDnoaDBna aoDDBDDnnDBa nanoaBaQanaB nQBDDaanBDDa DBnaancBaaaa BDDaDDBaDDna enaaBDaaaDBDa nDDnBDDDDnBD DaQDDBnaaDDB naBDDDDDBDDa DBnaDDGBaaaa IBDaDDDBDDaDa 1 c Fig. 239. Fig. 236 illustrates this ^- ^ 4-harness broken twill (filling for face in fabric). Fig. 237 represents the opposite effect, or the ^ j 4-harness broken twill (warp for face in fabric). Fig. 238 illustrates the 4-harness ^ 3 twill, broken only filling ways. After running 3 picks on regular twill from right to left, its direction is changed from left to right for the next 3 picks. Repeat : 4-harness, 6 picks. Fig. 239 represents the broken twill derived from the six-harness ^- g twill. Three successive warp-threads are interlaced with three successive picks in regular twill from left to right, and the remaining three warp-threads and three oicks are interlaced in the opposite direction of twill, i e., right to left. nDonBGcnDDnDBaaa nDnDDBnaaaaDDBna □DnnnDBDDDDDaDBD DDOoanaBDrjnDDDDB DDDBDDaaaDDBDDaa anBaDDaaaDBaaann aBnanaDDDBaDDnaa BDGaDnDDBaaaDDaa sDDDrjBnaaaaaaBDDa aaoDamaajaoaamna caaanDBDDDaaaGBc: DauDDDDBnaaDDDDB □DDBaDDDnaaBaaaa DnBaDDDanDBLiaaaD DBUaDDDODBQDGDDa J BDDDnDDaBDDDDDaa 1 8 nanGBEiaBaaaGBnaB □aaGKBHGGGGGHBHa DGGGGnBn "i "' '■ ■ :GHB[3 DQGQM'""::* i , I jaGHB BQHBGGij J -UJaBOGGa GHBQCJDGGGaBHGDGG HBEGGGaGHBHOGnaa BHCBGGGDBHGHGGGa saGDnBHG^GDGGBaGa DDDGaBcaaaQDGnBaG DaaGGHBHGGGaaaBa □aaGaaHBGGDaBGHB BGEIBGGDaiiaHBaGGG DaBBGDaGGHBHaGGG EBBGaGGGHBHaaaaa iBQaBDGaDBHaBaaaa 1 8 oaDDDBaDnDnDanDBDanD DDGGDaBaaaaDnaaDBGaQ GGGDaDDBDaanaGaaDBaa aaDDGGGGBGaaaaaaaaBa nQQaaaaaaBnaDGGaGaDB □aaaBaaaaaaaaaBaaaaa DaQBGaaaGGQaGBDoaaaa DGBGGGaaaaanBGaaGnaD DBaaaaGGGaGBaGGaaaDG BGaGGGGGGaBGaGanaaGD WGnGGGBaaGGGaaGGBGaGD caaQaaBGQGGGaGGGBGaa GaGGGGrjBaGCGGaaaDBGG GaaaDaaGBGGGGGGGGGBa GGGaGaCGGBGGGGGGaQGB aaGGBGGaaanaGaBGaaGa DQGBaDaGGGGCIjBGGGGaa naBGGnGGGDaGBGGaaaaa DBaaGGGaaaOBGGGGGaDG I BaGGaDDDGaBGDaGaaDaa 1 10 □QnBaBHaataanntanBaaGH HGHaGHBHaGnanGGHBaQa GGcn aBarra'-'n^GnBHG DLU :: c:Ba :: :: ama DH" :: HB :: h ub DGKBa : a iH ., lims i-; .a caa:] :■: n ' ama i a ..aG EBau._a a' :. aaa 1 a .a :•□ BHGGH' ■ a. mil'. a_.-i ac iiiGGGacBc: ■ a a aa ja HGauGaBa a a aaa j aana'^ aaa a^ a Gaaaa OL":a a ::m:: ^ a a i ,aBa Gai a ::■ a :a ■ aB Bi;i! aa a a ■ :;■ .'n" rj D: am:: a a aaa a -a caBa: :: a aaa ■ a aa ,HBa I a 'a i iaBa.jL u ^aua iBHGGHGGGaGBHGGHaDGaU 1 10 Fig. 240. Fig. 241. Fig. 243. Fig. 242. Fig. 240 illustrates the ^ 8-harness broken twill. Warp- threads i, 2, 3, 4 interlacing in rotation in picks i, 2, 3, 4. 5, 6, 7, 8 " " " 8, 7, 6, 5. Fig. 241 represents twill, fig. 240, arranged for a fancy combination by adding spots, regularly distributed over the entire repeat. Fig. 242 shows the - -g lo-harness broken twill. (52) 53 Fig. 243 represents a fancy combination weave produced out of weave fig. 242. The original lo-harness broken twill is shown in Fig. 243 in the same kind of type as in Fig. 242. Fig. 244 illustrates the regular ? 2 twill, arranged for a broken-twill weave (broken in the direction of the warp). After running six warp-threads in the direction from left to right (regu- lar), we form a break and run warp-threads 7 and 8 with the twill in the opposite direction. '^1 :S:"'^SB"^3S" :3 T, . f 8 warp-threads. [■■ ■ ■ ■■ ■ ■ Repeat- • i^ >■■_.■,«__,.. u i^ (4 picks. Fig. 244. By means of a fancy drawing-in draft (i, 2, 3, 4, I, 2, 4, 3) we can arrange this weave for four-harness, having the foundation weave (? -^ regular twill ) for the harness-chain. iVscnmrnrmrrw mm"''^'" ' mmm '''■■' m ' ■^•■■■^inGBBB eaanoaBBBaBnaaBDanDanana doqbbbi ^i 1 ■■ ■ ■ mm ■■■ ■■ ■ bcbb BnanBBBGGBBaBGGBBanDBBBG QQBuBBI ..Ul. .■■■ ■■■'■;! mm ■■■ BBULjB n: :~BBB'V~ 'BBB ■■■G-~~BBB DBBDGBUUBL.BB ■■■ BB'JB'Jl iB BB ■■BaOU I : BBB B BB ■ BBB . JBB BBBDDrJCBBG' B B BB .I.BBBaaCBB B: j B BBDGaa L.BBB BB . B BB , BBB JOB BBOOOLBBBCL . ..BBD...B. BGBBQDGBBB . BB B^GBGD 1BBBlj_ju,BBB^^_BBB^..j^BBBGGG lBDGBGLBBUUG^BBB^^'^'_BBGDBGaBuBB^^uBBB-.LiGBBG 1 U Yi Ui 24 1 « Fig. 245. Fjg. 246. Fig. 245 shows the 6-harness ? 3 twill, arranged as follows : ' 9 warp-threads twill from left to right, break, and the next 3 " " " right to left, " 3 " " " left to right, " 9 " " " right to left. 24 " in full repeat. Drawing-in draft will call for 6-harness ; and for harness-chain the foundation twill ^ — 3 must be used. Examples Figs. 244 and 245 will also illustrate and explain any different changes in using a different number of warp-threads in rotation before breaking off In this selection we have an unlimited variety at our disposal. Fig. 246 illustrates the breaking off of every three warp-threads in rotation upon the 7-har- ness ? — 5 twill. Fig. 247 represents 5 warp-threads of the ^ ^ ^ 3 ^ ^ twill, used successively from the left to right ; next a break and five additional warp-threads, used with a twill arranged from right to left. These breaks may also be applied to different graded twills as 27° — 63° — 70°, etc., and which will be treated under the sub-division of the regular twills in the next chapter. For illustrating this point Fig. 248 is designed, representing 12 threads of the 63° steep- twill "^2^2 ^^ ^ direction from left to right, and 12 additional threads of the same weave having its direction of twill from right to left. OBGBBGBGBBGBBBGGBBBGGBBB CGBBBGGBBBuGBBGBGBBDBGBB BQBB':;'BnBB<.1B BBB BBB VjBB OBBB BBB B' '.BB B BB IIBGB GBB^B. BB'JB B...BBB ^iBBBJJB BBBu'^BBB'jGBBBUBBGBGBBGBG HGGDBOanBBBGGGBGBGBBB BBQBGBBGBGBBGGBBBGGBBBGG DGBGDBBGBBGGBGCBBGBB BBaGBBBGaBBBGBGBB:]BGBBGB GBnnnaHBnBGBrn: nnaaaGB BGBGBBGBGBBGBGGBBB ~'GBBBG B B BBB 'B B BBBG BGGBBBGGBBBGBI 'B BB BGBBG [ BB . BBB' ' BB . BBB KQBGBBGBGBBGBBB' ii BBB OBBB L:: BBB. I... eei . eee ' e :e E e:::} E ::; BE ; BEE CBEE. J Gl.EEE cr; ee; □: e; BE : EEE CEEE GL EEE at e:}! B-: e; BE :. EEE a: ee:-: EC ' Ec: BE :: □EE QBEE : gl_ee:} Cl. :}C}:: EL e:: BE :: BEE GEEE 121 ■■ GL ■■■ GHHM ■■■uui ■■GGLII ■GGGBl GGGHHl GGHHa GHHM ■■■ IBIGGGI .}EE EEE e:}:} ;;} EEE ■ .ee:} , . e:::} . ■ ,EEE C}EE :};}:} i EEE^^ "EJ>Lv '^f;;<„' :}:} ^^EEE "eee "ee }EE ee:} e:}e e ee:} , EEE I ee:} - .■ EEE^^ "K>^, :''J<;J„ '■ }e:} eee eee c: • .■■■UL, ■■■ :L ■■■ ' naBiGGGaaa! : 1 ■■■ laBa'jGGBHBi .Guaaa. ■aa' I' iGaaaGGGaaai .1 .' 1 ■a ' :' :aaaaGGBaaG[L<,, ''SS,-, ^ |""J .} e:}:} \ EEE . I i:}:}E' }:} . EC}:} ie:}C} ' . :}e }:}E EEE EEE E 'aaa 1 .aaa: .1 aaa- . .1 aaa aaa aaa . aaa ' aaa aa 1 .aaa aaa aaa E:}Ei . . EEC}' IEEE C}C}E }C} ' EEC}l] }C}:} EEE EC};} C}EE EB EEC} EEE '3 EEE EEE J I EC}:} ee:} 3 aa e:}:} :}ee 1 aa. I. ee:} ecoe a E c}:}E EE EE :}:}C} E ee:} eee g a EC}E :}EE ] aa. EEE EEEG aa . ::ee eee a' E EC}E EB l.iEEi . EEE. ' IE ' EEE' C}EE .'G a .,EEE EEE ) EEE a aaa aa ec}:} eee c}ee eee a . aai :eee aaa ,aaa 1 .eee i iC}:}C}' c}:}C}. . ee:} aaa :} I. .EC}. I aaa .aaa ^e i. , i:}:}e i i eee . ' ee:}i . 1 eei , aaa. ;}E j E aaa_: .aaa 1 ee .. 1 ieee , ' eee. i :}::e e. aaai :}:}E aaa .aaa . eee .eee i :}ee :}C}e aaa ■ c}EE aa aaa a eec} . eee ec}e eee aa ai EEC} a . aaa aa eec} ec}C} eee eee a. aai EEE aaa aaa c}EC} . c}C}e c}ee eee ' aaa: :} EE aaa 1: . aaa c} ieee . . .C}C}e. . 1 c}:}e ' eei ' aaa; 1' .}E . .E .aaa. aaa : .ee ; eee . :. .eee: iL.i eee i ' 'C.}i aaa' .1 :}C}E ■ aaa • aaa ' ec}e . ieee i. ' eeei i i eee: ' Gaaa 1 ■ EEE aa aaa a c}C}C} eee : .eeei i i eeel, aa ' ai I . aa e:}e c:ee ec}C} ecje eee eee eee c}C}e a. aaa aa Laaa eec} eee :}e:} c}ee eee eee eee eee aaa aaa aaa e . ec}C} c}C}e . ec}C} :}:}e ::i::: eee :}ee ee aaa aaa:::] aaa :}e eec} :}ee ^ :}ee :}ee ::ee eee eee e :.aaa . - aaajj ■aa.' EEE ee:} ee:} i :}C}e c}ee . C}EC} c}C}e , eee' . aaatji .uaaauGG ■a a c}C}C} , . c}EC} . :}ee i eec} eee eee c}C}C} ec}C} aaGGGaaaGGGB ■GG aa C}EE C}C}C} ,C}EE EEC} . eee ^ EC}C}' C}C}E EC}C} aGQGBBBGaGBB I' jGaaa . eee eee i , eec} ec};} C}EE eee c}ee eee ;GGBaBGGGBaB :aaa e eee eee eee . c}ee _ eee eee eee c}e .jGBBBQaGBBBa aaa. ee " eee . eee ■ eee eee c}ee eee' eee EGaBBGaaaaaQG IBa^„. EEE . lEEE ;.. :EEE J i EEE : iEEEG'. EEE i_:_EEE_.L_ ..EEE'_ . __L,BBBGGGBBBana IBaOGBaBBBaaGHEBGGijBEBGGGBBBGGGBaBCGGBBBGGGBBBGGGHBBGaBBGDGBBBDGdB la 24 IS ISO !2 Fig. 255. Picks 49 to 60 in the weave equal the horizontal row 5 of squares in the motive. Picks 61 to 72 in the weave equal the horizontal row 6 of squares in the motive. Using two or more colors in "Warp and Filling for Producing effects in Fabrics inter- laced with Broken Twills. In Figs. 256, 257 and 258 we illustrate three examples of effects produced upon broken twills by various arrangements of colors in warp and filling. In Fig. 256 the common ^ ^ 4-har- IGBGDOi^r -JBHBHBS. B E. CI G Fig. 256. ""G a :a 1 a a .a :a IB .a -ffl BBCB'^ -^,r~,nr^ , ., -.-| aaa a a aa a a BCBB' aa a a a a zaaa J :]fflB. EB" aa BB :bb a a BB- a a aa a a EBI BB aa a a EE' a a a a a a ,_aa.-..-. a a a a. a a GBBGB a a EB a a aBBQHUEB a a a a Fig. 257. BannBBDC GBB-B'"!"! DanDDGnGaGODnnnn f .i-BB-^'BI a. .1 B' aa r aa a ■ aa BB' a :lb aa in IL .GGaDGna ii .BE 1 EE rafflBBfflffl aa Bi 1 '"LJCGCGCcida .,1 jCBE' ^GGfflB jGOG-. . '1 ' : BB. . BB aa"" BB E' BBI EBEE EB EBB ' afflt ^ aa : aE< bb ::cjcbe DGCBE 'B' ■ H' a El ) E' aa aEiEE< eb sbh >aa Eta ee aa ~:cr}:-- E -a a ' BG ?CD'- •:^''.' >:<' aa' i sa -GGffiE JGQBE JCGG^L....;' ,:oI, .i.fi^ EB- 1 BB t'j EE E'Ea BB" BE:■ CTJ 1 ' t^ C^ - fj LTJ IITJ tTJ ' t'- J", i'"j i7i .'j Lj,_ 1 — t^ai _. GGGHffi.L.G' GGGHacC [ CGGBBGC.; til ^ft2 - 'i? ri: ri? Tij r,j •:,' •»" '*.' 'A H'i ''.-:• EE EE Fig. 258. ness broken twill is shown arranged for 3 ends light, i end dark, or color No. i and color No. 2, in warp and filling. The effect obtained is a " hair-line," very extensively used in the manufacture of worsted and woolen trouserings by reason of the clear and distinct line-effect this weave produces. 56 Fig. 257 illustrates the same weave (4-harness broken twill) arranged for three different colors. Arrangement for warp and filling: 2 ends light or color No. i ; i end medium or color No. 2; I end dark or color No. 3. Fig. 258 illustrates the 8-harness broken twill (broken, warp and filling ways, every four threads), arranged for 2 ends light to alternate with 2 ends dark, 4 ends in repeat of color arrangement and 8 ends repeat for weave and effect. II. Steep-Twills or Diagonals. The next sub-division of the common or regular twills are the steep-twills, which are derived from the latter by using either every other or every third, fourth, etc., warp-thread in rotation for forming the weave. I St. Steep-Twills having 6j° grading are obtained by using every alternate warp-thread of a common twill. To illustrate their method of construction Figs. 259, 260 and 261 are designed. Fig. 259 illustrates the regular i6-harness twill. leDDBnaaBDni ■GaaaaGHi DOGaaGBHai aoBGaami DBGGBBI ■■■■G ■■■GG ■■GGB _JG[Ma I. J <■ ';:: JGGnnHIHGGBGGG GGBBBBaHBGGBGGGB DBBBBBBBGGBG JGBG BBBBBBBGGBGG GBGG BBBBBBGGBG'':OBGiGB BBBBBGGBG ~~> ]BG' IBB BBBBGGBGGnBJ )BBB BBBDGBGGGBGGBBBB BBGGBGGGBGGBBBBB IBGGBGaGBGGBflBBBB 1 16 Fig. 259. jenDBnaDBGGaBESBSBffl asaDaBDGBsaaBSBG BaDGBDG^BfflBSBSGG DnGfflQGBfflBEBBEBBGGffl GDBGGHBHBBBffl GGBG DfflQGBfflBfflBSBGGaGG BGDfflBfflBBBHG.jBOiJG aGBfflBfflBESB..JaffiGQGffl afflBfflBEBffl_:rjBQGGBa BfflBfflBfflBJGfflG'Ji IfflGG BaBfflBBGGB JGGB' rjm BfflBffiB.jafflGJGBG'_;BS BfflBffl'^GBJGMBG ]BBEB ■g5H is ' ,z,:m J .asBS ■>ii ■ ; ;.■ _. aaaBS IB .ii^ ^aGGai3BfflBH 1 10 2 3 2' Fig. 260 represents the same weave, every other warp-thread indicated by a different kind of type. Fig. 261 illustrates the steep twill or diagonal weave as obtained by using only warp-threads shown in Fig. 260 with M. This example of constructing a steep twill out of a regular twill, which has an even number of warp-threads for its repeat, will also explain that the former requires only one-half the number of harness that are used in the foundation weave. DBQBaaaB GGDGaaaa BGaGBBBG GDGBBBBG GBGBBBGB GGBBBBGD BGBBBGBa GBBBBGGD DBBBGBGB BBBBGnGD BBBGBGBG BBBGGGGB BBGBGBGB BBGGOaBB BGBGBGBB BGGGGBBB leQBGBGBBB GGGGBBBB BGBGBBBQ DGGBBBBO OBGBBBGB GGBBBBGG BQBBBGBG GBBBBGGQ DBBBGBGB BBBBGOGG BBBGBGBG BBBGGGGB BBGBGBGB BBGGGGBB BGBGBGBB IBGDGGBBB 1 8 Fig 261. Thus the present example — Fig. 260. l6-harness for regular twill only requires 8-harness for its corresponding steep twill. If we construct a steep twill out of a regular twill which has an uneven number of harness for its repeat, the same will not be reduced as in the case with an even number. Thus, 9-harness in □nODBBBGBGBBB GBQBBBGGGGBBB DGGBBBGBGBBBG B~BBB~' ' '.;bBB_' GGBBBGBGBBBGG DBBBG''.in:jBBB';B GBBB B' BBB BBB~ BBB m:: BBB B BBB BB: ' BBB B B BBL.B BBB B BDi : ' BB IKCGOBGDGBBBBBB GGBGGGBBBBBBG GBGGGBBBBBhDG BGGGBBBBBBGGG GGGBBBBBBGGGB GGBBBBBBGGGBG QBBBBBB' ' '^BGG BBBBBB B : JG Fig. 262. ISDGGfflQG^. :BBfflBfflB DGBGGCBffiBffiBffla QEGnnaBfflBBBi:''"] BGDCiBBBBBBi. ;:JG ODDBBBBfflBGGGB DGBBBBBai "A I! ifflG GBBESBBB li \ BGG BBBBBfli ._:: ffl'lGG BffiBBB . ' m 'L1GB BaBB i ■ ■■» rmu BBB . ' b: : \ BBB BB a ; BBBB lB^'G_JB^GGBaBaB 1 13 Fig. 263. ISQGI" BBI CBL'BBB GUr BBB .BB DGBBB B! BBB G GBBB 11 li BBB. B GBBBl IBGBBBUUl;] BBBriGd IGBBBGBG BBB'' BMBBBGGGG ibgb<.;bbb^„^' 1 Fig. 264. the regular twill requires 9-harness for the steep twill. Again, ii-harness regular twills require I i-harncss for the repeat in their respective steep twills, etc. For example: we give in Fig. 262 the regular twill known as %-^. 13-harness repeat. 57 Fig. 263 illustrates again the analysis of the same with the view of constructing its respective "steep-twill," which is illustrated in Fig. 264. An examination of Fig. 263 shows warp-threads I and 13 indicated by the same kind of type; so, in constructing the steep-twill after using warp- thread 13 of the common twill for warp-thread 7 of the steep-twill, we must use warp-thread 2 of the common twill for warp-thread 8 of the steep-twill, and so on, until warp-thread 12 of the regular twill forms the last warp-thread (13) in the repeat for the steep-twill. CB_. WJ GBB^BB BDGBDa BBGBBD SGDBGGB BDBBDB DBnOBD DBBQBB BGGBGQ IBBDBBa 1 3 Fig. 265. anBBGGBB BDBBBGBB GBBGGBBa GBBBGBBB BBGDBBDQ BBBGBBBG BQGBB ^QB BBGBB IGB '1 BBi BB b:jbbbgbb DBBOGBBG GBBBGBBB BBGOBBOa ■BB-VBBD BGGBBDGB IBBGBBBGB Fig. 266. DBGBBGBGBB DGBBB< 'GBBB ~ IB B BBD IB BBBG I iB BBGB JGGBBBGG BBGBGBBGBG BBGGBBBDGB BGBGBBGBGB B : BBBi.'GBB lOGBGBBIDBGBB Gl 'BBBHI JBBB B BB' BGBBa LBBB . BBBG GBB' B: .BBGB BBBGi.iBBBGG BBQBGBBQBG BBGGBBBGGB BGBQBBGBGB iBGGBBBGGBa 1 6 Fig. 267. DQBGBBGGBGBB DGGBBBGGl'BBB GBDBBGnBnBBG QGBBBar;j:"BBBG BGBBG^BL.BB' Q GBBBGGGBBBLjG GBBGCBGBBGGB BBBGjGGBBBGGG BBG' IBGBBGGBG BBGGGBBBGGGB / BGGBGBlQGBrjB a ' BBB' ' ' BB l^OGBQaaGGBi jBB GGaaBBGGGBaa GBGBBGGaGBBG GGBBannnBaBG arBB' :"' b' bb: a GBBB '' .' BBBI iQ DBB .'. .fl BBl Jl iB BBB ''JGaaaDGa BB' jflnaaaaaa BB i'\:GBaaGGGa BUGBOBBGaaGB •nuGGBBaaaGBB 1 Fig. 268. These two examples will easily demonstrate to the student the great amount and variety of steep-twills, 63° grading, which can be constructed out of the common or regular twills of 45° grading. Weaves Fig. 265 to 276 illustrate a few of the steep-twills most frequently used. Fig. 265 illustrates a 3-harness steep-twill (63°) derived from the regular twill, ^ ^^ i Repeat : 3 harness and 6 picks. ■GGBBGBBGGBBGI a~BB BB BBU I r BB BB ~' BB BI BB BBJ BB BBG BB BB J iGGBBuBB'GljBB'^BB UBBOGBBCBBGL JBB GBBGBBGGBBGBBG bbggbbgbbgl :bbg bbgbbggbbgbbgg ■ggbbgbbggbbgb IBrjBBGGBBGflaaGB 1 7 Fig. 269. lenaaGaaaaGDaDBGaa DBDBGBBBGBGBGBBB GBGBr ^BBnnBGBGBBa BGB'~ BBfl'~~ B'~ BGBBBG mam[ bb b bgbbgg GBGBBB B BGBBBGB GBGBB ' Mi B'GBBGGB BGBBB'GB' BL:BBBGBa BGBBI li B.. BLliBBGGBG GBBBGBGBGBBBGBQB GBBGC^BGBGBBCJGBGB BBBGBGBGBBBCDBGBG BBGGBr:'BnBBGGBGBa BBGBI B' 'BBB' ''B' 'BGB BGGB' fl! BB ' B! iBGB IBGBGB' .BBB-.BGBaBB 1 8 iSDaaaOGBBaDBBaDGBBB 0~ BB BBB ' BB' BBB BBGGGaBB[JBB' ":X BBBG GGBBGBBB 'i BB:. BBBG BGnGBBB'' BB'.J' . ^BBBGB GBB BBB ' BBGBBBGG G. BBB BB .:BBBGBa BB BBB BB .BBBGGG GGBBB BB ^ . BBBGBBG BGBBB : BB BBBGGGB GBBB. BB i BBBGBBOG GBBB'. JGGBB'. .jBBBGDGBB BBBGBBGGGBBBGBBGGD BBBi~: 'GBBGBBBGGaBBG BBi :BB:^''~'~'BBBnBBGGGr ■Gl iBG'_uI 1 IGi^^BBGi Fig. 270. Fig. 271. Fig. 266 represents the 4-harness steep-twill (63°) derived from the regular 8-harness twill -y^. Repeat : 4 harness and 8 picks. Fig. 267 illustrates the 5-harness steep-twill (63°) derived from the regular lo-harness twill, -2-^2- Repeat : 5 harness and 10 picks. 24QBGI GGBI 1GBI Dl IBBBB M iBBBB BBBBG B.JJBB.J BB. ..BB_' BBG DBBBBJBBBBGBL.jBBBBuBBBBGa aaaGBBGGBBGGaaGGBBGGBBGG ■BBBGBBBBGBGBBBBGBBBBGBG ■GGBBGOBBGGBBGGBBGGBBGGB ■BBGBBBB JB JBBBBGBBBBGBGfl OGBBGGBBG'.IBBGGBBGGBBG'^BB ■BGBBBB'GB'GBBBBGBBBBGBGBB GBB 'JBB'GGBBGGBBi':' BB 1 BBG B' BBBB BJBBBBGBBBB 'B BBB BB BB .; ~BBGGBB:~i .BB_. BBGG GBBBB B BBBBGBBBBLjBGBBBB B BB BB I ~;bb .GBBGGBBGGB BBBB .B BBBBGBBBBGBGBBBBG C.. BB^^BB J._^BB I JBBGGBBGGBB BBBJBGBBBBGBBflB' 'BGBBBBGB GBBGGBBGGBBG 'BB BBGGBBG BBGBGBBBflGBBBfl B BBBBGBB ■BGGBBGGBBGGBBGGBBGGBBGG BGBGBBBBGflBBflGBGBBBBGBfla ipaDaBGGBaaDBBGGBBGGBBGGa 1 12 Fig. 272. li^aaai GGr; I BBBB GGBB' . :. .BBBB L .BB. : BBBBG BBGBBB: :BBB' IBBBUBBBGBBBGB BBBB' . i' .iBBGGGBBBBGG IGI -"GG ^JGGGBBBB GBaBGaBB[::BI BGGGBBBBG.'.J .BB BBBB .. B aaaGBBBGBBB BBB BBB BBBG GGGBBBB ..'' '.. BB' ' LBBBB ' BB BBGBBB BBB BBB BBB BBB'..,a GGBBBB'j . ^.'BB .i jGBBBa BB J BGBBBUBBB ..BBBLJBBB BBB BB GBBBB'JGGBBQaGBBBB -.BB .G GBB BBB BBB g' B 'B B Bi fli BB~iBBBI 'Urn :: GBBBi BB ■BBB ■BBC'~ ■ BB''^ BBB BB BB B BBB B B BBB BB "iGG BBBG B :: :.Ga BBB':a ...BB BB BB IBGGGBBGGGaaBBGL^^ 1 12 Fig. 273. Fig. 268 represents the 6-harness steep-twill (63°) derived from the regular 12-harness twill, -J. Repeat : 6 harness and 1 2 picks. Fig. 269 illustrates the 7-harness steep-twill (63°) derived from the regular 7-harness twill, -3. Repeat : 7 harness and 7 picks. 58 Fig. 6 2 2 2 2 3- Fig. 6 1 1 2 12 Fig. 270 illustrates the 8-harness steep-twill (63°) derived from the regular i6-harness twill, Repeat: 8 harness and 16 picks. 271 represents the 9-harness steep-twill (63°) derived from the regular 1 8-harness twill, !-j-^. Repeat: 9 harness and 18 picks. 272 illustrates the 12-harness steep-twill (63°) derived from the regular 24-harness twill, "i ^ * ^ Repeat : 1 2 harness and 24 picks. 111112 2- Fig. 273 represents the 12-harness steep-twill (63°) derived from the regular 24-harness twill, ' - 2 \ \ ^ 1 ^ 1 \ \ - Repeat: 12 harness and 24 picks. ssananBanaDBaDiB noma dm naaoBBBa DDDaaaacjaaaaaG naaaanaaaaaaaa Dnanaaaaanaaaa aaaanaaaaaaaDG DaGDaaaaoaannD oaaaaaGaaaaGaa annaQaaaaaGGaa DanaaGaaaaGnaa GGaGaaGaaGGDGa BGaaGaaaaGGaGG oaGaaGaanni-'^aG DaaGaaaa ' a a BoaaGaa a. u BBGaaaB m_ an aaanaa . bgob BGaaaa a 'gbgb BBGaa . BGGBG aBaaB..j .a 1 ibgbb BGBBGQi JUBDGaaa BBaBGGBGGaGBBG aaaoGiTinBi naGaa aaaG "m' ■ a'laaGa BBGl': : ■ ' BCBBG BBGGB . a BBGaa aGaGGaaGBGBBGB IBOGBGGBGaBGBBa 1 14 sDaDDnBBBDanBDBa DaGBGBBGaGGGBBB BGGGBBBGGnaGaBG aaBGaBGBGGGaaaa DGGaaaaGGBGBaGB GBnaBGBGGGaaaGD DGBBB" ^"'■GHBGBG aamm m ■■■:jgg ammm : ■ .■■ mo.a GBHGHujujBBBijiJGB ■■■QGGaGBBGHGGG ■■GaGGGBBBGGGIG ■■DGGBGaBGBGGGB BCBDGGBBBGGaBGB IBUDCBGBBGBGGGBB 1 16 sanDBnnBnQBBDBBGBB OG' B •'■ BBBBGBBBB DB^ '. iC ii.'.BBGBBGBBG GGBGL .GBBBB' "BBBBG BGGBGGBBGBB . BB G DBGGGBBBB._BBBB .G DGBGGBBGBB.- BB2GB B'J BBBB-BBBB.'. J DBGGBBGBBGBBGGBG OGGBBBBGBBBBGGGB BDGBBL'BB ~BB GB G GGBBBB^.BBBB . BG DCBBGBB..BB B....B GBBBBQBBBBuijuBGG GBBGBBGBBGGBGGBG BBBBGBBBBGGGBGGG BBGBBnBBGPBi'^^BCJG Ql BB I Bl Gl JGl _ BBL'BB: : B . B .BBG GBBBB^l.l.jBGui-iBBBB B:.BB'_ Bi_i B< 'BB ! 1^ i.. __, .^ 8. 7. 4 5i> ¥. 3. 2. I. A G B ■ ^ ^ r ^<- P 1' A 1" sg" 1 1^; fe ._ V-^ ^ ^ 8 r. 6. 5 t. 3. 2. I 1. C saBGQGI BGGGBI GGGBBBGI GGBBBGBD GBBBGBGG BBBGBGGG BBGBGGGB IBGBDGGBB 1 8 Fig. 278. ennBBGBGB BGBGBGGB GBGGBBGB GBBGBGBG GBGBGGBB BGGBBGBa BBGBGBGa IBGBGGBBO 8 lODGGBGaai nnBGr^GBi L!! |i CGi TjBI BBGJliBGUi^B IBGGGBGGGBB 1 10 Fig. 280. ni G ■ r GB B a GB I zu GB_; B JB' BG' " I BGGI inGBGl [ '"B [ 'B B B ['B GB 01 IGB^T'^I IGGB ■ ' BGGB B ;bgb iB IGBG :B IGBG ■ BGBa B . JBGB BliGBGG ^BGBGG IGBGBG "BGGB B BGGB B :bgb B GGBG B IGBD B BGBG Bl 1 iBGB _GBLiBGGBQG BGGBGBGBaG iBGGBGGBDBa IZGnGBDGDBBBBB GGBGDOBBBBBG GBGGGBBBBBOG BGGGBBBBBDGD GGGBBBBBGGGB GGBBBBBGGGBQ GBBBBBGGGBGG BBBBBGGGBGGG BBBBGiLir.lBGGGD BBBGGGBGGGBB BBGGGBGIJGBBB IBGGGBGGGBBBB 1 12 Fig. 282. 1 I 2. 3. H. 5. 6. X i. Fig. 277. 1 Fig. Fig. 281. 279. aBGBGBDB GQBBGGBB DGBBGGBB BGBGBGBG GBBGGBBG GBBl JGPBG GBGBGBGB BBGGBBGD BBGGBBQG BGBGB'^BG BGGBB 'B BGGBB '. B 12GBGB «' IB DGBB BB GGBB BB BGB. B m.: GBBGGBBG GBBGGBBG GBGBGBGB BBGGBBGG BBGGBBGG BGBGBGBG BGGBBl ]GB IBGGBBGGB 1 4 FiG. 283. Arrangementof drafting: 1,4, 7, 2, 5,8, 3,6. Repeat : 8 harness, 8 picks. Fig. 278 represents the regular twill known as ^ 3 \ , and Fig. 279 represents the steep-twill (70°) derived out of it. Repeat : 8 harness, 8 picks. Fig. 280 the regular twill % ^ 3 is shown, arranged for a 70° steep-twill in Fig. 281. Repeat: 10 harness, 10 picks. 59 Fig. 282 the regular 12-harness twill ^3^3 is shown, arranged for its 70° steep-twill in Fig. 283. Repeat: 4 harness, 12 picks. Fig. 284 illustrates the regular 15-harness twill ^ 2 ^ 2 ^ 2 ' ^^^ ^^S- 285 the 70° steep-twili derived out of it. Repeat: 5 harness, 15 picks. Fig. 286 represents the 70° steep-twill designed out of the regular twill ^3^3 (shown in Fig. 262, page 56). Repeat: 13 harness, 13 picks. Fig. 287 illustrates the steep-twill having 70° grading, which is derived from the regular twill ^ 2^ z^ 2 (^^^ ^^to- ^59' P^g^ 5^)- Repeat; 16 harness and 16 picks. aaOBBi'l' BBBBB'/JIJBB BDUBB'T.: : .BB HBBB DBBBBB. ^^JBB' J' JGBBD aDBBDaBBBBBOGBBn DOBBDODBBaGBBBBB BBBBBDnBBGGGBBCl.'l rjBBQ'JBBBBB : '^BB' i ] LIBB : ' ^BB BBBBB 1 BBBBi'j BB • • mm , m BB iLlBBBBB'JUBBUUa BB JauBBGGBBBBBDG BBBOGBBGGI .IBBGGBB BilGBBBBB'^'GBBGnnB GBBGBGBBGB GGBBBGOBBB BGGBBBGGBB BBGBGBBGBD DBBBGGBBBG DBOBBGGBBGGBB r ~BBB' ''IBBB B B iBB'JBDB GGBB :B BB ' BB GGBB BB B BB BBB iJBBBDa BGBB._;.iBB: > BBG GBBBUUBBBG GBGBBGBnBB TBB B BB ' BB.I '. BB.M'BB' B'.BB' J BBGGBBBGLIB GBBGGBBGGBBGB BBBaOBBBOG BB'B'-BB' :-BB' : :BBB BB''BBuBBG ■BBDDQBBDOBG'JBLj. BBB BB 'JBOGBQa ■BDaaBBBDBBDBBaBBB BBB.iBBDBBDB laaGQBBBaaBDDBaaBBGGUBBBJGBaaBDDB 1 » Iti 32 45P twill. 63' twill. Fig. 298. DnaDBBBBGGBBGnBBaOaGBBBBDQBBDUBB DaGBBBBGaOBBGQBBGGGBBBBaGGBBGGBB DGBBBBaOGBBGQBBGGGBBBBGGGBBGGBBG GBBBBGGGGBBGGBBGGBBBBGQGGBBGDBBD BBBBGGGaBBaGBBDGBBBBGGGGBBGGBBCa BBBGGDGBBBGGBBnnMHHnnnnBBBOnBBGG BBGGGGBBBGGBB' ' BBB' ' ^ BBB' " BB' IGB BGGGGBBBBGGBB BB BBBB BB '' ^B SGaGGBBBBGGBBlJ' BB n _:: i BBBB' '' BB ' ]BB DGOBBBBGGGBBGGBBGGQBBBB '• BB' F iBB DGBBBBGGGBBaDBBGaGBBBB' BB BBG DBBBBGGGGBBGGBBnGBBBB'J' i .BB'..- BBG BBBBaGnGBBGLJBBGGBBBBGGUIJBBGGBBGG BBBGGGGBBBGGBBGGBBBGGGOBBBGGBBGD BBGGDGBBBGGBBGDBBBGGaGBBBGDBBGGB IBGGGGBBBBDaBBGGBBGDGGBBBBGGBBGGB 1 I* 16 32 45° twill. 630 twill. Fig. 299. system. The same twill which is used in 45° must also be used in the construction of the steeper twills. The following few designs will clearly explain the method of constructing curved twills. GaaDBBBBGGBBOGBBDDnGBBnnBBBI DnaBBBBGGBBGGBBGGGGBBGGBBBB DOBBBBGGGBBGGBBGGDBBBGnBBBLj GBBBBGnnBBGGBBnnnBBBnnBBBn' BBBB ' '. BB '" 'BB'"':;BBBB BB |rnr~n~im« BBBB BB ■BG ■QG 'inG "J m BL lUUGBBBUGBBUGBBBGUGBBUGGBBBBL BB BB . '. BBB aGGDGBBBBGaBBGGBBaGGGBBGGBBBBQD. BB BB .BBBB DGDBBBBGGBBGGBBGGGGBBGGBBBBGGGC BB'.. il. 'BB . BBBBG GGBBBBGaGBBGGBBGGGBBBGOBBBGGGGBBBCjLjBBi j 'BBBG'J aBBBBGGGBBGnBBQGGBBBGGBBBQGUGBBBGGBBGLiBBBGGD BBBB_i~r'~iBB~i:iBB'_. BBBB..i<.BBi i'_'BBBBO_.BB BBGBGGBBB BBBBBB_;r]G;.JBaG:'.'];_BGGaGBBBBBl'iGBGGaG'..BBB ..B B BaGGBGBGG BBBB.':.' ' '.BB '' . BB Mi.' BBBBB . 'GB' ..'. 'B' BBB B.B BBGBGGGBGG BBB. I ' iBB '' '' "."«'.._!' I'' 'BBBBB GB :' 'B ' BBB '' . . BBBl'JGBGBBBa B..' ' BB ... BB. .' ' .' .BBBBBB B .LB ., BBB....". B'. .B " .BB' BGGGBGGD .'::. B. . BB ._iULjGBBBBB'GuijBuL iB'_jLjuBBBGBuUui.jBBBi_jGBGBBaaa 'BB . J 'BB " i.GJBBBBaBGGGaGGBGGGBBBGaGGGGaaBGaaGGBaBBD B .'BB . :aBBBBBGGBaGGaGGGBBBGGGGaaGBBGGGBnBBGGGa .J BG._. ,BBBBBBGGGBLjaGBCGGBBBG^BaB''^GBBBGBnG'~BBGnGa .BB .jG'..jGGBBBBBBB' : :i'.B. I' GiaGGGBBBB 'B' B' :-' BBB' JB B~.BB".BBGB B . !' .^GGBBBBBBB ". ' BB " BBGGGBBBBI. 'B ' . '. '.! 'BB ' f BB' JGGBB . ' .". . ^'BBBBBBBB B '' B . GGGBBBBGL .'G' B .1 BBB B B BB. BGGBG J.iBBBB.J.IB . iB ' .GGGBBBBBBB . .: BB ' B .GG: 'BBBB . .I.IBGBGGBBB B B ..'BB GBGBG J JBBB I'JB : ^ B IBBBBBBB'. I 'B' F ' ;BB' :' 'I'"." IBBBBi 'i'.JBGBGGBBBG(' >l . ' BB'. B'GGBBB :BBB j ^B .BB . ' .BBBBBBGG :'.! BB . 'B ^ G'BBBBBlJ'..B^jGGGGBBBI:b B.'.BB.. BGBGG IBBBBG ^G: .BB . 1 BB' J'jGGBBBBBGGBGGBDGBBBGBuBuuBBGBGGGBGG BBB ;G' BB' ' ' ' B . II 'IGGBBBBBGGBGGBGGBBBGGGGGGBBBGGBGBBBG B'.: BB ' :'.: BB ' .jGBBBBBBGGBGGBGGBBBGGBGBGGBBGBGGGBGGG G ' B . .BB^^j^j^GBBBBBGGQBCGBiGariBBBGBnBGGBBBaaBGBBaan BB .' BBJUGGGBBBBBBGGGBGGBI'i'. 'f^BBB B' .1 .I'iL'.BBBfibGGGBBBGG B BB' 'jGGGGBBBBBBGGBBGaBG' 'i.BBB! ' 1 Bl ..F BBG'' .'GBGBBGUGB I B .' . K.jDGBBBBBBGGGBGGGBnr 'i ■■■ '' ■ ..B BBB BGGGBBGGDB BB GGGGBBBBBBBGGGB: '"I .B' .r " BBBB B B'.. .BBB' B. BGBBGBGGB B'. : GI'JGBBBBBBBGGGBBGF 'BB: i BBBB: B' 'I !' BB' .' ' :.iBBFG>..l'.:'BB I . BBBBBBBBGDGBGGGB... BBBB ' : ' B .. ..BBB'.. B .B...'BB._B^:l.BG BBBBBBBGiT^BB''"'"^'B'.' . .:: . BBBB . .BGBljGBBBGBGBljGBBGGuGBG BBBBBBB .' F .1' :B' .' : BB' .! ' :i 'BBBB '! B! 'BGGBBBGGGGGGBBGBDGBBB BBBBBB BB' ' B BBBBB B .!..lGGGBBBGBGBGGBBGGGGBGa iBBBB . BB' '. BB ..._, BBBBB. B 1 'B'^'GBBBGBGBGGBBGBGGGBGG BB BB . 'B 'BBB B' 'B' !' IBBB' " 'B: I B ' ' BBBBBB' i k . .B I 1 ; B .F ..l.lGGBBBBB' ' B. " B' 'l^'BBBF JF 'I .FMl :r.'IBBB'GGGGBBBB BBBB 'B B . 'BB ' : , .' BBB B ' B ' BBBBB : BB' ' BB. ' 'F 'IGBBBBBB' : B ' B 'BBB:.'' 'BI."B i: .BB: JBGFDGBGGO Bl J ^ .BB B ;BBB' IB' 'B' ':' BBB .B '' B BBBBBB . r B^. i 'l.BB'_l.' . .. .'BBBBBGGl B_. BGf : BBB. B^.B. .'. BBB .'iGGGBBGGQ B_ B_B J BB B'.Bi BBBi i' B' BBBBB' BB 1 - .'BB< UG'- BBBBBB'Gj: B n B n BBB_Bi G BBB-B...G: 'BBBBG IBBaGBJOBGBBGaGGaUBBaGGBGBGGGBBBBBGGGBDGGBBGGGGGGBBBBBBaUBBGGBGDDBBBDQGaBGGBBGDGGDBBUGOB 1 87 BG'GuBBjuB'. BBB BGGGBGBGG! :BB .'■ BBBGBGGBGBB . ■■■ DGGBBBGOGBB . B 'fl . flBB I DQGBGGBGBB iB iB • 'BBB .B ■BGBGGGDBB : . ' ' BBB ; GGBBBBGBB B :.'.B .BB B I GGBGG'G .BB B I BBB iB .fl bgbggigbb b ' ' bbb b i ! i.. dbbbb'::bb.'. .b^ ,bbg , . .b g DBGaGBBGB'..iL.i'.jBBBuB :-:■■■ '■■ dqlj, ■:-: ■ ' ■■ n ■■ ■ ' ■ ::■■■ ■■ :: ■■ ■■■ □DCi ■■ ■ ~' ■ ' c^HMM aa^ ['] ■■ ■■■ :-: ■:: ■ bb^ i40GDana[iionHnriBarnnr-inaBriaHa'-H~BHB^aH^nnGnaDa ddbbbb bb' ;: ' :: bb bbb :-: b^: b bb c-: . bb b bjg cnBOBBGCB " ~B B B . BB :-: BB BBB a JBBBnBB DQr BB..BBB :-: b:: : B BB i: : BB.,; B B c^BBB BB :-: oa DBGBBBGBB :r'BB B . B B B BB ;: "BB'JBBB aocM. . BB'.u BB B B [^BBB BB . :: :-: BB BBB :: yjm □'^ ~BB 'BBB :: BMB BB i: BB B B B " B':~!BBG GDBL'ULBUL. : L:BBB. BB' :i' BB BBB IZ. ' BU B BB :: 'BB C" ~B BB :-} BB BBB ::; BBB BB ' i: BB : 'B ' iBGB DBBGGQGGCJ [-:. .BB BBB a BC-] ' .B. BB r. . ^ 'BB B B ::BBB D' B 'B B . B BB :-: BB :BBB iC: .BBB BB .:-] ~!BB BBBGaGGGBn I B ! IBB n < 'BB; ' B i i! B ' ' : .UBBB BB . C^.. .BBG CBB :: BB B B B . B . .BB ':-] i 'BB BBB :n< !BBB BB' 'n'' ^r^r.HHL .1 Bl ' :: BB' BBB' a I . B::! .' B ' bb a . ': BB B B...I...." aBBBGBBGGE3 B 'B B BB :: 'BB 'BBB ':: 'BBB .BB n BB ; B : .. bl: B< .'BB' a ' BB '.'B . B ' l:bbb bb :: ' ;.. :: bb! ibbbgbg GBB B B B B . BB :: BB BBB :-: BBB BB :: CBB. . B B :':bbb bb a J . '^ BB. BBB :: . . b:; b bb qgg BBB BB :: BB B B B B . BB C'} BB .BBB :: BBBi BB . S r. BB BBB :: B:: B ' bb :: BB B B . .^GS BB BBB :: BBB..BB :-: BB.'...B. : 'B B J' ! .B ...BB 11 . 1 BBl .BBB' .U ' ma. B .. BB^^r:.. .. . .BB. .B^i' .Bi...; .' . OIBBB.BB . . ..^G IBG'GBBGEliJ'JBBGBBBiJQ'GBBBGBBGGQUBBJUBGUGBGBUJG IBLIGBBGUGGUBBUGBGGGBGCGGQBBBGBBGGQGUGU^^UBBUBBBGClUu'JBaGG 1 42 1 54 Fig. 319. Fig. 320. These few designs for skip-twills, with a regular exchanging of "take" and "miss," will readily establish the rule for finding the number of warp-threads required for one repeat, as follows : Multiply the number of harness the foundation (or regular) twill contains (this is also equal to the number of picks for the repeat of the skip-twill) by the number of warp-threads taken in rotation in the skip-draft before missing a certain number of threads; for example : — p. r number of harness "I o y / number of warp-threads taken 1 , / repeat of warp- ^' ^ \ in foundation twill j \ in rotation in skip-draft ] ^ \ threads in s. t. " 319 " " 14 X " " 3=42 " 317 " " 8X " " 4=32 " 316 " " 7X " " 3=21 " " " 314 " " 7X " " 2=14 The next step for figuring skip-twills is that of arranging the skip-effects produced by the warp into two or more different sizes. In their general principle of construction these kinds of skip-twills are identical with the ones given before. Figs. 321 and 322 are designed as illustrations. nnnnfflDBBBBGSGGaafflnBBBBna UanBGGBBB' Ifflfflf iG'-BnGBBB'nBBB GGBB'~ .BB ' ViVi bb 'BB" SS „„„„„ „ „„ DBBB B \WJ~ BBB B . ;83S OOOfflGBBGBBQS BBBB' M . |. i ffi. BBBB Q : II ..' ISO GGBnBBBGBGGS BBBGBfflGUUBG' BBB. Iffiffl " I'lBGG GBB' BB 'a a BB'GGSfflGGBBUr^BBLT fflEB' '. BBGO BBB ,B . .ffl_. :B..] BGGGffifflGBBBi"' jB ' j ':BEH. BBBGQ BBUESGGGfflLjBBJ SaGGGfflnBBBB' 'ES' V a BBBBGS ^BGGSQGBGBBBG GGGB'. ' BBB aa '. B BBB ':aEB CGGGSDBBGBBGB DGBB' BB BB BB BB BB GGBnBBBnBGGffl DBBB B BB BBB jB_.^J,BEa GBBi :BB B 'B BBBB '~ a .B BBBB BGGGGBG BBB .B a Bl BBBGBB B BBB ;BBGGGBGG BB jB. ... li. 'IS BBG BBGGBB' .1 IBB. I. .BB .GBBGGBBGG IBUJBUUBGBBBG IBGGGBffiGBBBGGnGaGfflaGBBBDa 1 12 1 ::4 Fig. 321. Fig. 322. Fig. 321 is derived from the regular ^ ^ 6-harness twill. Arrangement of skip-draft is as follows: Take three, skip two, take one, skip two, four times over. Repeat: 12 warp-threads, 6 picks. Fig. 322 has for its foundation the regular 8-harness twill ~ j. Arrangement of skip-draft: Take four, skip three, take two, skip three, four times over. Repeat: 24 warp-threads, 8 picks. A further process in figuring skip-twill is found in arranging the skipping in the direction of the filling. After taking two, three or more picks in rotation from any of the "regular" 45° twills, miss one, two, three or more picks; then continue again to take an equal number as before, again miss a certain number of picks, and proceed in this manner until the repeat is obtained. 66 Figs. 323 and 324 are designed for illustrating this sub-division of skip-twills. Fig. 323 — repeat: 4-harness, 16 picks — is derived from the regular 4-harness twill - the following manner : Take four, miss one, four times over. Fig. 324 — repeat : 8-harness, 24 picks — is derived from the regular 8-harness twill — as follows : Take three, miss four, eight times over. in 2> DHGoaBa ■■GGHIGa ■DGBaaaa naHr-ir-lBBQ ■■ T 'laGG ■ ■■ GH [. aa ' ■■ ■■GGBBGG ■GGBBGGI □GHGnaa DBBDGBBG BGOBBaOB DDBBGDBB DBBDGBBG IBBDDBBDD 1 4 Fig. 323. 24BGnBnDBBBaafflaDBB DDSGGBBBGGSGGBBB DSGGBBBGGSGGBBBD BBQafflGGBBBaaffiGGB BGGSGGBBBGGfflGGBB aGSBQBBBGGffiGGBBB BBBGOSCJGBBB i W '' 1 BBGGffiGGBBB' i-I^ B BGGEBDGBBBi I: G£ ' BB DBBBGGmr'i 'jBBBi :i JSG BBB Es. . BBB ^ waa BBLi' >i^ . BBB'3 wjam DGBBB I. 'Ea BBB'JGB OBBB ! W 1 iBBB GESa BBB : &:: BBB' .' lEQGG ^GGBBB .a ' BBBGG { I iBBB Wi I BBBGGS L.BBBi i' :ES .! BflB< IGSG {:&■ i IBBB : .S. ' BBBG ffiUL.BBB a :'. .BBBGG GGBBB fS: BBB JOS GGSJi iflBBGLjSG'. iBBB GfflGGBBBGLjESIJGBBBa iSGaBBBGafflDGBBBDO 1 8 Fig. 324. The rule for finding the number of picks necessary for one repeat of design is: Multiply the number of harness in repeat by number of picks taken in rotation before skipping. The result will be the number of picks necessary for one repeat in design ; for example : — Fig- 323 — 4 (number of harness) X 4 (picks in rotation) = 16 picks in one repeat. 324—8 X3 24 IsnnnBBBGBBBaDBBDDDB D^BB B'^BBBGGDBGGDBB GBBB BBOGGBOGOBBB BBB i' IBGIGGBBGGBBBD BB B -iGnBBBGBBBi ir] B! BB BBB BBB G GBBB . BB B BBB BBBi. 1. B : i' iBB .' BBB 1 BBGG JBGGGBBB BBB G BOGQ BBGGBBB' BBB. ■ 1 caam BBGBBBGGBB._j. . B □□■■ BJBBBi..'>_ B ' " BB -JGGGBDGGBBBGBBBDn ■GGGBBGDBBBGBBBGDG GGGBBBQBBBGGBBGGGB DGBBBGBBBGGGBGGGBB DBBBQDBBGGGBGGGBBB IBBBDDDBDGGBBGGBBBG 1 li" SdCJGfflSfflGBnGGI GGESH-lfa !B ' I Bl UfflBfJ ►H BBI asa >l^th BBB EBS. .SifafS .BBB ! S "IfSmfB ]BBB' ; i: 1 GB'.J' I' :B' P 'EBQffi BgG .BB OEHS GGGBBB 'iHB>I-l ^na-Z! m m i ' s^n^:^ M BB GESESi-II BBB' BBB IG B ' BBB 'B , BBB . BB BG ! 'B BBB B BBB B BB [ BB .' '' BB 'BB . " -, ^^ kr' '•1 ?■" v^' ; ;§ '1 ^ L_ L 16. 15, It IS \Z. 11 10 19 8 7. 6 5 H I. Z. i Fig. 1. ^ 3. '^.56 7 8 329- 1st pick of combination twill is 1st pick of regular twill B. 2nd 3rd 4th 5th 6th 7th 8th 9th loth nth 1 2th 13th 14th 15th 1 6th 1st 2nd 2nd 3rd 3rd 4th 4th 5th 5th 6th 6th 7th 7th 8th 8th A. B. A. B. A. B. A. B. A. B. A. B. A. B. A. oaaDOBB DBGCBBa BnQBBDQ DDBBDUB GBBOGBa IBBGUBDD 1 Fig. 330. 7HEHDDDt3 HSaDGHta DDDHHHa DnHKaaa Fig. 331. BnDBDDB QHnnnna DDBnOBB ELnoaaa DBDDBBD DGGHEQa BDriBBnn □:■;:;:■;□' ji i DBB'JLJBU EHnaDDD IBBDDBDD 1 7 Fig. 332. I'^^HH' ';^a auuHiJLJH DDauaaa DHDCHHD 1 7 Fig. 333. i'iHCDHa::n BCnBGGB □: HK . i: G'. B: BB □aaG,'ja_j GBIjGBBQ aaoGacG BljDBBGG HGCHGna GGBBQCB GGaoaaa GBBGGBQ GaGGaaa IBBGGBGG 1 7 Fig. 334. 2" Fig. 330 illustrates the regular (45°) 7-liarness twill ? — ^ Fig. 331 represents the regular 7-harness twill known as 3. Fig. 332 clearly illustrates the combination of these two weaves (Figs. 330 and 331), or its ^Combination Steep-Twill" oi 63° grading. 68 To simplify the combination each regular twill is shown by a different type and this style of type is retained in the combination twill. Repeat of combination twill, Fig. 332, is 7-harness and 14 picks. Fig. 333 illustrates the regular 45° twill, known as ? — ^ — ^ — 2- which, with weave Fig. 330 (from the previous example), is used in constructing weave Fig. 334. Repeat of the latter; 7-harness and 14 picks. 7Hannmu □a" laan T H^aaa^n caaaaaa laaaasag Fig. 335. MaHnaaDC B":aa aa n"H mu naa .aaa cm:, mv-j EaaaaaiT ■OGBB'Iia anaHQuH baaa laa nBBCi -m:2 Haa_.aaLj iBHGcnns 1 7 Fig. 336. 12BB«n nnHGBGGB ■■ I , :■; IHGGIB ■<:< .■-b::;gbhb Gl, iBGBGGBBBB DGB jBGGBBBBG ub[jbggbbbb[:g blb~:-^bbbb'~''~'u DB BBBB fl BG' IBBBB ■ 1 CGBBBB ' B B GBBBB rJJBGBJ IBBBBGQGBGBGG T 12 FiG. 337. i2Bnan'-^'"yiaaGnrj au ;aa . i la a aa aa G.J . ,aa , aaa cuLiaa : ; .'Uaao CGaa' ■' I iaaa_iG Gaa I 'aaa-,..ij aa ,aa3:j^jGG E_ I , aaa. jiuirja GLji 'aaai ii'jGGHta GGaaaG .GGaaa IGtaaaGGGGEHGG 1 12 Fig. 338. Fig. 330 is shown combined again with a different weave, Fig. 335, in the 7-harness and 14-picks combination twill-weave, Fig. 336. i2-harness weave. Fig. 337, and 12-harness weave, Fig. 338, are illustrated as combined in its 63° combination steep-twill by weave shown in Fig. 339. Repeat of the latter: 12-harness, 24 picks. Fig. 341 illustrates another 12-harness combination twill, 63° grading, obtained by combining weave. Fig. 337 = 12-harness regular twill ^—3 — ^- — j — ^ — g- ^"cl weave Fig. 340 = 12-harness regular twill ' — 3 — - — ^ — ^ — g — ^ — i- Repeat for the combination twill-weave : 1 2-harness, 24 picks. Fig. 342 represents the combination steep-twill for 12 harness 24 picks repeat, as produced by — — J — ?— 2) with itself, starting combining the regular 12-harness twill shown in Fig. 337 (^ — ^ — ^- — ^ from two different points. The foregoing examples illustrating the construction of the sub-division of twills classified in general as "combination twills" indicate that an immense variety of different new weaves can be produced. 24aaaGGaGHHaGn BBBGGGBGBGGB aa '^: "^na ggb a aa aa BBB aaa IBBfl ::aa: [ G' Li . 'a.. : ■ ■ BBBBC G .aa . . jaaaGC LIB .fl 'BflflflGC r laa ^aaa jq B fl flflBfl GJ □a , ,aaa ; ;3.li Lifl 1 .flflflfl' ! .G'B a ; aaa , ; ja fl : flflflfl. I . fll G . ,aaa ;g ' aa Li' :flflflfl'! ' flGB G aaa j aaG Gflflflfl . '.J fl .BG LjaaauG.G'.jaBGG flflflfl _' J _ifl_B ij 1 12 Fig. 339. 12G'" t : Lja G a "'aGGBGa : „a^^aj u'la-GiGLJ „ ._ . J .a:GGGa ca a .a dgcbg HG_:aGa,.vjaaaa DGaaaGGGBGGa aaGBGaaaGGaa aaaGaaaGGBDa aaaaaaaGHGGB laDaDBQDBQDaD 1 12 Fig. 340. sdnaHnnanGBGa BBBDGGBGBGGB GGBGGa ^a"""aG GB Bi : E ; GL": GL it-. □Gi GB GB ■ EG a B ■ G'" a :■: DflLii:* GBi iB B' a a '.n fl fl flflfl z : ava "] I fl ...Eflflfl ' a a . :B fl flflflfl Ll a a ai flflflfl G G fl ■ G] a B . fl BG fl J a ".G El .a . B DLIflflflfl , ._ _ □B . a a , a Gflflflfl .fl .flj EDUL'B r_-BGGBG iBBBBGGGBQBaa 1 12 Fig. 341, '■'^BBBnonSaBaaB GEaLGGBBaa ~"a BflGGGfl ..fl : BB EGGGBBBB' a J BQG^;B;^fl ■ Bfl J a DO" n"fl'' m ■BB DGBBaa a a. 1 OGfl fl ■■ IB.] GBa::a a J ] bfl fl -flcsflfl ] BBBa a a .G J BGB . flflflfl J 1 BBB :B a , /.-iB GB I .flflflfl .' -^ U BE a :B aa BG .flflflfl fl ] EG.. a a . " jaa DGflflflfl . ■ ifl GGB .,a . ■ a }aa Gflflflfl J' Dl _B J GBGE^i^GtlB 3BG iBBBBaDGBQBGa 1 12 Fig. 342. The principle of combining weaves in this manner, or the construction of new designs out of one weave, as shown by rules and examples, is of great value to every designer, as it enables him to produce a large variety of weaves. ^ In addition to the combination steep-twills, constructed out of two twills and in regular order, we can vary the order systematically as much as we choose; again, we may combine three four or five regular twills for one combination twill ; in fact, the great variety of new weaves we can construct is unlimited. VII. Corkscrew Twills. This sub-division of the "regular" (45°) twills is derived from the latter by means of a " double draw." This procedure will, to a certain extent, reduce the texture of the warp for the face in the fabric, hence a greater number of those threads per inch, compared with the regular twill, are required. 69 A. Corkscrcrv Twills having for iheir Foundation One of the Regular Twills. This sub-division of the corkscrew twills commences with 5-harness, after which they can be made on any number of harness desired. Figs. 343, 344, 345, 346 are designed to illustrate the method of operation for drafting the 5-harness corkscrew twill from its foundation weave, the regular 5-harness twill known as ^, and which is represented in Fig. 343. Fig. 344 shows the double draw as required for drafting from Fig. 343. Weave Fig. 345 shows 5-harness corkscrew (with 5 picks in its repeat). Drawing-in draft for practical work, will call for a 5- harness " straight draw," as illustrated in Fig. 346. The pres- ent system of treating corkscrew twills will always be more advantageous on an uneven number of harnesses, as only such a number will allow an equal breaking off for the two twill-effects as visible on the face of the fabric. ■■■GG ■■3GB 1 D Fig. 343. snnnHnannBQ ■ DHaGnnaonn DGGGBaGnaa DGBGGGaaan iBQaGGaDGnn 1 s Fig. 344. ge:h I cm 10 . la ■G ■ I Wil ■ I ■ LJ Fig. 345. aaQOGUGnijG aaacanDGGu SGDCGHaCGGB FiG. Xih. CGGBGCGGBG ~^^ GGBDaOOBGa GHaGGGMana IBGGGGBDDDD c:^ ■ I G ■ ■ ■ fiGGGBH GGBBBG LBBB : BBBGGG BBGGGB IBGGGBB 1 6 IGBQ •a ;h a::H hg;:i ■G I -BG I BE] ■ ■ ■;: :-l ;□ _ m Bu K_.t:Ga BijBHiJHUHGGBG IBHGHGHaGBCBG i 6 12 B ■: [ ,K r ■■ I 'GGGBBBB GGBBBBG GBBBBOa BBBBGGG BBB ' _: . 'B .BB'j'.^BB iBGGGBBB 1 7 HGHGHGaBGBGBnBa GH ;KB- B B b:: a GQBGB .B Ba a a BGB'' 'B Ba a a a BHB BC 3 a:ja aB ] BGBH C : a aa bg aa a bg 7 [^ CJ [ :a a a< aa La aa B a aa a a a a a S GaB'.B BGBf m aa a a a Bi^BGfl: : ia. ;a. .aaG BGBa< 'ai.iauBBLjBG IBQOaGHuQBGBGBG 7 14 Fig. 347. Fig. 348. Fig. 347 shows the regular 6-harness Fig. 349. Fig. 350. twill. By means of double drafting, 1-4, 2-5, 3-6, 4-1, 5-2, 6-3, we derive Fig. 348, the 12-harness corkscrew. Drawing-in: "Straight draw," i2-harness. Fig. 349 illustrates the 7-harness ^ twill. By double drafting (1-5, 2-6, 3-7, 4-1, 5-2, 6-3, 7-4) we derive weave Fig. 350, the 7-harness corkscrew. Drawing-in: "Straight draw," for 7-harness. <«GnDaBna DGBBBBBG OBBBBBGG BaaaaGGG aaaarGnB BBBL/GGBB BaGG^aaB iBGGGaaaa 1 i Fig. 351. •eaanaaaBEaGBnanan Gar)aBaa'"^ar-B'"iaa a caaaa a bi aa' a a ■aa .B' :a. aa a a a Bi IB B Ba :a a aaa ana Ba a a aaaaG ■L.Ba. la a aaaa a J ■Qi ;a x}' ^aaaa a a' ] SGCi :a 'aaaa a a aa GQ' ;aaaa a a ^aa a aaa a a aa aon a B"B a aa a aLaaa BjB aa.^a. a jaaaaG BGaaua^jaGaaaaGBG IBaGQGaaaBaBGBGBG 1 8 16 SGnnnBBBBB CGGBBBBBG CGBBBBBGG CBBBBIIGGG iGG aaaa . ' m BBB J . ' aa BBGGij. laaa IBGGGGBBBB 1 if isGaaaGHnaaaaDaGaaaa GanaGaaGBQaaaGBaGa GBGaaGBGananBanBGa Gaa ■jb":b b laa' xi ^a a B' a a a < B B a 3 W Vj B'. ,B „ .K IBGijaUHG 1 Fig. JljuBL 359- IGBG IGOa a~a u la H IG BG r BG I iBG I BG I a :: a K 'a a G BG I BG IGBG 16 SGanOBBBB GGGBBBBG GGBBBBGG OBBBBGOn BBBBGGGG BBBQGQGB BBGGGQBB IBGDGGBBB 1 8 Fig. 360. sHEaGDGaa EBGGaaGa BGHOGCjaa GDaacHEa GGDDHEaa aDGBaaDD DcaaaGGG inaaEGGCG 1 3 Fig. 361. In examining the corkscrew weave we find its 1st warp-thread the same as the ist warp-thread in Fig. 357 2nd 3rd 4th 5th 6th 7th 8th 9th loth nth 1 2th 1st 2nd 2nd 3rd 3rd 4th 4th 5th 5th 6th 6th 358 357 358 357 358 357 358 357 358 357 358 The number of harness required for the corkscrew weave will always equal the combined number of harness required for the regular twills. GEGGBEBanannBni GEBEaa: 'a aa a "■ BEBa: a aa a aai BBGa aa a aaa 1 Ga^aa a aaa a 1 Gaa a aaa a aa' laaGi aaa a IGBE IE' jE a IE aaa laaa laja aGE ""1 1 a aa a ::Bc:Ba a aa ■ aa a aaa.aa aa a ■ 12; a aaaaa a aa a aai Laaaaa a ::b a a::a ■ aaa:: a aa a aaa a ■ aa a aa a aaa a ac: r;a aa a aaa a aa a caa B aaa a aa ai a B aaa a aa aaai a aaa a aa aaaaa aaa a aa a ::aaaa a a a aa a aaaaa a ai a aa c: aaaaa a aa ■ laa a aaaaa .a .aa.a .■ 1 aa a a 1 MJ aa 12GGBBGGBBBBBB 12EEEEEaG'"]EGaa a la GBBGGBBBBBBa EEBEEi IGB'DGEB a ^-3 BBaGBBBBBaGG EBBBGrjaGGaBB aaa ■GGBBaaBBGDB BBBGGBGGEEEB aaa aGBBBaBBGGBB EEQGEGGEBEBE a :'a ["aaaaaai i^bbg BUGEGGBBBaBB aGa BBBBBB aa ':^ GGBGGBaBBaEE aaa bbbbb aa a CJEGGEEEEBBE J iBG BBBB aa aa EQjBBaaaBBj d :Ba aaa: ' aa 1 aaa ( j/ BaaaaaaLiGS aBG BBi ,' BB' II. 'BBBB ; aaaaaaa ]• ieg '*] IB L.BB BBBBBB laaaaaaa ^, ;aGa !5a . CHI ai a E aa CB Q^B c a ra 11: rii if -I a Ga r a' ra LEI aHaGBaaaBaBBGB'lBGBGBGBB BGEGBaEGBBrjat IB' JBGBGBBGB '■}• ai a-^'aai Bi'ai B' a. m---* ih^m '1 a 'aa bbbbb ' - i 'a j : aB' BBBBB' a a ] ':a B .a a a a .a a 1 a a larj. aa a a. a a 'bpig a aa a .BBBB iGiflG aa a m m. a a^ ' .' rma aa aaaaa'' a a aaaaa a a a a a a I aaa a aaa. a a a a a a a ' I " a a a a aa i a a a a a bb^bg . a a a a aaaaGBG 'Gf^'a c: a a aaMBGBGBG I .a a a .a aa .B'/jbgbgbg Fig. 362. Fig. 363. Fig. 364. Fig. 365. In Fig. 359 we illustrate a 1 6-harness corkscrew, composed out of the regular twill - (Fig. 360) and (Fig- 361). Drawing-indraft: 16 harness " straight draw." Repeat: 16 harness and 8 picks. 71 In Fig". 362, we illustrate a 24-harnes.s corkscrew obtained from the regular twill ^— ^ — ^—^, shown in Fig. 363, and ^ — ^ — - — 2- •'^hown in Fig. 364 Drawing-in draft: 24 harness " straight draw." Repeat: 24 harness and 12 picks. This corkscrew weave will also illustrate the arranging of a loose to a closer interlacing. For example : Suppose we constructed a corkscrew of the two regular twills ''- ^ and 5, and found the fabric to be perfect as to size of twill lines upon its face, yet too spongy in structure. In this instance, the weave Fig. 362 would readily dispense with the obstacle without changing the appearance of its face. The next step for figuring in corkscrews is the production of three different-sized twill lines, as in weave Fig. 365, which shows one twill of 6 picks, a second twill of 5 picks and a third twill of 3 picks connected uninterruptedly with each other. C. Figuring with the Filling upon the Face of Corkscrew Weaves. Any of the different corkscrew weaves illustrated and explained in their construction under sub-divisions A and B (also any other corkscrew derived from the principles given) can be arranged for the third sub-division of corkscrews. As mentioned, the object is to form figures of different size, design and combination upon the face of a corkscrew weave by floating the filling, which otherwise rests imbedded between the warp-threads that form either face or back of the fabric, at certain spaces, and this in regular distances after a given arrangement. These spots, obtained upon the face of any corkscrew, will appear distinctly in piece-dyed fabrics if a single yarn for filling is used and a double 01 twist for warp; again, by using lustre yarn for warp and common for filling. In fancy corkscrews, where we use a different colored yarn for warp and filling, these spots (floating the filling upon the face of the fabric) will readily be visible. Silk filling may also be in- troduced, at certain of these floating picks, which will greatly assist BBnBDB»nBDBHBBHBnBDMDBDMaa L"J la in producing fancy effects. To give a clearer understanding of the nature of this floating 5b"S'b " "B'S ■■■■'■ " "■'^■c Figs. 366 and 367 are arranged. [ Fig. 366 has for its foundation the 7-harness corkscrew shown B^isyPlSPSF before in Fig. 350. We illustrate the new weave by three different '^[ characters of types: [.■■'' !■■■■■■ urn ■■■..■■■■■■ ■: ■■JB LBBl jBuBuBBuBuBuBB-IB'^B.. iBBuB_B BGBDBGBBGBDBGBBDBDBGBBUBLBaB BCBGHCBBCBlBGiBBQ B^B^'BBDB':"B~BBnBG CI >from common corkscrew. [^J ■■ ■M"? ■■ n for smkers j cbb b b_bb ■ for sinker for floating the filling upon the face of the fabric. |i:HBR&'-:Hyj5RBR^^^^^^^ I ■■■BaBGBBDBGBHBBBBDBGBBGBGBH 1 14 Repeat: 14 warp-threads, 14 picks. ' Pj^ gg Motive for arranging spots : "S. aoDBgigBGBBaBGBGBCBBpBGBaBGBBnBpBpBGBB Fig. 36/ lllustratcs the forming of filling spots upon the □BB B a bb"b b ,b bb*b b b bb"b b Jb regular 9-harness corkscrew (see fig 354). bEb bb"b 5 B bb"b B B bb'b b b bb^So Motlve for arranging these spots is the 4-harness ■G no ID BB B B B aa a B B BB.:b B B BB B B BG 'i^P? CB a aa a a aa a a a aa a a a aa b broken-twill dggb aBiGBB:..:a a a . a a ;a .aa^a .a a aa bgb ggbg DBBDB a a aa a a aa a a a aa a bgb r GGBGB.a aa a a a aa B a a aa a a ibgb ■ for raisers ■Gfl'^B a Gl ■G g^S^ > from common corkscrew. 1H □ for sinkers DjI ■.■■ ■ ■ ■,■■ ■ ■ "^"j 5 5 "S J s for sinkers for floating the filling upon the face of the ■ fabric. g Repeat: 36 warp-threads, 36 picks. Drawing-in draft will reduce the 36 warp-threads upon 15-harness a? follows: I, 2, 3, 4, 5, 6, 7, 8, 9, i, 2, 3,10,11, a 6, 7, 8, 9, I, 2, 3, 12, 13, 6 7, 8, 9, I, 2, 3, 14, 15, 6, CB aa a aaaaaaa aaa aa bgb .^•u.y.xi.^ BGB a aa B a a aa a a a BB a a a .bbg B^a Ba..^a ..a .a aa a a .a aa. a .b, a Ba..;BG IBaGadBaBGBBuBGBJBGBflGBdBGaaBBaBGBGab Fig. 367. 7, 8, 9. 72 D. C2irved Corkscrew Twills. This sub-division of the corkscrew weaves is derived from the regular twills by drafting in both directions, according to the same rules given in constructing the corkscrew under sub-divis- ions A and B. After starting to draft from left to right for -a certain number of threads, reverse the direction of drafting until the starting point is reached. na^rjanaar^Bnaanmnnmanaananaa jaGa Da: ;a 'aaaa .aaaa .a m m aa ia la la 'ia~;:aa'..a jB B'jaaaa .aaaa 'a.. .a a aa a .la gbb ,a a a a aa a a a la laa a a .a a.iaa laa a . B' ~.a a :aa a a :a a aa a. a a a .aa B'~ a !B a aaaa :] a a a la .'a laaaa la la.ia .a :b a :b aaaa.ia a. .a .a a a aaaa a a bg B".a ,i 1 ^-nu DGaBaaDGaaBaaaaGaGGGGaaGBaGGGGGaGGaaaaGG derived from the refular 7-narness twill bv aaGGGaaaBaGaGGGBaaGBGGGGGGBGjGGGGaGGaaaG UCIIVCU liuill LllC iCgUlctl 3 / lldllicoo LWiii \jy GaGagaBnGDGGGaaaGBCjrjGaGGGGGGBGGGGGGaGGGa .,..,._. T-, ^ ^ nGGGBGaGGaaBaGGGDGaaGDGaGGGGGGBGGGGGGGGG means of drawincr-in draft Fio- -?70 Reoeat ' ^O aDBaaaaGDBGGDGGiGDGGGGGGGGaGGGGGJBGGGaGGG illCdllS Ul uldWUlj^ 111 UldlL, -I. ij-,. ^J^- J-Vi_jj>.,ciL , ^\J IBGaGGGaaGGaaGGBGBGBGBGaaGGGaGGGGGGBGBGBJ ,, , . , „ , . . , r^ -r-- ' ^" warp-threads, 7 picks, ror drawing-in drait use l^ig. 370 ; for harness chain the regular ~ j twill. A double-draw in which the point of reversing the twill is more balanced, to give a more wavy appearance when applied to a fabric, is shown in Fig. 372. The point harness of the one twill shown in b type is drawn in four times in rotation, whereas its corresponding point "□BnaGaBaaGBGaaGaGmaGaBnaGBGBaGaGaGaGaGBGBGaGaBGBGBnBBGananaGaBGBiGBGBaGaGaaHGaGa DB aa 'jB a.'iaa la ^a a^ana laanaia laa in la la ^a la^iaa m iB' laa la ia""ia"a .a^ 'aa m a aa la. a a :a Daa a a aa .a la ^a :: la !a la laa ia la :Ba a a la laa .a m Ba ;:-: .a a a a a a ao la a aa a a a BGB iB .aa a la .aa laaa Ba la 'a laa la b .aaa aaa a la Ba la aa aaa aa a a aa. a a aaa aa a^a Ba.ja a laa .a a a ib laa a a .aa ;a a a a m a aa u LIiB.G" B B B aa .ai a on B B B' Ba ai at .a a..iB B B Ba c a ai.n B' B B b: 1 a\ •[ u B. B ■a x -' i LBG b:b: ^ a c . ' BI_.BG Ba : Bi BI ;bg 'jQa a a B a. Br:aa oa a ; B B a aac.ia oa B a a aai aijn Gl:' B B a BL a' Gi a DOB B B a a : i a' ai 1 1 b: b B b: at 1 1 .1 b:b b: 3 HGH' JjGBLI b'b:: : L 3i IQiJI uaaGBQ iBa a c 3 .a["jaGGBGBQBa 1 18 Fig. 376. Fig. 377. between the warp (except in the few floating spots used in Figs. 374, 367, 366). In the present division of corkscrews the filling is used to show a third line besides the two lines produced by the warp. To give a thorough understanding Figs. 375, 376, 377, 378, 379 and 380 have been designed. liOaCaGGaBBBBB GGGGGaBBBBBG DaaaaBBBBBDa GuGGBBBBBGGG GGiGBBBBBCGCn CaaaBBBGGCDG __/jGGGGa IIGGGCEG \.jci^-.^'j a _zc:':_ ^BB IGGGGGGGBi Fig. 378. lannaanGDaaaDGDaDDDi DnoDDBD aaGGGHaaGaaDGaaDajQGBGQG QaaHGGGaaaGGGGGaaaBGaGDG . aHGaGaaGGGGGGGGGaGGGGGGa ' GaaaGGnaGaaGGaaQGCiGGQCGH DaGaGGuaGL]naBGaGai3DaG£3Da GaaaDGGGOaBGQGGGGi:iGHGGGG aGGGGGGaaGuaanGGGHaGGGDa naGGiGGBaGGGGGGGaGGGGGGaD aGGGBiGiGGGCGLlGHCGaGaGaaGa aaaGGGGGGGaEGGGGaCGGGGOa iBaGaGaaaataGaQGGGaaGCQGDn 1 -4 Fig. 379. -■47a;".a-azaG^" " ~: ana-B .".anaa Ga..!aua-Tj i i.j 'B a ~:b bi iaaua Ga.jaG '^ -] a .a a Bl aai ara GB'.J' '1 iB a B a Ba a_aca GGG' BBB a aa a a aua GG: ; a B a ;a aa a a a auc" GGB.B B.B .9 ■: a a a ■auUCL. BGB B a Ba 3 a a aGGGGDi; bgb.:b aa a .■: a a i GGoaaL: BGB iaa a :a 3 a , ranai a laa a a a ] - ' BI Bf at ] aa la ja a la i' G. a Bi .a.jBG i-'ja ia ,a ,a i . i a a .a a'jaa GHJaGa i.J J J ;■ B' .B._a a aa .a GaaauGGGGGB iBGBGB aa la 'a □aGGGGGGBGB -aGB.-iaa a :a a QGGGGGB.GBGB . B':aa a a iaua DGGGBGaGBGa aa a a a aGG DDBGaGBGaGB .■:_a a a aG.jGc ■GaGBGBGBa ■: a a a.; i ..i icl ar.iB'iB.aa ia ■; :a a . .■ .nar ana iaa :a .a ; .■! a '. .BGBi: BGaa a a a j .^ .' 1 , Bi .aua;: IBHGa 'BGaGHG JLJG' .-jBGBGBGBC 1 24 Fig. 380. =. Fig. 376 the drafting by which weave Fig- 377 is produced Repeat for the latter: 18 warp-threads and 9 picks. For drawing-in use Fig. 375 represents the 9-harness twill known as — 74 either i8-harness straight draw, and for harness chain one repeat of corkscrew; or, 9-harness double draw (Fig. 376), and for harness chain the 5 twill (Fig. 375). Fig. 378 represents the i2-harness ^ ^ twill. Fig. 379 the drafting by which corkscrew weave Fig. 380 is derived. Repeat for the latter: 24 warp-threads and 12 picks. For drawing- in use either 12-harness double draw (Fig. 379), and for harness chain the ^ twill (Fig. 378); -or, 24-harness straight draw, and for harness chain one repeat of corkscrew weave, 24-harness and 12 picks (Fig. 380). F. Corkscrezv Weaves Figured by the Warp. In this division of corkscrew weaves, figures of any size or form are produced by arranging a corresponding floating of alternate warp-threads. Every uneven numbered warp-thread (1,3, Danmmnnn"n^r:""n^ c:::h II ■ M II ■ :■ II [ :::■ ii Da iHi ;:-; ■:: m ■ ::']| 3(J| H [ :; ■ ■ I ni^Hiji 1'" I a a -v. ■ ■ ■ ■a ..:a a la ,a._,a _ 10 ■: a a :a .a'jnaH ". aa ■:: auHDCJ TM '■ ■ ■auariE] ■ .■ ■ ■ laa IS ■ ■ ■ ■ ■ . ■ ] ■ <■■■■ m^ ■■ ■ ■ Ha a ::■-■ ■ Ha a a .3 an ma a a a ;: a a a a_a a :: aB^^aa a a a :■ ■ ■ aa.a a ■ ■ ■ ■ aa ^ ■ ■-■ ■ aijaj ■ . ■-■ ■ 'w m'^ ■ ■ ■ ■ aa a :a a a aa a a ::_aa^aa_a^a .a Fig. 381. anani nnani DH lai na' la. ricj ,ai c^a lai iqananGnnnqEiQHnHanaDaaaGaGaHnanBDHaHnn lai a L'aa 'I ca .ai L.a a ra a :ja a '^a m a ■ a:: la .a ■: ^a ;a :a ■: a 'a a ] a a _,ai ;} :: a a i aa a ■ aa a a a aa a la a ■a a I la' ia'"ia' la'ia a laa 'a la la a a aa a j:^ a. a. a aa la a a a a ,aa :■; la a 'a ana la a ji o a a a D a □'.)□ :5 a DQ a a ja la a ;□ aaja a a .a a a aa a a a a aa a a a a aa a : . ■: '■' ]□ a a a . a aa a a a a aa a ■3 aau B.jBuaa ,a ,a BGBQ .a :a 'C: BHQH^a^.a^a- a a 'BBGB ^iBGBGBV aa ,a a .a jaaGBGBQaGBaaa a a a .aa_BGaaBaBGBaGa_a_a^a. a aa' .aa ^a_ :a a .a ■'SaSB DBDBE jBuag Fig. 382. 5, 7, etc.,) is used for producing the figure, while the ground is produced by the even numbered warp-threads. Figs. 381 to 383 are designs illustrating this method of figuring. Fig. 381. Repeat: 16 warp-threads and picks. Fig. 382 picks. Fig. 383- picks. Before closing the lecture on the corkscrew weaves we shall briefly refer to division G of the latter, or corkscrezv weaves in zuJiich the face and back of the fabric is produced by the filing; the warp resting between *6naac3BGBaaGBGaaaGaGBaGaaai aaana a ib la la :a laaGa laa :i BGB aa a ,a :a a a 'a 'aa a B^jaa a a ,a la a la aa a aa aa'"ia a .a a la a 'aa a aa .a aa ~aa a a a a a a aa .a ai aaa a a a a a a^aa a aa .1 BGa ia a a la aa >a iaa''a a .11 B~ia a a a aa la aa a a a 11 BGa OH .: aa: ;■ oa' :■:_ BGB a aa a BGB :aa a 'ai BGBaja aa ■ ja a a la ■■ '■■G nGHaaHnoaHaon GBHGGBGaaaBGGBGH ■■GGBiri «■' IGIHGG ■GGHK'N' m • mmoua scamma ■■ ' ■■gghb ■GBGB' I »B B BGGB BB^i 'BB . .BB' I JBBriG GB B BB . B B BBG GiJBB .J BB. I BB. . jBB GBBL 1UBgBGBBG'_.BGB BBGGBBDGBBGGBBGD IBaDBBGBGBGGBBaaa 1 8 OBI DGi QG IGGi ICGGI I'G^BI ■ ' ""_!"■■ IGGGi ■CGI ■HBI GBBBij. ;GBBBGGGBBB' i :M BBBGi 3GBBBGGGBBBI JGlBI BBGGGBBBGGi jBBBGGGBBI 2^GGaGBBBGG"BBB "^! "GBBB " BGr ;BBBGDGBBB BBB bb'~:bbljg!:jbbb i i bbb bi QGI GG BGL bb: IB ^ BBBD IBB BBBGG BB. BBBJGD .JGL.BBBGGGB . BBB'' I' BB I BB' '.BBB IB 'J.GGBBBG ■ BB HGBBBGO jBBGGG IGGGr;B IB BB IGBBOBBGL ■ B BBB IBB_. _BBI BBGBBGBI BBB'' ;_ I BBB JG IG IBB B ^BBBGGG DGBBBGD :GaBBBG aBBB_ BI DCBB BBI DG BBB ■r: BBB .. BGBBB^uL I BBB i BBB BI IBBGGGBBI IGGGI lUGC JO IB BBBGGGGB ■ BB ' BBBGGBB BBB . .'BBGBBfl BBB '/jGBBBG BBB :GBBBnG BB ..BBJBBBGGG ■ BBG.' BBBi'iLiGB ■ BUG. 'BBB.. iiGBB IGBB-jBBGuGBBB :.'4 DGGGBBBBaaOGBBBBGGGGBBBBGnGGBBBB Gl JGBBBBGGGGBBBBGGGI^BGBBBGGrBBBBG GGBBBB'GQGGBBBB BB ' 'BB 'BBBB ' ] OBBBBGGGGBBBB BBB '.B..BBBB I ■BBBGGGGBBBB . i . BBBB ..: BBBB ... .".i BBBGGGGBBBBG'J'J^ .. .BB J<~':BBBB I BB__':G. BBBB .!< iBB~n BBB''Bj. BBBB I ' BBB >. '"'BBBB B' iC BBBBGGGGBBBB ' r I BBBBP.rn -'.nHBaHOGGG GBBBBGGGBBB B.j'i ' BBBB. "..-BBBB'DGG OGBBBBGGBB : .BB : '.':BBBBG'_._.i_ BBBBGD GGGBBBBHB'J.JGBBB. BBBBGGGGBBBBG DGGGBBBBGGGGBBBB' !. • . BBBBGGGGBBBB ■GGGGBBBGGGBGBBBB'.. _ _BBBBGGGGBBB ■B~i:.' J'_BB<_ ''BB'G'.'BBBB BBBB ' ~ 'BB ■BBGGGGBGBBBGGGBBBBGGGGBBBB ' B ■BBBGGGGBBBBGGGGBBBBGGGGBBBB J OBBBGGGBBBBGGGGBGBBBBGGGGBBB ... .B GGBBG JBBBB'^ ' n ''■■; 'i :«BBBi':G'":.~BB JGBB GC.'iBGBBBBGGGGBBB " '. BBBB .V.:' '.B .BBB GG I .iBBBB ; uGBBBB ^ .BBBB ^' :.._:'JBBBa □GGBBBBGGG'.JBBBB .' . B .'BBBGGiJBBBBG DGBBBBGGGGBBBB it' BB .: '.BBGGBBBBGG OBBBBGGGGBBBB i . . BBB .GGBGBBBBUGG BBBBGG^'GBBBB !. i iBBBBU JGGBBBBGGGG BBBGG :: 'BBBB .<: BBBB ^BGGGBBBGGGGB BBGGG. BBBB .BBBB_.' 'BBGGBBGGGGBB IBGGaGBBBB^^^GBBBB.JG-BBBGBGGGGBBa 1 21 Fig. 386. Fig. 387. Fig. 387 illustrates the entwining twill produced with the 8-harness 5 twill, having three pieces of twills for the construction. 8 X 3 = 24 warp-threads and picks in one repeat. In accordance with designs Figs. 386 and 387, and their methods of construction, the fol- lowing designs may readily be produced : 3-6-harness twill \ X 2 pieces of twills = 12 for foundation weave / X 3 " " = 18 ^ 4-8-harness twill "I X 2 " " = 16 for foundation weave J X 4 " " = 32 f repeat of warp-threads I and picks, f repeat of warp-threads I and picks. 76 A sub-division of these entwining twills is produced by forming sqaares surrounded by parallel twill lines. The squares thus produced may be filled up by other twills, basket-weaves, rib-weaves, etc., or they may be left empty. In this manner designs Figs. 388 to 395 are formed. :}DDnDi I : ' IB Li zaannmm I rjCBDB IB: .BBBD ■ BBaDG . BBBDGD ■BB 'BHG ■■■lJBBB .. BBB BBBG aaoacaaa a aaa sanGn^'Oaaa 'aa aa^'i T :b mbbbl ; b:jb BBB BBB .BBB aBBD L.a .BBB i . a:..aBBna [;i aaa . . y : aaa 'ua DBBM a : .: :BBB BOD aaa. aaa iBBBijbbbd IDBUUUBBBLJBUUUBBB 1 « ' OQHHacjBacintaHDDi ■L'm.jB ]aaQnn' CB BB a '. a ai G BB . BB GBB a a BB I I :□ a J aa ;□ IJQ ■an OB GlI CBI I : J an aa _i.ja iBujHl ■□ Fig. 388. Fig. 389 Fig. 388. Repeat: 8 warp-threads, 8 picks. In this design, which is constructed from the ■^ 5 8-harness twill, the squares produced by the twill lines is left empty. Fig. 389 — repeat: 8 warp-threads, 8 picks — is produced from the ^ j. 8-harness twill; the squares produced by the twill lines entwining each other at right angles, is filled out by the two centre warp-threads interlacing with the filling in the shape of a 4-harness twill. a ma IBB ■ ■nnnaaaGi Du .a !a I Bija a BB :a y Baa^jjuBBB iij laai '. aaajaaa .:: a Gaaaaaaaana' tt h aDDaaBQ' mai la : HaBaaaa i.ua la ^i DaBaaaaa ; 1 la m\ BBBDanaaa i 1 .aai BaaaaanaBBJBBB njaDDDaLiarjaaaaa: aGGQna'jj'jBBa:i; . BjaGa : : :b 'bbbi i aajaj'j_:BBa :aBa inBGnannnGi I J •a : : :-: aD a □ ■a'j :.□ I ■ G ai '. MB ' ..Bfl.\aa : IHBGBBGi a L : .aa'. i aa aa . 1 ■BGBaGn BBI aa^:aa • j ■aaani^aB aa 16GBB !a ' iBB'^iBBiJ: aaiaa a a BB ' .ao} . .aa. laa: ' . .aa . .aa j ■n'..a aa j'..Ba'.. ..aa ._aj a ^aaG Laa aa 'BB bb aa aa [ aa ■ aa aa aa aa . a a L. a G-.aa iBB aa . aa aa aa aa ■'..«b □ a aa aa a aa a a aa a bbg ca aa aa aa aa aa bbjg Ga . aa _ aa a . aa aa a . aa jGb DL:Ba.. aa aa aa aa bb GBBGcaa .:a aa aa a aa aaa ■BGGBB .aa . .aa..j aa aa....Gaa.... ..bbgd lBaGBBGLjaGaaL_,^HuiElLjBB^LjHBLjaaL^BBDaD 1 21 11 GGQBaBBaaBHGnnnGHHGGHGGEDDHnBBnD □H.-,.-.|i,,--,.-,p,,~..-.n,j- -.n:.3":-3H^'"aa'~^^"BBGa« G. BB aa a a aa aa ~a bbggbb G'. BB . BB , BB aa aa aa ■/aaa Gaa aa a aa aa a aa aa aana BB BB aa . BB :aa.. aa a a aa aa aa aa aa aa aa ~aa.aaG G.- aa aa aa . aa aa ^ aa < aa 1 GBB aa aa aa aa aa aa aa a a a G. _ a:; Ga aa a a:-: a a a a aa aa aa GBB^j aa :. .aa GBGBa 1 a aa a aa CXj I GGBBI GGBB . .aa ]'.yr.-* i: HCUBI GBBG iBB : .a BGLirj, BB: f aa a a . Zj l:Z L QL -a a aa BBB' 9 u iBBBHrT IBBBDH arjBBDGBDBBDDBBanBBBnnBB BLi: .BB : I a : 'a : BBB BBB' ~ BB 'IGG GBBGDBBaOBBGUBB' ' B' " BBG BB' 1. .'. .a a a a a BBB n BBB ' aGQ BBnGBBDBGGBBL ' BBB BB 'G BBB .J a aaa bbb. \ ■ bbb h ' ;aa bgobbggbbggbb ; b bb b GBBB a . BBB 'i J BBBGaGQ DGBB 'B BB' j' BBB BB BB GC.BBB BB BBB BBBGGU GBB l BB BB B BB BBG OL, BBB . a a BBB BBB l!..'L..BBBaa BB' BB B . BBB:. BB BB jG BL /. BBB . . BBB_ BBBGGGBBBD BIGGBB ' BBl^'GBUuBB! v. BB .'GB BBi :'. ...BBB a a bbb.: i bb i bbbggobbb dgbb igb bbbggbbl.i bb< r ibb BBBGLIGBBB BBB' BBB 'GBBBOGGBB DBB iGBB' IGBGGBBGC BB' II 'BBiG GBBBGGGBB: ' BBBi ' I BBB a' laGBBBGDGB BBI J BB' 'BBi il MBGGBB' li BB' HG aGBBBGGGLI BBB ' , IBBB ai ILlJBBBGna BG! BB' 'B : 'BB : BB' <■ IBB 1 .B UGGBBBGGGBBB . :BBB a 'aGGGBBBOD GL'BB B BB . BBB ' BB ' BB QDGGBBGGBBB I • BBB . . a i^GGGBBGa GBB BB .BB .GB BB i' BBG oai a'.iGGBBB BBB a a '.a' a' 'ggb bb... bb bg^. bb" ' bbb : bbgd DL.a BBB . BBB aaa ..'.ibb bc.: bb . bbg^bb . b bbggb aa^.a. bbb bbb . a.-a a a., bbb dgbb._..' b bbg^gbb . bbbggbb EJGGGBBBGlj. BBB....i.iBBGu' a a ijvjBBBa OBBGGBBiJuBBOGBBI luBGDBBQ aGGBBBGGGBBB'.HJGBBBGl.: a ^^P^^^^i 12 picks. ^^P^^^ 16 warp-threads, 16 picks. ieaaGGGBBBGEBHaODi B' """:EGI"'Gr:Br .'BBGDBi [ 'Bb;il; BEGGGr BEl BB._ .BE' GEE HI JL HGi. EGL' QBBBLi EDHBDG EHGGGB EEG': aa DGL aaa DGI DBi IBBI BE. BBI BB: aa GG BBB' " IB BB' 'B a BEG BBB BE ,G BB' ' IG B B.^ .G BE BBB BB LJ BGBB Repeat : IBL.L.^EBGGGBBGG IGGEBDQGCDEBDn Fig. 414. 16 warp-threads, 16 picks. 1 CBBGHHEBGaDGEOBGI ■^GBBB'" IBBBB^'GGBI .BB IB !• iB' B ' IE E : B IIjG .GG ii.jE GEJ- BBBEG bc:b b BB B 1 IE a .B ija IB :B " ,B I EBB i' ,..ai G'.' IB' BBI EBB .BBB G ..BBB LjGBBB . . B GBBBG.J .EG 1 aaBGDaGEEGHDEDtaa 1 IS E iHG i^ B. BG iBi JBi. aa Repeat : Fig. 415. 16 warp-threads, 16 picks. lonGGGDa BGaaGGBBBG 3GGnBB GBB'"""-GBBGE SGL aa BB . .B ac 3Gaa 'B m EBBB^^BEE DBB BB ■B' .BB bb"bb : .BGBB : ^ 1. ,B BBB. . ■ DBB BB BB BBBE BB BB .BE B E ^J.J .BBG Bi'ii . BB IBB .1 ._..BBG.B □Lll ; iB BBEi li.BBGBB HEBE E BBB BB' BBG EBB. B ... BB BB^G EBGEB... .BB. BB' rn EGBBB, .jBBGBBGGGG IDaHBHG BB-.BB^EBBB 1 10 Fig. 416. Repeat:/ ^^^.^yP-^^'"^^^^' ^ (16 picks. i «)BGGBBGGBBGr« GGBB ' ' BB< BB DBB BBB BB ] ■BL iBBB BB..,G ■GEBGGGBBGGB DaBHGGBBGDBB DGBBGBBGGBBa EEGi 'BBi"^'""BBria EBl BB BB B DGBB BB BB 1 DBB. BB BB J BBl BB EBJ BGL BB EBB B DGBB BC3B . BB GBB BB BB i BB<;;' .BE I .BB '1 BLiI BB BB. .B DBBE BB BB DBEB BB .BB J □Gl I' BB BB B EC: BB BB B ELBB BB ... a DBB . BB EBB J BB'. : BB BEBG BG_. BB .BB..,-IGB GGBB' . BBjCBB DBBI .' EBGBBG bb: bee BBGa BL~' .EBB BB_.: :B DBB .BB ' BB GEE' BB .l_BBG DBB BB BB J E BB . BB BE EGBB, ;..BB' ....BE GBBi ' BB' BB J BBL bb: BB :j BL.. BB . .BE .B Dl .BB EBB Ji iBB GBB BBB.BB.G BB. BB bb: U m.-y BB .BB.. ,'. <■ DL. BE . BB. I! BB EBB ' BB ..BBG EBB BB BB J Gi .1 BBI. BB. BB DGBBi . BB BB DBB BB BB ■BG BB BBB a ■LI BB. BBBI IB O^BB BB . BB DBB BB BBG ■B' I BB BB. n ■l:BBB BB. I' ■ D' BBB BB BB EB BB BBG EB BB. il .BB. iG EB BB .: BB i .J DljBBl.jGBB._.BBB GBBGGBBGIjBBE IBaODBBGEEGGG 1 12 Fig. 417. ISB^DOaanaQQQDEEEG^ ■DDD^BBOnEEDEDGGB^ CGGaaBGGGBGBBGGBBB r: "BBBi^iBBB EBB BBBG GBBB :. IBB E .. BBB ] BBB . I :B BB BBB . . .) BB .BEE iBBB BBB .. . .B B. .BE B BBB' . 'BB G B EB BBB BBB BBB., EBB BBB . BBBG EB iB L . iBBBi 1: : .BBB' .' 1 E. EB .: 'BBB. . BBB. . J L BBB BBB . BBB BEE E ..BBB'.jl :. BBB . BE'~J E . BBB J' ".;BBB ..' : 'E' iB E^.BBBG.GGBBBGBBEIjBB GBBBGGGBBBGGBEGEuG iBBBGaGBBBDGGEGEBGG 1 18 Fig. 418. ReneatJ !§ warp-threads, l^epeat.-^ 1 8 picks. ^^■■aDaaGE nDDEBDGHED DBBpDB aaDBBGGE BGGB IBBI ■ BGGEEC iBGGaa c aa BE .BE. . .a BGGBaa DBB IBB EB BB BB jGaaaa ■BLEB . .B B E B. . BB. BBBGa BLjuBE ' jB B 1 'B B' BBI BBBL IGfl dbbl; :bb IBB ■B' '1 a BB aa DEE 1 BE BE aa BB B BBG EGGEB ,B B 1 .m a aaa BB: ;e B ' BB 1 IB B' jBB ., BBBl .aa " IE DEE ,BB BB BBBI BB' BBG DBB . BB BB : BBB ' a a BBG E.Ji iBB , 'B a 1 IB BB. ' .BB BB ; IE E' 11 }EB 'BB 1 aa Bl '': BB. BBI DE GBB BB aaa BB E B BBO DBB BB aaa aa B BEG E. BB y a BB i aa BE BB y IB Ei..aB aa a ' IB a BE BB !' B DBB BBB . BB BE B B BBG BB . aaa BB BB B B' . BEG ai 1'. ^^^. . / 24 warp- ^^P^^^^ 160 picks. R^P^^^ -124 picks. threads, SOnEGEGBBaaBBDaaGEBBEE EGL IGBBi laaBGBB. .B: ' ...:G DGI iBB' BBB'. IBB' EBBBE ELjBB....BaB aa b.. j'G DaBuBBB .BB E E EBBBE BBGaBB' IBB' :E' B ..B' . .'LIG aGBBBGaa e .b b " '.a GBBBGBa B B B BB BBBDaa . B. B .B BBG BBGBB . B B B BB'. B aGBB.LEBEEB E B BBi BB DBB B B BB_.BaB BB . .' .BEBBB. . .' aBLiBBBG a . J .E . J . . .B. .BBI BBBGa GB'jBuBBBBBGaaLjBBBGBB EGEGEGGGGGBaGBBBGaBD EGBGEaGGaaaDBBBDaaGG EGEGEGGGaaaaaBGBBGQD EGBGB' :; iBaGaaaGBBGaDG iBGEGEGaaGaaaCBBDGDDG 1 20 Fig. 419. „ J 20 warp-threads, P ■ \ 20 picks. IB'. a.. iB^r-nB' ■i^'-anGnan I ai '' ' IB'. Ji .'GB I' , 'B 'HMB .i .IBBB - _ I' JBBB .■ ' ., IBl^GQ GGGBaBGBGGGBGLjGBL IDI .IBGBBB DGai'JDaBaaGBDBBauGGaaaaaa DaDBBacDDaaaaaGGCBGDaaaG BBaOaQDGBaaDaQGGBDBBBGGa iDaaBaaaaGaBaDUDBBaDBDGDB 1 :!4 Fig. 421. Rpneaf 1^4 warp-threads, Repeat. I g picks. ■ ■ ■ ■ ■ ■ i< ■■■ ■ ■ ■ ■■ ■ ■ ■ ■■ ■a ■ ■ ■ ■■ ■ ■ ■ ■■ ■ JQ ■ L ■ ■ ■ ■ ■ ■■ ■ . ■■ ■ ■ nm oi~:a ■ ■ ■■ ■ . ■ ■ ■ ■ <■■ OH. ■ . ■ ■ ' '■■■ ■' " ■ ■ ■■a ■L,^,BHBL.^H ■■■ ■ ■ ■ ■ ■■uy 81 XII. Pointed Twills. Pointed twills constitute the next sub-division of twills, and are derived from the latter by- means of point draws (previously explained and illustrated under the head of drawing in drafts, page 33). The plainest "point draw" calls for each harness in rotation (beginning at number one, or front) until all harnesses are taken up. Next proceed to draw the rotation of harness backwards until you get on to the starting point. The first and last harness of the set (represent- ing the front and rear harness), technically known as " point harness," are drafted only once ; thus requiring only one-half the number of heddles compared to the others. If using a fancy point-draw, use the point harness in the one effect, straight in the next effect, and vice versa. DBaQB3nBBanBGL3BBnnBnnBDBnnBrjDBBi J' iB^": :bb '1 ;b':j(3b BCV:B^"BB "B ^B""BB ^'^B^' "^B'^^B^V'^BB"' B B. BB.^BQD ' QfB BB ■ B BB .B B BB B B BB . . IBQ DB;~: BB . B ' B B ' BB B B BB B. i B i B : BB' jDB ma :BBLJi B B B B BB ' B BB ' B B B ' B' .. BBLID DDBB TB B BBBB BBBB BB BBQ l^DrB' BGnDBDaaBaOBn'^^B'- "BCIDBBB QBB BBBBBBBBBBBBBBBB LB. B BIJBDaBBDDBDCB B B ^OBBBQ BBL':' B\ B BBB B B BBB'/ B B BBB B , B CM Bl BBB'' .. IBDOBBnOBaGBBB B ^BBBOD B B B BBBBB , :B B > B i' .B ; B :. BBBBB B 'BQa "" ' ' ~' ' B B BBB BBB m m ■ i' 'B B' ..BBB' .BBB . B JBG BIJL.B ~BBB ...B BBB B B .B .BBB . M" BBfluLiBnD ODBBBnanflBBD DDBG BBB B B . .:BBB . :b B . BBB .:: .B. B JiJBBBODBa aBBDBBGBBaBB DBGI' BBB . B ; '. B i^'iBBB :.B ■'. iBBB' i. B il . iB' n.iBBBDDB Bb'^'^BBB'^GGB BDLIBBB m . B l B'^ BBB B ^ 'jBBB:.! ;B' ; B". b .igbbbqd ■ " ■ -m B"l'l DDBBB B ' .B B B .BBB BBB'.. B . B .B B ^GBBBQ DGBBBBBG. >■■ hi. ' ■■■ ■ ■■ j'jb ^ BBB BBBG DBBB B B fl .B . BBB BBB B . B B .BGDBBB DBBBOBBBi .BBB B ~..BB .BB BB iBO CBB^BB ^BBGBB BBBI :< ;B B . B B . B i .BBBBBGI B > . B. '. B . B jGBGGBB BBBGGGBBBBB. .i .Bl il BB'. . iLBB< BB .1 .Bl.S BBDuaBBBDaGi ■BDGBnL.B .■ iBBBGGBQaBaaBBBDDBUaBaGBBBGGBDDBDGB BBnaBDGBBBnGBaGBBaaBDQBBBGGBGDB IBaDBGQBaDBaa IBOGBOGB . . BBBBBaGBGGBGGBGaBDGBGDBBBBBGaBGGBDD iBGGBGBaDBDGBGaBaDGBaanGflGDBaDBB 16 1 22 I 31 Fig. 422. Fig. 423. Fig. 424. Fig. 422 illustrates a " point twill " composed of the ^ 4-harness twill executed on the regular 4-harness point draw, i, 2, 3, 4, 3, 2. Repeat: 6-harness and 4 picks. Fig. 423 represents a "point twill" composed of the 21-harness \ \ \ ' 2 \ \ regular twill. The point draw required is as follows: i, 2, 3, 4, 5, 6, 7, 8, 9, 10, 1 1, 12, 1 1 10, 9, 8, 7, 6, 5, 4, 3, 2. Repeat: 22 warp-threads and 21 picks, requiring 12-harness point draw. This will illustrate that the entire repeat of a regular twill must not be used in the construction of its " point twill," as in the present example only 1 2 threads of the regular twill, with 2 1 threads for repeat in weave are used, (9 threads being entirely omitted). The second kind of " point twills " is designed from the regular twills by means of a " fancy point draft." For example, weave Fig. 424, which in its mode of construction is designed from the ^ ^ ^ ^ '^ ^ ^ ^ 15-harness twill by means of the following fancy point-draft: i, 2, 3, 4, 5,4, 3, 2, I, 2, 3,4, 5, 6, 7, 8,9, 10, II, 12, II, 10, 9, 8, 9, 10, II, 12, 13, 14 and 15. DB"^"nnn^:-B'~'B^'^n"n""Ga bgbgg:"^'"^b^b "b^'^gggb.g G a ' 'n . fl a < :3 ' 'BG [ a^a'n - .a a'fl ..B.^'irja.ia V. Il a . : B ' '::' a .' bgd g. a a b a . a a' a ' .a 1 l::: a a c; :-: a a igci G'..r,a a b .a a a 1 CB^'"'n^^a'"a~~n'^ "B g a a n v. a )□□ hG'": a a :: a a vrm . a a bg zv. ..a a . :-: v. a bggb gg'.b a a a a a .j E3Gi a IB lu .. B' .a iG B .'' a < . a :}' ai » bgg ggb a a a a ■: 'B^ bg uu. ; B: :-: -I-/ . B ;□ c .'B'.J''':} a ' . B'.'' C'> 'gbg DB<..a ■ a 'B a '.jb a gbgggbgbgggb bgi a a :: a a jG gb ' ::} :-: a a c: ;] :aB bgb a a a .a : rDBGBGGGBCBa GGB m B BG B ' a :■: : B K aGG GBG . a _ a a a ./a EGGBGGn'^GBGG GB. a . B B.. 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Giving Figs. 422, 423 and 424 each one-quarter of a turn, or in other words turning them so as to bring the filling into the position of the warp and the warp into the position of the filling, will produce weaves for this system. A straight draw for an equal number of harness, which is necessary for the foundation twill, is required for this pointed twill (filling ways). Thus, weave Fig. 422 will require a 4-harness straight draw with 6 picks; weave Fig. 423 a 21-harness "straight draw" with 22 bars in chain; weave Fig. 424 a 15-harness "straight draw" with 31 bars in chain. 82 The next course for figuring in pointed twills is to arrange the pointed effect, warp and filling ways; forming in this manner squares standing on one of their corners. These designs offer very many fanciful arrangements and are extensively used in the manufacture of fancy cotton fabrics. Fig. 425 is derived from the 3-harness ^ ^ regular twill by means of draft : 1, 2, 3, 1, 3, 2. Repeat: 6 warp-threads and 6 picks. Fig. 426 represents enlargement of Fig. 425 to 8 warp-threads and 8 picks repeat. Fig. 427 shows the same weave enlarged to 10 warp-threads and 10 picks. ■■aoHDnBHBnnBc:DH ■■■OnnHHBBBDDCBB cmmm '■■■^■■■riBBH □r «■■■■' .ijDMBHHBn DI !.■■■ I iHGD««B_in DDaaaaH'. iLiGaaaaan DaaBijBaB(..:aaB. bbb ■BaaDaaaaBB " bb i'BB .'"iH' : iBBB a ■BB i''i 'BBBBBl. BB □BBBCjaBBGaaaUBBB c-iaaaaa -'-aaaaa j Dl.li iBBB' ' H~~'> BBB' a oraaaaa BBaaan naaa ibbb' ibbbi bbb IBBB BBBBB . BB 1 08 lenaBnGHDaHnDDaoBB BGaaaQOHGHnaDBBa BB~ BB 'H ~G 'Hr'BaGB LBB' .BB < . : iBB .BB GLBBi .BB' 1 ... iBBi 'BB.G UuGBB' jaaL;BB':~.BBGG GGH; jaaDBBBUBBUHa DHnDnBBGanaaDi.jaa E'lnr laCJBBDBBnGGaa L'nGrinaaGBi laaaaaa f I.' iHijBBi ■aariaaaHn [ ,' 11 .BB' IBB' iBBi^BBaa r BB :BB~::_L.>BBGBBa L BB BB ,fjrjGBBUBB BB. ;bb iHgggbgbbg* 1 I'-iuGHGHGLGBBq 24HHnDBnaDDnB' Bn ■ ' .nnnnanns □DGBOBanGB 'B B. .B > i. B. 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Repeat: 8 warp-threads, 8 picks. Point draw for 5-harness as follows : i, 2, 3, 4, 5. 4. 3. 2. Fig. 430. Repeat: 16 warp-threads, 16 picks. Point draw for 9-harness as follows : i, 2, 3, 4, 5,6, 7, 8,9, 8, 7, 6, 5,4, 3, 2. Fig. 431. Repeat: 24 warp-threads, 24 picks. Point draw for 1 3-harness as follows: 1,2, 3.4, 5>6, 7, 8,9, 10, II, 12, 13, 12, II, 10, 9, 8, 7, 6, 5,4, 3, 2. pr^r^ls^f^rnr^r^jpp^p nn GHaBnOOBBBBB B '1 BBB BB a G ":":' /'DBBBOBB BB BBB B B BB 1. 1 ji '' .aaaaEaa B... 'J.J .' 'BBB BB a 1 .1 .r^GBBBnaa jGaBa'SGQGBBBBB L'' ''Baaaa 3DGaBGGGGi'"jBBB .. .a ...1.:' 'i.."iBBBa DnaBBBaGGGGB 1' J i. I IBBB i J ' |.' «GG L./aBBBBB"-' ' ii 1 aaaaa^j j'' im 'hg aflBBGBBB ■■:.;■ 4 !B BBLiaaa gmggigb aaBGHiGBBB , .. )G BB B'GEl iBBBGGDG'G Hnaaai laaa . 1 ; . 'g 'B BBGBBBGHaGGH ^GBBBBB J ,. . -3. . .J BBBBBGGGBGBa DGaaBBG'JjG. M ' I laaaGGGaGBGa DGG.G'B.I.jGGi IBBB 1 II I'lB' viGGGaaan DGGSGHG . BBBBB B'GHGGGG BBB iBB a 1 ' . . 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BBB BBBBBG GBBBBBJIB I l JBBB IB iBBB B BBBBB'' iBBBBB B ' BBB' B :BBBL ' B BBBBB ■BBBB DBB I IBB IBBB BB BB BBB W BBB BB BB BBB BB BC: BBBNi ■BSBJBBB I :B IBBBBB B BBB B BBB B BBB B BBBBB B BBB_.BIJB ■BB JB JJJBBB JB -1BBB-JB IBBB B BBBBB B BBBi .'BSBBBHB BBB B BB ■BGBB l.JJBBGBBB'JBUBBB BB BB BBB BC} BB. BBBHBHBBB BB .. BB' 'B ■JBBB 1'JGB .IBBBBB SBBBB B [XX: B BBB B BBBBBGBBBBB B . .BBBG GBJ IBBB IBBBBB ~ BBBBB BBB B B BBB BBBBB^" '^-BBBBB .BBB IB □B. BB JBBBBB BBBBB BB BBB BB BBBBB BBBBB: .BB .Q □B ' . B JB ^BBB B B BBB IB B BBB 1 B B IBBB B B BBBRB' B □ DGBBB )BaB'-WJ_l.,B...B., ._■' JBBB. JBBBIJG .BBBI" 'BBB' IB. , .-^B-jBGGGBi-aBBBJJBBBG IQUBB GBBBBBGGGGGBGGaaaBBBBBGHBGDUHauBBBBBuaGDGQaanGGBBBBBGBH. 1 1 10 Fig. 435. a, ■, Sinkers ; ^, ■ Raisers. Fig- 435- Repeat: 30 warp-threads, 30 picks. Point draw requires i6-harness. Draw harness i up to and including 16 from front to rear, then follow by drawing harness 15 to and including 2 from rear to front. Derivative Weaves from Satins. DOUBLE SATINS. These weaves are designed for woolen goods in which we desire to increase the strength and yet retain the satin face and finish. They are derived from the regular satins by adding one more intersection of each warp and fiUing thread in one repeat, either to the right or left, above or below, or in a short regular distance from the original point. .BB' 1 , B ' 1 ,BB :BB J B ■ J'jB IB 1| B . . .BBQ BBJQO Fig. 436. and B for Raisers. ■ BB ' : BBH i~ BB ' > . .BB' j'_JG a ' ' 'I IBB Cli : .'lj;]B LI BB . ij BB'JD ljBb j ■ 1^1 ,BB , ;aD I I I I' .BBi ;< J. :.jaB LjJ iBBijQUUQijBB' jQI'J BBLiiaGGaDBBDDGaaa 8DL JGaaBBDanGGCBBG Gl laBGGCnnnBBnGQD ■ -lGDDDG^-lB " i "DDB DGPjGBBG , ' , , .BBGG OaBGDr IGUi. IBB t i IJG GGOGGGislBiJGU'Ji JGBB Di ^r_.aBGaunGGBBGi'ja 1 ■BGaaGGGBBGaGaan Fig. 437. ■ and ■ for Raisers. GnBGQBDGnGBGGBDG aDBGaGGBnGBnGDLJB QDDGBDaBnaGGBGaB GBaGBGGLTGB : iB ' iG dbggggbq: b . . bg DGQBGGi B j[ jbg BuGGG JGBGG GQBQa GGGGI" B B B SG^ a ' : GGi^j:_^.^^B^; GGGGBGGHDaaGBaaa DaaQBGaGGBGaaaDa aBGaaaaaGaGGaaan anaaGGBG a ■ aa BQQBGGGiJB B , iG IBGGGGBGGB. , _i.j._ BUG 1 Fig. 438. a and ■ for Raisers. Fig. 436 illustrates the 5-liarness (filling face) double satin. The common 5-harness satin we find clearly indicated by m. One point added (■) to the right has given the double satin. An examination of the same will show us a proportionally large float of the filling, thus leaving all the advantages of the satin for the face of the fabric. The warp we find changed in the new design from ^ ^ to ^—^ — L^g. o^' twice as many intersections in the short repeat of 5 threads, giving the fabric for which this weave is to be used proportionally more strength. Fig. 437, representing the 8-harness (filling for face) double satin, is designed upon the same principle as that of Fig. 436 ; having a larger repeat it will better demonstrate the purpose than the former. Fig. 438 illustrates the double satin (filling for face) produced in connection with the 8-harness satin, filling face. This time the adding point is found above the one for" the regular satin, so the filling receives one more point of interlacing in each repeat ; hence more strength in the fabric, filling ways. nanaGBaGaDQBGBDa BaBGGGGaa'~aGGaGa 0. n I a a . B' ib Gua IB a a . iG GB '' G a a .IB G . . a a a BG GB a a a IG a ' a a bg sQ^^a^j^ ., ..,-,. B^aGG ■aHGGGGuJBGBGGGaa DDGDGBGBGGGfjaBDB DnBDHaGGGaBGBGGG DBDGG'Vi ■ a a' I: !. GB DDaGB .'G I . I i< a :bg DBGB :.- -; , a a. jg iBaaat:4^a.jB-jGLjGLjBa « Fig. 439. ■ and D for Raisers. ■Gl ■Gl ■Gl ■Gl ■Gl IG^ ■G^ ■G^ ■G^ ■GBBGBBBBa ■GBBBBGBaa aGBBGBBBBGI BGaaaaGBBGi BBBGBBGBBr~ GaaGBBBBG^ GBaaBGBBGBBaBG^ _ saanaaGBaaaGBBL laa ■B' 'aaaai 'laBGaaaaG ■BBBHaai aaaaGBBG B''iBa'';aBBa' bbgbbb Bvaaaa aaGaaaaGB BBBi-aa aaBBiGBBGa Fig. 440. n and a for Sinkers ; ■ for Raisers. Fig. 439 shows another and a different arrangement of the 8-harness double satin (filling face), having its added point in an oblique position to the original intersection of the regular satin; consequently increasing the point of interlacing equally for warp and filling. Fig. 440 shows the regular 8-harness satin warp for face, arranged for double satin, and in its construction will correspond to Fig. 438. Both of the last mentioned designs also demon- strate the arrangement of the 8-leaf satin warp for face, after the principle observed either in Fig. 437 or 439- («4) . 85 . Granite-\Veaves. Under this system of weaves we classify small broken-up effects, which are derived from the foundation weaves in various ways. Amongst the effects most frequently used, we find those that are derived from the satin- weaves. In this manner Figs. 441 to 469 are designed. TDDBDBBa ■DDGBDB DB«an::;« DWDBB'Tin DnDHUBB BBDDQBU laLjBBQDD 1 J Fig. 441. 7nOBCDBB BBDnHim I -■■-7-^1 LBB.jLJU.J iHUQBBaU 1 i Fig. 442. TDBaDBBO BOaBBDB DBBDaBN BIGBBDn I ':b>j jBB BBaoBaa laoBBaQB I 7 Fig. 443. saBnBGSBa BDWB JGBQ BDQBGBaa BDBiJJBr-ja DHB'JiJBCJB DDBUBUHB CBGaBGDB laBaGBGBQ 1 8 Fig. 444. Figs. 441 to 443 are granite-weaves derived from the 7-harness satin. The latter is shown in each design by «. Designs Figs. 444 to 447 are derived from the 8-harness satin. The first two weaves are obtained by adding three additional points of interlacing to each original .satin spot (■). PDGBBnBBn BC-^"B ■ BG ' ■■ i amm -m ..1 CHBGGGBB V :jBB <--B BBQaBGOD IMBGaaBBD 1 8 Fig. 445. snnnBBHBB ■■ ■■ ■ ■ BBB ■■' mma m Bi iGB B ' :■ HBNB I BB BBGG II^BB .. BB 1 8 Fig. 446. SBDBGBP^BD CB' B B B Bl B B B'4 GB m B B Bi^JBi B: iB J GB' !B: ■> B B'JB': iBGB 1 IBB^KGB^B 1 a Fig. 447 The last two weaves are obtained by adding four additional points of interlacing to the original one. The original 8-harness satin is shown in each design by a. Weaves Figs. 448, 449 and 450 are designs of granites having for their foundation the 12 harness satin. The latter is again indicated by a different type (■) from that of its addition for producing the granite-weave required. l^anaBBDDBDGBB liiDDBBBnDMBaBB l^DBBaaBBBGBDB DDBaDBBnaCBB nDHBGBBGDBBB BBBGBGBGBBGa BBGGnBB^!GB|Cn BBG'nBBBnonBn GBGBBGnBBHl' ■ bb:?: bbggg bbg' .< w :bb ., m Gr!BB'-i :bi B' bb G: .BB ' BBGGB BIjBB ! BBB' i! M GB iB' BB. >' BBil Di BB BBG GBBB ' / B^ BB .1 BB BB ' B BG GN. BB BB ] GKB BB' . BBB ) BM B B BB B BG. BB : . B BG BBB B B B' BB . BB ' B :] BG>_.^._.. BB ..:'B BG' « B .BB BB GBB -i .B ' B BB 'I DBBuGGBBiJuHG GBBGGBBBul.iMB BljBGBB BB' n DBBGOBGCBBGa BBBGGBBGBBGO BGGBB'^-i BBB iHaGBBOGGBBGD IBBDBBGGBBBGG 1BGBGBGBB iGBB 1 12 1 12 1 IJ Fig. 448. Fig. 449. Fig. 450. Weaves Figs. 451 and 452 are derived from the 15-harness satin, which is similar to the preceding ones indicated by b. Weaves Figs. 453, 454 and 455 are granites, constructed in their foundation out of the com- mon 1 8-harness satin-weave. ISGBGBGGBBBGnaBGG DCBBB'";GSBGGnBGr BG'. m ' B B'~:GBB BG BGB B B BBBGGB . BBB B_'GG DBB B -''B B.:Ba DGG nB'_. B :B B BBB B B :' BBB. ':GBB BBB' < m "m BBB B ' B B ' □BB B B aaa ' GGB m BBB B. B' ' . BBB ' B :BG BB b: B BIGB liHB,, -. .B^B . .BBBGG 1 isggbgbbdbbbgbbgb bbgbbbd;4bi 'bggbg BB '--m BGLB 'BB' B Br:B B BB BBB m GB BB BBB ' B BG B..BBB :B .B. . B B BfrlB' B : :B BB BB GBBB m B' ' B BB Cf-m B ' B BB BBB B _B BB'_/BBB r-MO ^BB BBB . B B ' B BBB "~'B B " B' BBG IBBGBGGBGBBGBBBQ ISaDGBBBGBBBl nni GDBBBD UGGBBBT^r-i, 1: BB B ' BBl BBGMBB 1: BB B ' 'GB BBGI . '' BBB' B a . i iB BB!': BBB BBB W G' BBB ' BB BBB G I BBB B BB BB O B .' BB.i . B BB BB BGGGL.'BBB ' BB : BB B.DGGGBBB ' BBB.' B GBBBGqBB '' :: '1' BBB '1 GBBBGGG'. :BBB 1 'BB' ' GaBBQaG:"BBB BBB □GGCBBB' GBB BBB GGGGBBB BBB' s< IBB B BB ;-BB B BB BBB II 1 . BBB ! BB IG IBBBGG. ji JBBB. i' > GGBBBG 1 Fig. 451. Fig. 452. Fig. 453. Fig. 453 is produced by adding eight additional points of interlacing to the original spot. Figs. 454 and 455 are obtained by adding (regular) seven additional points of interlacing to the original spot (indicated by h). Another method for producing granite -weaves is that of using the common .satin-weaves for 86 the foundation, but so arranging the latter in their construction as to have every even-numbered waip-thread in the main design (motive) missed, or not taken into consideration at all. Thus the 5-harness satin will call for lo warp-threads; 'the /-harness to be arranged, in the manner above isgnnBBnnBBnnnnBBBBD r^nBHHBnOCT^'BB'^insiBaa BG ■ M BBBI ■'■-)-Di MB' : BB 'i iB :' 1 JGBB B: 1' ' ' BBBI ■ iBBDOa ni BB' '; M !• ^ ■:! ■ BBB..' QBBBB ] BBL II i^BCjnn DL • ■ 1 ■ BBBI r.r]riBB Bl BB B « J BBB Dl ' BBBB Bfli > 'IB CIBB ' B' BBBB^.UlJ BBBB ' ' . BB .ijMBUUrja Cf :B BBBBI.JIUaaBBD DC:' BB :B. 'GODBBBB aci ;bbbb bbphp^bg BB _ :B BBBBi 'I '' n BBB BB I : B' .B iPBi ;'j'......BaBBij..i. :jBB.-ilJ isaDBBBariMnijnBnnBBBD BG'^'BBBG' 'GHBBG"Hnai Bl i B ". BBB ': TJBB BB ^ BBB ; ... B'-JOB DU^fi:^UBHB'_J_JGBBB:jnH UBBBQDHGGnBDDBBBDa :-' BBB ' i'~ BBB . - a DDHGGrjBGDBBB'rrj' BBB m ' BBB'^irG - - Gi B BEB' BBB I J.BBB • BBI Gtn B. Bl GGi BBB I GB ' BBB' .. BB I . I ' B BBB ' ' BBB ' BGG mui... m BBB .: :i..BBBaC 1 18 m ' BBB ii G 11 B BB Gi B BEB' B BB '_ ." fJi' 1 BBB B BB Bi .' '1 J J.BBB BBB .■ ,BG Gsn B. BBB ' aBBD GGi B BB B , '-'■BB GB J BBB BBB GHDD BB 1 1 m B BB '. laoB Fig. 454. Fig. 455. described, for 14-harness, etc., etc. To give a clearer understanding of the method of procedure, Figs. 456 to 465 have been designed. Fig. 456 represents the common 5-harness satin designed on every imeven-numbered (i, 3, 5, 7, 9) warp-thread. DaBGSBnBBn OBBI 11 B i< m BOHB' IBB' ,• n SDDDDHnDODD DDGDDDDDBn DGBGDnnanG DDDGIDGBGaa IHDDDDGDDDD 1 10 Fig. 456. : B BB ' Bl )G I B' I ' B BB'1 I BB I Bl I B IMIJUB BBi ,: iB 1 10 Fig. 457. LJ !*_■■ ■GHBGBBGQa BDD31DBBQB laBGBBDGaBU 1 10 Fig. 458. DDDDBBnnBB DDBBDDDDBB DCBBGDBBQa BBaDDDBBDD BBDGBBGGDa ^'GGDDBBOnBB QDBBGDDDBB aGBBDDBBaa ■■QDODBBGa iBBDGBHDDDa i 10 Fig. 459. Figs. 457, 458 and 459 illustrate granite-weaves obtained from the latter foundation weave by means of adding four additional points of interlacing (selected differently in each design) to the original spot of the 5-harness satin. Granite-weaves Figs. 460, 461 and 462 are obtained, by means similar to the preceding cases, from the 7-harness satin. Their repeat is: 14 harness and 7 picks. TDDBGGnBBDDBBDB DGBBDBDDBnnDBB B'.' '.' IBG 'BB B.^ 1 BBDBGaBQDDBBDn nDBBGGBBDBDaBa LB ' B~ii' ~5B' :BB IBBanBBDBDDBDDa 1 14 Fig. 460. inDBBaDBBDBDGBB DBDDBBG'^BBnGf^B BBUOBBr B' IGiBBG.G DQBBDGBB r:i=JBGiB naBBQBGGBBGGBB BB ' BB .B 'B. J inB B':-BB_iiaB<_ 2 1 14 Fig. 461. TDBOBBDBDBnGBnn BGnBDDGBDBBDHD DBBDBDBDGBDDDB GBDDDBGBBDBDBG BGBGBDnBDnDBDB DDDBDBBaBnBDDB laDflaDBaaaaaaBD 1 14 Fig. 462. Designs Figs, 463, 464 and 465 are designed out of the 8-harness satin, and their repeat is 16 warp-threads and 8 picks. In designs Figs. 457 to 465 the original weave for the foundation (or the 5-, 7- or 8-harness satin) is shown by a. In the same manner that we construct granite-weaves out of the 5-, 7- and 8-harness satin, we can also construct granite- weaves out of satin-weaves having a higher number of harness for their repeat. saa^aGBB^BGnGnana ai'B B BBB B a GB BBB B BB B' 1 ''1 GB' BB :B Ml 'B: ^BBB ai ■/-< . B' IBBB Bl 'BB J GBBB B BB:"B II' 1i riB GBB' 'B II 1 1 jB BBB a 1BGaflUBBBaBUBBL.BG SGaGBBBr^ar^^BGanni ( iuauaauaui I I IMQ a a IBB. a II' JGaa I B< a luaua 16 SDGI GGI GB BGI a: GL .' BB. IHBL 1 inBB^Gni.-'*BDann I' -IB B' I " ;":BGBa .' . a. BB' .:jaaHa IB. J I B' BGGGa 'B a ' LB'-BBGG B'. BB I"': . .''B B . .L J Bl B. 'I 4 .BG lauuuauBBuuuu Fig. 463. Fig. 464. Fig. 465. By using in this manner the 9-harness satin we will get 1 8-harness for the granite-weave and if we u.se the lo-harness satin-weave we will get 20-harness .'or repeat of its corresponding granite-weave, thus always requiring twice as many harnesses in repeat for the granite-weave as for the foundation satin-weave. 87 The next step in designing granite-weaves is the use of any satin-weave for foundation on each third successive warp-thread, which will equal: "Take one warp-thread, miss two," in the founda- tion satin-weave for the new design. To give a more perfect illustration of this method of procedure Figs. 466 and 467 have been constructed. Fig. 466 illustrates the 5-harness satin-weave to be applied for the foundation of a granite under the previously explained principle of "take one, miss two," thus calling for warp-threads i, 4, 7, 10, 13 in constructing the satin for foundation. nananniBannDDDnaandaBanBaaQ I oBBBi^'aa' irnr-'iHBHnn'~BBB':BB' 11 ;" ibbb^'g a '■ BBB' ' BBB MB BBfl~. BBB B a ■■■ BB BBB BBB BB . BB a BB BBB BBB BB BBB BB enDaannaDaBaDaan cl.bbb i i bb bb . , aaa bbb bb u DDDBDaaDDanGaaa dbb i :bb ■ bbb' > bbb' bb j .» bbb ;j DDaanDDanaDDHDa ai ,i^ bbb ■ bb ;i aa , bbB' ,. > aaa a DDaaaaBDaaaaaaa ai iuL.aaN jaBuLnjaaauu aaa:jaBU'_L «a iBDDDnaaaaaDGaDg '■□aaDUDaaaaDuaaaaaaaDaaaaDDDai Fig. 466. Fig. 467. Weave Fig. 467 represents a granite-weave as derivea from the foundation, Fig. 466. The original satin spots are shown in both designs by the same character of type, thus giving a clearer and more perfect illustration of the method of procedure. Any granite-weave, constructed in accordance with the present example out of a satin-weave, will always require three times the number of harness for its repeat that the satin calls for. Thus, the 5rharness satin requires 1 5-harness in granite-weave; the 7-harness satin requires 21 -harness in granite-weave; the 8-harness satin requires 24-harness in granite-weave, etc., etc. This will readily explain that when using a high number of repeat in satin for foundation, a corresponding increase in the granite-weave will occur. For example, take the 12-harness satin which equals 36-harness in granite, a repeat too large for the number of harness operated in the loom. To prevent difficulties arising in this manner, we can readily substitute the missings of certain warp-threads for the filling, using warp-ways each thread in rotation as in the case of the example in the filling. The peculiar characteristics of the face of a fabric interlaced on a granite-weave, " small broken-up effects," will readily admit this change. The present rule, "take one, skip two," in producing the foundation satin can also be extended to "take one, skip three," or "take one, skip four." -'uaaDaDaaDDnaanaaaannn QaaaaaaGaaGCiGaaDaraa DaaGGGBBGB'TBBi ''~irBB' IB aGaaaaGGijBB' a bb : a DGaauBriBB' BB B BBG BB'. '"' iBBGB'' BB BB BG GB BB ' BB a BB BB GBB B BB BB B BB G BLJi BB B .BB • BB B B m -MM . BB M BB ' BB:-: .a a :: . BBDaaa aa ' BB aa i^anaH BB ■a :; a ^ i a BB ' aaaa C-3 . . a aa. .aa 1 12 Fig, 476, f 12 warp-threads, I 12 picks. i^naaaaaaoanaB OGaBBBGaaaaB BaaaaGanaaaG GBB . a: aaaGB aaa • a aaaGaa BBLiaaaaal ^aaa DaaaaaGGBGaa DGGaBBGGGBBB ■GGBBGaaGBaa aaaGaBGBBGGa aaaaGGBBaGGa iBaaaGGBBuaag Fig. 477. Repeat: / 12 warp-threads, I 12 picks. iinnDCCBGBBBBB BaGGaBGaaaaa BanaaBaGaaGa aaBGaaoGBGGn aa . B' BBB' o a ' ry ' jBBbbbg c:bbbbb''v : m o aaa a ' [ aa l::jbl.. aa bbb GGBGi I aaB: aa 11 ^^,.JU Repeat : Fig. 478. f 12 warp-threads, I 12 picks. ISBBGGBGGGBBGB BaGGGaaaaaaa DGBaGGBBGaaa GGGBGaaaaaai aaGGBBGaaaGa GBGGBBBGaBGG DaaaaaaaGGBG aGBaaaaaaGaB aaaaaaGGaGGG BBBaaaGaGBGG GaaaaaaGGGBB laaaaGaGBGGBB 1 12 Fig. 479. Repeat: i 12 warp-threads, I 12 picks. Repeat : iiaaaanBnanaG Ga'lBi IBB! 'Bi iB BL B' a 'B B'~a ai. iB'. BBi B' ' ;BBuBBB. iBB' .B..B' I'.iBBB' .IG ■■■G^BBBGBGGGBBGGGG IBGUUBBGUUBBBGGBGUGBGUBBGBBBGBGBGGGBBBG '9 1!! 1 r. 12 2r 31 ;« Fig. 488. Fig, 489. Weave Fig. 489 represents a perfect combination of five different weaves produced with a repeat of 38 warp-threads and 6 picks. Warp-threads i to 6 are interlaced with the regular j twill. Direction of twill from the left to the right. Warp-threads 7 to 12 are interlaced with the common 6-harness ^ basket- weave. Warp-threads 13 to 27 have for their weave the skip twill derived from the regular 6-harness ^ twill by means of "take three threads successively and skip two." Warp-threads 28 to 31 are interlaced with the common rib-weave j warp for face. Warp-threads 32 to 38 are interlaced with the filling by means of the ~ ^ 6-harness twill. Direction of twill from the right to the left. Weave Fig. 490 illustrates another perfect combination of two weaves from two different — 7, used for divisions of weaves. In the same the combination of the regular 8-harness twill — six successive warp-threads, and the 16 harness corkscrew, used for 18 successive warp-threads, is shown. II II aaaaaaBBDBGBGBGBBGBGBGBBa ■■GOaaBGBGBDBBGBGBGBBGBG ■■■DGDBGBGBBGBGBGBlinBGBa ■BBBGGB BB'.:B B BB'VB 'B' 'iBG GBBBBGBB B B BB B B B BB DGBBBB' B_B BB B B.'B BB ■ GGGBaBuBi:.BBLjBLjBL 'B! IBB^ MOM iGaGQaaGaaGBGaGaGaaGaGaaa 1 6 24 sGHHaGriaa HGrjl.iC3B!/B rsna:a'_a a ! >' 'QBi .B 1 a:::} bb iBGa..]aaGaGBGa .BGBBGa. :■'. JB' ~a .BB. Bi...B'.B BB': I B B' .B BB .B' GBBGBGB :H:9sg5 B: .''BB 'BG ■S' s s^ a .' a a GaaHG'jBL IHGGGHGBG ■GBBGBiJBGBB'Jfl BBGBGBGBBGBGB B B . BG JBGBLIBB GIGBBGB 28 6GGBBr :gbbggbbggbb BB- BBB . BB luB^ BB 1 B Bl IB BB j.^ mmaa GljBBI 1 B 1 BBGGBH LBBB ''BB iGBBGGBB ■bb: . .BB BBGGBBGD ■■c 1 IB BBGGBBGG 8QCBB' JBB IGBBGGBB GGBB BB BBGGBBB mmr: 1 IB J ..BBGGBBBG BB 1 IB 'B' r'BBBGG ..BB BBB'lGB Gi "'BB UGjBB jr.'BB BBBGGBB BB 1 IBGGBBBGl 'luma ^■■ggi IBljGBBGGBBGG 1 8 16 Fig. 490. Fig. 491. Fig. 492. Weave Fig. 491 illustrates the same corkscrew as used in weave Fig. 490 combined with a rib-weave, filling for face. Warp-threads i to 5 are required by the rib-weave and warp-threads 6 to 28 are called for by the corkscrew. Repeat: 28 warp-threads and 8 picks. The next step for figuring in this system of weaves is by combinijig two weaves in the shape of alternate squares of any size desired. In the construction of these weaves we must be careful in the selection of the places for joining the two original weaves in the direction of the warp as well as the filling, so as to omit any unneces-sarily long floating of either system of threads. Fig. 492 illustrates the combination of 8 threads on 4-harness basket-weave and 8 threads on the k-^ 9-harness twill. 16 threads repeat, warp and filling ways. 92 By carefully examining the combined weave we will find the twill and basket so selected as to form a clear break between. ■naaaD^BBDDBGnHH' '-■■' ''''■■! " iBHriaau ■DDBBaDaBGDM VB ■■ BB BB . iBBaO OBBDDBBaL1BB'~BB BB . BB . BB: . BUDB BnnBB'JGBBni'nB' BB i BB BB' : BBUBBD D'^bb'-^gbb: !':bb bb' ' bb " bb bb bddb CBB . BB BB BB BB. :. BB BB J ;BaaB BB.J BB i BB : BB BB BB : B BIJBBD ODBB ' BB . BB . BB ' BB !l BB iBB' BaDB LCIBB . BB ' BB BB' BB ' BB' 'B BGQBB BB.; BB BB . BB BB BB B BGBBD BB_ BB . BB B BB BB. i B. BB< 'BBGD Di .BB JBB BB ' BBI • .BBI ''I'lflBi BB' 'BDOB a. .BB ' mm BB bb: : BB' .'' BB:. B .. B iHBB BB^UBB jjjBBLj._BBLJi:jBBUUBBLj'/jBi.j: M' 'BBD ■B^_BB.l 'BB « B J< IBB ~i< 'BB > 'B BB' BB G DDBBnGBBGQBBnGBBOnBBnnBBnBBdBGGB GGBBi :nBB IHBB' 'BBr'nBHnrnBBr BGGBiJGBB BB I BB ' 'BB . BB ''' BB' BB '' '.BGGBGBBO bb; BB I JBB 1Bi:.:BB ' BB B BB' BBDa Dl BB : BB I! IBB' MB' .< iBB 'I 'BB' :Bi I' :Bi 1GBB OBB' . 'BB I 'BB 'B BB' . BB' B ':' BH"!:'^Ba ■ B BB_ BB B BB BB B BB BB 'G C<. BB BB BB BB I □BBGOBBGGBBnBGGBBI BBf;" 'BBJ 'BB'J B " :BB ■Gi BB ' BB 'B BB i' :BBBGGBBG BB BB BBB DBBGD C. BB . :BBB._J '.BBGOB Gi iBi.lLjBBBGuBBG(.JBB BB.IGBBBGGBBGGBBD BBiGBBBGGBBGDBBGa GGBBBGGBBGGBBGGB GGBBGGBBGDBBGGBB BBGGBBGGBBGGBBOa IBBGGBBGGBBDDBBDD 1 16 Fig. 496. Fig. 497. Another method of figuring in the present system of weaves is the checking off of a weave of a given size fmostly square) with another weave, both weaves to harmonize in their methods of interlacing. a-'CGBBBGGHa "' BDGGBGGGKK BBGGBBB' ; 'J:: GBBB . ib:.; . GG'. 8 BKH 24nnDBBBDnaBBB GGGBBBGGGBBB DGGBBQQGBBBG BBB' BBGB DGGBGGDBBBi;;"' BBB' <: '..'BBGBB BBBGGDBBBGG' ■BBI : '1 BBI 'IBB D BBBGGBBBG '1GB IB BB' BBG3 BBB'' BBB BB ■ BB BBGDD L.L.:jBBB. BBB BB< 'BB.JGGH LJGI mm ' 1 'BBB' BB BBi JI..JGBa GGGB . BBB BB BBGGGPiaa BBBi.:; BBB ■B BB'.lGGBBaa BBBri .BBB .B I BB IGBBBGD BBBGBBBGG^..aB :BB ' 'BBBGGG DOOBBBGGGBB BB . BBB ~ ' B DDGBBGGGBB.'.BB BBB BB DGGBGGGBB. 1BB: : BBB . BBB BBBGGI :BBi ;BB .' . BBB .1 1' .BBBL BBBGL BB. .BB ' BBB . . BBBDi: BBBGBB . BB .. BBB BBBGG^ Dfji^BB .BB .' 1 BBB: . .BBfli IGGB Lli 1' B' 'BBI '1 :: HBB' II 1 BBBI il iGBB L ..BBB^':.. BBB BBB;...:L :GBBB BBB: .UuBBBc_ .:■; ^ ■ ■ :•: :■:■ ) :;:; e e e e e ee b b b b b i c:::; :; :; :: :: :: :; k:xx::3:;:x;:::;:;:: t:< ■:< Z' :e ►:< e^ . b b b. b b b r :: :■: :: :: c-; :; i :::: f3 e >n n< .e iQB .b b b^ b b j Cj:;:; :: :; a ^:; :: :; :3:;:'.:x:::c:r.:::::;:3 ►i Ei *n -a s -S' .B B B B 'B 'B G' a :: a a ;a a ■ ■ .) ; aa b b es kJB b : iq cb b ■ e a Daa aa:;aa :; aaaaa a aaaaa :: i V''--' B Bt3 Q B BE3 Q: B BS 63-4 C' ;: a . a a a :m rna b .b iES .bb :B : Si sn ~b i vs m caa aa:;aa a aaaaa a aa;;aa a-i jy ' B Bffi a 1 B Ba. & : B BQ H'i"i /^ z?c r a a . a' a a .a 'c -^ aa s ni'b b a; aB' bg Daa a a ^aaaaa a aaaac: a aaaa L^' I a -.a- J jB_^Ba--.a- . .B.^Ba.^a^—B^Bi Ciy^'^ti-jUu^i-ji. j> ja ia : , ■ . _a .a j, ,. , _,lJi 1 24 1 i4 Fig. 503. Fig. 504. Weave. • Effect in Fabric. Fig. 503 illustrates at A the dressing, one end light to alternate with one end dark; B the same arrangement for the filling, and at Cthe applying of the plain weave to the ground-plan 502, arranged as explained before. The weave for the part of the fabric requiring the hair-line effect is represented by a and the weave for the tricot effect by ■. Diagram Fig. 504 illustrates the effect visible in the fabric. A, arrangement of warp, one end light to alternate with one end dark ; B, the same arrangement for the filling; C, the effect produced. Fig. 505 is a motive for another effect. Use 8 warp threads and the same number of picks for each small square in the motive. Type ■ for the tricot effect and type □ for the hair-line effect. ■GBGGBDBna CBGnOBaBB BGBG- ■GBDa GBGflBGBGBa CBnBBGBGBB 6BGBGI .IBriBOa |'BGl3 IDB IBB' BuBB 1GB[ JBBUBOBa Fig. 505. 95 Fig. 506. A, the indications for the dressing; B, the same for the filling; C, the weave. Fig- 507 represents the effect as produced in the fabric. on nrnnnDa'~nnnnnnnnDcnncnDnncnnnDnoDnnnDnD 'A n .:: :: ':} t; :■: c :■: :: c: -: :: :: 'J cj. lai ih. .U'4a annnnnnnnnnnnnnnnnnnDnnnonnnnDQcnGonnDna ; 3Ba B a n< * ►!• e ^3 SI tS >i^ c a ►I1 h5 hli 55 1 ■ ■ ■ ■! ■fS' w w w a Si :W w» a •:! 'ffi Si ■ Q i< a >!<■ Si ffl &: ,»s „ E& a ES' 'SJi H< .S ffl- ii . B. .fi5 £5 Si :■ ■ G !■ :■ ■3 ■ ■ ■ 3 B. Q' ►i , 'va fH '^if mi 'Hi ffli t2 ^i ti S! S< tl< fli iffl IS! S! S! S! >!• ►:• s< ^•3n ffl m Si n- ►:• fi< ►:! a iQ a Q a S' S' s- •'am ■i H' SI Si >!• i< Si Iffl l>3' £<• ffl ai £< >i. ,tH 361 ffi E3' ffii iQ Si 'ffl iffli'ffl £• I II cr CU- DGH! ■ ■ ■ Idi 'ffl^ tiJ .Si ■ ■ ■ ■ 1-^ -'Si' IWl iW* . B ■ ■ E. Si -E3 Si . ■ .■.Wl^HSMtB ffl= Si ' ■ ■- -■ ■ Ss S- *i -SB ■ _BUBLJHffl: 'Si 'Si >!<■ ■ ■ ■ ■ E3 S .S E- '. ■ ■QBQBffiHE? ►:< .'I^ ■_■_■_■_ Si s ►? >5b: MGBQBnHS. ►:• si- '<-:<■ ■ ■_■_■ 2?' >s -Es s BGBnB msf'Si Si s< ■ ■ ■ ■ B B a- .am m'm ■ .s s.* ss sim ■ ■ ■ ■ elV Si .-iSi Fi-i: : ■ ■ ■ asi. .si Si .si '■'■■:■ SI .Si Q ea ■ ■ ■ >:i ►!< 5; ►!*■ ■ ■ ■ ■ ■ ■ ■ Hhl* EQ Q 2^ ■ ■ ■ H'S W Si >J f^' ■ ■ ■ ■ ' .>ii .Ea lES !sa ■ ■ ■ :E»' iEii- 'Ell' lEa ■ ■ ■ ■►ii E3' :E iB ; ■ ■ ■ ma m Q 'm e:< s> >h ■ ■ ■ ■ n- EJ E2 Ei'B ■ ■ ■ Es ►:< Ei< >i< >:< >:< ■:• ■ ■ ■ mSi ES .a :E3 ■ ■ ■ MEI-i Elj SJ E^ Si •:- >:< ■ ■ ■ ■ :S e3':e:3 EL« ■ ■ ■ ' -Si' Si' 'Si ffl' S'. EL< >H IB ■ ■ ■ ■2^ ES 53 E3 ■ ■ ■ mSI' EI5 113 fl< Ell ►!< EI' >2a ■ ■a 13 ■ 3 -■am Sim -aa*- DWW.GfjBGH ■ BEIl E3 EJ Sa cnn^'P'^B'^B !■ F3 Ea Ea ebi c«- ~ m ■ ■ ms- ►i' »a >a CHH ■ ■ ■ ■ Ea »a ^a ^ai C":: I ' Hi ■ ■ BEa 'ia Ea 'Ea ghhlj»3h_b ^a s> Si sa as ■13 Ea Ea SI (a i-a * ebb Ea Ea Ea "Ea .fa (a fa '-ia ■Ea Ea iE3' a. ^e!* Ea Ea iisEi ta 'Ea 5' Si 5J (a >a iffl asi s< s< >a 51 >a -a ►afl ,- .ijii^.ia^ta.jEii^ti^tautbjai 40 Fig. 506. nnnnnnnnnannnnnnnnnnnn^nnnsi: 3:3 uoxxxx::;:: :: C3 :: :;:::x:l::::;:;h B, cx:; :; :: :-: :-j:;ncx3:}:::::: ;; :: :: uma :: i: :: :; •:: :': :: :; :; □ :: :: :: :: a :; :; :; :: a ■MB ::::::a:;::::ac3t3 ■:a HI :3n :: ■:: :y :c;:::;:;:::::::x: a a :: :::;:x;::::a:::;c;:;::;;c;aHt3 s :; :: c; :: :: :: :: :: :: :: aas :;:: :::::x::::::::: r; :; :: :::}:;:;£;:;:;:;:; :; :; ::, :;; a :: h; 'k :x: :::::::;:::;::r: :: :;; :; :::"::::;:::;:;:; .ti i: :; :; :: :; :: h ::a r. :; :: a:::;:::::;:::::: :; :: :: :;:::::;:;:::::;:::::;:;:::;:3:;:: ■. :3H :;c;:;:;:::::::3:3p3aH :::;:::;:::;:::;::□□□ 3 :::::;::[x;:::;:;:x;a iUJ :;c;:;:::::::::;::aaa Fig. 507. 40 Fig. 508, motive. Fig. 509, effect obtained by using 6 warp-threads and 6 picks for one small square in motive. Repeat : 36 warp-threads, and the same number of picks. DnnmaGDni nBGBiJBnBDBni Onr^BBa'' T^'BBI ■BB ' I eaCii BBBi DB' B B DC BBB BBS ■' ' a I BQ ■^33 Fig. 508. t=' □:: p. c:; f g:: h G G G' G' G G G G G G G G G G G G G_ 1 gg:;c;ggc;g[;c;g g, :> :; :1 i: ;< ; r^ r^ r.r-..^.,>r^r-ri " rl i<-i"r-. A r ^i [i IIgGC^GGG' f; G GGGGGG I J y G 1"'''""'--' y- i\ V^^"^^ " ; :;g:;gggggggg g g g g g :GGC;GGnGC3HHHBBBHBHBHRnRnfSnBEl9n33 i .s'^nBBBBBBHBHBHBGNGBaf IGHGHQ ;GGC;GGGGHRnnP!RHHiaRI55nr Gt-nt Gt :G!3H "" - - " " la □ :□ IG a a a a a la a :: :: :: g g g a a :c:GGG:::;Gc:GGGGa :::GGc;GGGGGGGGa ;G G G GGGGGGa 'G- 'G -G'- l^;' '■ ' ;rt ;G G G GGGGGGa V. G G ff :G G' G GGGGGGa ;GGGG:;Gc;:;c:GGGa ,n :GGGGGG::GGGGGa J CJ hJ C:> klJ LlJ L^ Lj klj C« lLJ k^l lenffinBGsnsnaasasnB SGBBBGSaSOBaSDBD DBB' BB^fflr^fflnfflriaaa BB3 BB 'a Si ''S3fflC GBB BB 'a Si Si ifflDH S:.a 51 51 E33fflQ r.m s Si 51 5i B SOB Ef";Ea Ea E3 Ea BBB3fflG nffl jEi EB Ea 'BB BBGS ffl ES ia.,Ea BB jBBG nS3Ei S fB .BB BB^a fflnH: S iffl lis JBBB"ffl3 Gffl::'S ffl" Ea B B Ea ;ffl iB3a^ B_a_S3ffi_Q_ffl3 1 16 Fig. 510. 16 harness and 16 picks for repeat. BISasaffiBffiBSBSBSBSBffiBSaSBBISBeBnai fflBfflBfflBfflBfflHHBfflBfflBfflBffififfiBfflWfflBfflifflMr" EnaasnaFiEsnaf^Eg^a^Ea^Eansf a EB a a E3 a a a a a a a a ii'a a a a a a a a a a a a a a a la. 1 .a !53 lEa- a' -iEaEaEa' 'a^a^a^at-'Si as aB at- ai 5' . va 151' 51 53 n >am an 53^ an 'SB ari a3ffla 'ai 'fi a al a' Eaa :anai :SE.]fflB aF'EB -a' 'aB iU?-.iL3»..jt.3----3tai ,ti5: .fJ ^.3 5' a 515153 ai 51 5-' 5< ar :ffli 5- 5' 5' at :aB jatdau.ayaiiffli Fig. 509. Fig. 511. Novel effects are also obtained by figuring upon the plain weave. For example, weave Fig. 510 produces effect Fig. 511, by means of i end light or color No. i, to alternate with i end dark, or color No. 2. 96 Effect Fig. 513 is produced upon a fabric interlaced with weave Fig. 512. Arrangement for warp and filling : i end light, or color No. i, to alternate with i end dark, or color No. 2. DQDH U ;■■ iH U H a K B Hna H n "■■ r. :; a :■: a .:; 3:n a J ■ .a ■■ J it; a a [.!■■ a ^BM a a la' iia la 1 ■■ ■■ a a ■■ a a Da.-BBB a a a ■■.a a l Gja. ■ a a .WMm :a- a a QBua a .a .a «■ ,a la a .t ELIH- a .a .B' ■■ IB iB :a a □B "JB a .a ■■ a a a a 1 GrjB B .B_HB ,B -B B B ■■ L:B.,B.iBjBB ;B .B .B ,B ■■ a a a ■■ ,b .a .a a ■■ e i B a ■■ ,B a ;'B a ■■ a a a ■■ _.a .a a a ■■ a t 1 a ,a .■■.;ja .a ,a .■■ a B-_ a ^B .:a iBH IB :B !■■ .a iB .ii : IB .a .a Mm :a _■■ .a a a ■ .IB .a ..ajMH .■■ a .a ~~ B a ■ .a !■ B a i J a ij m -^ a urn an ■ ,a a iB.ja J a a a "b"b I B a □ ■ B J ■■■ a ■ mm.j .Bi jMH B " . „ _j a a a. i GHi iB iB IB .■ a :a .a ■■ .b a ,b la BOHB a a .B a a a a ■■ a a bj DHaBB^ajB^a^a .,a.^ajB-iB _a_a^B IHDQQBBuQGaiJELJB^ai-iaLJBUBB^ajHlJ 1 ■-« Fig. 512. 28 harness and 28 picks for repeat. BBaanaasesHSh jEBNsaaasHsi Bffl' ai">S"iS >5 ■ii ■:• .$ ' " '. •!( Bffl' fij ■•J fli r^ fi :?,.,', ,^',^', . Bffi' ■© >5 ►a .fS ,5 ■*. ^;^*i'i .^I'^i i'^ iiffi '!• >j •:- fi\ . _ ^: J,., ,.,■, fi ^Si .tl^ f3 l•■I1^H►I1rI1.I?►n^:^'iJ►S^l^^I^ \>^ itB Bffl- ►li iffl : I I : ' I I i 1 I la ,■•£ im Bffl- © :>ii5'i>i)>Lia>ihi>i>3(a k-K iS IKB HEB hi •; . . '. i>i >I^ ■'i >1 I I : irH Bffl; ifh ita i>n H6B- ga a >n ■:": BB: :»& S -H V BH iffl: >3 >3 I'll ffiffiESfS ii ►:-: >!-< Bt; -a V -a BBt! , . CI -I- ■BHf iM' - : ■ ;>i "H I'l' >a ■►:-( i>n >a i'H '■a >a. -n ISBBBHEBBBBBBaBBBBBBBBBBBBBBBBE iBnHBaaaaBaaHBBBHBBBBBBBlBaBBsm^aa iffliafflfflfflfflfflBEBfflfflSfflBfflnfflBfflnEBHEBnfflflanffli ifflfflffl tlf 'kH ■ : :: t: i; rii 11 1, inaai :fflnEaMBriH-,(li R3 a ta«B '!< ►:< fi niBfflsafflaBEfi ini ist imi i& .ni e> a sms 'I; 'a ^a '13 . • . . -£H til i»i3 dj a .^a H- 'I1 ►-Iis3a ►a 'a ta l-a t5^I''HH^'I< ia '^ fi 'a '!'►.._' ►!' -a fl- >a^ffl 'Li. -a f-Iii .tH. fij' hi >li ta ^a. ,ta ta . tiJ C^ 'I^.^S ii-1' tn iffl Bj: m Hfi 'tn .at :Q iSi >i'[an<(iitni>n .^a 'Hi-ga ^►H' ifi r-H t3 ►!!•■■ ti Hj- tK fij .& .ii! BJaia i>2 '3 'i: (i Si- ifii fi .ga m !ana>a>iti-ta suss 1-1- .'i (i '!< !i< >i< ga ta la <: : . Ka tasffl 'a ^a- .ta ^a >a ^ata^a^a^af;:1^a►ava^a^a ra >a.sis fa >a ^aMffl ►a -a >a^s -a »a -ajiffl >a ta .ta.^iffl la 'j itasia ra 'a ta^B >a iShaSga ta . I ,mm fa-ahataQBtJ .►a 'a -a a >h Si >a •a ^a >a a ta >a n- !a'a>a>ai->a>a!a>a'a>a '^a ^a ^'a ^a ^a c^ ^a fa ^a ifa ^a^ -a Si- ^a ^fStata^fafafafafafa i-a ita .^a 'tS' >ai fa . i > : i i ga d & & >a i! -ai >a tatafcafflhaeEafafa>a>a ta >a ^^a .'a -a ^a C' ^a c^ ^a -a 'a^a^a ^a cr ^a ^a 'a^a'a^a'aKa'a ^a ^a ^a ! I . I i^a tai ta' ta <'a>a>a.>a'a 'a' ^a ta I -a iia^a-a-: ,ta >a I 1 ■►a '^a itat: •a ^a ita >a >a iffl •a >a ita •a .la 'ta •a ta ita >a»ata ita '►a ■a- 'a ta 'ta^a-a'atata-a' a ta . : . . ' ta >a<. I ta ta ta ta ta ^a ta ta ta ta ■ ta ta ta etata ta ta .ta ta ta Ss .ta ra" ta ta ta. ;ta. -.ta ta^ ta. tai .&<■ ita ta ta ta ta ta >a I I • . .11 t^i tj ta Its !ta^2tata^ataea -a -a BB; B a _,^^.'"*'^*^^'^^',j ,^^ '^i. BB- ta .tatBtatatataatatatata t;, ta ta BB a !i2 , .'^ ,1, .,„ ta a ►:- ta Bffi: ta a ta ^ ^ " ' ' ta a ii i a BB ta 'Q ta .ta 'ta ta -ta ta ta. EBi itit :b- '& -ta & tj: tji tit -Btatat: ibSl*! i -Br .a. iBt-.B. iBf iB -a- uSi iBi IB' IB ;a- a at IB' a ta> :a 'ta- ta taiatat^^ti^ a ta ta a a tj tai S' ta- ta' tai tai ta- ta^ ►a' tai txa a- taiataata , , : fn g< ni .ta ta aiaa ^taata ta 'a ta- ta t^tatatatatata- -ta- ta- ta s^ atataea a ta ta ta ta- tai ta a a ti- ^^.g SBtatataa a. a< ta ta atata a a a ta ati-aaataa ta ta ita .a- -ta ta ta .ta ta ta .-:j9 tatatataaaBi a; 'Bi .tai ai at bi ta- ti' tatatatatatatUBS : -I - - ta. a f' ta- ta. a ta a ta .isia tatatatatatBBtaa; a: tai ta ta a ta t;. .:• tatatataBaa 1- -. :i IL ';4bjt if.Jt^^t^Bt iBe;.Bt .Bt.vBMBi .B, ^B; ia=:--ifiiL-^iS^g Fig. 513. The same arrangement of using alternately light and dark threads will produce on a fabric interlaced by weave 514 the effect shown in Fig. 515. BBS 'B~BnS'^H'T;B'^B'"B'"f3'^B'^Eai ^EBEi^Bi"^BrE'^B"B"'ta^'B"B"^'~S1 I ta 'ta ta ta 'ta -ta 'ta ta -ta 'ta ta ti- i-i, ,:, ta ta ta ta a i-i. i aetata a a a a ta s.' Kt ta tx^ ^j tj-aatatataa-- ta ta ta ta a tj ta ta a^is ''*'"'"' ta ta ta ta tj ,;< i. - . " ' ". ta ta ta. a a ta ■ i tatataaa-itaa^ata ta .ta ta a t:,.jhia -aaa-aatatataiatatatatatatatata ta a ti- taataaaaaa-aas I . ta t:< ,;i >:. i;i -ta ta t;,- i;- - ta i i BBtaata a a y -a a aaa--aa'-aa"aaa . j fflaai a* ta 'ta ta ta 'ta ta :ta -ifflfflfflBBMBt 'SFiat tai ta' tai a ta- a-, tataata ifflsaffiLJBaaaaHfflaffiJEaBiJBaBHHBaaffiBajBBuaiBBuaHffiUBiaByajHiiB 1 24 Fig. 515. ;«■■ -a '1 :r ^a'^a^Bl-^nB^^"B^B-", □ ■■ :: ,,a^ a^ a_ B_ a^ a a a .:■ DB ■■ ; a a a a a b_.b a ■■ □1. :B ■■ a a a a a a a aHG DH a ■! ■ 'a 'B .a a .a a ■■ rj aoa a i ■■ a B a a a ■■ a i GH a a ■■ a a a a ■■ a a Hna a : a ■■ a a a ■■ a a j aa a .a a ■■ -c: a ■■ a a a bljb a .1 a 'B ■■ :b ■■ :b a ,a i DB a a a iB ■■ ■■ .IB a a la H'~B a a .a ■ , ■■ a a a a.i CG a a a -■■ . ■ .a a ,a a :n a a B II a '■■ -■■ B' a iB a a i a a IB ■■ a ■■ a a :: a ib a a a ■■ a a ■■ a a a a^i L^B a ■ ■ .a a a ■■ -a a a :3 BtJB ■■ IB .a :a IB ■■ a a a..i DB ■■ B iB a IB a ■■ a a la B ■■ a a^ B_ a a_,a ■■ a_ a j ■■ a a a a a iz a ■■ .a 'b ■■ IB .a a .a a -a la .a .■■ .a. i ■'.JB iB a IB IB IB. ;a la la .■■ jb IDBUBJB ;B JB'JBiJBUBUBUBGBBU 24 Fig. 514. The effect illustrated in Fig. 516 is produced upon a fabric which has the warp and filling" (arranged i end light, or color No. i, to alternate with i end dark, or color No. 2) interlaced with the broken twill weave Fig. 517. 97 The same arrangement of colors in warp and filling (i light, I dark) used upon weave Fig. 518 (broken twill) will produce design Fig. 519 for effect in the fabric. r . ■ PS Q ■ : I ■ ' 'O I H< H< O iffi' ! ii a li :ffli W' Bi' H< >!' .ffl Iffl! iSSffiffli .ffl! :ffi EB & 'a fa w ■■■ffli iffl' FB !-i3'' ffi i-j Si a ffi IS Si ffi S3 t : ffl H< 'E ►!(" ifflt I. I Si Si BI5ES (S ffl IS .fflBHlfflm ^I^ M . Si :a >n . I ' !. B ffisaaiB .ffi >l^a^3^I^^n^:: 'I- Si Si Si a m Q El .B ■a £S B' B >H B B BBBB'B B B B iHatfUHasHaaaBHaaaHi 1 H ffi :. I: li !■ I ,B ;EB: i: li 1 ffii IB! Iffla :ffl' !ffl' lEBl I B m fflti B tSi :fflt I B .b: mm B' 'B :i r I B BBBffl BBBBBB B I B S'SiSJSi^ B B Bf2 B B m I ■B 6' :ffli I B -B 'B' I B B BB B B I loni Fig. 516. isBnaaBBQijajan QB HI .Hi 1 sja ■'JHM m .11 ]■ caa niB: ■ ■t3 H'jaa ■■: :■ ■ H .Kon ■ ■ I :■: a 'Ui;! |- Hi. iHi_ a. ■^■UB fM'-U' iG iBLJBGBB K K H JBDBBQ n :: BOBBOB K .Hi a.JBBDBn iGaaaaGBBDBDB Fig. 517. ^i imHDDHn la laGDHiJca a: DHDHG 1 ■ B . ■ B B a lai ' B .B a ia a' 1 I ■ ■ B a a 12 ' 1 B ■ 1 B^'B B Bc: a a B a a a iia H ■ .a L : 'a L.a ^a B a a .a 1 B .B ;a IHBI iB B a la iB .B :a i ' B B a . ~aB . B .BU nm B IB [ a a . B ' B a aa b a B B BiJ 1 Hi Fi Repeat 5i«- 16-harness', 16 picks. Fig. 520 illustrates the fancy color arrangement applied to a fancy twill. A, the weave, 8 harness and 8 picks repeat. Bffifflffla'MfflHfflfflfflBfflnB nfflfflSESasifflnfflafflSEBE^fflfl BBfflBBBB ffiBEEBBBB>: Bsa BBB B B BBB BBS B B _ _ , BBB B b'''' BBS B BBBBBB BBB B B S :b BBBBB BB B B B ■a -a " " a B iBi* BBB B a B HBB a ffi ■ Bwa a BBBBBBa BBB iffl B a a b BBB' iB :BBBBBBBBB B B BBB a B B B BBB" fflBBBB BBBBBBa B IBBBadsaiaaBaBBaaijgBIIBi 1 16 a iB a ia B :a a .a B a BB iBl B BBBBBBSBBa B >3 i i ]■ 1 nm BBBBB 'BaaBBB ■?,$, , V a ."""'""a IBS :":a' BBBBBBBBBBBGE EDBBBBBBBBBBBBB B'^BBBBBBBBBBBBBG CBBBBBBBBBBBBBBBi::BBBBBBBBBBBBBBB EDBBBBBBBBBBBBB B ZBBBBBBBBBBBBBG DBGBBBBBBBBBBBGHi H'. GLiBriBBBBBBBBB H' ' a' BBBBBBBI Gfii :H BBBBBBB a H BBBBBBI DG' . H BBBBB B a BBBBB DGGG ,a BBB HGGGGDDL a BBB dggGj. . .a B a diggggggg a b a DDDGL'i. .' ;a ,H '..jaDGGGDr., a a _. lCGaDG''_ji_iH_jB iBGDGGGGDr . a B H DDiG'DaBDBBB'JBDDGDGGG_i H' BBBGI DCDGBGBBBBBGEGG!''rDQ!:. _,B. BBBBB GGDEi-'IBBBBBBBGEi- 'G'~.<^ii",H: iBBBBBBI GHGBBBBBBBBBBb'^H a^BBBBBBBBI EGBBBBBBBBBBBBB a BBBBBBBBBBBBBG DBBBBBBBBBBBBBBB BBBBBBBBBBBBBBfl EGBBBBBBBBBBBBBl ;H BBBBBBBBBBBBBG DEGBBBBBBBBBBB' H: H' ^BBBBBBBBBBBBB DGBGBBBBBBBBB H ' B BBBBBBBBB^ EG GDGEGBBBBBBB a B BBBBBBB 'H' JG DGGGBGBBBBB .a._ '.: . B .BBBBB. H GjG DGDaGBGBBBiJB--jGuGLjUG_LjBGBBBi LBiGi ,' iiJ DDGGGGBDBaEGDDDDDaDDGDB. .BGBGi ' GG lDDDDDGDaOEDDDGDDDDGDaDDHGB_G:j _ ^G 1 16 IGB rBi'JBD I ';bgg B 'GG ! 'i-JG :i ;'.ja '■ ^'.DG j.JGGG r-JGDG ^BGQG IGBGD IBGBG "^noB Fig. 529. Fig. 530. Main float of warp covers 1 5 picks, and main face of the fabric. Point draw requires 9-harness. float of filling covers 1 3 warp-threads on the DBGHGaBGGEDBDBDBDGBGDBDB ■DBDDBBBDGEGBDBGDiBiDDga DBGGBBBBB ' BGGBBBBBBI DBGGBBBBB is^BGGBBB D' a B :■: c B a G " " " r_ BBBBB ~ E BBBBBBDG BBBBB' ':GB BBB B'G B a fl a ' . J a .'IB:.. i2DPfGEaai ■GBGGBBB DB<'.'.'GBBBBB B' ''^'BBBBBBI GB '::bbbbb i^< B BBB Gi i a B L i B a G a a I [ a .BOGGGGL,' .BDBGDDD: : ' gbgh-;gg~' ;gb ' i G' :; B H'GD - a a ma a . B BJB a BBB' EG BBBBB . iE BBBBBBBGG BBBBB'G'GE a ' BBBGGBD a ' ■ a BGGHGH a a G^'EGBG a ' B f i^G ^-* f-' 'ijizi '?m ZGGGDBGBaBDHGD BDBGDDaDBaDDHDBG 12 COBDHDDBr'^B'"^ " "^ DBDHpDBBB B^; fl EGGBBBBBBBBB ''a' GBGGBBBBBBB IH' B' BBBBB B SGaGGBGGBGHG GBGDBBBGDEG'B EGGBBBBBOGBG .VBBBBBBBGGB BBBBBBBBBGG BBBBBBI IGGE B .:'. iBBBBB .. .a 1 GI 1 a .BBB a B'i BBB a -:) '^:Gi; a ' .B a a B a J GG'_j^=i a B DGGG--' a a Z1 tj DGDG : iB : GGGGt; a a . b^'b 1 "1. -- a a a ' a J 4[ a B. a a bg a C-! a . iBBB a mii.jbggbbbbb. i a -GBGGBBBBBBB' i' B a EGGBBBBBBBBB GBGGBBBBBBB B B BGEGDBBBBB B CHGBGGBBB . a BBB a J'GBBBBBI. ;bbbbbbb BBBBB ~ BBB a G ...BG 'B BGG ♦ a BG B' i;1 DDBGBGriBG 'B _.._._:.. „..,- "_ B ' B B GJ DaDB..'B ~ a ..flGGGGGB... a B GGG DDGGi i a "B GGDDDDGG B B i ,_jQa GDDGi._. B ' " JGDDDGDGL B' .»*'- "'ijDG DDDDBGBGBGBGDDGGaDilGBGBG.llGDa IDaaBGECGDaGBCDGDDBGBQDGHGBDa 1 14 Fig. 531. Fig. 532. A second style of honeycomb-weaves is designed after the following method : Run on the designing paper, over the repeat of weave wanted, a check formed by a twill one thread up. This check must stand on one corner, each corner forming in this manner one of the point harnesses for tlie weave. warp float. Every square twill (raisers). nnHanGBGHGHZG gbghlmdhgh:] OHGHGBBHGa^a ''3' ;HGB««Ga^^U ,QGQ ]■■■■■ a 3 '□' ■■■■■Ga 1 DajHHHHHHH '^ a .■■■■■■■ 3 □GOMHHHGa ' ; .laLMmm n a Id' :ci m .n ^a j luH' :nL,n .a . i li jIjUI jH' ;aui ; J ILIGGHGGGGGG )i laQGHGHGaa li iBGBI laGHriQ -r.-^i ":m 'BGa'"""'aG a"a a"a ■■■ .a' a :a a a ■■■■■. aG ' " !■■■. a HGH GaGa ■■■ a GGa a ■ a i: DG.ja ,a a ;a dljg, :a la ,a □DG'j la ja , GGG la la ,a;) GGGa -la ;a la 52GGa ,a :■ -a ;a Dszr " E!Ga_ _ GaGMHaaHaa a_a aGajaaaaa ;a a la . _ GG ja !■■■ la :a :a a ■■■ ja a DGH. ia ■ "^a a : i la; a. m ,a a.i GGGa ;a la ^a i j i : ;ai ,a ,a"iaj ] GQu^a.ja ,aj ,._'_._, .. a^ a ,aG ;j DDQGuaaaGGG.GGG^Gi.ja,_.aGGGG DGGaHaHaEaaaaaaGGHaHGaaGG lanDHGHciaaHaaaGGHaHGaGaaG 1 12 100 Next put into every other square (in a diagonal direction) the required so alternated remains empty or may be further outlined by one row of "■GnaHaBGHaHaHaBGaGHaBQcaDHDB ■GHGC3GBBBQHaHG«GaGaa«BBGHQHn G.HGHGBBBBBQa ^a:" a? -.aGBBBBBGHGE azaGBBBBBBB a .a a^. bbbbbbbgqc Gia' BBBBBBBBB a a BBBBBBBBBGG a a BBBBBBB a a a bbbbbbbgg'^ a BBBBB a a a a .bbbbb - I a BBi GaQEQHGBGHGHaGGGGEGHGBGHaHj _ GGHDHDBBBGHGHaGGHGHGBBBQHDH' ' DHGHGBBBBBr laGa' aGaGBBBBBGaGa □DEGBBBBBBB a a aGBBBBBBBGaij DQDBBBBBBBBB a a BBBBBBBBBr:a Br^Q'-BBBBBBB a a~~BBBBBBB'~aG ^ a' a BBBBB a a a BBBBB ' a a [ a a BBB a a a a BBB a a ! ' a a B a a a a. B a ,a DGG' a a a ,a._jGG^ 'TXja: a a'jHi j[:g aQ[jL.,Ga_.a .ajGGGGGCc:: a a aGGGC r^czj ' ' aG:a' -GGGGGGGr- ■ a a 'lann GGL; a a .a ■ ■" ' i : r a a aiMGGG QGi .[ a a a a a' a. a 'bgog nGGLja a ■ a a a' a B a_;aGG rna' 'a; bbb a a a a BBB a'"B'" ' a' :a.. BBBBB a a a BBBBB BGB a a BBBBBBB a a a . BBBBBBB a ' .a BBBBBBBBB a HHHHHHHBH a BBBBBBB a a a BBBBB a a a a BBBBB a a ' a a BBB: ^a a. .a a BBB a a ~> a a B a a .a. a B a ^a . G J .ai a a a i a a a J - : a a a ■ j [_,,,, ,Lja .a J <' ' jLjG GL,GGGa'..,a J .l.lj.j UGLiLjuHGaGHGLluGGDCGGHGBLJHG' 1 . iQ iCGaCaGHaHGHGGaaCGGHnHaHGaG G. a B' IB ^ .a: a li* i ■• a a I la :a 4 i a_,a B It, .a:.^a BB L iBi JBGBBB a B' iBBBB GBGBBBBB a a BBBB a BBB I- ' a a BB a^^a c: a a ,. I. a a a.,aGBBB Baa ai BBBB bb: .a B a a .a BBBB a a a a bbb a a : ' a a BB a a a m UGL; IGGI-J 1 .BuB i ■GaCJB IBGBG ■BBGB IB iBG IBB •B' ..a ' :; a r^ j ■--■ J.J'. ,L_I'. 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Can be reduced to a 4-harness " section draw." l^DBGOGBBBBBBB □GB'BBBBBBBB GEGBGBBBBBBB □GBGBBBBBBBB GEGBGBBBBBBB B': E EBBBBBBB CE E E E_ b: E CG^G^,: E :e..eg □DDDGE E .E ,E DOGGG E E E'J nCQGGE E.._ELE IBGHDQGBGBCBq Fig. 541. ISGHGEGBBBBBBB B E.:E. BBBBBB ge e ebbbbbb b: e e bbbbbb ge' e ebbbbbb hi:e ,e e E' eg DE E E E E a QGG,_^; E E EG DGGGG'. E .E □ DGDGG. E E .EG DGGGG . .E jE jH inGBGBGBGBQBG 1 12 Fig. 542. HH^BGE' lEGGnnnHn UE E E .EaDGGGB h e e e .ggddbg ge e 'e e jgddgh e:.e;:e e gggghg DE E E E iGGGGH El :E. IE IE EGEGBG GE: 'E 'E. E 'E EiGH BBBBBBE E E EG BBBBBBi E E ELJB BBBBBBE E E ;BG BBBBBB E E EIJQ B.JE_:.E jE. ,E, ^Ei iBG IDEGBGBGBGHDBDB 1 14 Fig. 543. l«EnaDHOHDBBB BBB G DB' IBGEGBBBB BBB □ ELiE' IE lE'' jBBB BBB G GE 'E .: :^ EBBB BBB B B ^E E EGBBB BBB a GE E E ;EBBB BBB B E E E EGBBB BBB G GE a .E lEBBB BBB B BlIBuE E VBB BBB G GGGLJ: E E E .El Q E ,BG DGGGG E E^B DDDrGGG.^E E E jEG dgddd: DDDQar DGE E jDrjE :E ■H laa IDGDGGGGQGQU □aaaa Hi Fig. 544. Fig. 543. Repeat: 14 warp-threads and 14 picks. Can be reduced to a 6-harness " section draw." Fig. 544. Repeat : 16 warp-threads and 16 picks. Can be reduced to a 5-harness " section draw." IMITATION GAUZE. These weaves are used for such fabrics as dress goods, curtains, ladies' aprons, canvas cloth, etc. In designing these weaves the end to be gained, is to have 3 to 4 warp-threads and also 3 to 4 picks intersect each other very easily, while the next following warp and filling thread form a com- plete break from the one ahead, and so can be readily kept apart for some distance. In the warp these breaks are separated by the reed by leaving one, two, three or more dents empty. The threads required for a close working are drawn in one dent. To give a clear explanation of the matter. Figs. 545 to 553 have been designed. 103 BBk J :. BBB ;. 1 _am. \ 1 ■ ■ ■ B b; ■ BlliBL ay ■ JBL II M ■ B BLJB JB! BBB BiJ BBB DBD Bl jBS LB 1 1 ■ a ■ B4 BLB ■ ■ ■ ■ :. ■■i BDB GDD BOB ■dbgbubQbubdi ^ I I I 1 Fig. 545- ^BQB nBD ['ini.l BBB BUB cma ad c d Fig. 546. -QiriBnBnBnBnB Fig. 545 illustrates the 6-harness imitation plain gauze-weave; the goma lines for the warp ( | ) indicate the break, and so the place in the ^^^^ reed where one, two or three dents are to be left empty. Warp-threads, I, 2, 3 are drawn together in one dent, as also warp-threads 4, 5 and 6. Examining the weave, filling-ways, the break appears between picks 3 — 4 and 6 — 7, etc. Picks i, 2, 3 intersect easily, and also in their turn after the break, picks 4, 5,6, to be followed again by a break; picks 6 to 7 equal to 6 to I. Fig. 546 represents a general analysis of the weave, which will at once convey an idea of the method of arrangement and operation. ' ^ to <^, = 3 warp-threads for ist dent. ^ to r, = space for 07ie (or two or more) empty dents. <: to ^, = 3 warp-threads for the 3d dent (or 4th, 5th, etc.). I From d to repeat of weave again (= a) leave space (empty dents) equal to the one left (^ from b to c. f a to e, = 2 picks for close work. .s^ J ^ to /, = space for open work, equal to b, c in warp. t? \ f ^^ S^^ 3 picks for close work. 1^ From g to repeat of weave again (= a) leave space equal to the one left from e to/". { 12.' 4 5 6 Fig. 547- I 45 8 "DBBaBnoBnBBnBncB BBBBaGGGBBBBIjGna BBBB' l< ''I I BBBBI 'i Jl U ^GBB B '...B Bfli'Bi I .B B. .:b bB- b .b bbu GGu^BBBBGLjGgBBBB GGGGBBBBGGGGBBBB _BGGBGBBUBGGBGBBn GBBGBDGBGBBGBaGBa BBBBGGGGBBBBaaaa BBBBGGGGBBBBGDaa _GBBGBGGBUBBGBGGB5 ■^i..B BB_B <_B BBI 'I GGGGBBBBGGGGBBBB GGGGBBBBGGGGBBBB BGGBGBBGBGGBGBBOl n I I I I Fig. 548. ^GBBG f^\ BGOB GGGD ■ GGGD Q BGGB ■GGl GBBQ aaaa nacG BGGB GBBG abed Fig. 549. Fig. 547 illustrates the enlargement of a fabric produced on weave Fig. 545, under the pre- viously explained rules. As this figure cannot help but to explain itself, we will consider the imitation gauze-weave, produced upon 8-harness and 8 picks repeat, which is shown in Fig. 548. The lines for the warp ( | ) indicate operations as explained by Fig. 545, the break, hence the place for one, two or more empty dents, so as to form the open work in the warp. Warp- threads I, 2, 3 and 4 are drawn together in one dent, also warp-threads 5, 6, 7 and 8, etc. In the filling the break appears between picks 4 — 5 and 8 — 9, equal 8 — i. Fig. 549 represents the analysis of the weave with regard to appearance in the fabric. Warp. — a to b, 4 warp-threads drawn in one dent, b to c, for one empty dent (or two or more). ^ to ^,4 warp-threads drawn again in one dent. From d to repeat of weave (= a) leave the same number of empty dents as left from b to c. Filling. — a to e, 4 picks, close work, e to /, space for open work, equal to b to c, and d to a, in warp, f to g, 4 picks, close work. From g to repeat of weave again (= a) leave space equal to the one left from e to/. 104 F^'g- 550 illustrates the enlargement of a fabric produced on weave Fig. 548, under the rules already mentioned. Figured Imitation Gauze. The first step for figuring imitation gauzes is to produce stripes of the same in connection with part of the fabric woven in the common manner. With regard to wear, imitation gauzes will be less durable than real gauze; yet as to A C E Plain Ground. B D F GH ■■■'■'■ . : ' :■ ~ • I i. .■OaOGC Gl ■ Gl jrjGGiji laGGGGl JOJGGi GB_jH..B ■OiHLB.J^JO'Ui .■OOCLJOOUBGGLjaaB ■GBGaL'BGBGBGBGHGaGBGBGBGBQBGBGBG IGBCjBGBGBGBGBGBGBGBGBQBGBGBGBGBGB Fig. 551. 12 3 4 6 6 7 8 Fig. 550. general appearance, very novel designs are pro- duced in the former. Fig. 551 illustrates the weave for such a combination of common, plain and imitation gauze forming stripes. A is the common plain interlacing part, B the close- reeded part, B to C and C to D forming open work (separated by thread C). D is the close-reeded part, D to E and E to F forming open work (separated by thread E). F close-reeded part. Repeat of weave: 32 warp-threads and 12 picks. The second movement in figuring is the forming of checks. Fig. 552 illustrates such a design, forming in the fabric checks interlaced on the common 36B a a a B a □ B .a ^a~-B a a ~a m a aOBG GB B B E a a a a a a a a a . aaa . aaa oaaa a B a a .a a a a a a a a bgbg GB a a a a a b a .a a a a a a a a a~~a GB a B a a a :: B iB'.jb a a a a a a a a E a a a a B a a L KA kJ kU B a a B B B . aaa aaa i oaaa B C> k^ ^ aaBaaaaa bgbg E a a a B a a B a aaa .' 1 aaa ; 1 aaa .1 ' 1 GB B 'B E a a B GB a a B B IB a a a a a a a B^B a^/'3 a a ~i~:aGGaaa .. a aaaaGaaaa aa:, BGB :GBBB \,B,J gbg^^bbb i„b„„i bg ■■■■■" ■"■■■■'' Gi: _ Daaaa aaaaaaa GBBB a BB B~ □aaa aaaaaaa laaaGJajGaaaJ laGH I a ; aa BB aaa BBB :aaa :aG 1 a a a a Bl :}aa 1 laaa BB 'aaa a u laaa BB 1 aaa BB ) aaa a :3 a a a ] :}aG ■GG 16 Fig. 560. Fig. 561. lilGGBaGGaaGGBBGGaa B'^B' i^aBG'^BBGBGGB BB BB - aa T^aaGG GBB a BB a BBG L'j. BB aa 'BB i .aa B'.: BB a a .: aa ^ jb BB :BB BB BBIIG GBB 1 a a BBG :BBG n BB ' BB BB-iGBB a. , a GBB 'BoaaGGB BB . BB . BB JGBBGG LB BB ..'BB ' 'aGBBG BB J BB aa ! :!aB c aa GBB BB ! a na BB J JBB.J BB GBBGG 1 BGGflBGGBBGGBBGBG 1 10 Fig. 562. 35HGaaaGaaHGaaaHt3H I V aa ' aa ' bbi 'nuu aaaa aaa aaaaGaa a a BB aa bgcb aaa aaa aaaaaaGS aa aa bb bbgg aaaaaa aaaa aaaa ' BB a BB a . BBG f aaaa aaaaaa aaa B ^^jiyij^'y "bb GB aa aaaaaaa aaaGca bb_ bb^^,,bb_ bbgo i'^bb_;^"'b)^b"bb^^"bPG r "bb "bb""^bb^,g!''" a aaaaaa ^xx^a aa a a BB a 'bbggb BB ^^^BB ^^BB . ,BBGG [ B^^BB ^^BB' ^^B^^BBG 'bb' ,BB"; BB' ','Ba i'bb" bb" . bb'"' B':a aaa ;aaa aaa aaaa aa BB BB BBGO aa aaa: ;aaa aaaaa 1 aGGBBGGBaGGBBDBa 1 16 Fig. 563. Fig. 562 illustrates an entwining twill. Repeat: 16 warp-threads and 16 picks. This twill is illustrated as applied for backing in weave Fig. 563, one pick face to alternate with one pick back. In applying backing to similar "entwining-twills," as also to "broken-twills," be careful to arrange the same so as to have the points of interlacing follow the twill lines in the face-weave running in the direction from left to right, as well as from right to left. Granite-weaves constructed from the satins are well adapted for the application of a backing. In this case the satin which was used in the construction of the face will be the weave required for the backing. For example, see weaves Figs. 564 and 565. 108 Fig. 564 illustrates a common granite- weave, which is shown with a backing applied in Fig. 565. Weave Fig. 564 (single weave). Repeat: 8 warp-threads and 8 picks. Fig. 565, the previous weave with a backing applied. Repeat: 8 warp-threads and 16 picks. Fig. 566. Diagram of the section cut of a fabric interlaced on weave Fig. 565. ^ ^ face filling; b, backing. , leaaaaaani^ □HBH BB aaaa aaa B. BB B H' aaaaaa Bl BB B aaaaaa a CBB BB . toomnzmma Baa aaaa ■QHBDaGB DBB' -. BB ■DUDBBDI Daaaacjaa DaaDBBDa VI' BB BB DBinauBB □aaaa aa <*,; aaaBBDBB BB: BB . .1 t BBOBBODD aaaaaaaa iBBnanBBD IBBUULjBBlJ 1 8 Fig. 564. Fig. 565. Fig. 566. In fabrics in which the arrangement of one face pick to alternate with a backing will pro- duce too heavy a cloth — in fabrics in which the arrangement of combining the backing to the face-weave cannot be properly effected, and in fabrics in which it is desired to have used a much heavier size of yarn for the backing than is used for the face filling, the arrangement just given cannot be followed. It must be changed to 2 picks face and i pick back. This proportion of face and back is very extensively used in the manufacture of woolen fabrics. Producing the backing of a heavier size will (taken in the average) allow of a cheaper mate- rial (waste) being used. It also tends to a greater production of cloth by using less picks per inch; a larger quantity of roving per set of cards in a given time, more pounds of yarn per spindle, etc., etc. Another point much in favor of the present designated proportion of face and back filling is the advantage of getting a full face with less picks per inch than by using the proportion of one pick face to alternate with one pick back. Weave Fig. 567 illustrates the combination of the ^ 3 6-harness twill with the j twill, but using only every other warp-thread. Repeat: 12 warp-threads and 18 picks. If the proportion of one face pick to one back pick produces a cloth too heavy, and the two face picks to alternate with one back pick produces a cloth too light, or should the size of the backing yarn be too heavy for one face and one back, or too fine for two face waaa-aannaaaa and one back, we must use the average of both; thus — 2 picks face,' I pick back, I pick face, I pick back, 5 picks in repeat. Fig. 567, Should a fabric require a proportional arrangement, of less weight 'than that produced by 2 face I back, use 3 picks face to alternate with i pick back, etc., etc. Combining Two Systems of Filling with One Kind of Warp for Figuring with Extra Filling upon the Face of the Fabric. In these weaves the extra filling is brought at certain intervals upon the face of the fabric for forming additional fancy effects. In woolen and worsted fabrics, for men's wear, these effects are generally limited to stripes and checks, whereas if used for dress goods they are often of a very elaborate design. Weave Fig. 568 represents a stripe effect, produced by an extra filling (back filling) introduced after four successive ground (face) picks, a face picks (ground), ■ figure picks (back). The weave employed for the ground fabric is the common 2- Repeat: 12 warp-threads and 5 picks, q and ■ for raisers, □ for sinkers. B ' .rBBB . BB a: .aaaaaaaaaa DLL.BBB . :BBB Of BBB . BBBD aaaaaaaaaaaa DBHB ' : . BBB' IG BBB BBB aaaaa:;at;a aa U klJ k'J k J LJ \LA k'J ^' J k-'J k'> Jj nr BBB BBB OLBBB BBB'J aaaaa aaaaaa DBBB. BBB' 'J IBBBJUUBBBUUU 1 12 BBBBB' !('<' ;BBBB □LJiiaa . v.a II IB Dcaa aa iaa DBB ■ aa laa J a:-}' I aa 1 aaaa -'•BBBBB BBBB Bii aa aa jGH Gijaa . .aa. 1 ibb DBB' ii IBB' il JBBH iQBa-jaBij jBBua Fig. 568. 4-harness twill 109 Design Fig. 569 illustrates the figuring with an extra filling for forming a small spot figure. «B-q3q;ianqgqnHgHasgHnHnHGHGHaaGH^ This extra filling is similar (except the floating, which is more ua"H"^"^^c3"^J":3^a":3":3'^c:"□"a'^a'l:2ia extended) to the previously illustrated example of floating on ™K"::"a"a"::5\;;\3"a^'o/^:]^':jJ\:j:3^:/^^ the back of the fabric and is interlaced with the face fabric in a ■■■■■■■■■■■■■■■■■■■.,■,/', :a\,Hm manner to produce the desired effect: in the present instance ■■■■■■■■■■■"■5""g"a '-3 -^"g"g*g2 producing small spots. This extra filling, floating to a great ■■■■■■■■■■■■■Hii Ja " '; i^. " * ■■'■ extent on the back of the fabric, is generally removed by cutting """a"a*a"a"a"*^""a"a a 'a iaTa"""" off tliose floats around the place where they interlace with the ■■■■■■■■■■■■■■■■■■ ■ . ■ ]■■■■■ c^ •' n a a a a a a ,a a a ;; a :a 'a ja laJ r r i^ • ■■■■■■■■■■■■■■■■■■a ■ ■ ■■■■■■ face fabric. rjH 'a, a__a_,a^_a^!a,^a_^a,_a^,a_ia^iaja. lana nH"a"a"a"a''\/\:'^j"a''a'\3^\/\/oua^;a Another Style of fabric which is constructed on this system H a a a a^^a_^a^^a^^a^^a^ a^/a^.a^ a^ia a^; ■' -^ G''a'\:'^a'^}"a''a"a^\:"a"a"a^a^^a"::^a^ of weaves are union fabrics, comprising certain kinds of shawls, I .a..a^..a^ja^^a^^a ,a^ja_..a^.a_ja^K-;ja,^ia^.a_.a > r- o ' Dajaja"aja5ajd^a^a'^a"a"a'^a"a"a''a Chinchilla and Ratine overcoatings, etc. HJa;a']a a :a la la'ja ^a/ia a ,a ,a ,a a i ° ' ■□ja"a a*a"a"a"a"a"""a""a"a"" In weaves for this description of fabrics the interlacing of H;a s a ja a gjg.gMMMaaBBBBBBii the face filling with the warp is the same as the one used for L:a^aja-.a _.a a .a la .a a ^a :a a a a :a ^^ '^ SadjajH^a a^a"*"""""""""" interlacing the backing. The warp, which is in most cases of ■ "■jQ'ViG \J"m '■■«■■■■■■■■■■■■■■■■■ ^ ^ ^' ca-a :a a gSggjg^g^g^g.g.g.gggjjg cotton, rests imbedded between the two kinds of filling. iDSSa*diaja5555"j5"555S5555a5a5 Fig. 570 illustrates the combination of the 5-harness satin Fig. 569. filling up for face and the 5-harness satin warp up for back; thus the same weave will form the face and back. Repeat: 5-harness and 10 picks. Fig. 571 represents a like combination of the 8-harness satin filling up for face, warp up for back. Repeat: 8-harness and 16 picks. rir-if-,rj-'H: "IG ISHHSHTX-jaaa! 1 L aaaaaaa c '" ■ bj [. ! ■ ' ij LH ■ : aaaaa aa caaaa aaa;: [ I ' r ,■ G . ■ .' ■ luaDsnC; aa aaaaa c ■ ■ : i DCOBD L.I. ■..iij E aaaa aaa HEHHn aaaaaaaj ■ ■ . ca CBcnn [ ■ ,□ !:..■_. .ljbq EHiJGH aaaa aaa aa aaaajaa DCGCH L , BG C:B . If !• n EHaaa a aaaaaa r ■ ■ ncBcn :. , ■ 3 aaa aaaa a HaHDj aaaaaa a G' ■ ■ : IBOUDq IBGUaaGLD iHL'uGUBULJUa 15 18 1 5 10 Fig. 57c. Fig. 571. Fig. 572. Fig. 572 illustrates the 5-harness satin filling up for face and the same weave, warp up, for back. Arrangement for exchanging face and back filling is 2 picks face, i pick back. Repeat: 5 warp-threads and 15 picks. Swivel- Weaving. For fabrics in which the figures are produced with an extra filling and these figures, as seen on the face, are far apart, as in figured dress goods, ribbons, etc., these figures are produced upon the ground structui"e of the fabric by using a loom having a "swivel lay" attached. The object of "swivel-weaving" is to save material in fabrics having small figures for the design, and to give to such figures a more prominent appearance in the fabric than can be pro- duced by the common method of weaving by floating the filling on the back when not required for figuring on the face. There is a further advantage in the designing, for no disturb- r / ( _ ance of the design is necessary. Again, in cases where, in the ordinary process of weaving, the figure-filling would show through on the face, and thus must be cut off, this method of weaving omits ^ Fig ^7*^ the cutting away of the loose filling on the back; and in this case the swivel arrangement contributes to the strength of the fabric. ?• no Fig. 573 is an illustration of a swivel fitted in a movable frame to be attached to the regular batten of a loom. The method of weaving fabrics figured by the swivel arrangement is as follows : After the common shuttle carrying the ground filling is interwoven, a separate shed of the warp is opened for the introduction of the swivel shuttles (instead of passing a common shuttle all the way across the loom) carrying the fill- ing which has to form the figures on the fabric at intervals of two or more inches. Each figure in the fabric is formed by its own shuttle (filling) ; hence it is apparent that by the swivel arrangement we can have different colors in the same shed across the fabric. In using a fly-shuttle in common weaving the filling from ^ /* M «*- Fig. 574. the latter has to be used in every figure, whereas by the swivel method every figure may have its own color. The swivel is used to the best advantage in the production of small spot figures. In Figs. 574 and 575 such effects are shown. As the shuttles of the " swivel " are all of a given size, and are arranged in certain distances, they require the design to be arranged accordingly. By examining Figs. 574 and 575 we find the distances between the figures to outmeasure completely the spaces occupied by the figures themselves, which point it is necessary as a standard ride to keep steadily under consideration in de- signing. One and three-quarter inches is about the smallest width of the shuttle, thus two inches is the smallest distance possible to be used by a shuttle of such a size ; but generally a wider Fig. 576. Fig. 575. distance between the figures is allowed so as to get a more perfect fabric. The general rule to be observed in designing for these fabrics is to have the distance between the figures about thrice as wide as the space occupied by the figure itself In these designs the ground filling forms the general design for a ground or all-over effect, Ill while the filling introduced by the swivel shuttles only contributes to the coloring up of par- ticular effects. Circular swivels are used for fabrics where very close-set figures are required. These swivels are specially constructed for these effects. Combination of the Swivel Effect with Figuring through the Warp. In some fabrics (but only where the most exquisite designs, richness and fineness of material are employed) this method is applied, hence we have to use the following four distinct systems of threads in producing the fabric : 1st. One kind of warp to form a general ground fabric with 2d. -The regular ground filling; 3d. One kind of warp to produce, on the two systems mentioned, the foundation parts of a design, into which the filling from the 4th, swivel shuttles forms the figure spots. Fig. 576 is executed on this method. In this we find the white grounds for systems i and 2. The stems, leaves and buds, only outlined in design for system 3, whereas the two shaded flowers have to be produced through system 4, or the swivel shuttle. Design Fig. 576, illustrat- ing only one effect, has to be arranged for practical use according to the fabric for which it is required. Another combination of the swivel arrangement with figures produced with the common shuttle, but of a yet more complicated nature, is procured by combining systems of threads as follows : I St system: ground warp. 2d " ground filling (common shuttle). 3d " figure warp. 4th " figure filling (common shuttle). 5th " the filling from the swivel shuttle. Swivel Loom. The foregoing explanation of the theory of swivel weaving requires in practice a loom which must be capable of two different movements — namely, the plain or fly-shuttle movement, and the swivel and plain weaving movements combined — to produce the figure or pattern in the body of the fabric while the latter is being woven. For illustrating the method of operation in such a loom diagrams Figs. 577 to 580, represent- ing the J. Wadsworth swivel loom, are given, similar letters referring to like parts in each figure. 112 The before-mentioned two movements are carried on in the following manner: First, the loom having been adjusted for plain weaving, the cam-shaft C is in the position shown in Fig. 577, which illustrates a view of part of the loom, partly broken out, looking down upon the same. As the cam-shaft revolves the roller projections z^ ^ at the right-hand end of said shaft, and the similar projections, z' z^, at the other end of the cam-shaft, alternately depress the treadles / t, which in turn operate the picker-sticks s s, to throw the fly or body shuttle back and forth across the loom, as in ordinary weaving. The rollers z', z^, ^ and z'^ must be so placed in relation to I ^ «3 Fig. 578. each other that they will act alternately, first operating the picker-stick at one side of the loom and then the picker-stick at the other side of the loom, and so on. The fly-shuttle is thereby caused to pass across the loom four times during one revolution of the shaft C. This is the plain-weaving motion of the loom producing the body of the fabric, and is the first motion referred to above. The next operation is the introduction of the swivel-shuttles for the purpose of weav- ing figures or patterns. This is accomplished by shifting the shaft C with its attached cams and rollers along the line of its horizontal axis from right to left, so that it will occupy the position shown in Fig. 578. The harness and other portions of the loom not essential to a full under- standing by the student are omitted from the drawings. By the shifting of the cam-shaft a new set of cams and levers is brought into action, and the operation of certain of the devices which were m action before the shifting of the shaft is arrested, while a portion of the devices which were in action before the shifting of the shaft remains in action after the shaft has been shifted. Fig. 579. The new cams and levers thus brought into play, acting in connection with the devices which remain in operation after the shifting of the shaft, as stated, give the second movement previously mentioned — namely, the combined plain and swivel movement. In diagram Fig. 579 the front view of the loom is illustrated, in which a portion of the plate at the left-hand end of the loom is cut away to enable the rollers z' z^ the more readily to skip or miss the treadle. In place of the shots of the fly-shutde, the swivel-shutdes are called into action by means of the second change effected by the shifting of the cam-shaft — namely, that by which the arms b b, with their attached rollers d d' , are caused to operate the treadles a a and to 113 give to the rack E, containing the swivel-shuttles D D D the necessary downward motion, and by which at the same time the cam/, through its connections K LJ,\s caused to drive the swivel- shuttles horizontally to weave the desired figure or pattern. The action of the fly-shuttle must alternate with that of the swivel-shuttle. The operation then is as follows, reference being had to Figs. 578 and 579. As the cam-shaft 6" revolves the roller z'^ depresses the treadle to operate the picker-stick, thus throwing the fly-shuttle from right to left. During the next quarter-turn of the shaft the roller z' would operate the picker-stick at the left side of the loom to return the fly-shuttle were it not that by the shifting of the cam-shaft this roller is thrown out of gear. In its stead, the rollers d d, attached to the arms b b, are brought into contact with the treadles a a^ and, depressing the same, pull downward the rods i i (against springsy'^y^, arranged around the same), and the attached rack E, containing the swivel-shuttles V V V,\s thus brought into posi- tion for the working of the swivel-shuttles with the warp. Almost simultaneously with this downward movement the swivel-shuttles are driven longitudinally from right to left by means of the cam/, acting in connection with the levers A' and L, rod J, and the rack-and-pinion mechanism. By referring to Figs. 579 and 580 it will be seen that on the outer edge of the wheel / and extending half-way around the circumference of the disk, is a collar, e, having its ends beveled. As the shaft C revolves, carrying with it the cam/ the roller^, which is attached to the lever K, coming into contact with the collar e, is thrown outward, carrying with it the lever K, which in turn operates the vertical lever L, moving on the pivot n. To the free end of the lever L is attached the rod/ Rod /is connected with rack-bar V^, see Fig. 573, which rack-bar is sup- JiA. ^ JC -or Fig. 580. ported in the rack E, and is in engagement with pinions V , which in turn engage teeth V^ upon the swivel-shuttles V V V. As the lever K is thrown from right to left, the swivel-shuttles are driven in the same direction. This longitudinal motion occurs almost simultaneously with the up-and-down movement mentioned before. The roller^ is kept in close contact with the cam/ by means of the spring/ and is prevented from being operated by the cam when the cam-shaft has been shifted for plain weaving by the stop k. (Shown in Figs. 578 and 580.) By the time this double motion has been accomplished the shaft has made another quarter-turn, the rollers d d have released the treadles a a, and the springs around the rods i i throw upward the rack E and the shuttles VV,to remove the same from the working level and allow the fly-shuttle to pass without interference. The cam-shaft having now entered upon the third quarter of its revolution, the roller z depresses the treadle t on the left-hand side, thereby operating the picker-stick s to throw the fly-shuttle back again across the loom from left to right, the roller ^ at the other end of the shaft at the same time passing inside the corresponding treadle t without operating it. The cam-shaft now begins the last quarter of its revolution. The roller z^ misses the treadle t on the left-hand side, as before explained. The rollers d' d' depress the treadles a a for the purposes before described, and the roller g, having traversed the collar e, leaves the same and is thrown to the right by the spring/, thereby, by means of its attached levers and rod, causing the swivel- shuttles to make a shot from left to right. This completes one revolution of the cam-shaft, and the operation is repeated as often as may be desired for the weaving of the figure or pattern. When it is desired to return to the plain weaving, the shaft C is shifted back again from left to right, and the action of the loom is then the same as that first described. Combination of Weaves for Fabrics Constructed with Two Systems of Warp and One System of Filling. Weaves for this division of fabrics are obtained by the combination of two (or more) founda- tion or derivative weaves. They are designed for three purposes. 1st. For using two systems of warp and one system of filling in producing double-faced fabrics, such as ribbons, etc., etc. 2d. For using an extra warp as backing for heavy-weight worsted and woolen fabrics. 3d. For figuring with an extra warp upon the face of a fabric otherwise interlaced with its own filling and warp. Two Systems of Warp and One System of Filling for Producing Double-faced Fabrics. These weaves are largely used in the manufacture of ribbons and similar fabrics used for trimmings, in which one side of the fabric has to be of a totally different color from the other. Such fabrics (mostly of silk) require a great many ends in the warp, as only one-half or two- thirds will form one side of the fabric ; the remaining half or one-third forming the other. In addition to the difference in color for each side we can also change the quality of the stock, or the nature of the stock itself; hence we may use a finer quality of stock for one sid^ (the face), and a lower quality of stock for the other (the back) ; and again we may use silk for one side (the face) and cotton for the other (the back). In selecting weaves for these fabrics, we generally use the combination of a regular satin weave, warp for face, with its corresponding satin-weave, filling for face. Technically we classify the warp which shows on the upper side of the fabric as the " face-warp," and its mate, or the warp forming the lower side of the fabric, as the " back-warp." As mentioned at the beginning, only one system of filling is used for interlacing both systems of warps. In combining both warps into one fabric in this way, it is necessary to observe the following Rule : The raising of the backing warp over the filling must ahvays be done at a place in which two face-threads raise next to it (one on each side of the backing warp as raised). Diagram Fig. 581 is designed to illustrate this method. Three warp-threads and four picks are represented. Warp-threads i and 3 illustrate the face warp ; warp-thread 2 represents the back-warp. In examining the latter warp-thread, we find its point of interlacing with the filling situated in pick 2. Face warp-threads i and 3 are also raised on pick 2, as required by the rule (given before) for combining both systems of warps. A careful exami- nation of the diagram will show a second point possible for perfectly inter- secting the back warp-thread (number 2) into the filling at pick number 3. Picks I or 4, if used, would produce imperfectly stitched places, as in the first-mentioned spot face warp-thread 3 is down, and in the latter-mentioned spot face warp-thread I is down. To give an illustration of these weaves Fig. 581. Figs. 582, 583 and 584 have been designed. Weave Fig. 582, repeat : 8 warp-threads and 4 picks, has for its foundation the combination of the 4-harness broken-twill, warp up {ox face (■), and the 4-harness broken-twill, filling up for back (h). The arrangement of the warp for face and back in this weave and weaves Figs. 583 and 584, is one end face to alternate with one end back. (IM) ■a 0) >-. ■4-* 1 & )- 1 a OJ -a M ■ 4th pick. ■ ■ 3d pick. ■ • ■ 2d pick. ■ ist pick. 115 Weave Fig. 583, repeat: 10 warp-threads and 5 picks, has for its foundation the combi- nation of the 5-harness satin, warp up, for face (■), and the 5-harness satin, fiUing up, for back (a). ■::■ ■ ' m'^m m i ■ ■::■ ■ ■::■ ^L ■::■ • ' ■;:■' m : ■ .■ .■::■ ■ ma ■EiBi ■ ■:-:■ ■ Ji ^a 1 6 16 Fig. 582. imaarmumrmncim'SMn ■r»nr inBHBri»n«n«r] eaDiDnnaEjaDBDBDCDBQBa BQBQBnBaanac3BnBDBaDD Boc I ■:-:■ ■ ■ '' BC';BaBD BGBi ■ aua. ■: .■ : lOBQ icDBUB ■. ■ .^BUB^aaaa 1 iu 20 ■::■ ■ ■ m ■ ■ '1 ■ ■< ■ ■ . .; mim ■ ' J ■^" ■ ■ ■a 1 16 Fig. 583. Fig. 584. Weave Fig. 584, repeat : 16 warp-threads and 8 picks, has for its foundation the combi- nation of the 8-harness satin, warp up for face (b), and the 8-harness satin, filling up for back (n). In the same manner as these three examples of weaves are arranged for explaining the present system other combinations of satins or twills can be designed. Using an Extra Warp for Backing for Heavy-weight Worsted and Woolen Fabrics. These weaves are used to obtain a thickness of the fabric by using a lower stock for the back, as, for example, a wool back for worsted goods. They may be designed with one of the following arrangements for the warp: I end face. 2 ends face. i end face. 1 end back. i end back. i end back. — - 2 ends face, 2 ends repeat, or 3 ends repeat, or i end back. 5 ends repeat, or any other similar arrangement. In stitching the back warp to the face fabric it is necessary to observe the following points : 1st. The backing- warp has to be raised over the filling, in every instance, between two face- ends, so that the face-threads will afterwards cover the backing ends. Should we have to deal with any face-weave in which only one end-warp raises at the time (satins filling up) we must raise the backing-warp near this one end-face, either to the right or left hand. 2d. We must select for the backing a weave as regular as possible, such as satin-weaves, broken-twills, etc., so that every warp-end gets the same amount of binding and therefore of tension. 3d. If there are more intersections of the face-warp with the filling (in a certain number of picks) than intersections with the back-warp (in the same number of picks as before) we must work each warp from a separate beam. The face-warp, if intersecting oftener than the back-warp (on the same number of picks) requires more material ("takes up more") than the less intersecting back-warp. Two warp-beams must also be used if the material for the face and back-warp is of a different nature, such as wool and cotton or worsted and wool spun yarn, etc. The number of intersec- tions of face and back-warp in such a case can be equal. 4th. If using the arrangement "one end face-warp to alternate with one end back-warp," never use a heavier size of warp-yarn for the back-warp than you use for the face-yarn. Such a selection will prevent the back-warp from showing upon the face. If using "two ends face to alternate with one end back," a proportionally heavier yarn can be used for the back-warp. Great care must be exercised in selecting the stock for the face-warp and back-warp for fabrics requiring "fulling" during the finishing process. The material in the back-warp, which can be of 116 a cheaper quality, must have, as nearly as possible, the same tendency for fulling as the "stock" which is used in the face-warp. In selecting the weave for the back-warp, we should be guided by the required appearance of the face in the fabric. For example, a twill-weave can be used for the interlacing of the back-warp if the face-weave is a prominent twill. If the face-warp is interlaced into a twill of short repeat, as ^ J 3-harness twill,? 2 4~'^'^"''^ss twill, etc., etc.; or if the face-warp interlaces on a plain- weave, rib-weave, basket-weave, granite-weave, etc., etc., thus showing small broken-up effects upon the face of the fabric, a satin-weave must be used for the interlacing of the back-warp. In woolen fabrics requiring fulling, the back-warp, by reason of its lesser amount of intersection as compared with the face-warp, is apt to show by impressions the points of intersecting of the back-warp on the SDGGnafJBGG'Gi/nBHBG DGBGB J: 'G'G.i •BGBGGn BGBL .GGLiGBHBn DGGD B'. . '.. B:^B:J " <'_B'J DaGGBHBanGDGaaaa QGBtaB.jGGGGBGBaaD BHBaGaaGBDBGaCGG IBQDDDGBGBaGDaGBa T 16 Fig. 585. SDnGaBDBDGGaaBHBD • BGGar GaanB'^GGGQBi. JBGGD B' a BGBG--"-'ana--:GGa a B BGGG ju a as B GGGl BHB B' iBG 4L ■ DDBGB "OGG^BHBGGG a a: BBBi ■ iGGGGBGBGGaaD a::B IBDDDUQBHBaanQGBa IBGGl 1 - Bi IB ' Fig. 586. ■Gar^BQ ■HBGGD ■ ; ~BG iBG :gg .BG 16 Fig. 587. '.'' B'.'iB a:' TB'ana . b~b:ib I < a a a ' m ■GB^GGB'^aHBG "GBQ BGGGB B B ■!"»□ GGBi B:JBLj ..; B .BUBG BaB.l:B._jL:^B^,BHaGGG ■□BC ■ .jLJBGBGBGGGBG IBaGGBGBaBGGGBGBa 1 16 Fig. 588. face cloth. For this reason a twill-weave, which is used for interlacing the back-warp, might possi- bly show its lines of impressions running over the face of the fabric, whereas if a satin is used in the present example for interlacing the back-warp, the impressions, if visible on the face of the fabric, will be well distributed and harmonize in every respect with the weave used for the interlacing of the face-warp. Weave Fig. 585 illustrates what might be called an imperfect combination. The ^ 4-har- ness twill forms the face upon every alternate warp-thread; the ^ 8-harness twill, the weave for the back-warp. It will readily be seen that the repeat of the ^ 8-harness twill, taken in equal proportions with the ^ ^ twill, will require two repeats of the latter. The interlacing of the back-warp into the face-twill will thus only occur with every other face-twill, and proportionally make every other face-twill appear more prominently. Weave Fig. 586 illustrates a perfect selection of weaves, the ^ 4-harness twill forming the face upon every alternate warp-thread with the 8-harness satin-weave (filling for face) as the weave for the back-warp. A careful examination of this weave will show the method of perfectly com- bining the back-warp with the face fabric by stitching the former alternately (exchanging) into each twill line of the two repeats of the 4-harness twill, forming one repeat. Repeat of weaves Figs. 585 and 586 is 16 warp-threads and 8 picks. saGnnnnGGBGBnanBG DGi ' ■ " 'BGana a ' 'j GG a Bc:a a g GGB a:-:B a j BGBGBJB.JiJ' .0 SGGBBnBBG a BB ' m m BB ;:B GBB -BB iG GBB' 1 II jBB ' IBB' BB BB BB ,GG iBBumaaG i-nnGGBni B II I'^'iani a GBB l:lib:^b BBBi.jBJ' 'Q'l, bcbgg:.,ggg ibogggggcg^ BG jBuadBG GCIi 1 1 1 ibhBljJljl Fig. 589. Fig. 590. IGGGI nBGDG "■' iGBG '' ma IGG GB IBQ ■UBG GGQ iGGG 16 -iBi^Bi Fig. 591. SOGGBBniB Gl G IGl 1 ;g IG Fig. 592. 8anDnGaBnGBHBGGGGGBBnnB3B BGHGr I' 'B"'IBi ii .BB '.' 'I 'B' B "GB GGBB anB' BB bc:b ~gg DGi^B B .BB : B a BBGG BGGBaaijiji ji .' BB ~B:':B;.,._j.jGa BGBGaaaGGr) , ai « . bblviggg BHBGGGGGBB . BHBJ. . ^^iBBGD lGGBBaGaGaBGa^L_.BB^GGGaBDB 1 12 21 Fig. 593 Weave Fig. 587 illustrates by taking ■ and a for raisers, « and □ for sinkers, an imperfect selection of weaves, as demonstrated and explained by example Fig. 585. By exchanging the 8-harness ^ ^ twill (back-weave) in Fig. 587, to the 4-harness twill • 3 {', ^ and El for raisers, □ for sinkers), we produce a perfect combination ; the back-warp interlacing with the face fabric regularly in every face twill-line ; thus, if producing any impressions, such will be uniformly visible. Repeat, if using the 8-harness ^ ^ twill of weave for back warp : 16 warp-threads and 8 picks ; if using the 4-harness ' 3 twill for weave of back-warp : 8 warp-threads and 8 picks. Weave Fig. 588 sliows a perfect combination of weaves, the ^ j 4-harness twill for face- warp and the 8-harness satin for back-warp. Repeat: 16 warp-threads and 8 picks. 117 Weave Fig. 589 shows another perfect combination of weaves. The ^ ^ 8-harness twill is used for the face and the ' -. 8-harness twill for the interlacing of the back-warp. Repeat: 16 warp-threads and 8 picks. Weave Fig. 590 represents a granite- weave. Repeat : 8 warp-threads and 8 picks. Fig. 591 illustrates the combination of weave Fig. 590 for face-warp with the 8-harness satin for the backwarp, face and back-warp exchanging alternately. Repeat: 16 warp-threads and 8 picks. Fig. 592 represents a common granite- weave designed for 8 warp-threads and 8 picks in its repeat. Weave Fig. 593 illustrates the latter applied as a backing warp. Repeat : 12 warp-threads and 8 picks. Arrangement of warp : 2 threads face-warp to alternate with i thread back-warp. The next arrangement for combination of face and back-warp is found in i end face, I end back, 2 ends face, i end back =5 ends in repeat. ^SSd" Weave Fig. SQ'5 is constructed in this manner, and has for its face- ^SRSanaaS ■■■ana o j:7j ■> ^ ■□■□■■^'"^naa ■□□■■a weave Fig. 594 (repeat: 6-harness and 6 picks). Weave Fig. 595 has SHr , ""Sj" ' " for its repeat, 10 warp-threads and 6 picks. ,, ^" Fig. 594. r y f i- Y\G. 595. Figuring with an extra Warp upon the Face of a Fabric otherwise interlaced with its Regular Warp and Filling. This method of combining two systems of warps with one filling is extensively used in the manufacture of textile fabrics devoted to women's wear. One system of warp and the filling pro- duces the ground structure of the fabric, and then the second system of warp is employed to DanaDDaaaaDDDaaaDDnannan produce the figure upon this ground structure. naaanaaDnDaaoannaaDDanDa ... BggSaaoBBaaSRSRBaBflBaSBa As a peculiarity of this second system of warp, we mention 'T=SaaSBaH''l''""igaBiBia that it is only visible on the face of the fabric at certain places a -jG3ajaG..___._: . jaaaaaaaaa , . , . , _ t° nBBnaBB^DQdddB^BBaBBBa (according to the design), while at other times it is made to float c"" DGDnaaaDDDDaDaDaDaamDDa , , , . ... ••11 Fig. 596. on the back or is stitched in certain places not visible on the face. Weave to Longitudinal Sec- To give a thorough explanation of the general principles in- tion. Fig. 597. volved in this system. Figs. 596 to 609 are given. Fig. 596 illustrates a part of a weave. The warp-threads indicated by i and 2, shown by a type, represent two ground warp-threads interlacing into the filling in " common plain." Warp- thread indicated by 3 and shown by ■ type represents the figuring thread. The latter is 8 picks down, 8 picks up, 8 picks down. A indicates the place where the figure warp raises on the face of the fabric, and B indicates the place, where the former returns for floating on the back. /^5^ace. \ (Section corresponding to Fig. 596.) 1 Examining the longitudinal section. Fig. 597, we find the same numbers and letters used. No. I warp-thread, ground fabric, is indicated by a dotted line (n in the weave). No. 2 warp-thread, ground fabric, is indicated by a fine line (■ in the weave). No. 3 warp-thread, the figure-thread is indicated by a heavy line (■ in the weave). Places A and B in the longitudinal section indicate the respective places marked by corres- ponding letters in part of a weave Fig. 596. 118 Fig. 598 illustrates two warp-threads of a four-leaf twill, ground fabric, having in its centre a figure warp-thread, which also is stitched in certain places to the ground fabric, but so that the stitchings are not visible on the face. Warp-thread No. i reads 2 picks up, 2 picks down, Warp-thread No. 2 reads i pick down, 2 picks up, I pick down, 6 times over, ■6 times over, }■ Ground threads. Warp-thread No. 3 reads i pick down, I pick up (binder), 4 picks down, 7 picks up (figure effect on face), 8 picks down, 1 pick up (binder), 2 picks down. aDDDODnnDODDonnnGnnDnnna nDDi^DDnnDaDDnnGnnDnanDDD DDnonnnDGDaccDJonaoDaGDD n. 2 — GHtT ' Ml ' ,=] !" ■ isa -naHGnasG O 3 DHI ., „, ■■■■■■■ .■GGGGGBaG HI — amji irti!. J ijr-.-< ii r h _.,aaaQB«GG aaaDUUGGcnGGDGaGroQGGaGa a A GUG D I jQaaa^GGaaGnQnG G -^ COG -^ aaoGa'- dgggggld-^g GGGQaGaGGaauaGGGDanGaDQa Fig. 598. (Weave to longitudinal section Fig. 599-) Letter A indicates the binding at pick No. 2. Letter B indicates the raising to face at pick No. 7. Letter C indicates the lowering to back at pick No. 14. Letter Z> indicates the binding at pick No. 22. Examining the longitudinal section Fig. 599, we find the same numbers and letters used, so as to give a perfectly clear compre- hension of the matter. No. I warp-thread is indicated by a dotted line, ground fabric (■ in the weave). No. 2 warp-thread is indicated by a fine line, ground fabric (■ in the weave). No. 3 warp-thread is indicated by a heavy line, representing the figure-thread (represented by ■ in the weave). o Fig. 599. (Section corresponding to Fig. 598.) Places marked A and D clearly indicate the binding of the figure-warp. By the nature of the operation the same is pulled down below the ground fabric and covered by the two warp- threads nearest to it. B represents the raising of the figure-warp; C represents the lowering of the figure-warp. Fabrics made with Loose Texture without Binding the Figure. If a fabric is constructed with a thin or loose texture, the floating warp-threads are apt to show through on the face, hence the latter threads have to be cut off after the fabric leaves the loom. In this case a second point has to be considered: If the figure-thread (No. 3) as shown in Figs. 596 and 597, after producing the figure on the face, simply passes to the rear, there will be nothing else to keep the figure-threads upon the ground fabric but the slight pressure of the ground-warp upon the figure-warp, at the place where the latter intersects the former. As this would be insufficient to enable the fabric to resist the 119 least wear and tear, we must bind the figure-warp close into the ground fabric all around the edges of the design. The best weave to be employed for this purpose is the "plain," which by two or three repeats will give sufficient strength to the figure-warp to allow it to be cut off on the back. (Cut not too close to the place of binding.) HHi's'SiarxiQtvBMnrviopijKtxipq Ko ■ □::□:.■■■.' □■ □■ ■■;■] t.: a □ ■■■■■ a a sa □■■■■■■■:□□: □.□■■■■■■■■ a □ t:a .■■■. .■■■■■■■ □. 1 □ ■■■■■. ■■■■■■■ □ E:'BaHaHaHr. ■■■■■■■;-] OSBBaHBBH^ .■■■■■ □ E:a[x:BaBaBBa. '.■■■: □ : aKa:^'BBBBBBB: ■ □. .□ &:□ □ BBBBBBB □ DK K'.-D □; BBBBB. □. □:-£ EJK.'.'Q.'.a: :bbb □ a:-Y.-jS KSKKQ:.-:n ■ a a ,:■:;« kikihk^;q a a a .-' ::-im ississt:L,a. .□:.□.,_..■-..■.. jjs 1 17 Fig. 6oo. F"iG. 6oi. Fig. 6oo is designed to illustrate this point in general, as well as to illustrate a second point, in which this binding is used for producing a second effect to the main design itself. In the illustration this binding forms a shaded effect around the main design. This binding may also be used for shading in floral designs, where in some cases the colors have to appear to their full extent. Some cases may require the same color only in a subdued form, while others may require that it shall be scarcely visible. To get these effects you have to bind your figure-warp into the ground cloth to a sufficient degree and in such order as is required. The weave must be selected according to the required effect, whether heavy twills, fine twills, satin-weaves or cotton-weave, etc. cnaGCjBHBaBinnaBnaBDnaBnnnBaaDBaaBanaBnonBDpQBnnBDnHHanHacinaHnnBannannDBnDoi -ia~B iB'^a aaaaGHaaDBnDBGDnBnGDiiaDDan ■< i !■■ anGDaBrjDDBDDHaDDBGDDBannBDa ■ :■ ■ : , IGGaBGGDBGaaBaGBaCDaaQGBO i i ' •• iGGBaaaBanDHGDBaaaBGGCHaGOB ■ a- ■ GaDGGBaaaBanHaaGBarjaBnanHL ;i .jBaaGBGGaBDGBaaaBGGGBGGaaaa a a ■ . IGaaaGaaBGGGBGGBGnGBGGGBGGuULjGaaaGBGQGHGGaBGiGBGGGBGaGBaGGB a a ■ jGBaGGBaGGaaaBGaGBGQGHGaGBauHaaGBGGGBGaaBaGBGaaBaGGBGGGBGn a ■ :; ^GGGBGaGBaGaBGGBGGaHaQHBaGGBGCBCGGBGGaBGaGBaGBaGaBGDGBGGaB ,a^,^ , J. .GGBGCGBGG^HG iEa^;-iaH!n,- inM.-inHHGGBGGGBGCGBaGGHaaBGaGBaGCBGGGBaa :: JGGaBaGHGGaaG'lGiiGn : : :■; : a a a . ^GHBGGBGGGBaGGBGaGBGGBaGCBnnGBGaGB laBGGBGGGBGaGBGaGBD a .a a a ataGDBGaGBGGaBGaGBaGBGGGBDGQBGGGBaa ^jiGaaBaGBGauBGUGBG:.;,., I a a a a a a iBBGGBGGDBGGGBGGGBnaBGGGBGGaBGQGB iGOaBGGGBGGGHanaCDGBaaaHGGGBaD GBGaGBGCGWGGGBf^GBGGnHGGGBGQDB :iGCBGanBGnQBGGBGnnBn'-'GBnnnHGn :3 ^aGGGBGGBGaaBGGGBaGaBGGBB a :l jGGBGGGBGGBGGGBDaGBGDGBaB - a I I s^GGGBaGBunaBaGaBaDGBaGBG; a -^i . ■^^•^^GGGBGGBaGGBaGGBGaGBGa J , I ^ DGBGQBaaQBGGaaGGGBGGBGi LJ'T ; , (GGGBGGBGGGBGGGBGG, jBGG ' :; .:; i: I- ..J^GGBGGBGaGBaaGBGDGBGGaG^GU, ,^ .l.__^ ( JGGBGGGBGGaGGGBGGGBGGGBGGBGGGBGGGaGL 1 IBGGGBGGBGGGBGGGBC GGBGGHGGGBGaGBGGCC ! OGaBGGaBCGaaaGBGGGBGGaBGGBGGGBGGGBGG ^ BGGGH JGGBGGGBGGBGGGBGGGB ':aGaaGHGGGBaaGBnaDBGCL □DBaGGBGGGBGaaBaGBaaHBHGHBaGaBGaBaQGBaGaBnDaBaaBGGGBGGGBGGCHraBC -GaGBGaGBGaaBaGBaaHBOaGBGGHaGGaGGGBnQaBGDnBDaBGDaBGGGHaaGBGGBGGH: uBGGCBGGGBGGGB' iGGaBOGGBGCGBGr ! iGBaGGaGGGBGOCif-i 1 :n,-;aCGGBGGGBG[ ; ' -nGBGOGBGOGfi BiaaGBGaGBGr. GGBGaOBCGGIf^ jGGBGGGBGGGBGGiS^iGI "B G G '=?'^C!'^GnB"lBGB"'G^ a a GGBCGGBGGGB' ■GnGBGQGlCG i ■ '■ □GBGGGBGiGG ' i a :a . a ■aGGBGGGac: a a a GGBGGGBGGGtl . a a a ■aGGBGGGBGC. a a DGBGGGBGGGrt i a . a BQGGBGGGBGGiJrt , :•} -i DaBGGGBGGGBGar : : :] ■GGGBGGGBGGGBG _ □QBGGGBGGGBCGGy^^. : ■aGGBGGaBGGGBGaBUL DGBDaGBGGGBQDGBGGt' IQDaBGGaBaGnBGGBGU-- _ ■ IG am ■aa ^G^nGGGBGaGBaaCBaGBGaGBGGGBGGGaGGBGr 'HnH!.. aw_jGUB 5 GGaBGnOBGGBCGQBGGGHGOGBOGBGnGBGGGHC _GHGa IBGaaBGGDBaGBGGGBGGGBGGOBGGBGGCBGGGBGGGB ' iir-mriGGBDaBaaDBGGGBGGGBQQBGnGBGGGHC GGBGD .GBGGGBaaBGaaBGGGBaQGBGGBGQGBGGCBGGGB 'GGGBGGBDGGBGGGBGGGBGGHGGGBGGGBGGGBGa rlBGGGHGGBGGHBnGaBaaGBGGBGaGBGGGBaCGB ;i .GBGGCH ^ >: ■"nEinnrG-rHG^.GaGGGBGGDBGGGBGa iBGGGBG : :■; ' a' 'a a - ■■^' : iGnsjGGG""-' a a a ^a i: JGBGGGBGGaBGDGl aGGGBaaaBGGGBGD a a a a ■ a ■ '■ "r^f^GGGBGGGBGQGB a a' a a a a a '^BGGOHGGGBGn a a a a a a a gggbggcbgggb .^^ ,„, ,_ ., ,GG-j_., :.-:GaFja._ai :B,_aG_ ; LL.„_.aQaGBGGGBLia □aBnaaBHGHBaGDBaaWGGaaQQaBDGQaGa.^aDGaaGGHGaGBGaBGDBilBLaWGQaaGGBDGCBGGGBGGnB ■GDHBaGGBGGHBGaBaDaBannBaanaGGaGaDBDGDBaaaBDGaGGaBGaGBacHBGaBGGaBGGGBaGaBaa JJGBGGB ".'aGGGBO .,. JGGGBGGB: C^ Fig. 6o2. Fig. 6oi represents a sketch for a design which is practically worked out on the □ designing paper in Fig. 6o2, to be used on a common harness-loom for a dress-goods fabric, produced on two systems of warp, one system of filling; ground fabric, "plain;" figure as formed by the extra warp — circular spots, distributed after the principle of the five-leaf satin. The warp is arranged — I end ground, 1 _ . • , ^ >7 times over, 14 ends. I end figure, j I end ground, i end 15 ends in one repeat. 120 Fig. 603 illustrates one spot (as used in Fig. 602), shown without the ground-warp, and thus represents the spot effect as visible on the face of the fabric. In weave Fig. 602 the ■ type indicates the "raisers" for the ground-warp, the ■ indicates the effect of the figure-warp as produced upon the before-mentioned ground-structure. The a indi- cates the additional binding of the figure-warp to the ground-structure. ■■■■■■■ Fig 603. Fig. 604. As mentioned at the beginning, the plain ground fabric is not always used. Very frequently we have used the "twilled" face. For this reason Figs. 604 and 605 are designed, representing the sketch of the fabric and the weave. The arrangement of the " motive " in the sketch is after the prin- ciple of the four-leaf broken-twill. The weave of the ground fabric consists of the four-harness (even- sided) twill ^ 2' The B in Fig. 605 represents the ground fabric; the ■ in Fig. 605 represents DCa ■ ■ ■ ■ EC ■ ■ ■ :: c; DBG :: :; ■ □Pl_ :■: H -H - '■ nacrcs^m-r^cr- m .m aaaui::mDaaQomr - m m DHaaaDDGDBaBr ■ ■ DBnaaaanDBGnnL r .,«■ DDaoDmamaaaanmam nDDBDBaDDDDBDHaC 13' DBDBDDDnDBDBDDnD," ' □cnenHnnnGnBnBnDnnHBnBnnnnBBnBDDDnnBnBGnDODB a^BmnnDBaHGDnnCHCBHCBDHBDBnDnDDHDBunaaDBDB ■ """—'^'^GBGCaGaBOBDaDaDBDBDnOQGBGBaGDGaBGBaa ■ IGGGaCBaBnGDDGBGBGGGGaBnBGGGGGBGBGDGa ■ nanBnBGGrjDDBDBGDLJOGHGaaaaGaBCBCGQGDa :; ni^n!^^""-rT^n«iGBaDaGciBaBacaacBGBGaGCGHaB r-: r. . ■ n ■ r^CGDQBOBGaaaaBGBDGGGCBGBGG IGDBGBCDaaGBQBCQGGOHGHGGGa RGHGGaaDBaBGaaGGBGBGGGaaB GCGBGBanDGCBDB( JCCGGBGH GBGBCODGGBGBGGCGGBGiaGG GHaQGGGBDBQGGnGlinHGaGa :; JHl -KG 1G DBGGaaaBCBaDaaaBGHGaaGGBGHQI JGr.GHGBQadCCBGi ■ ■ H ■ ■ ■ BEl aaaGaHDBGGGGGBGBGGGGaHaBGLjGaCBGBCGGGCjBGBCi ■.■■!■■■' ■!-« CGGBaBGGaQDBDBaancaBGBGGjGGGBGSBGGGGGBGHDGGr ■■■■■■- "m'3 Ki DBaBanaGaBGBGGGGGBr^BGUGGGBG' GBGGaaGBGBGGGGGBGBGGGGGBGaC II DnDGGBnBaaaoGBaBaGGGaBnBGGr GGGBQBGGGGGBGBQGGGaHGBGn'^'-li ' " . ■' ■ OBGaCaaGGBhBGGGaaBOBGGGi"! -I / I HI Hi I QBGCaaGaGBbGGGGHGBGGGGan ■ :lJ'..Bi ■ I aGGGGBGHGGGGGBGHGGGGGBGHi LIL.i Hi .BMI aGGBHBHaHcaBaBaaaaaBGBGaaGi:]HGHB[ ■ DBHBaaGDCBQBaaaaQBaBGDaaaHaBaGGci 'a :r Ml ■- ■ KM I ■: I :■;■ ■ iz. : B m I ■ ■' i.,_.l'4 .HKLjH: :□»;>* JG II ■' ■< BWGliGGGGGBGHGGGG I ■' ■' ■onGGGGBCHaaGGGB IL 'El :«'---,BGGGGBGBGGGGGBGH IbBHBGGGGBGBGGGGCHGBGG iBBGaaBBaBQGaaGBGiiaa:G Fig. 605. the figure produced upon the former ; the a indicates the additional binding of the figure-warp to the ground structure. The warp is dressed — I end figure, 1 end ground, 2 ends in repeat. It does not always occur that only one color is used for the figure-warp. Very often differ- FKmmmt E0KI FM ■ ■■■ Fi-m VMi-: E.[-J[-iWBBi IBBBBBBr ■f:ehhki GG ■1 It'] ■M HKKBHBR glKBBRKF: SBB'j;""- ■ mmm.:. BBBB BBBB . ^aBBBI SBBBBI EHBI R'- '■! L. ., IKKKIKKI Y\o. 606. Fig. 608. ent combinations are employed; but, in whatever shape, form, quality or size, the principle of the construction of the fabric will remain the same as if only one color should be used. 121 We now pass to fabrics where the floating of the figure-warp is omitted, such as fabrics in which the extra warp is bound to the ground fabric. In constructing fabrics of this character the " plain " weave, which has been used so extensively in weaves previously illustrated for inter- lacing the ground structure of the fabric, is omitted. The smallest weave which can be used for the present purpose is the 3 -harness ^ twill, but generally the 4-harness even-sided twill is used as the smallest repeat of a weave. In this manner Figs. 606 and 607 are constructed, representing a motive and the complete weave for DnaBnnBBnonnnHnHnnBnBPiBHGDnaDnnHnanHHDDBBDnHBDnHanDnnnBnBDnaDnBnHDDDDnBnBnanBBpnHB ■' m ; 1M mnamm QDHKi; -II DP' : -^ ■Lll ;!-!: ! DOBBLO DBBDDH ■■DDBH ■ODBBL . □ ■■■■■■ H DDHBar:: ■ ■ ■ □ DBBDDE f ■■DDBB^^.-^ a ^. ,a ._ , ,^,_,^,^^_,^,_ ■DGBBnDBL.f □ i ^Mi lUiJUOBDBLJGBU □aBBDaBBQl □ IGLJIJDnBDBDDDBBG • !' ' □■■DDBBDGL' a inrjtJHDBDDanBHCi i ■BDDHBDDDBaUGDIjnDBnaL-jGUDDBaaaDDDGBF-J BGDBBDDBnBGGDGGHaBGGaaaiinitGGnGaBaii! GaBBDaBBDDGDDBaBGaaaGBGBGDGDaBDBaC DBBDGBBDGGGBGBGDDGaBnBGGGaQBGBaDDL,. ■BGGBBnaDBaBaDaDGBaBaGanaHDBDanGGH BDaBBDDBDBCJaDDGHDBGGDQDHGaaaGQaBni-l DDBBaaBaDaDGDBGBGDGDGBnBaaDaGaiJHaG , , DBHGaaBaDGnBaBnDGDaBQHaGaGGBnHaDac* 1 1 BBLiDaBaGDHDHGaDGGaDBDGDGGBGSGDGGQH?) - BDGaaaGBnBGGDGDBDBnDnGGBaBaaaaaBCJH:: , i DDBBGGHHaaGGGBnBDODGGBaBGaQGDanBCJUL : I I : DBaaDeaGGGGBGBGDDGDMaBGOQaaHaBaGari--! ^ : ■ : ■BGDBBaQGBnBDDaDDBDBaaDnGBaBGDCDGH- 1 ; ,; ; ■DaBHririHQa:]oaGDBnBGaaaaBnBGaannRn'i ' ^.i ' ■- 1, DQHBnaaBGGDDDBGBGnaGGBnBaaGanBC- I IJ : ;^ i. GaBaaBBGrjGDBnBGQCIt.lGBGBGGQGGBaH'. ■_. , i J I , i. i BBnG«MUQaBDiaQDaGBaBGQaGGHGBGaGG:.]L'-)i"L,Gi I' ■ I ■GaBBGGWnaGOaDDBGBDGGGDBaBDDDGCBGBCirSli DDBBGGHHGDaaaBnBDDGDaBGBGGaDDBQBGC'GBH □BBGDBBaGDGBOBDDaGDBnBGDCGDBDBGGaGHMGl ' ' ' ■aDDHBaGaBaBGaaDGBGaPGDaDBQBaaDDGBBDDBt- IG. ■DDBBGaBaBaGGaDBnBDQnGGaDBGGGDGBnaGGBBaDr.i DDHBaDBBGDrjDnBGBacnaaBnaGQDaGBGBaGGBaaQBBi □BBGGBBQDGDBDBGGQnGBGBGCaGGBnBQGaDBBQGBBC BBGCBaaDDaaBGGaGGHaHaGGaDaDaaDDDDBHGGBBDCi BCjI :BBGOBaBGGuGGB" B JiGGGGBOBGaQDaBDBQDBBGGB! CCaaLDBHGGGGGBDgQGGGaBGBGaDnGBQBDDDBaaDBB nBBDGBBDGDGBDBaGGDGBnBGDGGGBGBGDDDBBDaBBGL ■BGnBBDGDBnBGGDGDBGBaQaCGBnBGDDDDBBaDBBDGI- ■DDBBDDBaBrODGLaDBGGGriaHGBGaaDaBQaaDBBaDBl DQBBGDBBGDaaaBGBGaGGGBDaGGGQQBDBDDCBBGaBBi DBBaGBBGaGGBaBDGGGaBGBGaGCGBDBGDGGBBajBBDC ■BDDBBDaDBGBGGGGGBnBGGaGGBGBaQaDDBBaDBBDGr ■aGBBaQBDBaGGDGHaBGGGaGBnBGGGaaBDBDGBBDDBt DDBBDaBBaGQCGBaBLlGLlGCBQBGGGGQBnBDDDBBCaBBL DBBDDBBDGDDBGBaGGGaBQBGaCGaBaBCGDDBBGGBBC: ■BaGBBGQGBnBaGGGGBGBGaanDBDBGGDGDBBDDBBGCyi ■QDBBaaBQBGGGGGBaBGaDaDBGBDaaGDI DOBBGQBBGGGGDBGBGGGGGBaBnaGDGBDl DBB^GBBaDGaBtJBGGGGaaaBaaGaaBnBaDDDBBGDBBGGBBGa! ■BGGBBDnGBGBGGGGOBnBnGaGGBGBGGaDaBBDnBBDGBi ' ' ■GDBBaGBQBGGaGGBaBGDDDDBnBGGGGnBDBDDBBnGBM DaBBGDBBGGQGCBaBaDDGGBGBLjQGGGBaBDDDBBaDBBi GBBGGBBGDGGBQBGGaGaBnBQGGQGBGBaat HBBGGBBGi BBuGBBGGaBaBGGnGGBaBGGGGaBaBQGGGGBBGDBBGG: ■GCBBGGBGBaGCGaBnBaGDDOBGBaDDaDBaBGGBBDQBL. ^aDGBBaD■BDDBBGaDBDBGDaaDBDBDaDaGBGBG■ ' JGDBBDaBBaaBBaGBQBGDGGGBGBGGDDQBnBGGl i' .laBBGGBBDGBBaDBBGGGnGBDBGDDODBGBQGaGL f m IBBGQBBaaBBGDBBGGaGBQBGGGGGBQBCGDGGBL J ■ -aGGBBGGBBGGBBGGGBnBGGDGGBGBGaaGGBnBL j' ■ ' )aGBBG~BMGGBaDGBGHCGGGGnaBGL:'GaGBDBGOL ; liJG '□! I GDI □ NaBGGGDC ' laGDGaBDr DDDBDBG^i ,u, i-.i . .- ; IGBnBGGGc "jGMGBGLji: il-iuuB r iaBGGDGCBnBGLDBWGQBB □ - lGGGGGBGBGi:]GGBBGaBBD -ni iHDBGaaGQBBGGBBGD ' BaGGGGBnaGGBBCGB .aGGGBGBGGOBBGaBB .GGBaPGCGnBaaCBBG i :■ :M ■ I . : ;( .BGD □ ^'^ □ a .£M UGUUuGLi' I JfflGGGGGH ■iGGGGBOBL ■GGBGBGGQGGUnHL HDBGGGGGBGBGGG ' iGOaGGBQBGGGnL 1 " HQBGGGGGBDi □*LGGGDaGBG GGGGBDBGQG .^..jJGGBGBQGGGGI C: .GGGBnaGGDDDBGl jGHGBQGGGGBDBQ r-iaBGGGGGBGBGQGG. : ,a . . ; JGCGGGHaaGGGGGSaBaGCGGBaQaG IGGGBaBGCGaDBnBaGGGGaaBGGGGBBrDGBaa •I jGBnBGGaDGBaBDGGaGBnaGaGGGBBGGBBaa itf GBr'n'-r^nni-nr—^' "-^r-R' -■GGCGREJBGGBBGGB □ E Mao MGG '«■ ma iJQ JGB StiQGBB --:i1GGBBQL_ iHr.aaaGGGG ■ : ■ JtS| : IGGQI JuGr [ m 'Hi □ .JGGi.- IGGBBG Titefai I1 1 I , , I ,. i ! IG .GB jGaGBGaaadabiQGGGGBGt i 'ilQBGGGGnBDBQDGGGBDBGC : aGGGGCBnBGGaaDBDBGGGGv. GHGBGGaGGBDBGGDGGBGiauufeiaGGB aaGGGGaBCBGGGQDBQBGaGBBDaBB _ GGaGBnBacaGaBDBCDDaBBaGBBa ^GGaGBaGGGGBnaDDDDGBHaaBBDa MiBG ■gGG JGB 'HB ^aa JGG lauCEBnaGGCaaBGBGGDDGBnBCaaGBBGGBBG ! i " GCQiQBqaGDaBDBaDGGGBBaDBBGa a jlCBJCGGGBDaaDDaaBGBDGBBaaB □HQGGGGBGBaGaaGBnBaGGBBaGHB ' ■^aBDBQGaaGBGBGGGGnr-rr.r-FriBa □ i JBGGGQGBaBG'GGr ■ ' .; ' i r.-lGG □ JGDaGGBGaGGGUCBDU^^GU^QB Fig. 607. a figured dress-goods. The motive, Fig. 606, calls for 13 threads in warp and filling, hence the dressing of the warp for weave Fig. 607 calls for I end ground^ ) 13 times I end figure, ' / over, ^ ^^ ^"^^• 15 ends ground, 15 41 ends in repeat. The a is for ground warp, the ■ for figure-warp, and the a represents the places for binding the figure-warp to the ground structure. This stitching is done with the regular eight-leaf satin. Weave 607, calling in its complete extent for 82 ends, can be reduced by cross-draw to 30- harness. Fig. 608 represents a motive, a crescent, arranged in Fig. 609, for 96 ends repeat. The motive calling for 16 ends for figure, will necessitate the following dressing : I end figure, 1 16 times I end ground, / over, ^^ ^" ^" 16 ends ground, 16 48 ends in repeat. 122 Comparison of the Size of the Materials as used for Ground-warp and Figure-zvarp. The first condition required by the figure-warp is to produce a design solid in appearance on the ground fabric. To produce this effect the texture is required to be as close set as possible ; and the figure-warp must be made of sufficient thickness, so as to cover the interstices between each other as nearly as possible. The general arrangement for changing ground and figure-warp is the alternate arrangement between both (i and i). Again, care must be exercised not to have the ground-warp of a heavier size than is necessary; for the figure- thready have not only to fill the places between the ground-threads, but also to cover them actually ; hence the diameter ■B DBQMuaaiiuijajGaBi iDDnBGHaBiinaana m • " "n - - ■ ;d i ; ^ '"j«nnDBGan«nB«nBnsa«BBnBaBDBBnBnnn«ann«nnnBDBaBDDnBDDnBnDDBnBBnBDBna D::GanDPLjaaB5BG3aBD«3BnDQBn«DnnBDrjaDnacBDnDB[JDDBaDaDODaBDnnBOBDanBG' 3 , -2ja«n« GGGBGaBDBBaDBaBaBBBDBDGBaaDBDBnBDaDBUnGBDDOBDBnBnaDBDDBDBBBaH ii^aGGaGGGaaGBGBDnaBDBaBOGnBGaGBaGnBaaaDGangGQDBGaDBDDODoanBaBGBoaa □ /IGGaBGHDi«QG«GBGBBB3BGBDBBBaDBaaQBacaB.GBnBDQCBaaDBDaGBaBnBanBDBaBBB IGBGGaaGGGHGnaBGBDBaDDBCBGBaDDaGQaBaaaBCDGBaGaGDaDBDDaBDnaBQDDBaBn : ,Gy„„„^^^„, .^.njaaQBaGaaGCBBBaBGBCBBBDBDBaaBnBDBaDDBDQDBDnCBDBDBDaCBDGnBDDBBBGBCB .raGGGBaQaDGGQiiGaDBaDasGGaaaBGBGBDaDBaBaBDDQaaBGnaBaaGBaQfiDDDDBoaDBaDDBnDGGnBnBDBa i/JDBaaaBDBDBaaaBDaDBGaaBnBBQHnBaBBBaBnBGBBaBaDDBGDaBDQDBCBnBanDBDDDBaaDBQBBCBaBaB iGaaDBanDBoaDBGGDGaGaBGGaBQBGaGBaHnBaaDBDBDQDBaaGGGGGBODDBaaGBcaanaDDBnaDBDsaGGBa iHnBaaDBaDaBijaaanaGaGaGBaaBaHBBaBGBaBBBaBaaBaaaBQBCBGGaBGaaBUDDBnBaBaaaBDDBnBBBDB 9GaGaiDGaBGGaBGGG(aGGGaaGaBaBGBaDCBaBnBaDaBCDaBaaaBaDaaDaDBDDaBanGBnGDDaDaBCBQBDGa GGHDHnBaaGBQaaa JGGanHGBaDBGaDBBBGBDBGBBBaaBGLlOBBaaBDBaBGGDBaQGBaaBBOBaBaGBGBnBBB ^'"^nGBGGGBGGGGGGGBGGGBGanBGGaBGBaBaaaBDBr!HGr:n''-H'-B^aaGaGGGBaaaDGQGi^B"B'*G^'"^i='^'"'^s» MD □r □ iGGGaGGnBaBGBCGGBGGGBDGBBBGBQBQBBBnBGf □(. /jaGGGGGGGBaGaBGGaaGGaGaBGBGBGGaaaBQN' .. ■e_. .^:„_i .. ;„:„_.„ IGGGBaaGBGnGBGGaaaGGBGBBaaDBGBBBGBnBl .1 i' 'I ■aaaGCBQiiGLjGS: jGGGGGaBGaGBGnGBaaGnGGGaaGGBaBDDGBGBGB': ■ ' ' ■ 1 DBnBBBGBGGBGGnBQBnBUaGBGaGaGaCBGBnBGGGBaDBaBBBaBGBCfe- Ml .■nBaBGGGBGGGBGaGBaGnGnaaBDaaBGaaaDQGaaDaBGBaBGDCBGB^ •• < ■ OBDBaaaBGaBGaaaaGnBnMGBGaGBGGGBGGGBGanBnaBDBaBBBDBGF ■ ■GaGBaBGBaGGGGGGHaQGBaaGBaaGGaGGBGGCBGGnBaDaBaBDBani i DBBBaaaBGtJaaaaBGaGBGGDBGGGBGBDBGGaBGGGBaaBBBDBDBaBab DaBnBGBGDGGGBGaGBaaDBaaQaGaaBGaaBGaGBaGDDDBaBDBDCaBGwLt-.r-jLj. ■BaBaBaBBnBGnaBGGaBaaDBaBnBGGGBaDQBnGGBnBBaBDBDBBBaBaBuaaL ■aBaaGBGBaaGBGGaaDanBnaaBQaDBGGaGaGaBacjaBGBnnnBaBaBnGOBnBL OBaBaaGBGGBGGGBnBaBaaaBGGGBGGnBaBGBaGGBGaBnBBBDBGBi IBBHI iHi ;r ■GBGBGQGBGaGBGGaBaaaGGGOBGaiDaGGGBGGGGGGGBGBnBDar" ' " DBaaaBBBaGBGaaaGGaBaaDHGaGBaGQBaaaBaBGBGGBGBaBBr BGaGaaaaB'iaaGGGGBaGGaGaaaGnaaGaGaGGGBGGGaGaDBaB' DBBBGBGai naBDBGBGGGBGaGBGG HnaGaaGGBGiGGBaGBBB^Br i > DDBGHGBGaCGaaGGGaGGGsiJGGiJGGJBIGGGaGGGBaGGanBnil '--i, ' ■BGaaBGaaGBGGGaaaGaGGaaaiLMiriGaaGaaaGGGBGaBGHGFJ' :< \ ■ " ■aBGaGBGBGQGBaGaGGGGBGGGBGGGaaGGGaGGBaaaBGBGii ' i ' ■ DBnBBaGaGGBGGaaaaGBGGGaaaGBaGGBaBnBGaGBDaBar.ii ■QBDBaaGBGGGBiJGGaGGGGGGGBGGGBGDGBaGGaGaaBaBni aBaHGBBBGGaaGaBGGdBOaGBGGGHGGGaaGaBGBnBGaBnKjL i : ■aaaBaBaBnaaaaGaaaaGBGGGBGaGaaGOBOGGBLiGnBDDaaGt-;. DBBBaBaBGOBGBDBGaGBQGGBGGCBaBnBGGaBaaGBGaBBBGSi nDBGBaBanGaGBGaaBnaaBaDGaGaGBaGiGnaGGBGGGaaaGBct-j ■BGaQBcaBnBaaGBGGCBGaQBGBnaGOG^ " " ' iHnaaofflGBGFaRif-f BaaGaGBGaGGaBnaQGGnGBGGGBGDQB;: OGGBGBGi^.GaGHa JGBGGGBaGDBDBDl ._ ,i luaaaaaGaaanBDDr I' J JBQGGBGBDBQGnBr ' l/.GGGBaGGBGGnfi' ' \' iBBGaGBGaOBD ' ■: I IBGBGGGGBGCr,' ■ ■. I ■nH-^iBGHnHra ■ ■ -IGB .■G ISIL. CBGBaBaaaaBGGaBGBDBGaaBGGGBDGr;; BGBDBQGDB^ '' ^'">=lGr II "iaDGaaaQGBGGGaGi_,'_i. -, ■ " :■ ""MGHDaaGGBGGGBGGI laGGGaGGGGGGGBl 1 jr]'jBaGaBnaaBGr: .naGGGGGGGBaGGB: -IGrjGBDBGBaaGBGi; I = "laGGaaaGoaGGGr ii 1 "'^GGGmGr-^r^lBGi -m H '■ m' m u DBQBaBBBI BDDDBaBtlt-i ; I ■ DBBBGBrM ■ ■ DGBOBr'-l ■ !■ ■aOBGH I ;■ :■ :■' BDBDQl.ii.-i . !■ !■ m DBDBBBGSI iM' :■ ■ ■DBaaGGGna ■,■■■■ ".m ■'■■■■ DBDaaBBBi ■ :■ ■■■■■■■■■ ■ ■ ■ -Jl ■ ■ ■DGDBGBGM ■■■ in ■■■'■■ R ■■■ !■ QBBBGBGBu '■■ :■ :■ ■ IB ■ ID Bi iM -■ .■ m :■ Hi. DGBGBGBni . a ■ ■ 91. « ■ ■ ■-« ■: ,■ ■ < ; ' ' ■BGBnBGB:i.U_.L._./ '■„■ :B mm :■ ■ ■ ■ ■tj,_ _,G'riGr- ■□■aDGBGBGGGBGGUGG- .■ :■ ■ ■ ■ ■ .'GGGHGGGp- GBaBBBDBGGaGGGBGBGIf!. . r--- iGBGGQaL BDBGBaQGBaaaBaGQBQGi I 'l;_,_l.,- ,1 ,.;-, .MGoaarGcr DBQBaBBBGGaQGGBGGDBUMDHOi.JLIBUULir-f laGBGBDBCf BnGGBGBaBGCGCDaaBGaGBGGGaaDDQaaQBaaGBGGGf DBBBGBQBaaBaBaBGGGBGGGBGQGBDBnMGDGBGaGBQ" naBQBaBQaGaGBGGGBaQDBGGaGaanBGaGBGDGBQDG' ■BaBGBaBBaBGGGBGaaBQGGBGBaBQGaBQaGBGCaBai BQBDaaBaBQGGBGaGGnGUBGGDBDaDBGGGGaGGBnnG' OBGBBBaBGQBaQGBQBQBaGaBDDaBaGaBQBGBGaaBaLi BGBGBaaGBGGGBGGGBGGaDaaQBGQGBOGDaGGGaGGGf: DBaBGSBBaGBGGGBaaGBGBnBGDGaaaGBGQGBnBaBGCJi ■DDQBGBQBGGGGQaGBGaGBaaaBaaGGGGirBGQaBGGQW DBBBnBGBQaaCBGBaaGBGaGBGGGBaBGHGaaBGGGBGGiaMlii .GGGBGOl, ■ • •■ ! -I'jBGGQBr" D ^GGGBanr, ..,. ,._jaMijMG: jGgi JGGBGaGBnwi^.BiGLiGfMGUGSGGBBBLjMiJM if-^^GGGGGBGGGBGGaBGJCGaGaBGaGBCGaBGGGDGBQBDBa I- '. ,1 !' "IHaCBGaQaGaaBGGGBaBGBaaQBaQGHaGGBnBBaBDBGB jL ;i_.HI JBGGGBaGaGQGQBCGCBaaaBG[ JGGaQGBQGGBGBCCDBg aMBGBGGBCaDBQBaBGGUBaGGBGGQBaBGBQGGBaaBGBBBaB jBUGGBCGDBDGGBGGGGGGGBGGQBGGGBaQaGGGQBGBaBaag - i " MBaGGBGaDBGCGBDBCBGaaBGGGBGaaBDBGBu :nH' BGgBB ' IGBaaGGGaGBGGGBaGaBGGQaGGGBGCGBC. ■ ' ' ' nG , ijaGQBOBnBGGaBnaaBGDaBQBnBGGGBGGQlr '■■:■■ ■ a 'GGGaaBaaQBaaaBGaaGGGaBaGGBGaGBCjr ■ ' - ' ■ ] Bi_J-.J iBBDBGGGBGGGBGGGBaBnBDGCJBCGGBQGLE I GOGBCBGGGBCGGGGraBaGGBGaGBGGGGr^GIBG IGGanaBBGBaBGBBBGBGCBGGCBGBnBGGGBGGGBaGGBaBDBGGGr laGGGaCBCBljaCjaCGGBGGaBGGaGaGaBGGGBGGGBaaGCGGL ,.- -. _.e,^„, ,-.^ IGHHBGBGBGBaBGGBnGaBGGGBGBnBGaGBGGGBGaGBGaQSGUHGBGBMB hgbc:bgggbghcbgi : zna ■cm: GaBGaQBaDGGGQGBGaaBGQaBaGGBGBG v^anB'" IHBBr Mil -m\ lijBQHQBGGr IBaGGBGaaBDBGBGCGBGGGBQGBBBGBGB ; <-i" '' ?s i-t , "-- --|ijBDrjr_,BnaGBGGnDGDDBaGQPaGGBaGGaaBGBaBa \ -i-i . i~ ' ■ I- : jaGaGBGGaBGQQBaBCBGaQBGGGBGGGanBBCBaBQB r -r; '. ■'.-',-, i_:i ■: .i-i.JGGHGGGGGGGBGGGBGDaBQanCGGaBGCGaGBGGGBn -!^FiB3i « inpGGGBDBQBaGQBGaaBGGGeDBGBGGGBaGBnBaBGB ■ IBL iGOBGGGBGGGBGQGnGriGBCGGa'GCiuBGGGIGGGGHraCBGaa .aOBBanGBGiMGar ;■" GBDBGBGGaBGGGBGGCBnBGBGGBaBGBBB laBGBGBGL.aGaGQSGGaBGCJGBGGGQCDGGBGGGBarrGBGGGBaBg . ! .HBCBGBGGBGBnBGGGBGGGBQGCiBGBnBGGGBOGGBGGBBMGBGB 1 ■ 1' (qaBGBGaGGCBOQQBiJGGBGGGCGaCBGGaBQGGBGGGGGBGBaBG I M«i(G=ir-BWn«^-inGBa[lGBGGGBGBnBOGaBaGaBaGQBaBBaBG8GB : '- "GGCGi^r.BnciGBGriGBlJCaGGGGBGGGBQBGGQBa rBGBaBGGGBGGGPGf -riBGBaaGGaaGGBGBaBDB \: GrBQGiGCGGGPGGGNiGaaBGaGaGQGBGBaBGGa m, ,1 f.T J iLja:GGL^HGBn«GGGBaGGBaaaBQBaBQGBGBCBBB . IL.iBGr:rGGGG«GCGBGGGBGGGGaaOBDaQBGaGBGGCBaBa ■GQBDBGBGGGHGGGHGGGBaBGBGaDBGGGBGGBBBGBGB -rjQGaGBGGGBCGGMGGGEGGGBGaaBDGGBCGGGQBGBaBG aBCBGGGBGGGBaCGiEOBGHGQQBQaaBGGGBaBBGBGBGB . irtCBGCGBGGGGGGCBGL GBGGQBGaGQGGGBaQGBGBGGGBG , ,; ' UBGGBaLCiBnWGBGGaBGQQBGaQBOBaBCGUBanBaBBBGB nriprOGBGGGBGGGGGGGBGGGBGGGBQGaGGGGBaBaBaua ■BaGHGGCHGGDBDBiGBGGGBGDCBGGGBDBGBGaBGBGBBB . 1 BaGGGCGGBGGGBGGGBGGGGGGaBQGGBGGaBGnGBaBD _.t-i'JBGGBGBnBGGGBCCGHQGGBCBaBGnCBGaGBGGBBBaBGr DDBaBDBDDGGGBaDaBGQDHDDDaDGGBDDDBaQDBQDaGaBGBDBGaGBQBaBaaaaaBGDaBrjuCBaDGDGaQBQGGBaaCBDDDDDBaBCBG Fig. 609. of the figure-warp must equal the diameter of the ground-warp, plus the space between each ground-thread. Comparison of the Twist in the Materials as used for Ground-warp and Figure-warp. As a general rule, the ground-warp is of a harder twist than the figure-warp. The latter is generally only twisted enough to weave well. There are two reasons for this arrange- ment of the twist. I. The ground-fabric has to stand the strain inweaving; hence, must be of a harder arrangement in twist. 2. The figure-warp has to cover the design ; hence the loose twist will assist in this work. Necessity of having Tzvo Beams for Weaving. In almost every case in producing the textile fabrics here explained, we are compelled to em- ploy two beams, one beam for the ground-warp, one beam for the figure-warp. The reason for using 123 two beams is found in the difference of the weave (for the figure-warp is less interlacing than the ground-warp) as well as in the difference of the materials used for ground-warp and figure- warp. Another system of weaving for producing figures upon the face of a single-cloth fabric is that known as Lappet Weaving. t This method of producing figures upon the face of a fabric was very extensively used prior to the introduction of swivel weaving and the invention of the Jacquard loom. The method of operation in this system of weaving is that of passing an independent set of threads through a series of needles set in a frame, situated between the reed and the shuttle-raceway of the lay. This frame is arranged so as to slide horizontally to and fro, regulated by the "pattern-wheel," and the needles are depressed at proper moments to allow the figuring-thread to interweave with the ground-cloth by passing the shuttle and its filling over the figuring-thread. This method of interweaving the figu ring-threads is, in looms of older construction, arranged to have the needles which guide the figuring-thread operated on from below, as is illustrated in diagram Fig. 6io. The needles a (only the first shown) are fixed in the guide-frame d. The needles have a thread, c, passed through the eye d near their point, e represents the reed, /"and £■ the shed formed by the warp of the regular cloth, k the woven part of the fabric, and z the Fig. 6io. shuttle. The method of interlacing is as follows: When frame d is raised the needles pass through the warp at the rear of the shuttle z and guide-pins 1% but in front of reed e, so that by inserting the filling by means of the shuttle the figuring-thread gets interlaced with the regular cloth structure. Next the frame guiding the needle is lowered and the latter moved to the right or to the left as required by the design to be produced. This hori- zontal moving of the frame, according to design to be produced, is effected by grooves / in a ratchet-wheel m, illustrated in Fig. 6ii. The pin n, fastened to the end of the connecting lever o, being worked alternately from side to side of the groove, regulates the distance in moving the needles for the figuring effect required. This method of operating the frame which guides the needles requires a fresh one for every new design. This ratchet-wheel moves one tooth for each pick, and the number of teeth it contains is regulated by the length of the design. Diagram Fig. 612 clearly illustrates (enlarged as to size of threads) the method of interlacing the figuring-threads into the ground structure. The figuring-thread is represented shaded, ground warp and filling outlined. Fig. 613 is the same effect arranged in 3 repeats in a fabric sample. As previously mentioned, the frame containing the needles for guiding the figuring- warp is placed in some attachment to these looms, situated above the shed formed b}^ the regular warp. Diagrams Figs. 614, 615, 616, 617, 618, 619 and 620 illustrate a loom and the method of Fig. 611. Fig. 612. Fig. 613. 124 operation for lappet weaving as extensively used in the manufacture of elastic web fabrics, such as suspender webbing, also ribbons, tapes, and narrow goods generally. It can be arranged, however, for wider "figured" fabrics. This loom is patented by Mr. G. H. Hodges. Fig. 614 is a side elevation of the lathe and pattern-wheel; certain parts of the lathe being represented as broken off. Fig. 615 is an end elevation of the lathe, pattern-wheel and ratchet mechanism for operating the pattern-wheel. Fig. 616 is an elevation of the pattern-wheel detached, showing the side opposite that repre- sented in Fig. 615. 1 Fig. 614. Fig. 615. Fig. 617 is a sectional view representing the needles elevated. Fig. 618 is a like view representing the needles depressed. Fig. 619 is a front elevation, partly broken away, of a lappet loom of the present construction. Fig. 620 is an end elevation of the loom, the devices for connecting the needle-bars with their actuating levers, and also the mechanism for actuating, the pattern-wheel being omitted in order to avoid confusion and to better illustrate the features shown in this figure. Like letters of reference indicate corresponding parts in the different figures of the drawings, c represents the figuring-threads ; U, the woven fabric; A, the lathe; B B, the pendulous arms by which the same is suspended; C, the shuttle; D, the shuttle-race; E, a section of the reed. Fig. 616. Fig. 617. Fig. 618. The web U is ornamented by means of threads c, which pass from spools (not shown) mounted on the loom through the guides and thence respectively through the eyes of the needles d m and into the web. Guards iii^ are employed to prevent the needles from being sprung or drawn out of proper position by the strain on the threads c during the process of intersecting the same in the fabric. These guards consist of rigid wires arranged horizontally in front of the needles near the upper portion of the reed and firmly secured at either end to a fixed portion of the lathe or shuttle race in such a manner that when a needle is bent a trifle 125 outwardly or toward the front of the lathe by the action of its thread it will strike one of the guards, the vertical movements of the needle not being interfered with thereby. The needles work vertically and pass through the unfilled warp-threads between the path or race of the shuttle, the reed, the pattern-wheel and needles swinging with the lathe. Lateral movements of the needles in one direction or to the left are caused by drawing up the horizontal arm of the lever L by means of the rod k, thereby bringing the vertical arm of this lever into contact with projections on the pawls causing the latter to engage the teeth and slide the bars or holders H J to the left, the reverse lateral movement of the needles to the right being caused by the action of the springs TTwhen the vertical arm of the lever L is withdrawn from the projection i by depres- sing the rod /'. The clamp / is returned to its normal position after the vertical arm of the lever L is withdrawn by means of the springs ^^, its movement toward the right being arrested by the stop g^, which determines the oscillation of the socket /^ When the vertical arm of the lever L is withdrawn from the projections on the pawls and strikes the curved arms of the pawls, the pawls are thereby disengaged from the teeth on the bars H J, permitting said bars to be forced Fig. 619. Fig. 620. by the springs K against their respective • pins in the wheel Q\ but as the pins are of unequal lengths one of the bars will travel toward the right a greater distance than the other, thus chang- ing the relative position of the needles d m with respect to the web E. It will be obvious, how- ever, that when the vertical arm of the lever L strikes the projections on the pawls both the pawls will be caused to engage the bars simultaneously and both move in unison to the left. ' In order to more clearly understand the method of intersecting the threads c in the web U, and thereby ornamenting the same, the operation of the principal parts shown during one full revolution of the main driving-wheel of the loom, or one complete traverse of the lathe is described. The lathe being at the front of the loom, the shuttle at the right-hand side of the fabric, and the needles, needle-bars, and pattern-wheel elevated, with the needles threaded, and the bars against their respective pins in the pattern-wheel, if, now, the loom is started up the lathe will be moved or swung back from the breast-beam, and at the first quarter of its traverse the needles, needle-bars and pattern-wheel will be lowered, and the needles carrying their threads will pass through the warp-threads and remain down while the lathe passes through the second and third quarters of its traverse. After the lathe has passed through the first quarter of its 126 traverse, and while it is making its second and third quarters the shuttle is passed from right to left of the web, completing its passage at about the centre of the third quarter of the traverse of the lathe. The needles begin to rise as the lathe enters upon the fourth quarter of its traverse, their upward movement being completed before the lathe completes its fourth or last quarter. The lathe then continues to advance to the front to beat up the filling, and while completing the ' fourth or last quarter of its course the lever L is actuated through the rod k, and the needles carried to the left, after which the pattern-wheel is revolved one notch or step to change the position of its pins with respect to the bars or holders H J, after which the lever L is withdrawn from the projections of the pawls and striking the arms of the pawls disengages them from the bars H J, and permits the springs K to move the bars to the right into contact with the pattern- wheel, and thereby change the position of the needles preparatory to repeating the operation. The needles d are secured to the needle-bar or holder //" by a screw-clamp, and the needles in in the bar J by screws ; but any other suitable means may be employed for this purpose. Any desired number of needles and needle-holders may also be employed. Mr. Hodges in his patent further mentions that " instead of using the rows of pins, annular cam-shaped flanges may be employed on the wheel Q, against which the bars H J vnd,y abut, if desired. " The movements of the needles may be so timed as to cause them to work ' pick-and-pick,' or pass through the warp-threads at each throw of the shuttle or otherwise, as desired. The pawls and lever L afford a convenient means for locking the bars // y together, and moving them away from the pattern-wheel conjointly. " A proper tension and take-up mechanism (not shown) must be used with each of the threads c. " But one shuttle and one reed are shown in the drawings, but it will be understood that several may be employed in the same loom ; also, that one or more needles may be employed with each shuttle and reed as desired. " It is preferable to have the threads carried by the needles of a different color or colors from those composing the warp and filling of the fabric ; also, that in commencing the weaving the needle-threads should be drawn some distance through the eyes of the needles, in order that the loose ends of the threads may be caught and secured in the fabric by the filling." TRICOT WEAVES. Under the general name of tricot are classified fabrics presenting rib-effects. The weaves of the tricot fabrics are more or less elastic, according to the uses to which they are to be put. If, for example, the stuffs are to be used for trousering the tricot weaves will be much less likely to j bag at the knees than other fabrics. If used for ladies' dress goods, cloakings, etc., they will tend] to give the garment a nicer and closer fit to the person of the wearer. Tricot weaves are graded into tricots forming rib-effects in the direction of the filling and] tricots forming rib-effects in the direction of the warp. We will consider the former first. Tricots with Rib-Effects in the Direction of the Filling Are employed largely for stuffs for dress goods, cloakings, overcoatings, suitings, etc. Thej arrangement of the weave most frequently employed is 2 picks face and 2 picks back; but this may be changed to i pick face and i pick back, or to 2 picks face and i pick back, according to the size of the rib required in the fabric. As a general rule, the heavier the back filling used, j the more prominent the rib-effect will be. Fig. 621 is the 4-harness (filling) tricot weave, 2 picks for face to alternate with 2 picks for back. Repeat: 4-harness, straight draw, 8 picks. This weave has for its foundation the 4-har- ness broken-twill, 2 picks, warp up, to alternate with 2 picks, filling up. 127 Fig. 622 is the 3-harness (filling) tricot weave, 2 picks for face to alternate with 2 picks for back. Repeat: 3-harness, straight draw, 12 picks. This weave has for its foundation the 3-harness twill, 2 picks, warp up, to alternate with 2 picks, filling up. ■DOBGn Effl'jfflfflJ Cfflffl fflB crm m GH : m 3 BTifflS "jffl t ■ij . ■ ; ] COM.: m BEB.lfflfflJ 12H J m 3 em ;fflfflD offlffl. ffla DUBG jB Cfflfflljfflffl ■::_■ J c_bl: :■ aaofflffla 1 a DB:::3JBja DBBaaBBa o:2«3a3Ba 8BfflBDBBBn BaBBBCBB DDLJBaaaB BBDBBBna DBBBGBBB DDBDaDBD Fig. 621. Fig. 622. DBBBGBBB aaCBDGCB BBGBfflanffl DB~ J^'HO^ B'^fflaa ffls c ■ : HJ BlilB EBEHBJ ■ ■ .1 f: ►i'I"I' ►HK2a [ ■ :■ B(S ►ifia ^a LB BJ^ B "Baa aa L_ ■ ___b:3 Baa .aaan ib^_;_bjjj 1 4 Fig. 623. Fig. 623 represents the 4-harness (filling) tricot weave, i face pick to alternate with a backing pick. 4-harness, straight draw, 8 picks, repeat of pattern. This weave is composed of the 4-harness broken-twill. Fig. 624, 4-harness (filling) tricot weave, 2 picks face to alternate with i pick back. Repeat: 4-harness, straight draw, 12 picks. In designing this weave, observe the following rule: The warp-thread which is lowered in the back pick must be raised in the next following face pick. Tricots Forming Rib-Effects m the Direction of the Warp. This division of tricot weaves includes an endless variety of effects in trouserings, suitings, etc., both in wool and worsted goods. A few ends of the regular warp twisted over with organ- zine silk, or a few fancy-colored threads of worsted wool or sewing silk spread over the fabric (on warp ends showing on the face) will give good effects. Fig. 625, 8-harness warp, tricot weave. Repeat: 8-harness, straight draw, 4 picks. Harness I, 3, 5 and 7 are for the face, and hence the harness where the fancy end has to be drawn on. BBBrBBBa ■ . :■ LB .VBjT BB BBa_a r :b_ ■■! BTZ "BT33 LB_,i3:jBaa r:;_B_.:.:B LBBB^fflBa B :::..;Buna :: :b :,- :Ba 2BBS ,aBBa L^ ,b:..::uB c.B-:, :,;:Baa BB'_jBBBaa f:zBnD~Ba B-^BBn^BGBnBa'^GBQ B;juuBaD[3 c. "B' B^aa ' B .B 'Ba B jBBB'Bffl BBB.B .... mZitk ■ J3 L B-QuBL^a B . ~BBB ■ KBBQ r B . ~^B 4B BB '.:b ~B Ba BJ [ 5a>5 ►i^aB g..jB_b designed for 4 repeats, warp and filling ways; hence for 16 warp-threads and 16 picks. 131 Fig. 631 is the plain weave for 8 warp-threads and 8 picks. Fig. 632 represents one repeat of the 8-harness satin, filling face. In giving our rules for designing double cloth rule i calls for the indication of the two single-cloth fabrics, as each must be treated separately from the other. Fig. 633, which is designed for illustrating the present rule, explains itself as " two ends for the one single cloth to alternate with one end from the other, warp and filling ways." This will equal, in the present example, 2 ends face to alternate with one end back. scHnHnanB mg^bb — bb — bb^^bb cbb bb bb bb j ■l:cbb. :bb bb_.°b cnBB ' ;bb ..gbb. ? ibb CBBG^BB'J- 'BB'-ZBBJ BBGLiBB BB BB G BGLBB BB BB ■ 8SS"BrB:"Br BBC. BB^GBB BB 1 BDCBB^GBB. BB ■ G'^BB._.'.WB. BB BB DBPD/BBG_,BB„ BBJ iaabBBGclB~lBBu.::B 1 16 Fig. 630. u c: LB n :: La a a 3 ic3...a^a_aj 1 8 Fig. 631. snaanncnffl DDfflQaaaa DGanofflDQ BDDDGDnn canDDaHQ cfflaaGDoa IGCDDfflDDa I 8 Fig. 632. SIDB^'GBCOHDDHnnHDDBnnBnDBn DBQDHD[::HnDBLD«nDBDDBaD«D DBDGBDQHaaBCnHnnBDDMDGBa BBBBBesiampibi GBGC DBDLr: Lrr"- [ L C ft L' [ f C [ 81'. IL 1 IMBBIMBB BG "BG -JHB MG Jl ~,r:i JHGDBa 'BGGBa iBBBBB jBOGBG iUDGBD -IBBBBB .jHOGgG .BGGBG .;aBBBB .jBGGBa 'JBGDHG 1BBBBB jHDGBG 24 24npnB^BnHnBBBGHDBHBrBGBBB R'T'-p"!' '(=- M' -i-"*'"f-r!PirnriaBBB ' ' Bit . BB BB : ' BBHG ■' mrmn ^■^B B: BB . BB .BB : . r.'B , i ■ ■ rarlf^ BB BB . BB BB " ~^ m m 2 B. . i SB' ' ! :»■' ' D a ' es B : ' B BB' : :B a B B BB -J B B H a B B B B n B BB BB BB -a ■ B a B B B B B -1. ;BB BB IJ' : BB BB rj B .■ ,^G liB' ^ilHB BBL.. BB BB BBi.GGBB Fig. 633. Fig. 634. F'g- 634 illustrates the application of the second rule as given: " Put zueave for the face cloth upon its oiujt system of threads." In this example the 4-harness twill shown in Fig. 630 is applied for face-weave to the plan " 2 face i back." Fig. 635 illustrates the succeeding rule (3d) as applied to example. Fig. 634. "Put the weave for the lozver fabric upon its oivn systems of threads y The weave selected for this example is the one shown in Fig. 631 (common plain). The next rule (4th) calls for the raising of the face warp on every backing pick. This is illustrated in Fig. 636. These four rules, as observed thus far and illustrated in Fig. 636, produce two separately constructed fabrics. Two-thirds of the number of warp and filling-threads form the face cloth, and the remaining one-third of warp and filling form the lower cloth. Rule 5 calls for the combining of these separately constructed fabrics, either by using the back warp for interlacing with the face filling or the face warp with the back filling. The first m.entioned method is used in the present example. 24rr 1 B t- L I CBCj L=ii IBtS^^ 1 .5aB IBD '-IG :BB B^G 1 11 Fig. 635. 2<| ■• ■ f. "■^■""'^■^■'^'^" -■HB-rranB a;- ' ■■ : a;-] L IB BB 1 IB .. BB' 1 ■^ W.^^ B ■ B- 1 1 B B '1 kebl-::-::: : . : . :;. JGBBB i BM "IBS1B B B .^.' - a ■ . G BB ' B BB BB :r.: 1 IB^' BB .J r .. B B B B ■ B' B n b" : B B HB BB B B B B B B^^ ■ ■ ■ ' BB-- BB ■ ■ ■^' BB ~] B' B ■ B B ■ B B. 1 B B b" ■ B BB : B ■„■ B._ B ■-. B Bl B a':-j BB ■ B 1 BB ;i B B ■ B B 1 B B 1 T- ^uSB bH^g.j BBBL jLJy .. a. . :■] iBsdi-jL^yB 24 Fig. 636. L' BB B~ B ■"^B~n .BGBG" B Bb''' BB a ' B; a r7B^"-| Bl bf a .HKI 'BR "a, B^': ' ■ " J-] ■■■' aa'"-'! BB''' ■ H-': B a a a I'B : 1 1 B ErBB BSB 5:a : ■., BB BB rai . , Bl, a; jaa Bf- Gt B BB BB a ■ lis GE.BB BB-' ' BB Bl r'-'i BI"B a - a a BEL'B ■ J B^ Lt-: ■ tI1] B B 1 H ,Vj 1 BQ ] DDBffl,,! M BGG/B 1.J B»Ii B ] nnB_;' ■ BS H :3 ] UJM . ■ n^ V, !^ 3 Fig. 644. Fi ;. 645. [ B B B E 1:3 :3 ., :3 :3 C3 ::3 B 1 :3 :3 E -I ■ ' ' .BG ■ Er "aa B ■ : ■ B Gl E S ': ■ 'E E E E EiS B ■ _ a BG E ;E E IE E .E El- . ,G a a a a ; .g E E .E E ■. E a ,Ea UUBi-.LI' -BLi'_ / a IGGBG Bf!HaHaBGS«E':]HHan iBGGGBGG.JBGaGBaaa 1 16 Fig. 646. Another example illustrating double cloth constructed ''one face, one back" in warp and filling, is shown in weave Fig. 644. It contains the common 4-harness basket, illustrated sep- arately in Fig. 642, for its face and back weave. The method of interlacing observed is the stitching of the back-warp into the face-cloth, as shown by = for raisers in the full design, as well as in the extra plan Fig. 643. 133 Weave Fig. 645 illustrates the combining of two plain woven cloths into one fabric by bind- ing the back-warp into the face-cloth. It will be seen that the points where the back-cloth interlaces into the face will show on the surface, but as only one thread raises at a time in a plain weave, the required points in Rule 5 {i. c. to have for the intersection of the back-warp with the face-cloth, a place where the face warp-threads on each side nearest to the back warp-thread raise at the same time) can never be found, and we must use the weave as mentioned above, or as to whichever side of the fabric is required to be the clearest, we may use the arrangement of the " double plain," as shown in weave Fig. 646. In this the face is arranged to bind the lower fabric as indicated by s for sinkers. The raising of the back-warp in the face-cloth in weave Fig. 645, as well as the lowering of the face-warp in the lower cloth, as in Fig. 646, are arranged iBHHHDnBnnEHcanGBHn "■jnnrinBfflBQnrjjQiD sBonBBaaB SBDBnBDBn snnnfflnann D'DBBaCJBB Daa«aBDB DOnnDDffiD DBaanaaa BaansaBa DBpaaacn ■■aoBBoa □^Q^D^DP HQDHHDGM BQBDBQPQ DDOr jQDQffl DQHHQHBH DBDBGBDB DDfflDDnnD DBBoaiian DoaaDEBDa IMODBBaCl lipBCBDaDB IfflDDDDnDa DO ~ GBG OCBfi □CH Mca □■n BDC ■ □□:■:■ DCI. EBK QDB ELK 1ESB<1 IS ii Fig. 647. Fig. 648. Fig. 649. Fig. 650. 16 after the 8-harness satin (filling face). In the present examples. Figs. 64$ and 646, the question may arise as to which method should be preferred ? Taken in the general average of fabrics constructed on this double plain weave, or similar weaves, in which only single threads raise at a time, such as filling-face satins, etc., the preference should be given in favor of the first named weave. Repeat of designs 645 and 646 is : 16 warp-threads and 16 picks. Another example of this system of double cloth is shown in Figs. 647 to 650. Fig. 647 represents the face-weave. Fig. 648 represents the weave for the lower fabric. Fig. 649 illustrates the method of binding both cloths into one fabric. SaDBBOBBG BOBBGOGB BGGGBBGB aBBGBBGG OBBGGaBB DGGBBGBB BBGBBGGG iBBGaOBBG 1 » Fig. 651. enBGanngB r=j i"''iGB ! ■ , ■ " f*"^ iG ^__j_ja 1 8 Fig. 652. snafflanaaD DGaaaaaa oaaGfflaaa DfflDGGQGC] DGGGGGffla DGGfflanGa aaGGGGGD inanacfflGn 1 8 Fig. 653. IfC^E: 'E' "H:^nGE5EaHa J msm . 'jBGBQDn ErfE E E E=iE 'Ef^BG bg:. b b/g. Bffl EGEI-lE .U'-'E Ei E' 'E. 1 B:'"^ . BEL'H ■ J E 'E E E :: :: e: e j :b^i^b b ■ E E E E E E E E i ■ B BfflB J E !E E E E E E E J [ . .. ■E'B B ,B ] E.^'E :E E iE E ,E JE 1 BffiB ^. B. fl EBE E iE E-- ;E E ^E 1 IBCB^^ BSB ) 1 10 Fig. 654. Fig. 650 shows the complete design. Repeat: 1 6 warp-threads and 1 6 picks. Face-weave is the ^ — 2 4"harness twill ; back-weave is the plain. The stitching of the back into the face-cloth is arranged after the 8-harness satin, filling up. Weaves Figs. 651 to 654 illustrate the combining of an 8-harness " gran ite- weave " with the plain weave for double cloth, each taken alternately, warp and filling ways. Fig. 65 1 illustrates the granite-weave (8-harness) to be used for the face. Fig. 652 is the plain weave to be used for the back of the double cloth. Fig. 654 shows the complete double-cloth weave derived by combining both cloths with the 8-harness satin, Fig. 653, using the back-warp for binding into the face-cloth. 134 Double Cloth Composed with Different Proportions of Face and Back-threads. B. Warp : r end face to alternate with i end back. Filling: 2 ends face to alternate zvith i end back. In this manner weave 655 is constructed. Repeat: 16 warp-threads and 12 picks. Weave "anncG-a-a^^ — 'nws HDHcn :■: u h arjaa □anrraEsa a m3 c^a^a 'a^i'a '^ □ '□::■: a a a a :: ' saaaaanna ::ia a aa a:; aa ia I BB !' < / BB .J a. :aa aa^ aa a a&a BQB ) K-. aa- :aa, aana a "..I BB .ja a aa aa aaGa B^i!B asa a aa aa aa a 4aGGa cbdh tDnDG I aa BB ') DGaa bgid dsgb a ;aa, aa. ;aa a Gaaa DBoa gggd iaBiaLJui_jaBa:_j-jG laaan ibgbg leaafflG 16 14 T2 12 Fig. 659. Fig. 660, Fig. 66x. Fig. 662. The back-cloth is worked on plain, as represented in Fig. 661, and the combining is effected by the back-warp in the face-cloth raising every other back warp-thread on every other face-pick (Fig. 662). The next arrangement for double cloth is — D. Warp and filling: 2 ends face to alternate with i end back. This proportion for using face-threads to backing-threads in warp and filling has been repre- sented before, in the examples given for illustrating the rules for designing double cloth. At present this system of using face to back-threads is mentioned in its proper place under the head- ing of " Different Proportions of Face and Back in Double Cloth." sGOHDaaa ■GBBOGOa aaoGaaGa BBGaaaGG * CDoaaGaa vcmmn 4naaa □aaoGGaa dgbb aoffla aaaoaaGG BGGa qgob laaoaaaaG ibbgq ibggg 18 14 14 Fig. 663. Fig. 664. Fig. 665. Fig. 666. Fig. 663 represents the combination in double cloth of weave Fig. 664 used for the face, and weave Fig. 665 that used for the back. Both cloths are combined into one fabric after the motive of the ^ 3 4-harness twill (Fig. 666). Repeat of weave Fig. ^6^ : 12 warp-threads and 12 picks. ISDC^BB a ~~aa "G E aa m\ a B a a □ aa ^,B>2B^ a '- a g;-;:7 , HHaa aa a BB j,^a J mm a Gi BB a a BSBB aSHgaa 1 B^a.^ aaGKH DBGaa J GE 135 Weave Fic^. 667 illustrates the combination of the — the face-cloth and the ^ ^ 4-harness common twill for the lower cloth (Fig. 669) are combined by motive, Fig. 670 (plain). Repeat of the double-cloth weave: 12 warp-threads and 12 picks. I 4-harness broken-twill (Fig. 668) for Both cloths r ■■ ■ mmzj m ai-^Ma hsb G HK :3B :-ii: :a L ■■ ■ ■■ .■ mf»m mmam :■ ■ ■■ "if iiiiTj 4nGa ^hdhb mnsD m ■£:<■■ . HSB mmma obih dsds G n:: :■:□.-□□«!□ ■oaa ■■■a edbq iL ■■ ■ .„■■:::■ icaaa immam lusaea 1 12 14 14 11 Fig. 667. Fig. 668. Fig. 669. Fig. 670. This character of the double cloth (2 threads face to alternate with i thread back) is that most frequently used in the manufacture of worsted and zvoolen goods. In designing double cloth b}' this arrangement for 4-harness basket or similar weaves, as also combination weaves of basket and twill effects, etc., always remember that the back-warp must be arranged to work in the centre of the two face warp-threads working alike, as this gives us the only chance for properly binding back to face. For example : ziDGaBnaa^nanBcnDaBBcnnanB Enna«aH^naiinH^HQHaG aana rr wm m m- m ■ hji ■~ ■ a^i^H . ■ ■ ■ ■ ;dg B'=; '.T r'' r ■» ' ^ -ry r^ r.> f ^ r:\r-^ r.i r,^ . fy r\ |— , r^ ■:'■ . ■ ■ ■ ■ ■ ■ 'vjn, GZ ;.■:,■ ■ ■ ■ ■ ■»■ ^JkJkJ^krfkJ kJkJ \.A^A kJkJ' LJkJ kVk-J^llJ oozaza ' a B^ a. a aua ■zaZiU a a asa. . a a za ^kiO —.vlik^i 'L^k^ Lj kj k^k!J_ kJki' k. :aaGH sanBBnnBB eDBoecBDB SDanDaBaD Bra _ a a .a a a_ a :Ga ODBBaDBB ■dbdbdbd nafflanDDG G_ a a . a^Bi a a_; bgb BanGaaGQ aBOBDBnB vaoDvacm Bzaa 'aa aa. !aa aa an aaan bb ""aa:"G ■GBGBGBa Daaaffloaa g: a a a a a a / bgb ^l; aa aa caaaoHGa gscjcdggg Bffla_ .. a a a a BGBuGa l_. aa.. .bb BCHaBOBG naaaDGBG □■□□::a:: aa aa aaLaaBaaaa bblcbbcg qbgbgbq* DaQBaaaa iBGBG-- a a a BGGGBGBDaa iBB_:_BBGG naBQBCBG ifflQaaaaaG 1 24 18 18 18 Fig. 671. Fig. 672. Fig. 673. Fig. 674. Fig. 671 illustrates the weave for a double-cloth fabric, which has for its face the 4-harness basket (arranged as previously mentioned). It has the common plain weave for the backing, and the stitching is done with the 8-harness satin. Fig. 672, the face weave. Fig. 673, the back weave. Fig. 674, the stitching. Repeat of weave Fig. 671 : 24 warp-threads and 24 picks. The next arrangement of proportional face and back for warp and filling is : E. 2 ends face to alternate zvith 2 ends back in both systems of threads. This method is illustrated in Fig. 675 which is composed of the 8-harness twill ^ ^ for face KBHGBBGGGGGGCGGGB Ha!.::aaBGHaH -.aasna HzaaaGEiaa^Gaa'-aa a BBGGzr a "^a BGGGGGG.^ BBtS :B EBGaasGaa aa 1 a EGsaai^saa aa -.^ LGaiG^G^:a .aa sa G[.:a :_z_BaEa aa n sBaaaanna sBaBGBQBa eBaaaaaaa Gi: aa aa aa ■ "a aaaGGGaa dbdbdbdb GBaaDGDa G aa aa aa -la BGGGGaaa bgbgbgbg . DGncaaBG G. a aa sa :g aGGDaaaa dbgbgbgb DGDDDaaB Lj BBQ aa ZG DDGBBBaa BGBDBGBQ aaGGBGaa Gi' aa aa aa :a GGaaaaaa dbgbgbgb aaaaaBGG G^ -aa aa aa aa QBaaaaDG BaBGanBa oDfflaaaaa iB_^,Ba__Eaa ^^^^^gg laaaaaaDa iqbgbgbgb iDGGBaGaa > 16 18 18 18 Fig. 675. Fig. 676. Fig. 677. Fig. 678. and the common plain weave for back-cloth. Both cloths are combined with the weave repre- sented in Fig. 678. Fig. 676 shows the face-weave. Fig. ^yj shows the back. Repeat of the double cloth : 16 warp-threads and 16 picks. 136 F. Warp: 2 ends face to exchange with 2 ends back. Filling: 2 picks face to exchange with I backing. These are used to a great extent in arranging 63° steep twills (diagonals) for double cloth. Figs. 679, 680, 681 and 682, illustrate such a case. Fig. 680 represents a diagonal on 6-harness and 12 picks repeat, as used for face. Fig. 681 shows the common plain as used for back. isnnnBanDDBDDB HDHHHn "nn -□ Dn:--.aB" "■ W !SB :aa f:i EHi ,HK:-I aa i iH Qi. a mm jijj m: a ■ m □;> laa 'aa;jfsn ■ui_, m^ 'KB ;. a naLjaaanDBQGa EHriHna aaawGa ODIlBaG crjcin^m b: i^ b 'BB ' ' ~J □■ !■ i:x-: lan • ia BUESa: BB ' n BQijuja ■■ a □■nan ex; a IBDDDG, . M . a Vl Fig. 679. lanBBDBB □BBOBB BaGBBG DBDBBn BDBBDB ■DBBCB DBBaBD UBBOaB BBDBBQ BBOBBO BDBaOB IBOaBDB 1 8 Fig. 680. snaoBna ■aBDBD DBDBOB ■DBClBn nmcaam IBDBDBn 1 6 Fig. 681. 8DDDDDB Dnannn DDDfflDn Dnanon innonaa 1 6 Fig. 682. Fig. 679 illustrates the complete double-cloth weave, 12 warp-threads and 18 picks repeat. The combining of face and back cloth is shown separately in Fig. 682. G. J ends face to exchange with i end back in warp and the filling. These are illustrated in one example by weaves, Figs. 683 to 686. Fig. 684 represents a 1 2-harness fancy twill to be used for face-weave. Fig. 685 shows the common plain to be used for backing weave. Both cloths are combined into one fabric with the ^ ^ 4-harness twill shown in Fig. 686. Repeat of double-cloth weave, Fig. 683 : 16 warp-threads and 16 picks. leBannnnnanBaBCiGnB Ha aaa'- laaoi :aaa:" -□ B BBB iCBBL ..B BSB a BB L JB' JU DBB B u B B 'Sr,'r>'" TIBBB' J J HH :aaa i.j»^..j ■ Lj \Li jQ ■a .' .BB :B BQHB B B'. 1' B J .! BB a B DB :b i''' BBB ;g GB :aaa' laaa laaa BB a Bsaa i'^ '■BB J □: BB. "B'j,;i ..BB'. B Di:. BBB ~iB a .:b HH ■laaai jaaai- -4aaa! :H UBSBBZlDBBBaaBBLjB iBBaBDDDBBaaBnaDn 1 10 isBBanaaaBBnaB BrjBBBGBBBDBB DDBBDaOGaBBB D^B'lBBGnBBBG BB'jaBBGBBa m a B 1 L.BBB >' ■ G'BB 1 'BBB .: !' IB BBB.:BBB' BBBG LI BBB'.li BB ~'B 4nBn« G'. BBB. .!<_!GB .BB ■QBG GBBBJBBanaBB JBBBGGBBaBLjGG IPDBQ 1 12 1 • 4 Fig. 683. Fig. 684. Fig. 685. GGfflG □BGQ isaaa 1 4 Fig. 686. moGGG aa ! ' G ia a The foregoing 57 weaves have clearly demonstrated that double-cloth weaves may be de- signed in any combination, from i face, i back in repeat, to 3 face, I back ; also that these pro- portions may be taken independently for warps or for filling in any weave. The binding has mostly been done by the back-warp, yet it has been shown that the face-warp can also be used. In closing this subject on the construction of the double-cloth weaves, a further example is shown in which botJi methods of stitching must be combined in one double-cloth weave. Fig. 687 represents such a double-cloth weave. Repeat: 20 warp-threads and 18 picks. The arrange- ment of the warp is : 3 threads face. I thread back. 5 threads face. I thread back. 10 threads in repeat. The filling intersects 2 picks face, i back, = 3 picks in repeat. On examining the weave we find the centre thread of the 5 face-ends used for interlacing twice in one repeat of the weave in the back. The places of stitching the face-warp into the back are shown by a. ISaBGBBGGnGrinBGI ammm aa ' ' bebb i □a-iaaaaa aaa aai OGGi .BB .B' a ' . BB a a UO'"'' . IBBQB BBSB DC!"ina:;aa' aa:; aaaaa la GG..... .. i:.jaB BB BB iB DBGBBGLiUL.' BB BB . 'J HaMaacgaasaaa ^aa: :aa la LJBGBB'GGGGaMB.;Ba .' ; j Gl CIBSB ~'BB'"li'.: I BKI^B BB ' . 1 aa laaaaa 'aaa ic;:;aaa a 1 Bl a a a iBB .a B na B ' ,aa: .aat-i^a aaa la: aa B ■-} !aac aBB3B ■:aa ia aa a BB BB ILI . m ..BB J 1 11 20 i2GBBBGnanGBBBGnon LiBB'BB i~' -mm BB.'G DGGBBGBBGUGBBGBB DGGGGBBBGGGGGBBB aGGGGBBBBGGGGBBB DBBBGGGnBBBBG'^Ga GBBB 'G " BBB ' ~i VIG DBB BB BB IBBGG GGGBB BBLi' I BB ..BB DGGGGBBBGi JG JGBBB BGDGGBBBGGGGGBBB 1 BBaaaGGaGBBBQaaQ Fig. 687. Fig. 688. 137 Weave Fig. 688 represents the single-face cloth, being a granite-weave with fancy spot-effects (by the aid of warp-threads numbers i and 9.) Double-Cloth "Weaving without Stitching Both Cloths. At the beginning of our lecture on the double cloth, and the purposes for which it is used when the two single cloths are not stitched together so as to form a new fabric, we mentioned the manufacture of seamless bags and fabrics constructed on similar principles. In manufacturing seamless bags a series of panels are formed, each composed of two separate cloths, a series of solid webbings uniting the cloths of the panels, and a series of divisions formed in the solid webbings, each of which are composed of two separate cloths. Diagrams Figs. 689, 690, 691, 692 and 693 are intended to illustrate the method of weaving such seamless bags. (Harden- brook's patent.) Figs. 689 and 689^ represent a plan view of the fabric. Fig. 690 is a transverse section of the same in the plane x x, Fig. 689. Fig. 691 is a longitudinal section in the plane j/j, Fig. 689. Fig. 692 is a longitudinal section in the plane z z, Fig. 689. Fig. 693 is a sectional side view of a bag when finished. k V. «.. &; f. SO* :;:.:. vr:^ ^zzz-=. r:^^:; ^,^>*^^,* ??,^^;;; -::::z::^ cc. y^ ; 1 ■ ■ 1' c ti> IT L — o- ^icfjSsO. ^ J^^sz. TT" -=/ A (689) designates a fabric in which the arrow i indicates the warp. This fabric consists of a series of panels c c*, each composed of two cloths, and of a series of transverse solid web- bings, a a, and longitudinal solid webbings d b, in which the filling is interwoven with all the warp-threads of the fabric, producing purely single cloth with the latter at places mentioned. The outside edges, as to width of fabric in the loom, may either be temporarily closed with a few threads of plain working selvage, which may be liberated after the fabric has left the loom ; or the fabric can be woven without specially uniting the two fabrics in such manner. The commencement and the ending of the weaving of the fabric in the loom is formed in each case by one of the transverse solid webbings a (single cloth). If the fabric is cut lengthwise through the centre of the* longitudinal solid webbings b b, and through the centre of the divisions, and also transversely through the middle lines of the solid webbings a a, f f, di number of bags are produced, and it will be seen that the bags produced from the side portions, c* r*, of the fabric have selvages at their mouths, while all the others produced from the centre portions, c c, will have raw edges at their mouths). The size and the shape of the bags is unlimited and is readily regulated by the changing of divisions (purely single-cloth weaving) or openings (double cloth not stitched). From the explanations and illustration given it will readily be seen that in cutting up the fabrics represented in the drawings a number of bags are formed, the mouth of each being 138 composed of two single cloths projecting beyond the solid webbing, so that they can be turned back upon the body of the bag (see Fig. 693) to form the tube ^, for the reception of the drawing strings g^, or simply hems to protect the raw edges. Fig 694 illustrates the double plain weave (two plain woven cloths), without combining or ggS° stitching required to produce the openings, while the common rib-weave, Fig. 695 £S"", , UD33 Qj. |-j^g common plain weave Fig. 695^ g" is used for forming the divisions in the fabric Fig. 694. . , . , 1 ^, s " ^ (purely smgle cloth.) These bags are used mostly for tobacco, salt, flour, etc., or pockets for trouserings, coats, suitings, etc. Frequently seamless bags of a larger description are required to be made, extend- ing in their length over the entire width of the loom. In such case the double plain weave is arranged for two successive picks in each cloth, as shown in ^.gm } Lo^.^r side of bag on loom. Fig. 696. Warp-threads 2 and 4 and picks 3 and 4 forming the SBSn} Upper side of bag on loom, lower fabric, and warp-threads i and 3 and picks i and 2 forming -<-^ S. the upper fabric. P^^- ^96. Only one shuttle being used the filling will form the bottom of the bag at the point where the filling, after leaving one cloth, changes into the other cloth. For example, in the present weave, suppose we commence to insert the shuttle in pick i from the right to the left, or in the direction of arrow ^, below the weave ; the shuttle and its filling, after leaving shed i of the upper cloth, will return in the same cloth on its return (left to right), but will insert itself in the lower cloth on pick 3 by interlacing with the warp and filling of the lower fabric ; returning in the same fabric at the opening of shed (pick) 4, ready to change again (combining both single cloth for forming the bottom of the bag) from the lower cloth to the upper (the starting point in the present example). Before and after weaving the required width of the bag (double plain interlacing on one side of Tiot €q1 I ^^^ fabric), the entire number of warp-threads are arranged to interlace on the common rib-weave shown in Fig. 695 (in purely single cloth). Fig. 697 illustrates itself, by the aid of the foregoing explanation, as follows : a, b, c, d inside size of bag produced on weave 696. The shaded part between the two bags represents the purely single-cloth fabric interlaced upon the common rib-weave (Fig. 695) ; b to c ^= bottom of the bag, a to d = opening of the bag. Dotted line c tof indicates the place for separating the fabric. In the manufacture of hose and similar textile fabrics the weave given in Fig. 694 (double plain, one end face to alternate with ,«,. joL. c. m^^im^im^^^^misk mmmmmmmmmm. one end back in warp and filling) is used. Double Cloth Fabrics in which the Design is Produced by the Stitching Visible upon the Face of the Fabric. Worsted Coatings. Fabrics of this style are a division of the double-cloth in which the binding of both is arranged so as to form patterns of any required design. This binding of the two fabrics has to be done as firmly as possible all around the outline of the design. The double fabric has to become a single cloth, warp and filling ways, all along the outline of the figure or effect. It has to be bound not only at intervals as in the previously explained stitched double-cloth, but into one compact fabric throughout the entire length of the piece, upon the warp-threads, and across the fabric upon the filling ends which form the outlines of the figure. Double-cloth fabrics in this arrangement of binding may be made as fanciful as required, but in the manufacture of worsted coatings and similar fabrics they are generally confined to striped and small check figures. 139 TextJires for these Fabrics and Arrangement for Binding. These fabrics are generally constructed on 2 threads face, i thread back. (binder), and the stitching is done with the back-warp binding over 2 face-picks. For example, take Fig. 698 for the motive of the design and Fig, 699 for the complete weave. Repeat : 42 warp-threads and 24 picks. It will be readily understood that the stitching of the back-warp in the face fabric will form impressions on the latter according to the figure employed for the motive of stitching the fabrics. Again, through the places where the double cloth is left unstitched, the fabric will get an em- ■nBGBaBDnaaannBnBnBOBaDncionn CB^B"'» '^mr'^:'z:^-z'"-mrm:'m -•^■^.-^^^^■j^ L ■ '■ ■ ■ :;.— ■:■■■ . : C '■■■■:'' D .■ ■ ■ ■ 'J ■ ■ HIM M^-.^-- ■ MJ [ ■ ■ ■ a^HJuGG^ ■ ■ ■ ■ ■ ■' ■ MWjrudCi ■ ■ ■ J ■ ■ ■ ■/'Gj^^DGB ■ .■ ■ ^H ■ ■ ■ '■ ■ ■ ■ 1 CBiaa ■■■■ J u .■:.■ ■ ■ ~ ' ■ ■ ■ ■' ] Dui^B^a-a ■ ■ ■ .■ ■ J ■aaaG'ji-i. ■■■■.. bbj aBaaaaca ■ ■ ■ ■ ; ; ■ ■ a BaDnDGGGB^B^B^B__G_„J_B_B_BG iaaDDaaGBGBGB_.BGGGGaGDBaBaBGB 1 14 Fig. 698. :4rBnmn~Bn "" a ■:; "^a" bk gb' h " Mb":: "Mb":; "::b":: r a b:-: :■: b:-: :: a:-: :■;, ■ G :::::::::: :::::3:3:: :::;g:::: ::c:l G GB :: ::b g gb :: ::■ C G :: BG G BG G BG EGGG iGGGGG GGGGG GGGGG G :) G G GGGG i" g' ":';""g "g"g G ,G C _G G H GGGGG H , G G C BG :> B:> :> :> g :: :: g g bg :j ■:: g Er.ir.ir.^ r^r-\T-\r:^T:^ rir^ririr^ rir^r^rir^ r 'r.^r.^r.^r^ r.^r.^r.ir.iri r^nrT.^r^ r,^ k^k>k^ kJkJL.kJkJ hJkJkJkJk> kJk^L^k^kJ kJkJkdkJk^ kJk^kJkJkJ VJk^krfkJVJ kLi GB G GB G G G G G G G GB G GB G 1 Li iG^^BG^ s3.„,',;„ ><„„><„ S„r,K„ Sr.RK,, ;<„HS„ K„H^ □ GB G G G , iG _ , G G G GB G GB G GB ] UBG^ -S,,,,-!,, P;,„,',3„ ><„„E^„ >;„!!><„ ^ BB^G "g""g "g""g "g""g "gb"g "gb"g "gb"g g Di G I G G G G G G BG G BG G BG G BG □ "■r.-^rifT^r.ir.^ ■ w:\r:\r-\r-yr:\ r:\r-^r^T-fr-\ r-yr-yv^r-wy r:\r~yr-ywyr-y r.^r.'^r-^r'^fT* ""ftt^ftt:^ IQaGaGGaGGaGGaGGaGGHGGaBQGaGGBGHuGEBGGCCHBG 1 42 Fig. 699. bossed effect, similar to that of 2 pieces of cloth embossed with the needle, the binding taking the place of the latter. The cut effect will be more prominent when 2 beams are used, one for the face-warp (ground) and one for the back-warp (binder), and putting more tension on the beam carrying the binder. The ? -^ twill for the face, having the backing working on plain weave, may also be used. Fig. 700. Motive of the effect. Fig. 701. The complete weave to produce the same, executed on above stated principle Repeat : 36 warp-threads and 36 picks. BaDDBDnnnnBGBDDnanDnnaBG BGBGGnCGBGGGaGB ' ' —- "GGGBGGGCra GGI g: {IS a. CB_B :• Bag a jgH .■_■■. G-«. .. a BGG I :GGaaGGG_a^BGGGBQ ■GGGaGGGGGBGacaGB I jGGGGBGnnHnBnGGGa DGBuGGG' a ~' a a IGQ DaGGGGOB . a B B BGD BGGGGGBG B^.'B B :BG CJCGGGariGriGL^B g b ;\gb i:aGGGBGaaaGB""B \y w ■ "bd GBGBGGGGaaCG B B ■ BGG GGB ^ BGGG B G . ; jljBGGD G. a B .a ... \Lm cbgbgg G' . B' a .G.^BG/:. :. a BGGGBa L_ a ..,G_,.^aGG. / a"'"'"'gciB a:: a a ggggbg ' a a .!na GB B' _■ BGGGGGBGB B 'JGU G'_ a JBGGGGGB BJGD GB._GGGGBGBGaGa_. . B BGD BGGQGGBGGGBGBGGr B , GBD IGGGGCaGGGGGBGGG! B^^uGDB 86gb::"^ eg::g GB C .Gl E gg: r ::gi E G g"' " L G E gg:: G GG G G GGGG G L G G gg:: G :;g GBG EGGG GB c. ::■ G gg:: L GGi G G GGGG G c ; ^j:i E- EE' G GGB _ GG EBG G :: EGGG GGGGG EB GG r G G G G GGGGG _.g:-:i lGuGG_„ GG, 1 _G G GGGGG ""GBGGGG GGGGGGE GGB ^H IG G □ 2GG GGGG • :;:: g G G G :;gggg ;g ::g g 1:; GGG ;:;:: gggg ■ GG G ;> E E E L.'> k . GBG :;ggg :oGaG :3g::gg e GG GG GG IG GBG :; :;gg::g □ ::g a :;bg :: a :;:;gg_ gggg ::b _ GG GJ . . GBG, _a GGGGG _a GGB a : G_,." GBG jgg:''' ^,'",'",'^ Fig. 700. Fig. 701. In worsted fabrics (also woolen fabrics) forming stripes composed of different weaves, in which it is desired to make the changing from one effect or weave to the other very prominent, by means of a deep or pronounced cut line, use a method similar to the one above explained, i. e. " the double-cloth fabric changing into single cloth at the respective last ends of the one weave or effect, and the first ends of the other." The only change observed in the present kind of fab- rics, compared with those explained before, is found by combining both fabrics into one through lowering the face-warp into the back filling. In this manner designs Figs. 703 and 705 are constructed. 140 Fig. 702 represents the motive to weave Fig. 703, and Fig. 704 illustrates the motive for weave Fig. 705. Fig. 703. Repeat: 18 warp-threads, 6 picks, a for raisers, □ and ■ for sinkers. Fig. 705. Repeat: 36 warp-threads and 6 picks, b for raisers, b and □ for sinkers. nDBBDDHBnnBBDDBBGDBBnaBB GBBi .-.BnCBBn -IB^^Bl 8' BB a ■ ■'' ~BB':'' :BBi IBB ' BB BB '1 B a~BB V'BB B ■ 'bb:~ bbg 4l:< BB'_._;BB J'JBB. ; ■ ■ BB'j:,jBB DBB :BG'^BBGGBi:Ba B BBUGB BBGGBBaaBBGDBB ■B . mmaa IBGGBaBBaaBBGB. m BB.jIBBL; Fig. 702 nnnHGHnnDHnHDaaHGH □nnc3 ,C3::c;:j ::c;:::;h « n H K :nn::n y.^i :. □ G .a Gj G an ,□ .an" h QGHiJlJGC K •' Vy a G HancGHHaaa aaac;a * laGGGGBGGaa .. .^.aa'^G 1 18 Fig. 703. Matelasses. These fabrics are chiefly used for ladies jackets or mantle cloth, hence the name " matelasses." The face fabric is mostly silk or fine worsted, the back all cotton, or cotton and woolen. The face and the back are also two separate fabrics, having an extra "wadding" pick between each, which will greatly help to enrich the embossed effect characterizing this line of fabrics. The figure is produced exactly on the same general principle as that explained before. In addition to this ncaaGGaGnHGEinGGHaHannaanGnaHQaDGaHGa BGnaaHaGnaanB^BnBBHGHGHHBi-inBHHa'TiaGaa a ■ ]■' aGBBGGBBGGBBnGBBGGBBGGBBGGBBGGBBGGBBaaBa GBBG/.BB BB BB'.' B BB : B BB ~BB' BB ' BB'JG BB ~'BB 'GBB .BB ' BB BB . BB BB ~BB . BBl.jG r.Bi VBB' IBGBBGGBBGBBLJGBBGD :.jBBGj. jBBGGBBGGBBGGBBGG ■GQBBGBQGBBGGBGGBBDOaB 24 aaaa aac EGLG_ aa cQGGa "a HGEBaaa GGaa a a_' a □aaa aac lUGGG^aa^ 1 a^ a . a a aaaaa a aaaaa a a jC^ia^^uaGB^ -jB^a^Gaa^ jl_ B a_ -□ aa IS aGGG a a aaaa .:□ a jg aa^B aaGG 36 Fig. 704. Fig. 705. binding different weaves for the face effect may be employed by using twills and other weaves in floral and ornamental figures for design. In some of the lighter grades of these fabrics no interior or wadding filling is employed, but simply the two cloths as explained at the beginning of this article. In these fabrics nearly the same effect is obtained for the face appearance, though of course the figures do not stand out as prominently as when wadded, and the fabric is not as stout. Quilts. Plain Piqu^ Fabrics. Another line of textile fabrics, constructed on the same principle as the coatings and mat- elasses, is found in quilts, bedspreads, toilet-covers and similar fabrics. These fabrics are gener- ally made in white. In plain piqu6 fabrics the back-warp forms lines across the fabric. Fig. 706 shows a draft for such a fabric requiring 4-harness for face-warp, 4-harness for back-warp, == 8-harness. Repeat : 6 warp threads, 10 picks. H represents the face-warp, ■ represents the back-warp. Examination of the design shows : Picks I and 2 interlacing the face-warp on plain weave. Pick 3 is a backing pick, in which the entire face-warp is raised, and also every other one of the back (forming in this manner the first pick of the plain weave for the back). Picks 4 and 5 are a repeat of picks i and 2. Pick 6 is a backing pick, in which the entire face-warp is also raised, and also the back warp-ends not raised in pick 3. Picks 7 and 8 are again a repeat of picks i and 2. Thus far the weave has lOGB aGBB-^BaGBB MB BB BB aa 1 a a a a a " kj V* \ n aaaaa aaaa 1 :: a a a a a ,a c: a ] BB aa ac:Bac} a 2G :: a a a in ja . .:a^._.aL.G 1 () 12 Fig. 706. 141 formed two separate fabrics, each one worked on its own system of threads. By picks 9 and 10 these fabrics are united into one cloth by raising the back-warp into both picks and working the face-threads on the plain weave as was done before on picks i, 2, 4. 5, 7 and 8. This combina- tion of both fabrics gives us the required line across the fabric. If it is desired to produce this fabric for a heavier article, one or two " wadding " picks may be introduced between both fabrics, as in Fig. 707, through pick 5. Picks I and 2 face. " 3 back. HE aa :;a iy.i 3 A lace. □raciaaB ciana " 5 interior (wadding.) %lH h hi "6 face. lanDHaGaGaaDa 7 back. Fig. 707. " 8 and 9 face. " 10 back. " II face. In inferior qualities these fabrics are made by omitting the two backing-picks ; hence the binder-warp has to float on the back. The wadding pick taken for these fabrics is of a very heavy size so as to prominently raise the rib effect. dob:' "□ DHGCGn QDEDDQ z a a ■ :; ■ :a enHoaaa sDGEGaa 40SBaffla soaGGaa aGDHDna cba Fig. 708. Such an example is shown in weave Fig. 708. Repeat : 2 ends face, i end back in warp and 8 picks. The arrangement of the filling is — Pick I face, binder. 2 ) ,( Vface, regular. " 4 wadding. " S 1 „ y-> face, the same as picks 2 and 3. "7 wadding. " 8 face, the same as picks 2 or 5. Diagram Fig. 709 illustrates the section cut of a fabric interlaced with weave, Fig. 708. Figured Pique. These fabrics are also executed on the principle of the double cloth. Both cloths are quite plain in their weave, but the face is much finer than the back. White is the color in which they are generally made. A "wadding" pick may be used to give bulk to the cloth, and the em- bossed effect likewise characterizes these fabrics. The design for the fabric is also formed by binding both cloths together. The thicker the wadding and the larger the figure required to be designed, the more prominent will be the effect. In many of the lighter fabrics no wadding pick is used, but the two cloths are simply stitched together. 142 Fig. 710 illustrates a weave for these kind of fabrics (without a wadding pick). Fig. 711 is the motive of the stitching for effect in Fig. 710. A consideration of the face-picks will show in every one of them some of the binder-warp up, according to the figure required. This will easily explain the stitching of the fabric. As both warps are white, no change in color can be seen but the effect will be produced by the weave, as every binding back-warp thread will pull in the face of the fabric, in any place where it is raised on a face-pick, somewhat similar to the stitching together "of two bulky fabrics with a sewing machine. Large designs, such as secaBHaDHHOEiannagaaBtaraGUBannHHDnnnnHaH am '□■_ jijB 7 la .a i ■:■; " rj'ja "■:■: ' " la • ,:-: la H :■;■ it: . la : ,a . .a E ,:ja aaaaa aa aa " - - -- a ! :a_. E_J.JE BDEE DOE. J EDLE e:: .a ,, aa a aa laaaaa aa .aa :3 , a mi: a a . la ' .EB la I a a HJEE aa aa aaaaa ::a gde:. IE ! E ' E m:: ■ a EBaa laa GBE : ,E am 'E J a E Ea«:}:; Li a aa B , .EB E BBEE EE QBE I a BBDE a BGEE ,aa c:::'E .E B'- 11 .E E .EE l:ji ,a B E B' c;e El 'El aa E EEBCX: EaB: E b:- 'aa aEBEE' a . a BE. a BB a I ,c;a a "jET'^E a iG x:be : BE EBG :e' ib ■3 . IB a' j'Zi ;e b ■) ■ IB a a :a B ;a. ,B ■; a a lu x:bb : BE EBa aa aa a a a B E " a a a ■a I. [ E. E_ : . .IE I iB , El lEE ,a aa ■a:, ■a a El E a E .E I c:E' a:: (G B 'B :G 'B ,E iG lE B I ,a IG _. _- . _- _-, aaBB aGE^BaGjE^.^BGGE.JGBL.BEI_;^.BLJGBiJLjE^;UELjBa laaaBBGaaaBuDQaGHGGBBGBOaBDQHDDEDDHBa lE a a .a a , a laa lEE E EE E. El 1 ac Fig. 710. ISBDGDGBDBnDDa DBaDDGBaaDDB DQBGaaaaaDBD DaCBGnGGGBQa DDGDBDDnBaDn BUGGGBaBQaaa DBGnaDBGDDCB ■GGGCBGBQGDa aacJDBaanBana DDDBGaDDUBDa nDBGnaanoDBD IDBGDCDBnaDDB 1 12 Fig. 711. flowers, etc., are woven with the Jacquard. As these large figures have a long floating of the binder-warp (back-warp), while not being used for the outline of the figure on the face, the back warp-threads as a consequence float on the back; and as this floating is injurious to the fabric, we must use, in addition to the front-harness for the face-warp, a second set of front-harness for the back- warp (binder), through which the back-warp can be worked on plain. Reeding these Fabrics. Threads i, 2 and 3 are drawn in the first dent of the reed; threads 4, 5 and 6 are drawn in the second dent. RIB FABRICS Under this division are classified fabrics which, in their method of construction, have high prominent and elevated places exchanging with lower or compressed ones. This method of ex- changing is generally arranged to run in the direction of the warp, but can be arranged for a diagonal direction, or even filling ways. The principle of construction of the weaves for these fabrics is nearly related to the common rib-weaves for single cloth. •IBBBEEEBEi T GGO I B B B .B I IQS EEEEEaaE' julGQ JBGBUBGBGBUBG Fig. 712. SHEEBEBEBGGGa BB BBBI m. \<;rm BEEEEBBEi I'J jD BGBBB'G'BBi IG^^B BBBBEBEBCJGGa GBBBGBBBGaHB BHHGEBBBGGGn IBBBGHBGOaiBG 1 12 Fig. 713. SDG'^EEnBEEnBEEBEnninnBBEEEnEnnBB BM'l B B B B B B' " I ' B B B B BGB DL EEa:;aaaaaaaa aaaaaaaaaaaa ■tl 'B B B B B B. . r >' B B B B B BG 4DGGEEEEEEEEEBBEaCGEEBEEEBEEBEa p ■HmGBGBGBGBGBaBfaHPILJBGBGBGBLjBGB D DaGBBaBaBaaaGBBGaDBBaaBBBEBBBB A IBBaBGBGBaBaBGBaBBBBGBGBaBuBGBa ^ 1 16 •« Fig. 714. Weaves for rib fabrics forming their line (rib) effects in the direction of the warp ^re gener- ally produced by floating every other pick for 4 to 12 (or more) threads, and then raising these threads so floated for two, three or more warp-threads. The picks situated between them are interlaced either in plain or twill weaves. 143 For example, Fig. 712, The foundation weave is the common plain weave. Picks i and 3 (and picks of uneven number) interlace in the entire repeat (12 warp-threads) on this plain weave, while picks 2 and 4 (and picks of even numbers) technically known as " rib-picks" float below the first 8 warp-threads and over the next (last) 4 warp-threads. Fig. 713 illustrates a similar arrangement. In this weave the ^ ^ 4-harness twill is used for every pick of uneven number, while the picks of even numbers, the rib-picks, work the same as in the preceding example. Repeat: 12 warp-threads and 8 picks. I. Z. y Fig. 715. Fig. 714 illustrates an example in which every uneven numbered pick interlaces for 12 warp- threads on the common plain weave (floating below 3 warp-threads), while every even numbered pick (rib-pick) floats for 12 warp-threads on the back of the fabric and next forms the face-rib over 3 warp-threads. Diagram Fig. 715 represents the section cut of a fabric woven with weave Fig. 714. A careful examination of it "will show that warp-threads 4 to 1 5 inclusive must make interlacings with the filling which are not required by warp-threads I, 2 and 3. To get perfect work and sufficient production it is advisable to have double beams — one beam to contain the first 3 warp- threads, the other the remainder. Repeat: 15 warp-threads and 4 picks. Another division of rib-weaves is derived by omitting the special rib-pick, using instead of it, every pick to form partways (across the weave) rib-pick and partways regular weave. Every pick in rotation is arranged for " rib-pick " effect (floating on back) when the adjacent picks interlace on common weaving. This method of alternately exchanging every pick in certain places for "rib-pick" when its preceding and following picks are used for forming the weave (on the face of the fabric), is con- sumed until the repeat is derived. Fig. 716 represents such a weave, designed for 12 warp-threads and 4 picks repeat. The float of each pick (for " rib-pick ") represents 6 warp-threads as illustrated by □ type. For the remaining 6 warp-threads in the repeat of weave, every pick interlaces with the warp on the regular plain. n BBQBBQBDBaBg 1 6 7 13 Fig. 716. Fig. 717. Diagram Fig. 717 represents the section of weave Fig. 716. This method of using every pick partways as rib-pick (float on back) and partways to interlace with the warp on a weave, and having this arrangement alternated in each adjacent pick will, in addition to the rib-effect pro- duced, prove of great advantage in the manufacture of fancy trouserings, in which every other rib is required to appear in a different color. Using each pick (taken in rotation) with the alternate ex- changing of two colors, each alternate pick the same, will (using one color for warp over the en- tire width of the fabric) produce the above mentioned effect. Such stripe effects will be yet more prominent if the warp in color arranegment is used according to the filling forming the weave. 144 ^ " Weave Fig. 718 illustrates a rib-weave constructed on the same principle as ^dS^SmSdShSSS weave Fig. 716. The distinction between them is the difference in size of ribs iBDBaSSBgHaab forming the new weave. Warp-threads i to 8 form the large rib I while the smaller Fig. 718. rib II {j4 the size of I) is formed by warp-threads 9, 10, 1 1 and 12. Fig. 719 illustrates a rib-weave in which the 4-harness ^ ^will is used for the face-weave, every pick being used for one-half the repeat in width of weave for floating, thus forming ribs of equal size. Repeat of weave: 16 warp-threads, 8 picks. I II 3iqgQna'::aa'iB'~;H_'HH'~~B ■ ■■"■ amm^MU McmiiMm^M' m hb .■ :■ rn:;:^aaaaa3HaaaHaaat:c:Kc:Hn s s.": s S.-S : :.s f r 1 r,i r,i F > r 1 p-1 r.-^ r.i r.^ r.i r,i r,-\rtrf r.-t r?' r.'» '.'^ n rTl faeim' ~ jaHL :■_;■'.:;■■' ■. ■' ■■ iHO OBS' ■":h:jH7jHH .■-■. ■■ m. mc DDOi aHHCaHHHKHBHKnKHnHKna I II I II I II rm : :.■; : Zm*zzzm^i eaaaa::a::::a" '■■^na ''aaaaaaaaanrHHana ^ESQaaaaaaanan : ■■:■■■ m ■■ubQbgb ■■ ■■ C]:;::::aaaa ( )■■ ; ■■ aaaaaaan ■nciBBGLiBaaaa :;:;aaa:x:naaaaHaaaaHBa aaa:x:::::::BB ■■ a aaaaaaaaaa uHaaa □saaaaaaL.HGi [ ; ■■■■.■ ■■ijaoaoBHO [MB ■■ ::::::aaaaa ■■ ■■ : jaaaaaaaa rrmm 'iHMaaaa lishs ■■ ■.■■■■ ■L'HHnaa Ga:;:x::;:;:: ■■ uma E::u[;::c3aa ■■uijbhd aaaaaaaaai au Diii' aaaaaaaaaaaaaaaaaaaa L.I ■■ HBcxxiac^.'^aa ■ ■■ .Haaaaaaaa i ■■ ■■ :aaaa BSh: ■ ■ ■ ■■ ■_■..■■ ■ ■□ aaaaaaaa._.._.HH .l.bb aaaaaaaa'^i_,HBaaHB aaaaaaacuaaa Dmm.^M.^M' mm .■,.;■._;■■.. .hi^h ..■■ iBuuiB-jL^BaaaaaaaE] inuHB^^BHcaaaaaaa iBiacBBULjaaaa laaGcaaaaaaaaaaaaaaaaaaaa 1 8 9 16 1 8 9 16 1 » 9 12 14 5 L'4 Fig. 719. Fig. 720. Fig. 721. Fig. 722. The direction for running the twill in both ribs in weave Fig. 719 is the same, but which is differently arranged in weave Fig. 720. Fig. 720 has a similar repeat and the same weave (? ^ 4-harness twill) for face. The differ- ence is in the direction of the twill in the face-weave, which has a different direction arranged for each rib. Weave Fig. 721 illustrates a further step in figuring rib-weaves. In this figure rib I is inter- laced on its face-weave by the ^ 4-harness twill, and rib II with the common plain. Repeat of weave: 12 warp-threads and 8 picks; rib I calls for the first eight warp-threads ; rib II requires warp-threads 9, 10, II and 12. I II III IV 2"OBaDBBBC]GBaagBDBanBBBaDBngt]» □□GHaaaaaan- B3GBBB ~ m ' HaaaaaHaaa GGBBB ■ ■ aaaaaaaaaa [ BBB ■ B aaaac:a:x:::u BBB B B aaaaaaaaaa BB B B a ^laaaaaaaaaannnn B fl~~ BBB 'n .1 r 2 r^ r^ r ■ ; B B aaaa:: ;2aan:x3aa:;a iBBB B B i' :' "bBb'"'b" B aaaaaacxxx: \ 1 ) I j ) .. _ .^ij iHaaaaaaaaaJCJGLJHaaEaaHaaauLoa 1 I'J H 1'4 2» Fig. 723. luDaDDaBBDGBDBaaaBBDDB Bnr 'BBB'~ 'B ' 'BBB BBB' ' BBBQ ■G'". EEE EEE B . B . EEEIEEE GB.IGG ■'' 'I E .BBB BBBi I E : . BBBGBB GEEE EEE ' B ' B EEE " EEE . BGGGBG GB BBB BBB E E BBB'^iBBBG □EIjEEE B ' ' .B GL. E .BBB BBB' GEEE B. !. . B ..jE GE BaB'':MBB' '~E BB a a EEE GGBBB 'BBB' ' E D. a a EEE E ■BB BBB E E a. : a EEE [:ee ISaGBBB E GC a ; .BEE EEE lEECT EE ;E EEE E a EEE a El E a 1GB a 7GB EBB EGG EEGB GB EBH EGG EEGG BBB' B' ' EEE E[}E GBQ a E BBBG .EEE EEE r.^BuGG .:aa^G^^ EEE jBGOnBG E' .' BBBGBBaG IE a - ^-^aGGB BBB BBB GB B a EBB IBB BBB . .E' "O a . EEBGQ E . E ■■■ BBB E . jGB EEE .EEE i .a .'. .'I .a. , .BEE iBBQ BGGGB.GGBBBGBBBGGBGGGBGD l^GGC^GGHBBGBBBGG^QGGaGGBBBGBBBaa 1 16 ■L,. C3EE EEE. ■ ':i E :E ■ GEEE EEE ■ GB 'E '' aai EE EEE a E .:. BBB I :. EEE .a . I GE BBB BBI BE I' B'l i a GL BBB DGB. i. EEE E EEE EEE E E I EEC: EEE I Fig. 732. Weave Fig. 728, as previously mentioned, is a rib-weave in which every pick is used part- ways for " rib-pick," and the remaining part forming, by interlacing with the warp, the face- weave. Repeat: 13 warp-threads and 13 picks. Width of rib-float 6 warp-threads, exchanging with 7 warp-threads interlaced on plain weave. In weave Fig. 729 the same principle, that of using each pick for rib-float and face-pick, is observed. For face-weave a common-twill is used. Repeat: 19 warp-threads and 19 picks. Rib-float is 9 threads, and interlaces in warp for face = 10 threads. 146 Another method of producing rib-weaves is to combine regular double cloth at certain places with a single cloth. In such cases the fabric when forming double cloth will not be stitched together, as, for example, weave Fig. 730. Warp-threads I, 2, 3 and 4 form a common plain rib-weave or single cloth, while warp-threads 5 to 12 interlace (without binding) with the filling on the regular " double plain." Repeat of weave : 12 warp-threads and 4 picks. These rib-effects in double cloth can also be produced entirely by the binding of both single-cloth fabrics. It may be arranged to form ribs in the direction of the warp and effects in a diagonal direction as shown in Fig. 731. Repeat: 24 warp-threads and 24 picks. ■ represents the weave for regular double-plain and n shows the stitching of both fabrics in a diagonal direc- tion for the required rib. Another step for producing rib-effects in double cloth is taken by exchanging the face-cloth with the back, and the back with the face. This method of exchanging may be arranged to run warp-ways (vertical) or in a diagonal direction. For illustrating this method Fig. 732 has been designed. Repeat : 16 warp-threads and 16 picks. Fabrics produced by means of weaves designed on the regular double-cloth system, such as weaves Figs. 730, 731 and 732 and other similar weaves, do not have the rib-effect appear so prominent as in the case of the preceding weaves, all of which contain the peculiar pick known as rib-pick, rib-float, etc., and which assists, for the reasons given, to such a great extent in making the rib-effect prominent. THREE-PLY FABRICS. It will be readily understood by any one that has carefully studied the structure of two-ply fabrics that by the same method and principles employed in combining two single cloths into one fabric, known as two-ply or double cloth, three such single-cloth fabrics can also be combined into one fabric. In the construction of a 3-ply fabric a regular set of warps and filling for each of the three single cloths is required, thus dealijig zvith three systems of zuarp and three systems of filling in designing. To impart a more perfect understanding, the construction of a 3-ply fabric from its beginning to the finished weave is shown, and for this purpose three single-cloth fabrics inter- laced on the plain weave are selected. ODDannnDDaDDDDOD CDQUDDnDDDODaDDa lOBHDDaUDHDCDDnHDa DDaDDDaDDDDDDGDa nDDDDnCCJDDDDODaa JBBDnHDDDDCHnaaDa DnDnanDDnaDDDnQa DGCDnaDDDGDaDnaa ^BBDQDDDHDDDDDHDa DDDDUDQnDnnnDDaa jaanaDDDaDDDnGGn IBBDDBLJDDaDHDaDna :;DDDDnDDDDDDnDan jOCOBGDHDDBDDHDa □DnDHDDBnDBDCJBDD 1 4 7 10 Fig. 733. .nnDDDCDDDDCa llnDODHDaDDDHD DDDBDODDDHDG CCnaDDDDDaDC 8DHDDC inDHDDDG HGGGQCHanGGa DOanGGGGODGG SQGLjntaGGnGGEG □QGHnGnQGHaa GGGUGGGGGGGa 2at3DGaQGE3GGGQ HaGGanHaaaGG 2 6 8 11 Fig. 734. aGaaacBoaGGGB ISKSGKKB^SQHHS EIGni^HDSQQKHQ OJaHCGQGGHDG aGCH'^r":rr'Hr^a sQaBUGaaGBaGG HKl^. , ■; J aaaGGGGHGODG KIEL. I^ ' HaaaanHQaGGG HGGG^^H^.j^ijG 6GanGDBaaoGCB 6KIKlGKlKiaKHGHHH HGGKIHGKiaaHHa QDaHGGDGGHaa GGDHnnnnPHCG saGSGGGGGHDGa HEJ- ■ ■■;,■ pKiG DHaQDQnfflGGGG taGGGGGHagDCD iHJu , '. ,H"_jaDQ Fig. 735. Fig. 736. Fig. 733 illustrates the first set of the plain weave, or the weave for single cloth number one (h type). Warp and filling-threads used are numbered on the left side and the bottom of the design, and are indicated by a type. " One thread taken and two missed " in each system for the other two single cloths. Fig. 734 illustrates by H on warp-threads 2, 5, 8, 11 and on the corresponding picks, the interlacing of the single cloth number two (plain weave). In Fig. 735 the interlacing of the third or last single cloth is shown on warp threads 3,6,9, 12 and the same numbered picks (■ the type used). Next, raise for the picks of the lower single cloth (in the 3-ply structure) each warp- thread of the two upper cloths (face and interior cloths) ; also, raise the warp-threads of the face 147 cloth on the interior picks. This method of operation is illustrated (successively from Fig. 735) in weave Fig. 736 by m type. In this is shown : — Pick I, first pick of face cloth. " 2, " " interior cloth (face raised). " 3, " " back cloth (face and interior raised). " 4, second " face cloth. "5, " " interior cloth (face raised). " 6, " " backed cloth (face and interior raised). And thus the repeat : 6 warp-threads and 6 picks, allows 2 warp-threads and 2 picks for the structure of each fabric. Weave Fig. 736 thus produces three distinct single cloths resting in the loom after being woven one above the other, as shown in the sectional cut in diagram, Fig. yij. The next process is the combining of these three single cloths into one fabric, which is uBBDBBBBBDBHa tcchnically known as the " stitching." To effect this in a proper manner combine the WBIH-nnS'^™ backing-cloth to the interior cloth, and this in turn to its face. In weave Fig. 738 this method of "stitching" is clearly indicated. In this figure the a type illustrates the three single-cloth fabrics, equal to the weave illus- trated in Fig. 736 by four different characters of type. In Fig. 738 a illustrates the stitching of the interior cloth to the face-cloth, and the a the stitching of the back- ■anBflHBDGi«L] DDDHDnGDasan BBHBBaBBHBBD ■■DBaDBanana IBHnDaDBDDQDD 1 12 Fig. 738. cloth to the interior cloth. Fig. 739. Diagram Fig. 739 illustrates the section of a 3-ply fabric interlaced by means of the weave previously shown (Fig. 738). FOUR AND FIVE-PLY FABRICS. Sometimes it is desired to have produced fabrics constructed out of more than three single cloths. Weave Fig. 740 clearly illustrates the construction of a 4-ply fabric. The B type represents the interlacing of the four single cloths. 148 ■ on s on n on completes " four-ply. picks I and 9 illustrates the stitching of the second cloth to the face (or first) cloth, picks 2 and 10 represents the stitching of the third cloth to the second, picks 7 and 15 illustrates the stitching of the back cloth to third cloth, and which the stitchings of the four single-cloth fabrics into one, and technically classified as ■■DDBBBH^f^i T^!a3B□ ■DQaBBDi ' aa aaaamao t-ja BBBBBBiJ. i-MD ■■■DBBaaHHcJGUBaa ■■BDBDnaHBGDBaan SBDanaunaBBaon'^Ga ■BBaBBBBBBR""- - '"T ■■DDBBBOBBr' :; ■DDDBBaDBQL i^ aanaBDoancK ■■■BBBBQBBr BBBCBBODBB! I BBGDBOaaBBffl ' iHBGDaaaDBDDaDaac 1 11) aOBBMGBBBBBaBBflaBBBBB BBBaaBBBBBaBaOaBBBBD BBanDBBBaDBBaDDBBBHD ■aDDDBBDaaBDnnDBBaDD ODDnnBDDaDDnaDDBDDaD BHBHBBBflBninHHHiSBBBBD BMt f ■I m mi Bf ■ Bl BDaGDBHLH DnanaBDG! BBBBBHBIiii bbbbdbbH' bbbdobbdl ■bddobddl , ii^aaBBBGD iiaaBBGGa jaGBOGGG ■ "laaaaaaa iiaOBBBBB ■■^GDBBBBH '"■r WHBGG HBGGC IGGGG I. inasG' , I JG J J Fig. 740 ipBQGaGaCGLJB^ULjULJJJ.jG Fig. 741. Weave Fig. 741 shows the construction of a 5-ply fabric. B type represents the interlacing of the five single cloths. ■ type on picks i and 1 1 illustrates the stitching of cloths i and 2. B type on picks 2 and 12 illustrates the stitching of cloths 2 and 3. a type on picks 8 and 1 8 illustrates the stitching of cloths 3 and 4. H type on picks 9 and 19 illustrates the stitching of cloths 4 and 5. And thus closes the complete stitching of the four single-cloth fabrics into one, technically known as " five-ply." Pile Fabrics. Textiles classified as " pile " fabrics, form a separate sub-division of woven articles, and are characterized by the soft covering which generally overspreads and conceals, to a great extent, the interlacing of the warp and the filling. In this division of textiles, are to be found some of the grandest and most complicated products of the loom. In every pile fabric one series of threads is employed for producing the ground of the fabric, while a second forms the pile, so that two distinct systems of warp or of filling are always necessary in the manufacture of these fabrics. Technically, they are divided into pile fabrics in which the pile is produced by an extra filling, and pile fabrics in which the pile is produced by a separate warp in addition to the ground warp. The greatest variety of effects can be produced in the latter sub-division, and fabrics produced on this principle of weaving, find a very extensive use. Pile Fabrics Produced by Filling. Velveteens, Fustians, Corduroys. These fabrics require for their construction one kind of warp ; also, in most fabrics, one kind of filling. If one kind of filling is used the same is consequently employed for the " pile " picks and the "ground " or " foundation " picks of the pattern. If two kinds of filling are used, one kind is employed for the pile and the second kind produces the foundation-cloth. In preparing the design, the arrangement for the ground and pile picks, is either alternately one pick pile, one pick ground, or, two picks pile, one pick ground, or, three picks pile, one pick ground, four picks pile, one pick ground, etc. The arrangement indicated as the second method is the one most generally used. For the ground structure of the fabric, " the plain-weave," or, " the double plain, warp-ways," or, " the 3-harness twill," or, " 4-harness even-sided twill," are the ones most frequently used. In any of these cases the filling for the pile is floating over 3, 5, 7 or more warp-threads. The floats of the pile are afterwards cut open with a knife constructed especially for it. This method of cutting the pile for the fabrics is old, and dates back to the beginning of the fifteenth century. Cutting the Pile by Hand. This procedure is as follows : The fabric is stretched on the cutting table, which has (in most instances) a length of from 55 to 70 inches, and is fastened to it by means of clamps. Next, the cutter takes his knife for cutting the pile, which consists of a long steel bar formed into a very sharp knife at its end, and provided with a guide, consisting of a narrow piece of sheet-iron doubled and forming a groove, fitting on the knife ; the part of this piece of sheet-iron extending from the knife, is formed into a needle, of a length which is regulated by the length of the pile to be cut. The cutter inserts the needle into the row of floats which is nearest to the selvage, and pushes the knife (in direction of the warp) through the entire floats in the one direction ; the next row of floats is treated in the same manner, and this is continued until all the rows are cut. In the lower grades of these fabrics, only every other row of floats is cut, and consequently the thickness of the pile is reduced in proportion. Again, stripes of cut and uncut pile (regulated as to dimensions in width entirely at will) are produced. After cutting open the pile over the surface of the table, the clamps are opened and the next length (of 55 up to 70 inches) is fastened. This process is repeated until the entire piece has its pile cut. Every length of the table generally calls, in the lower qualities, for 500 to 600 runs, while the better grades require from 800 to 1200 runs in a single width of those fabrics. This (149) 150 cutting by hand is naturally a very slow and expensive job. (Flour-paste is often applied to the back of the fabric, so as to make the cutting of the pile easier and safer.) Of late years, machines have been invented to cut this pile and have proved successful to a certain extent. After cutting the pile and subsequently mending any imperfections, either produced during the process of weaving or cutting, the fabric is turned over for the dyeing and finishing. Designs for Weaving these Fabrics. As mentioned already, one warp is used both for interlacing the ground and binding the pile- etc, while the pile-filling filling. The ground-weave is generally either 53 or, 55! is floating 3, 5, 7 or more ends. or. lUB or, innr DIB ' DDII DUi: ■nnnannn DCiB : ' ^ ma : ■ f"' ■ ■ K :: K ■DL ■ aaBij^iJHQ IQDEDHDEID Fig. 742. ^ t'. B. K Fig. 743. Fig. 744- Fig. 742 represents a common weave used for these fabrics, and constructed with a texture of 4 warp-threads, 6 picks in one repeat of the pattern. ■ are the pile-picks, □ the ground-picks. Pile, I up, 3 down. Ground, " plain," two picks pile to alternate with one pick ground. Fig. 743 represents the sectional cut of the woven fabric before the pile is cut. Fig. 744 represents the corresponding section with the pile cut. The letters and numbers in both designs are identical. Pick A is the ground pick, i up, i down, to be exchanged in pick 4 (not represented in the drawing) by i down, i up. Picks B and Care the pile picks, which are duplicated in every repeat of the weave. Arrow 5 in Fig. 743, represents the place for the cutting of the pile for pick B. S, in Fig. 744, represents the pile as cut. Arrow ^\ in Fig 743, marks the place and direction for cutting the pile for pick C. 5\ in Fig. 744, represents the pile as cut. In Figs. 743 and 744 the ground pick is shown outlined, while Fig. 743 has the one pile pick B marked black, and the other pick C illustrated as shaded. Fig. 744 illustrates both pile picks, and equally represen- ted in black. This change in Fig. 743 has been made to simplify the construction of the fabric and for the benefit of the novice in designing. ■DDnannG ccmaaoma EECDt3HDa ■CDGBGQa □C«DLjl_nBD ■l ~<' ■ "I DOBOGLUa QHDnHHDa ■1 . . ■. _ 1 DnBOCDBD DDBHCDQH Fig. 745. ■nonaaBnoDon DnCBnOOPOBOG HCK! a'^S. HGHQ Bc '''■'! :':aa DH' ■ > maa DC3I :c;' .ni r.i :r.i'a 6BD I U f "'■ : !1 O . ■ ■ M i.J HDHuBUHljCJuHG BaaDDGBUCiDDa nnGBGnDnGBDG iGHQcaGnDnGaDa Fig. 746. BGannGBGnGGU EG c:::i hh □□□ BGi. !■ L 'L.B' 'l t. oa aCf BlJGUu: BUG BQEHDEBGEBGB BCUGuaBUQGDG DGGBGGGGnBGG CBBDEEGBGDEB BQaGDCB; rCCCj CGrBnDGGrBaG EH c-;c-:i "'c-:n iheg BL ■ ■ : : ■• ,G l; m ■ G E! :■;:: an ::□ :a mr I • ■ >' ■! '' ' 1 n _ ■ _ ' ■ ^ B .G GEEGEE^EE^EE 1 6 Fig. 747. G' BDcaaaacBnoDnaon aDuDBQGGaaaaBGGa GGBGGGGGGGBGGGGG n J , :r-riBGGGGGGGBa B E' E'/iEGEGBGEGBa B '■GGGBaaGQQGG Gi .L.L.BGGaaaGGBODa GGBOGGGGGGBGOGGG aGGGGGBOGGGGGGBa IDHGEGBGEGBDBGBDQ 1 8 Fig. 748. Fig. 745. — 4 warp- threads, 6 picks in i repeat, b equal pile-picks, b equal ground-picks. Pile is produced on i up, 3 down. Ground is produced on the common 4-harness rib-weave 2- Fig, 746 represents a weave executed on 6-harness and 6 picks repeat ; using for pile-filling (b) I up, and 5 down, while the ground-cloth is formed on the plain (b). Fig. 747 is designed for 6-harness, with 9 picks in one repeat ; b for pile-filling, b for ground- filling. Pile, I up, 5 down. Ground weave, 3-harness twill, warp up. 151 Fig. 748 represents a draft for a velveteen fabric, having 4 picks of pile-nlling to i ground- pick ; the pile-fiUing floating over 7 warp-threads. The ground is interlaced on plain. A careful examination of this draft will show the possibility of obtaining, by means of the latter, a fabric which will take up the filling easily and yet hold the pile very strongly to the ground-fabric ; a point which is of great advantage in producing a firrn and perfect fabric ; a velvet resisting the wear these fabrics are subjected to so frequently. This draft is designed for a high number of picks to one inch; therefore, if the weight should have to be lowered on account of a considerably less number of picks, this weave must be changed accordingly, so as to bind differ- ently. For example, take picks 7, 8, 9, 10, and move the raisers one thread toward the right hand. If a sufficient number of picks are not in a fabric to warrant the binding of the pile solidly KomamoaDaaaomDmni'jnnaa aaaaamoma'sni lauamaman DBa'iTJDGnB'^BnnaaarDB D ' ■ '■ ; I ' ^M' '■ i 'JG CU . ■ ■ ''..': iB ]■ E, ,:■; H ':■: a ,n u ja a a J □■■ '■ )■_" jB'Jbglju' jLia Ci ■ ■ rjLiJoaGBGBna DB J ^BGBJrinD'jaaB D UB. B_, aGGnaBQBGGDn aGUGGGJBaBaGDGaaQBGB lOHDHGHGaD^DEIGHGHaHDa Fig. 749. isHCjaannaHGcaaa DGGGBG IGGGBO CGBGG'GG BGGQ B' : 'B I '..JGn K cja ::c] aaGH L ii I '' iB . / . J IBQ r :■ B' T I Ii ji IBGGD B . .■ : 'BG IGGG 1 :nH iKH .aaGHH GGG. ,BG J JGQBa aGBGGGGGBGGG iBGaaaaBaGDDD Fig. 750. t'annaa' ;an"^an H'_jaa laa :x:' a DGL ^ . B ' B DGGB _,B nt3C!^Ha...aa^Ka DBGaGGGBGGDG iQaaaQBaaaaGB 1 Fig. 751. i2BaGGGGnaBannnnDa GGG IBGGGGGGQBGaa □HG laa'^GHaGGaaQG B 'M , '. jGGGa I I a ■ I J JBGGG □ :::} ::a ;■ jqhggh B ^ B ' i JGGGD U . fl .JBGGG nr :::: ::c; aaGGHQ BCG ^ . .-.BGJGGGaa GGGGBGJ' IGGGGBGOQ iQEiaGaaaGGtaHGCcaHa 1 6 Fig. 752. to the ground-cloth, by means of binding the former to the latter with one end, two ends up and separated by one thread down, must be used. In this manner weave Fig. 749 is executed, having five plush-picks to each ground-pick. Repeat: 10 warp-threads, and 12 picks. The float of the pile is over 7 threads, and each pile-pick is interlaced to the ground fabric by i up, i down, i up. All the pile-picks interweave under the same warp-threads (use every alternate warp-thread), while one of the two ground-picks intersects over the latter. This arrangement in the design allows the picks to go easy in the fabric and naturally adapts itself for high filling textures. The proportion of the pile-picks to the ground-picks is always regulated by the required closeness of the pile. Fig. 750 shows the design for a 3-harness {- j) twill-ground in connection with 3 pile-picks to I ground-pick. The design repeats with 6 warp-threads and 12 picks. Fig. 751 has 2 picks pile, i pick ground; the design repeating with 6 warp-threads and 9 picks. Designs Figs. 748, 749, 750 and 751 have pile-picks indicated by a and ground-picks indicated by q. fBGGGnGGfJGBGGGDDDnn G' ,. B : ":"^- iiDBGaana G BG .GGDGDBDD E.K a a_.a ianHGHGHD BGGGGG GGGBGGGGGGGG DGGBGGGGGGGGBaGDGa DGGGiJJGBGGGJGGGGGBGQ 1 GaaaaHQBDHDHaHGQaa 1 18 izBannDGnnaBnGGGGGDa DGGBaGGGGG'jGBf^^GGa QGGGGGBG: • . , S' BGQ HHGBaGHH'""-aa aa ;aaa BGGG' |nr ' " ■< . !i ion DGi B B aa DGl a B[JG BGaa_aa aa_aa_.aaGH ■GGGGGGGGBGL iGGGGGG DGaBGGGCDGGGBGGGaa naCDGGBGCJGGGGGGBGa IDaaGEQGHBGQHGHGaGB 1 9 oBDBcaGDDnnBDBnnaanaD GGGGGBGBHGinriGGGBI IBGG r,ai laGaGanO' a^ la^.a' H' a B' BGi I i ] ' B 'B' ' ' 1: i i"G I 'j: ' . B: ,B '^ . : ' ._B B J iegbgegegughgegbgege J 1 10 Fig. 753. Fig. 754. Fig. 755. Fig. 752 represents the float ^ ^ for the pile, (■) interlaced in a ground-fabric woven on the 4-harness even-sided twill (b). The arrangement of the pile towards the ground is 2 to i. Fig. 753 illustrates the plain ground in connection with the pile-floating, g. 3 picks pile to I pick ground; ■ for pile, a for ground, in design. Repeat of weave: 18 warp-threads, 8 picks. Fig. 754 shows one of the most frequently used designs on a repeat of 9 warp-threads and 12 picks. 3 pile-picks to i ground. ■ for pile, b for ground. Float of the pile- fill mg — — ^. 2 pile-picks to alternate with I ground-pick. Repeat of design : 10 threads in warp and 6 picks. ■ for pile, q for ground. Fig- 755 illustrates the plain ground with the pile - 152 Having given a complete idea of the construction of plain-faced fabrics, our attention is next directed to corduroys. Corduroys, These fabrics have stripes running the length of the stuff, but may also have them running ih a diagonal direction. Again, they may form figures of any description. If forming the regular cords, they may also be made to vary in widths. Weave Fig. 756. lo-harness and 6 picks r3P°R"S"^nRn^S''l^R°BSRBBB HDHrann nncH H in □naa repeat oi pattern, ijrouna-iaoric IS a piani-weave, lb ■ ■ ■ noa man- ■ ::-B , , Bjij • 1 1 B ■ ■ mayj'j laSaE^S^a^a^S^auSudua pile-float, ^—5 — i— 3. 2 pile-picks to I ground- ib"aa .^■a^:,^HH^"Eia^^5Qt;Gaa Fig. 756. pick. ■ for pile, a for ground. Fig. 757. Weave Fig. 757. 12-harness and 8 picks repeat of pattern. Ground-fabric, a double plain- weave, warp-ways, pile-float, - — g — - — ^. 3 picks pile to i pick ground. ■ for pile, q for ground. Chinchillas — Whitneys. (Plain and figured effects.) These fabrics are produced upon weaves similar to those shown in Figs. 570 to 572. The cut- ting of the pile filling is done automatically during the finishing process by the "gig," and the pile thus cut is raised by the " whipper." In the construction of these weaves, as well as in arranging the texture, little importance is given to a compact, solid interlacing of warp and filling, especially as the condition of a soft and spongy nature is always required in the finished fabric. In some of these fabrics only two kinds of filling are used, the ground and the pile filling, while others are made with three kinds of filling — the ground, the pile and the interior filling. For fabrics of a plain character (as to face) use weaves such as the 4-harness broken-twill, the 5 -harness satin, etc. i^illing for face, for the interlacing of the pile or face filling, and the same weave, arranged warp for face, for the ground filling. Such weaves have been previously explained and illustrated in Figs. 570, 571 and 572, page 109. Regular double-cloth weaves are also used, arranged : i end face, i end back, 2 ends repeat in warp ; i pick face, i pick back, I pick face, I pick interior, 4 picks in the repeat. For face-weave the 4-harness broken-twill is generally used (filling up). For back-weave the '- ^ or ?■ j twill. On the interior pick all the face-warp is raised, leaving the entire back- warp in the lower shed, so that this filling will rest the same as the wadding in the piqu6 fabric — between the face and back cloth of the fabric. The object of the interior filling is to increase the thickness of the fabric, and to cheapen the cost of manufacture by using a low-grade stock for it, which is neither visible on the face nor the back of the fabric. As previously mentioned, fabrics of this kind must have a soft spongy nature when finished ; so care must be exercised in not weaving them too wide in the loom, as but very little fulling will be required. For the stock for the face or pile filling, select a fine but short staple. After fulling and scouring, or only scouring, the fabric is gigged. The teasels cut the soft pile filling in the centre between the points of interlacing of the latter with the warp, and after running the fabric over the " whipper " before it passes to the dryer, the whipping process (beating) raises each and every single float of filling (fastened by one or more ends of warp to the fabric) and produces a velvet surface. After running the fabric in this condition over the shears, for the pur- pose of producing an even height of pile, it is put upon the chinchilla machine to have its velvet face rubbed, forming chinchilla rows in the direction of either the warp or the filling, or in a diagonal direction ; or forming round knobs known as " Ratine." The size of the chinchilla effects or the ratine effect is regulated by the height of the pile, and this by the shearing process. (Two- or three-ply spun face-filling is of more advantage to use than the equivalent size in one- thread compound.) 153 Fancy or Figured Chinchillas. These fabrics are produced by arranging the floats of the pile-filling so as to form figures (designs) in the way that the above mentioned pile-filling is fastened to the ground cloth, after having its floats cut. To illustrate this subject designs Figs. 758, 759, 760, 761, 762, 763, 764, and 765 are given. DDi annn««B«nnnn — r::!aQGBBBBm DL ;■■■■. ■■: I ■■■jJ I .11 ■ill ■■■ Fig. 758. snanBDHDHDHDHaHnta ■■■■GnnnBHBB jdqg n'^a'"n"a"'a ^a^a^an I ■■■■ ■■■■ i L :: a ,a. .a a, .a a .a ■■'... _:i .!.]■■■■;. iLi..j'.jHa HUaClBLiHi". JC3GHUHua J lODGaBBBaGaaDIBBB Fig. 759. BBBBBBGQGCGGBBBBBBDnaGaa DGGBBBBBBGGGr JGGBBBBBBGGG BBB J ;]GG:r:BBBBBB '.'\ ::'■"■ BBB I '^B■■■■■ ■■■■■■ -•BBBBBB .^-. . . BBBBBB: . GGGBBBBBBLi. iiji i> jLjaaBBBBGi-ilJ BaaGGGGGGaBBaaBGGLi'. I 'IJBBB laGGUGDBBBBBBGGGGGGBBBBBB 1 11! Fig. 760. HnananaaanaaaGaaaGaaa" aaaaaa j :j i :g ,aaaaaa ' j "r Ha ;aaa.jaaa aaa aaa ,aai Ljaaa jaaa :aa:3 aa: aai . ! )'1 ] laaaaaa J aaa aaa .•jaaa a:3a ^aaa laaa a.::; aaa aaaG ^a aaa ::aa ::::r. aa:: aaa laa aa a la liaa? a a aai aa ■ai ■-r „ ai .a:;a laai ■ a : II : aaa aaa □aa ^aaai ■aaa' laa :aa : ■aa ai laaa aaa' ■aaaa 1 I'j Fig. 761. Fig. 758 illustrates the face-weave for Fig. 759, the complete weave. Repeat : 8-harness and 8-picks. ■ are pile-picks, a are ground-picks. Fig. 760 illustrates the face-weave for Fig. 761, the complete weave. Repeat: 12-harness and 8 picks. ■ are pile-picks, t3 are ground-picks. Fig. 762. Repeat : 8 warp-threads and 8 picks. Fig- 763. Repeat: 12 warp-threads and 36 picks. Fig, 764. Repeat: 12 warp-threads and 8 picks. Figs. 762, y6^ and 764 are face-weaves for fancy chinchillas, to be arranged either similar to those given in Figs. 758 to 761 or for regular double cloth, using face and back-warp with pile- zrMmmm r '^ bbbb~"j BBBBGGGCaaaaG^GG GG/juaaaa aaaa nnHBaBG' aaaa u aa '.aaaa aa aaaa aaaa aaaa aaaa ij aa J . laaa . bb i::aaaa .. < . aaaa.jG ■aaa ': aaaa ; ' n IGGG :BaBB.. 1 6 BBBB jG I J'^.GGBB JGL3BBBB Fig. 762. Guaaaaaa aa . , M u... I Baaai BBBB^iL^Gu aOBBBBBB BBGiGG 'II ~. ■ DGGDaaaai laaGGGOGGBBBB aaaBBBGGi. iggg iL"J'_jl JG :bbbb IBBGG J' ''JBB I ' IGD aaaa laana ji Ck laaaaaa aaaa aai D aaaaaa JG IG Di DL jGG aaaa I : I JG IJi GGBBaaaa .. BBBBlXjGG'. II IBI GDGGBBBBBB' j: BB'Ji lUGGGBBBI GGBBBaaaG.il BBBB G ~ 'Bl OLJG: '.aaaaaa Baaaaa ; . : .. Ql I .1 aaaa DGGaGGBaaaaa IQaBBBBBBGGGLj. aaaaaaL aaa . JQ BB a>JG ■BB IGG BB ■ jG JG ■BB BB ■ JG 'J'.J IGGGG Fig. 763. nnnnanBBBBBB^G' aaaa ; .. : aaaai aaaaaa . . BBGuGGuuBBaaaa GGBBBBBBLii .i'.Ji-.G'. II BBBB . aaaai G' I' 'I laaaaaat < aaaaaa . . aai 8G . . ]aaaaaa BBBB : . . : aaaai GGGGBBBBBfl : » aBGaaCGi.JBBBBBB GGBBBBBB ^ ■ M BBBBGGGLI'. JI BBaBI_ aGGGBBBBBBGGGGGGU. 1 BBBBBBGGGGGGBBBBBI 1:: aaaaaa ■a aaaa j I .Ljaaaa BBGGDG iL.iijGGaa BBBBl.jG G_:BBBB IBCGGG GgUGGGBB GZJBGD IDCDGOG Fig. 764. SBBBBBGGDDBBa BBGGGGBBI .jaaB BBGBaaaa jgigq GGGBB laBBaan BBBBB ] . .BBG BB'GGGGBBuBBB BBGBBBBBGGGa igGGBBLjBBBBBa 1 12 Fig. 765. filling interior and backing. Fig. 765 illustrates a specimen of the chinchilla weave, specially adapted for producing chinchilla rows lengthways in the fabric. CHENILLE. Chenille is a fringed thread and is used either for filling in such fabrics as curtains and rugs, or it is used in its first woven state for ornaments such as trimmings, fringes, etc., for ladies' wear as well as for decorating purposes. (In fringe-weaving the chenille part of the fabric is some- times produced at the same time that the heading of the fabric is woven. We will later on describe this separate method.) 154 When chenuie is used as filling, its fibres extend forward in every direction through the perforations of the fabric, producing a fur-like surface on the goods it is applied to. As a general rule for these fabrics, the chenille forms the main part of the fabric. The remaining part, if warp, or warp and filling, is only used for holding the fabric in its position. There are two methods commonly used in weaving this chenille. 1st. Using 4 warp-threads on common plain weave. 2d. Using 2 or 3 warp-threads on the gauze weave. A short sketch of each method is given. Chenille Produced by Usitig ^ Warp-threads on Plain Weave. Procure a set of harness using a plain weave (2, 4, 6 or more shafts). In this draw the warp the same as in regular cloth. By drawing the warp in the reed always put the four warp ends, which have to work together, in one dent, leaving as many dents empty as required, accord- ing to the size of the chenille. The filling (which is introduced in the ordinary manner) is bound in plain at the places where the four warp-threads in one dent are situated (see I, II, III in Fig. 766) and floated at the distances where no warp-threads are. After weaving the fabric in this manner it is cut in the direction of the arrows .S" and S^. Two methods are employed for cutting chenille. It is done either on the loom during the weaving operation, or after the fabric leaves the loom. I. *. s. •*. ». -i. \ 't. Fig. 766. I, z. 3 t^ Every set of 4 warp-threads forms one strip of chenille, hence as many sets as are used over the width of the fabric, so many strips are obtained. In figure fabrics where each strip of chenille is required to be of a different arrangement of colors for forming the design, the number of sets used in weaving the chenille indicates the number of fabrics to be set afterwards in the following process. For example : in weaving chenille for dados for turcoman curtains, suppose 140 sets of strips are woven at the weaving of the chenille, and every pick of the dado is to have a different arrangement of colors, the result will give us 70 pairs of curtains to be set. After cutting the chenille into strips they are twisted, every 4 threads of warp being thus formed into one, with the filling-threads extending from it in every direction, and giving it the appearance of a fringed thread. This twisting tends to hold the interwoven filling firmly in the warp-threads, and hence, adds strength to the fabric. Chenille Produced by Using j Warp-threads. The process of manufacture here is the same as in chenille made out of 4 warp-threads on the common plain weave. The only difference consists in employing but 3 warp-threads for the centre of every part of the chenille strips, and interweaving the filling in gauze instead of plain. This process, which certainly will be found more expensive than the first, will in return, give a great deal more strength to the fabric by holding the filling yet more firmly in the warp, and 155 making the cutting easier and safer. The process of twisting the chenille strips after cutting, as observed in the former fabric, will be the same in this case. (Chenille produced with 2 warp- threads is explained later in a special chapter on Gauze Weaving.) Arrangement of Design for Weaving Figured Chenille. After the design is finished on the squared paper, it is cut into strips in the direction of the filling, as every line has to be woven separately for the chenille strips. To explain this process, Figs. 'j6y and yG^ are designed. Fig. yGy illustrates the complete design (border in four colors). Fig. 768 represents one-half repeat of the design, cut into strips in the direction of the filling. asnaaannnanaGnGGaaaanoaaaGnaQGnannaacDDaaa '^'^■■■■■■■flBB ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ ' ' ;_j .J J fJGU ■Goa IBGG laGG 1 3 3a ■ ■ 1G m 1 ■■■ ') 'i^ :'J'D . i* m laaajaaaa !■■«■ ^.: !■■■■-- ■■ 'o: ::3 31' : 3»nGGGGBBBGG[J .JG J JG J asnOGGH flflaBGGDD ;]G JGi SSHnGGDaGDGDGaBGtlGB 27GGGGBaDGHGGGGGGB 1 SSDGGBiiHBBBB "JGGGGB ' a-'GnGGBSIBBBGGJGG':) .:■ 240QGGBa^aBGGGG T JBS 23aGGDGBBBJaGGG\"?B ; ' ■ aaOGGGGG ] IGGGGG^BBBll 2inaaaaaBG3G iGG.r; , . ■ 20GGaGGB:ia"nGTG "'Bll iB' ISBBGOB'-iC'^qB ' jBB«B']| : ISBBGBilHaaiJl .B:" ; 1.2B , nBBGGfl4C':-4BGJBaBa JiB J JG icQQGaaBfiBa j jgg ibbbj. loGGGGaaBG' J :iGGG JG IGGi 14QaQaGG n.lGGGHGB — 13GGGGGBBBGG3GGGB 12DG' JGBa*!30GG .IGGGBS :: : :BBBB i "GGGIlBlBflBlGGGGG-JB i iB , i > IB JB ioaajBiiB«B5iBiGGG:iB"3=a:-3 3;-}^bbb:ij SQGGDBGGGBDG ]G;iGBiai-11«BTJGGlGGB i ":: 8BGGGG1GJGG JGBGGGBfliiBBaBniiBBBGjB iBB i IGGGGB^'^IBG IGIG .-GGBBGBflBGGGBiGGBJB JBB' OGGGGGBBBG " J GGGG GG JG J 31 nBBGGGBGGGBBGGGGi 6GGGGJG 1GGGGGJGGGG3 GGGGGaGGGnGGGGGGGi 4DGGJG iG TT 1 mi-n^nGn^ 'ggggggggogggg IG ] J_iGG GGGG "IGGG GGGG IDDDaDuu-. _j j_^^_ jGGGuGGGGGg_ , J JG Fig. 767. Point-lSBBDBCQnQBaGMBHBaGDBDDBQaBCaBQBGaBaaaBSB naaacaBQBBaGaaaaBaGGGDGaaaaBBBaaaGGoaaaaB icDGDDGaeaGGGGGGBBaDBaaaGaaBBBaaGaaaaGaaaa WaaDGaCBDDQDaaDDaCDBBBGCBBBHBBBGGBBBOaaaa MaDaDDGCGGCaDaCBBBBBBBGaaGaBGaGaaBBBBBBBD iSDGODnBBBaDaaDGBBBBBBBGnaBDDCBDDDBBBBBBBa I^GQGGBQBBBCCDDaaBBBQBBBBBBaanaBBBBaQBBBGD llGaaCaBaBaDDacaDDBBBaBBBHBaBQBBBBBBBBBCaG lOGCaBBBBBBBGGGGGBHBaOQBBBBOnGBBaBQBQBBBDa sanDGanDaaaQGaacaBEBBBBBaaaaDGDaBBBBBBBaa fBaaaaQacDaDaBnGCBBBBaBaGaBBaGCBBBBBBBGaa TGDaGaBBBBGDaDCnaQBBDaBBDDDaaaGaBBGBBGGaa caDaaGaaaaDaaanaGDnaaaaannaaGGQaaaaaGGcaa sDDCDGcnanDaGDGaacaDQaannDGDGaGDDGaGaaaaa 4nnGnaannanDnaaaaGDanaaaaaaaDaaaDaDaanDaa saBaaaaaBBBaBaaBBBBBBBBaBBBBBBBBBaaaaBaaa SBGaGBGBDBGBaBGBGBGBGBGBGBGBGaGBGBGBGBGBa iDDDaaaDGaaaaDQDCDCGQGDaGaaaGGDaDGDGGDaaa Fig. 768. that 35 picks are required for one repeat. The design I to 18 and back again. Indicating the colors by type a for maroon ; ■ for blue-green, we have : In examining Fig. 767 it is found itself represents a " point figure," picks as follows : a for straw color ; m for red Strip I. — All straw color. " 2. — One pick straw, one pick blue-green, 20 times for one repeat " 3. — All blue-green. " 4 and 5. — All straw color. " 6. — 5 picks, straw. 3 13 2 3 I 3 2 8 blue-green. straw. blue-green. straw. blue-green. straw. blue-green. straw. Strip 7. — 4 picks, straw. I blue-green 3 red. I blue-green 8 straw. 2 blue-green I straw. 7 cont'd. — I pick, blue-green. Strip 8.— I red. I blue-green. 3 straw. I blue-green 3 straw. I blue-green I red. I blue-green I straw. 2 blue-green 4 straw. I pick. blue-green II (( straw. I i( blue-green 3 « straw. 156 8 cont'd. — I pick, blue-green. 2 " red. 2 " blue-green, I " red. 1 " blue-green. 2 " straw. 3 " blue-green. 2 " straw. I " blue-green. 1 " red. 2 " blue-green. 2 " red. I " blue-green. 3 " straw. Strip g. — 4 picks, straw. I " blue-green. 3 " straw. I " blue-green. 6 " straw. I " blue-green. I " red. I " maroon. 4 " red. I " blue-green. 7 " straw. I " blue-green. 4 " red. I " maroon. I " red. 1 " blue-green. 2 " straw. Strip lo. — 3 picks, straw. I " blue-green. I " red. I " blue-green. I " red. I " blue-green. I " red. I " blue-green. 5 " straw. 1 " blue-green. 2 " red. I " maroon. I " red. I " maroon. lo cont'd. — 3 picks, straw. 3 " blue-green. I " red. I " maroon. I " red. 1 " maroon. 2 " red. 1 " blue-green. 2 " straw. Strip 1 1. — 4 picks, straw. I u blue-green. I a red. I t( blue-green. I u red. I a blue-green. 7 u straw. I u blue-green. 2 it red. I it blue-green. 4 It red. I tt blue-green. I a straw. I it blue-green. I a straw. I i( blue-green. 4 a red. I i( blue-green. 2 it red. I tt blue-green. 3 it straw. Strip 12. — 4 picks, straw. I " blue-green. I red. 3 " blue-green. I (1 maroon. I tt red. I tt maroon. I « blue-green. 6 ' It straw. 2 n blue-green I tt red. I 9 A 1 \ M 1 y ~1H ' -1 •■ 1 < m i--m 11 1 i ■: .1: in 1 1 1 '■ ! !■' 1 '1 } '] n ! 1 !■ : ')■ 1' II /I ■ 1 '■ 1 1 1 1: M 1 1 ;]■ ■ ; * 1 1* i' .1 1' 1; ■ 1: :■ 1 .1 1 1 IB J J; j«u.JBu: .-;i l:^!^"' I B ~B ''H lanBOBDIglGEIDKiniEiaKIDKIDSGSDKIDHDBnKinHulSlDgg ■^iH 'H -IGBaHDKDKir BinKJKiaKIGKIDKinKinHniaDEIDKDHgSDg 1H B liflCHnHDKiaEDKlGISiaSiaKICHGBnSGKlOHaKGKiagggg -IB IB tGHGfar IKCKOHDBGKGEiaSaKGHDSagiaKDKIGKIDggg I ' nflGHaQGaGDQaacannGaDQaGnaaaGGDDaaDqDg ^a B -iGHGHai raaBDnaHGHnaaHGHaHgHgEGHgHDHGHn B B iuaa!~'GHnt3DHDHaHGHGHaHGHaHaEgHQHannHgH 9 a ^iGBaaDGGanGGnGaaacaaGQagaGgggqaL UGcaq a ^B ni»sGBDnnnGnL ici nnGnGrcnnGnGGaaaaaGGGaaGa _ • ' ■ vnNr-'nnhdnnnnrnnKGHnn'-^nriHnnGHGHGHGHUHGC a IB I 1 ■ n n H n. :: cr n :■: :: n :: 'Hat3GaaHGC3 "B i : i ' ■• i 'GGDGIDCnaa a B " : 1 : ;:"■: ; "■ "!.:"i-:GSGHa ^B 'H ' i 1 '''^ '■ :b :B . I I 1 .' ; .''-i : ■ IB K : ■ . I ' . ■ ; ■ a H :; c; :: :: :: :■: a a :; :; c; n :: ' . I. jQ' iGi iC iriGGGGGLIi !GHi.:aGaiMK ■ iBGHG [■'HEGS '""GG C-: n an [■J a nua a a CO urn. ,BiJG; JBUiJBGGB^i «, JJH Jb J,J" i.J ^"a^u'-U l^.^'C ,H, ".anEJ'- .HDGGHuaGHGHLJCgH* laHBHGBaaBGaHaGaauBaBHuHaaBaaoaaaQGaaGGaGaDGGaDaaGQaaaGGDaaaD b b c ac ac ac ac bcb c Fig. 773. Fig. 773 represents the weave for a chenille fringe. A is the heading of the fabric and B the chenille part. The width of heading in fabric to be ^/^ inch ; the width of chenille fringe to be from I to 3 inches. Three ends of 2-ply loose twisted zephyrs to be used for one end in the 161 chenille fringe. Two ends of 2-ply 50s cotton used in ground of heading for one end. Two ends of 2-ply zephyr used for one end in figure of heading. Specimen Dressing of Heading for Present Example : 10 ends of 2-ply 50s It. blue cotton for 5 ends (heddles). 1 " Gold tinsel 2 " 2-ply 50s It. blue cotton " 1 " Gold tinsel 6 " 2-ply 50s It. blue cotton " 2 " 2-ply It. blue zephyrs " 4 " 2-ply 50s It. blue cotton " 2 " 2-ply It. blue zephyrs " 6 " 2-ply It. blue cotton 1 " Gold tinsel 2 " 2-ply It. blue cotton " I " Gold tinsel 10 " 2-ply It. blue cotton " 60 ends. end. 3 times over = 9 5 for 32 heddles. Dressing for Fringe. (Chenille part.) 9 ends Zephyrs. Blue shade No. i for 3 heddles. 9 II 12 « 12 (( 9 (< 9 « 12 t< 12 (< 12 u Ye ow 96 ends Zephyrs 2 " 3 3 " 4 4 " 4 I " 3 2 " 3 3 " 4 4 " 4 4 for 32 heddles The n type in the chenille part of the weave indicates the weave for the cotton cord required to be interwoven for the filling. Hence every filling line in the design containing this type will require 2 separate picks : i pick for the heading ; h, ■, and ■ up, □ and a down ; I pick for the chenille ; a up, a, ■, ■ and □ down. The process of weaving is clearly indicated in the drawing Fig. 774. In weave. Fig. 773, and fabric sketch, Fig. 774, the letters used for indicating the different systems of threads correspond. c stands for 2 ends of 2-ply 50s light blue cotton (heading). b stands for I end of gold tinsel (heading). a stands for 2 ends of 2-ply light blue zephyrs (heading) as used in the different arrangement of colors mentioned before. The arrows in both (weave and sketch) are also on corresponding places. Fig. 775 represents the finished fabric sample. For the filling for heading, 4 ends of 2-ply light blue worsted are used. For filling for the centre of chenille strip and interweaving in the heading, use 2-ply 60s black cotton. 162 Weaves Fig. 776 and yjj are two additional specimen designs for chenille fringe. After the chenille fringe is woven and the heavy cord extracted, the fringe is submitted to a steaming, which process will put the twist into it as required, for a double purpose. A for general appearance. B for strength, so as to resist a pulling out of threads in the chenille part. Lately this method of producing chenille fringe (in certain fancy effects) has been patented for weaving a double set of fabrics at the same time, thus separately weaving two fillings with two sets of heading warps, at intervals, alternately interweaving the above mentioned fillings with a set of body-warps, and interlacing a tem- porary filling with these body-warps in alternation with said heading-fill- ings, and then cutting the body of the fabric so produced between the insertions of heading-fillings and re- moving the temporary filling. In diagram Fig. 778 is illustrated such a fabric, having the temporary filling both interlaced and liberated. The body of the fabric is cut and two distinct fringes are produced, each fringe having a series of spaces, and each space of one fringe being slightly wider than the width of two pendants; the spaces and pendants alternating in the fringe. A represents two fringes consist- ing of the heads a a and pendants b b. The spaces cc between each two pairs being slightly wider than the width of a pair. The fabric of which the fringes are formed consists of a body, B, and two heads, a a. In weaving the fringe fabric a cord d is thrown into the body at inter- vals as temporary weft, after the pre- viously explained method of forming "single set" chenille-fringe fabrics. Two shuttles are employed for the heads a a, one for each head. The threads e from the two shuttles for the heads are separately woven with the warps a' a\ employed for these heads, thus producing two heads, and threads e are alternately and at intervals shot past the heads into and across the body, and woven with the warps d' thereof, so as to bind the portions of the body, which afterward constitute the axes or cores of the pendants of the fringe, it being noticed that the two 163 woven heads are alternately connected with the body by such threads e as are shot into the body at intervals. The cord d is woven only with the warps d of the body, and is introduced therein alternately with the filling e, as shown. When the fabric is finished, the body is cut through between the cords d, midway between the fillings e, as usual in making chenille fringe, thus Fig. 775. severing the pendants, and the temporary filling is removed. It will be seen that by so doing said pendants are separated into two series, one series being connected with one head and the other series with the other head, and the pendants of one series having left among them spaces corresponding with the pendants of the other series. These spaces may be equal A B B » » ■ IKiaglGKDKiniElOSDHaKlQSl » » » ;,jDJGDnDDaaDCDaGnca H Bs H :; :■; :: n ,h a ,a-ja.^a ..HDHnsnBDtanacHDcanHa E5 H H jijuu'jJLiGUijanaaaGaDaaaGDnnDaaa :: :: :3 :: □□3nHDE3aaac3nHnaaaaHaHnaDHac3aa ■rnrj'! Fi ,. - ^.-jjnaBaDCRj-,^.: -..-- - innanDaaDaDDnuaaDDaDDDnijaanaa DSi .'. >* , I -'-j ij.jjGBOQCJBnDGacG^iiLj ,.:. i ; j ■"aaacDDnnGnanaaDnnnannaanD ■iM-i. ' s m-:B ii jDBnaoBaGGHanDHGaciH.j' ii -i s 'H bi : k a a a'n CGHaHGHaaanGHGtaaHaQGHGHaHG Dm n B ;b H i rianniinGBH«nBS«aGBr.^ !'.■ b b -h ■ jaGaaGaGnGcaaaanaGGaaanGGa mem i 'B Bi-iH ei r„ r , ■-;■ .■:'.■: ■;,■/: 1 -i h-,h b r, :: :: a :: :; ci .aGHcaaHGHGHnH' 'H." nr^a ,□ oa DB f :: B B B -r ' ■'■■'■■'■■ :■ / = .• ' 'B B « ! JGQanaGGDan'^. ""J m^-'i :8 B ^B ■■■■ Mi ;■■'■■:■' B ^B B v^HosaKaKat:" .: . ■; i CM .;-: ., '-;: i* ■■■:■■■■:■■' I i ii <,'n^^..j.L.i ■ "-^^^-iG^a^amrr^-.jii] • ■ '"i M • : I '!--<■■■■■■■■■■: , ! .KuHLMGt:' , sasaKGHasD;-. 1 B .B B ^' .■■■■■■-■■:■ ■ B B B •ylHGKGKr.:' ;GKlGKGBaiaGK ■) « B ■ !■' ■' ■ :■ m m m « ■ ■ m m b: B B B ■ ■ m ■ ■ m mCi-i :B :b H JGS'.jGGf am ; BGGGi 4U to one, two, or more pendants, according as the set of threads e are thrown across the body from the two heads. Another method of weaving a double set of chenille fringes at once, and with their pendants attached, is illustrated in Figs. 779 and 780. This method of operation (patented by S. Steinecke) consists in interweaving two separate sets of heading-warps and one series ol ordinary body- 164 warps with a single filling or series of picks, and also a series of temporary picks of another heavier size filling, which is removed in like manner to that of the temporary filling inserted in fabrics previously illustrated. Fig. 779 represents a plan of the construction of the fabric, showing the pendants in pairs on the opposite headings, some of the fabric being cut so as to form the pendants (as they appear when finished) in pairs on the lower part of the diagram. A ^n^n ■■aaaBnan 2fSB 'H ■ ■'"< C^P^ !■' am^Mi m' f . » S ■ ■ra- -IB' ')■-=!■' '■ -' -'B M ' Hi ' DW' )' i ■ ' m ■ :■ SI- H -i .-;■ ■DH j :B H : on L ! ■ m ■ ■ i ,H- iW 1 :: ■ '•m m ■ ■' ■ □B' ; ' m ■ ■' !■ 1 i •&■ H ' ' :■ ■CiW :■ DH' I I mj: 1 • * am ! I ■!■;'.! t mamrm DBONCi ■□■I IBi □B" r» Bi:,"i| ■-;■ DB. > ■ I, I . a iH ■ ' 'I ; B' i' Hi II I W 1» .'iS9 I • •• S^ ■■ B' ■ BS S I ' i I B B laaaaaaHauBaHaaaBBai Eani5lDKlDE10KDHGKIDKlDKDKDHnKinKiriKnK^®aKa I'JBOlGKlCKnKaKGSCianKl'JKCiEnKDBCKIJSaBDia ■t«riHDEJ!"JKQSSDBDKiaH!"KGKDBGK!aKiaKnKiaHngin JHDBDKGKILjSGKGKIClKlDKDKLJKIGKaSDKiaSDKIDKI rtiJI CGDOG' ;i xrjGaGGGGaaDGnGcnL:aGGCiDan lWE3GHCHQHGHaHGHDHnC3GHGHGHnEJGHrjHa --•' □HnHGaaHGHGEGaGHGHGHGHGHGHL.HaH I iGi:iaGGOaQr;GGGG[' GG'^nGGGGGGi "OGGGG" IGGGGGGGGGGrjiG'^ni ^^GGGGf 'i '• "IGG' t ':G^ ]GG !H'~n 'HiKi IE' iH HrK, U,. Bi H H Q £3 )QG u H H' a K K n H n n a a a ugh IJ'SGKIGBaBGKGt: raGBQKDEJGKC Ef r wnginKntxir-iM""!-. c JGG ::■' «n :-j iHGia "■J ISD ;-,i.iGai3 'GG H iQG B BGH GGGGG_ ' ■ > :K H Bl "B B B B"'B 'B iB' B , :- .. B G' B. B -B. ,Bi":BGHi B B t r-i H ■' IQGGGI IGGG! J jlJGGGGL'l IGGL -liJWnG^-rJGQGGGGDCGGGGGDGafiaaGGGGaGGG" :«:-HGIGHnHGHaaaEaBaHQBGKGHGQr^BaaGaG iGBLjBGaaaHGHriHGHGaGHGKaHQHaEGHGQaaGH GaHDaauDnaanGDaGGaGDnDQDacaaaGaaGaG Fig. 777. Diagram Fig. 780 shows the method of interlacing binder filling which forms the cores of the pendants. A A represent two sets of heading-warps at the sides of the usual body-warps, B for form- ing the pile-threads of the chenille. The warps A and B are interwoven with the filling C, which may consist of a single thread or series of threads, all in the same shuttle. B Fig. 77S. Fig. 779. The filling is interlaced in the following manner: The filling is interwoven with the left-hand heading-warps A, then, with the body-warps B, up to the inner edge of the right-hand heading- warp A but not with the .said right-hand heading-warp A; then the intermediate or filling weft, Z>, which is to be removed later on, is interwoven with the body-warps B, but not with the headings. After three, four, or more courses of the intermediate weft, Z), have been formed, the weft-thread C 165 is again interwoven with the body-warps B and one of the heading-warps ; but in this case the weft C is interwoven with the right-hand heading-warp A, and with the body-warps up to the inner edge of the left-hand heading-warp y^.but not with said left-hand heading-warp ^,and so on alternately, so that, as shown in Fig. 779, the weft-thread C is interwoven at regular intervals with the body- warps, and is alternately interwoven with the left and right-hand heading-warps A. The warps B are then cut parallel with the wefts C, midway between them, and the temporary wefts D are re- moved, and thereby two chenille fringes are formed, one on each heading A, the pendants being connected alternately with the opposite headings, as shown. As shown in Fig. 779, the filling can be interwoven in such a manner that in pairs they are alternately connected with the opposite headings, or the first, second and third picks may be interwoven with the right-hand heading, and the next, first, second and third picks to the opposite heading, and so on. In all cases the permanent filling will ordinarily be interwoven with the heading-warps, as shown in Fig. 780, in which case the filling must be severed at the points a at both headings. The filling interwoven with the headings, and extending across the warps, form the cores of the chenille pendants. B Fig. 780. Fig. 7S1. In Fig. 781, the previously explained method of weaving a double set of chenille fringes with their pendants attached, is shown as applied to the production of pendants which are shaped so as to have a varying-diameter. A A are the heading- warps; B, the body-warps between the two sets of heading-warps. C C filling interwoven with the heading and body warps and forming cores or centres of the pendants E. The core C oi each pendant of the weft is interwoven with one heading warp only, and, as shown in the drawing, the cores of the chenille pendants are interwoven alternately with the opposite headings. If desired, one, two, or three cores may be interwoven with one heading, and the next one, two, or three cores with the opposite heading, and the cores may be grouped on the opposite headings in any suitable manner. Temporary filling M is interwoven with the body-warps between the picks C to form the chenille fabric. Then the body- warps are cut with suitable dies, knives or scissors, between the permanent picks to produce shaped pendants — that is, pendants in which the diameters of the pile-threads vary at different points through their entire length. 1 m PILE FABRICS IN WHICH THE PILE IS PRODUCED BY A SEPARATE WARP IN ADDITION TO THE GROUND WARP. As indicated, two kinds of warps are necessary to the production of these fabrics. One warp, the " ground-warp," with the fiUing, produces the ground or body of the fabric, while a .second warp, known as the " pile-warp," produces the face. In any pile fabric, from the common velvet to the most complicated Astrakan cloth, Brussels, Wilton or tapestry carpet, the method of entwining the ground structure is of a very simple character (either common plain, basket, or a twill of short repeat), while the interlacing of the pile-warp into the ground cloth is of a more complicated nature. In all warp-pile fabrics two methods of producing the pile are essential. Either the pile is left uncut, which is techni- cally known as the "Terry" pile, or the pile is cut, known technically as the "velvet" pile. In addition to these two ground principles for producing the warp-pile, an endless variety of effects and combinations are produced by using various color combinations for each kind, again varying the height of the pile, combining cut and uncut (velvet and Terry effect) pile for forming addi- tional designs in one fabric, etc., etc. Ground-warp and pile-warp are independent in their operation on the loom, therefore each must be wound on a separate beam, as a different tension and "let-off" is required for each. In fabrics of a fancy character one beam for the pile-warp will not be sufficient, and the number must be increased for some fabrics to a great extent, in fact in such fabrics as Brussels or Wilton carpets it must be increased to one miniature beam for each individual pile warp-thread. Structure of Warp Pile Fabrics. Warp-pile fabrics are constructed by raising the pile-warps from the ground cloth over a wire and then interlacing the same into the cloth again. The entire pile-warp may be raised over the wire on a pick, or part of it only. In every case we must be careful to arrange the binding so as to secure the pile proper to the ground cloth. In case we want to raise only a part of the pile-warp at one pick we must, in addition to the binding, arrange the distribution according to the effect required. Terry and Velvet Pile. In all warp-pile fabrics the same kind of warp yarn may be employed to produce the pile for either the Terry or the velvet effect; but it will be necessary to use different wires if the fabric is to be woven on a power loom. The Terry pile is produced by using a plain wire, as illustrated in /- — — — — '^-- l^ > ^"' ''^^• Fig. 782, which, when drawn out, leaves the loop intact. ^ — — ^^ _ ^^ ^^,^^_^^^2 > ^^^- 782. If "velvet pile" is desired we must use wires of a style similar to that illustrated in Fig. 783, being a wire which has a knife attached to its extreme end. This cuts its way through the pile as the wire is pulled out. In weaving pile fabrics on a hand loom, frequently one kind of wire is used for producing both Terry and velvet effects of an equal size. This wire is provided with a groove for inserting the knife of the "trevette" when a velvet face is required. Fig. 784 illustrates the section cut of such a wire (see S). The knife of the trevette is shown at ^. B represents a warp-thread as cut and secured to the body or ground of the cloth by means of picks i and 2, which in the present example represent the two connecting picks to the pick for inserting the wire. If no cutting is required (Terry) the wire is pulled out. Thus it will be seen that the production of velvet or Terry effects in the fabric is effected by cutting, or not cutting, certain pile picks, the change to either effect being entirely at the will of the weaver. The trevette is a frame having a knife fixed 167 in it for cutting the pile, and is illustrated in Fig. 785 by a front view and in Fig. 786 by a side view. Letters used for indicating the different parts in both designs are used correspondingly. Fig. 784. Fig. 785. Fig. 786. The weaver inserts the trevette on the wire to be liberated at the left side of the fabric and runs it quickly over the entire width of the wire. Explanations and Illustrations of the Method of Operation in Producing Warp Pile Fabrics. As previously mentioned, in warp pile fabrics we require two kinds of warp, one for the ground cloth and one for the pile. Each kind of warp is drawn in on its own set of harness, arranging in most every instance the pile warp nearest to the reed. DsnoKin— c ' DKlDDgn— A' ■aQBCDD DsaaHD— c BOHBOEB . 12 3 4 5 6 Fig. 787. b-aaaasa ist set of harness ,1— UKiaDnn '°' ground-warp. eBaaaan 2ncl set of harness f— DDDBQa for pile-warp. Fig. 788. In Fig. 787 we illu.strate a weave for a pile fabric. Repeat: 3 warp-threads, 4 picks. Ar- rangement of warp: 2 threads ground (2, 3, 5 and 6), i thread pile (i and 4) = 3 threads in repeat. Filling: l ground pick heavy (^), 2 ground picks finer (^'and C), i pick for inserting wire (Z>), = 4 picks in repeat. Fig. 788 represents the drawing-in draft arranged, 4-harness in first set for ground warp and 2-harness in the second set for pile warp. Harness: a, b, c and d for ground; harness: e and y for pile. « ^ Fig. 789. Fig. 790. Fig. 789 illustrates the method of operation on the loom. Every letter or number used in this diagram corresponds with thgse used in Figs. 787 and 788. and thus will readily explain itself. 168 Fig. 790 represents a reproduction in perspective of the fabric as produced with weave Fig. 787. Letters used in this drawing also correspond with those used in Figs. 787, 788 and 789. In drawing Fig. 789, representing the method of operation for forming pile fabrics, only one wire is shown interwoven. The same will illustrate a principle most frequently observed, i. e., to have the pile warp in the lower shed, both in the pick preceding the wire as well as the one following. This method has a strong tendency to drive the wires into position as well as to keep them there. In some fabrics this method is changed with respect to the pick preceding the wire, but in whatever warp pile fabric to be constructed by means of wires, the pick following the insertion of the wire must have all pile warp-threads, raised as before over the wire, down. We will now give a short sketch of the method of operation on the hand loom when weaving warp pile fabrics, thus illustrating also a like principle for weaving the same fabrics on the power loom. After the weaver has interlaced the required number of ground picks between the threads of the combined warps, a shed is formed either by raising the entire pile warp-threads in the upper part of the shed and forming the lower part of the shed by means of the ground warp, or by raising only a part of the pile warp in this pick, forming the lower part of the shed by the entire ground warp and also the remaining part of the pile warp. This shed remains formed until the wire has been passed through, extending on each end several inches wider than the selvage threads. Towards this wire so inserted the reed is brought with considerable force, and pushes the wire close towards the previously interwoven ground picks. The shape of these wires is of such a form that, by arranging the latter so that the reed when pressing towards the interlaced part of the fabric comes in contact with the grooved edge, the wire is caused to stand on its lower edge. In this upright position it is maintained by pressing the reed towards the wire until a new shed (ground pick) is formed, in which the filling for the ground cloth is inserted by means of a common shuttle as is done in the ground pick preceding the insertion of the "wire." By this method of fastening the pile warp over its respective wire to the ground cloth, the latter is also securely fastened to it, and, if an uncut pile effect is desired, requires some effort to liberate it. After inserting the required number of ground picks the process of inserting the wires is repeated, several wires always being retained in the fabric to keep the pile-threads from pulling out of the texture, which would destroy the face. From 6 to 12 wires, according to the material and the method of interlacing the ground cloth, as also the closeness or "height" of texture, are required to remain in the fabric to prevent any possible trouble, as pomted out. The last wire liberated is always the next to be inserted. We will now proceed to explain and illustrate a few of the most prominent warp pile fabrics. Velvet and Plush Fabrics. These fabrics are constructed with two kinds of warps. The ground-warp consists either of silk or cotton, and interlaces with the filling on plain 53, rib S5, gj, basket g.^SB, or a 3, 4, 5, 6 harness twill ; whereas the pile-warp being of silk, forms the face, through interlacing with the ground- cloth after, or before and after, raising for the wire. The ground-warp is woven with a tight tension, while the pile-warp is arranged to " take up " easily. The name of the fabric indicates the " cut " character for the pile. As previously mentioned, two beams are necessary, the beam for carrying the ground-warp, and the beam for carrying the pile-warp. The pile-beam must be situated in a higher position (in the rear of the loom) than the beam carrying the ground-warp, so that the pile-threads will run in an oblique di- rection towards the harness. The proportion of pile and ground-warp as well as the height of texture, and threads per dent, vary for the different qualities. Arrangements most frequently used are : 2 ends ground to alternate witli I end pile, or, 2 ends ground to alternate with 2 ends pile. Fig. 791. 169 Or, 2 ends ground, i end pile, i end ground, i end pile, = 5 ends in repeat. Or, i ground, I pile, I ground, 2 pile, = 5 ends in repeat. Or, i ground, 2 pile, 2 ground, 2 pile, = 7 ends in repeat. Or, 2 ground, i pile, 2 ground, 2 pile = 7 ends in repeat, etc., etc. The ground-warp and pile-warp are each put on a separate set of harness, generally using 4 successive harnesses for drawing in the ground-warp, and 2 harnesses for the pile-warp. For example : Fig. 791 represents a common vel- vet weave in which 2 ground warp- threads alternate with i end pile-warp. Filling: 3 picks, ground {A. B. C.) to alternate with i wire {D). Fig. 792 illustrates the drawing-in draft with two sets of harness. Harness a, b, c, d for the ground-warp (4), harness e and /for the pile warp (2). Technically the velvet fabrics are ' — pt|^"{^--'^^ classified as "two-picks velvet," "three- H U for 7vt.cvva.Tp. y > picks velvet," etc., which means that in the two-picks velvet we use two ground-picks between each insertion of the wire, and in the three-picks velvet three successive ground picks, and so on. In Fig. 793 we illustrate one of the plainest of the velvet weaves and representing what is technically classified as " the common two-picks velvet " weave. M* 1 i>;i v MX- M* JL Fig. : ■ i " * 1 » nBDnnn 3Dnman snaanQB 12 3 Fig. 793. Fig. 794. Fig. 794 represents the sectional cut of this weave. An examination of this weave will illustrate the following arrangement for each pick : Pick I raises ground warp-thread I and the pile. " 2 " only the pile (wire). " 3 " " ground warp-thread 2. Repeat: 3 warp-threads and 3 picks. Warp: 2 ground-threads to alternate with one pile-thread (this pile can also be a two-fold or a three-fold thread). Filling: 2 ground-picks to alternate with one pick for inserting wire. eoGUPna sroBrjDB SRODHDa -QDBUDB lEDHBDH 12 3 Fig. 795. Fig. 796. In Fig. 795 we illustrate a velvet weave frequently used, which has for the ,□ interlacing of the ground cloth the common rib-weave (2 harness and 4 picks *J^' In this weave we find the ground-picks preceding the pick for inserting the wire, as well as the ground-pick following the latter, call for the raising of the same ground warp-threads (two picks in a shed in the common rib-weave). 170 Fig. 796 illustrates the section of a fabric interlaced on weave Fig. 795. An examination of each pick will show the following results : Pick I raises ground warp-thread number i and the pile. " 2 " only the pile (for inserting the wire). " 3 " only ground warp-thread number i. " 4 " ground warp-thread number 2 and the pile. " 5 " only the pile (for inserting the wire). " 6 " only the ground warp-thread number 2. Repeat: 3 warp-threads and 6 picks. Warp : 2 ground-threads to alternate with i pile-thread (which can also be a two-fold or three-fold thread). Filling: 2 ground-picks to alternate with one pick for inserting wire. SDHBDHB VHaOHDa snoBDaB SDHDDHa 4HDBaDB srinnnnT '■ m u^ v. "■ Fig. 797. Fig. 798. In Fig. 797 we illustrate the common " 3-picks velvet" weave, which has for its interlacing of the ground-cloth the common plain weave. Repeat: 3 warp-threads and 8 picks. Warp : 2 ground-threads to alternate with i pile-thread (which can also be a two-fold or three-fold thread). Filling: 3 ground-picks to alternate with one pick for inserting the wire. An examination of each successive pick will show the following results : Pick I raises ground warp-thread No. i. (Ground-pick I.) " 2 " pile-warp for inserting wire. " 3 " ground warp-thread No. 2. (Ground-pick 2.) " -; " ground warp-thread No. I and pile-warp. (Ground-pick 3.) *' 5 " ground warp-thread No. 2. (Ground-pick 4.) *' o " pile- warp for inserting wire. " 7 " ground warp-thread No. I. (Ground-pick 5.) " 8 " ground warp-thread No. 2 and pile-warp. (Ground-pick 6.) The section cut of this weave, which is represented in diagram Fig. 798, readily explains the advantages of this weave over the preceding ones, in that it more securely fastens the pile to the ground-cloth, every pile warp-thread being interlaced by -^ — ^ — j before it is raised for inserting the wire. Therefore fabrics produced with this weave will be more durable than fabrics interlaced as shown in sections 794 and 796; of course, by using the texture and size of yarn alike in all three examples, the fabric as produced with weave Fig. 797 will be less dense, in appearance of the face, than the others. UtaBDHq DGBJ'JB-D laauajG 1 2 » Fig. 799- SfcU»nat cat ^ "^i-^t wu.rfi _ Fig. 800. In weave Fig. 799 we represent another " 3-pick velvet" weave. Diagram Fig. 800 repre- sents the section of a fabric interlaced with weave Fig. 799. Letters for indicating the different threads in weave and section are used correspondingly. Two loops formed by the insertion of the wires are shown as cut, whereas one is represented as uncut. 171 An examination of the weave will show the following results : Repeat : 3 warp-threads and 4 picks. Arrangemeiit of Warp : 2 ends ground to alternate with i end pile. Filling : 3 picks ground to alternate with i pick forming the shed for inserting the wire. Picks marked i, 3, 4, are ground picks. Pick 2 (=: D) is the pick for inserting the wire. If usino- a twill weave for interlacing the ground-cloth in a velvet fabric, we generally use not less than 3 successive ground picks to alternate with one pick for the wire. Less ground picks would result in a texture not sufficiently strong to resist the pulling out of the pile by the wear the fabric is put to. B-'ri'j" :::: " ^ liaa nHH^nsnn _Am-'"".l.'."."'-/W DHB ■ ■ ■ ■ :■ oh:-: - i:: i □n aa aa aa n HOi . a i i saa a --' a -aa x; aa d» ■ t> '''!'.,■ ■■■■)■ °aMa a i a &u a aa a a aao ddi ■ ■ / i 'WAro Tk"'*^^'} '^ W (\l*^ ^<\ \ t Vi'\\^ ■yvrM if ro\r J^r\^ DUfiaa aa aa laaa dbh . i la i , L'vfflfflL*iAA-»J 1 V^-7 M?}\K\^-)^^^-1 ]\ (o-Xy^Sj DG:aa a_ -, a aa -HJO EJOCiMa ; lu A ^ ^.».i»«. -i.^-*. ^ ^ / . v >• ..^^ ^ i ^^ ^.^ -^ » y , v ^ xvxn.,. d:jb: ;oiiLi,jHauHuaBDaB DBaauBag xl. Fig. 8oi. Fig. 802. Fig. 803. In Fig. 801 we illu.strate the design for a pile fabric having the ~ ^ 6-harness twill for weave of the ground structure. Repeat : 9 warp-threads and 8 picks. Arrangemc7it of warp: 2 ground threads, I pile thread = 3 threads repeat. Filling : 3 ground picks to alternate with i pile pick. The method of interlacing the pile warp to the ground cloth is, in the present example, equal to the one illustrated in F'ig. 800. In place of one pile thread we can also use a two-fold or three-fold thread. In the manufacture of velvets and plushes, in which no dense pile is required on the face, as also in fabrics in which the material used is rough or too close set, and so liable to "choke" between the raising and lowering of the entire pile warp or vice versa the entire ground warp, we raise on every successive pile pick only each alternate pile warp-thread. The proportion of pile warp and ground warp in these fabrics is generally equal; one ground warp-thread to alternate with one thread of pile warp. In this manner design Fig. 802 is executed. Repeat: 4 warp-threads and 6 picks {4 ground picks, 2 picks for wires). Filling: 2 picks ground to alternate with i pick for inserting the wire. Diagram Fig. 803 represents a sectional view of the method of interlacing both pile warp- threads in the ground cloth in weave Fig. 802. One pile warp-thread, indicated as A, is shown shaded and situated behind pile-thread B, which is shown in clear outlines. 6" represents the section of a wire as used in hand looms, but which will also demonstrate the section of a wire as used in power looms. C represents the section of the knife in the trevette. The first loop is shown as cut, whereas the other three are represented as uncut. FIGURED VELVET. In these pile fabrics more figuring is possible than in any other kind of textile fabrics. One of the first requisites for figuring these fabrics is the use of different colors for forming designs. Then, again, we can figure successfully by using uncut pile with the regular cut pile, as also by using the common weaving to form figures with the pile weaving. We can also produce new additional designs by means of high and low pile. All these latter methods for forming addi- tional figures will result in the necessity of using a great many beams, and in some fancy figures 172 C in a in 6 -♦-» cancaaaacDaaaaaDaocBnaaaoanaaooaaaanDanaanaaaaarj GCDDLnDGGDDfflDDfflaaDnnDGQaaaDDLinnDaaDEBDGfflnnaDnDaaa BaDHaDE3nDaaaHDDaaLiHDDnaaaDaBaDHaQacDHD;ja'JDaGDajj DDaDGDDDfflDasGGfflaGfflijDGDaaaDODGnnafflaGfflnafflGGaajnjLTj GaoGHGnHGGHGGHGGcsDGaGGHaaaaGHaGaaaHDaaGaaGnaGLiaG DanaafflaGEBaafflGGfflcafflaasGL DGGGGGfflQGfflGDfflacfflGafflaGaG Gl i HGcaaGaaaaacEQaaGGaDGGGGaGGaaGaGLiHDQBGGaGGaGGaGG GGGGGSGnfflGGfflGGEBGOffl' IGB'^lGnni □arGa''"". ■HLiGaGGHncin' '■ h :■:■.! 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B a EH a ■Ga b; .. 5 ■:rK C3 B__ B^^ a_ ■b'^' a'" a" B B: '..jaLlLjaLLii^UL a i^^a. a ;3 a ) J ■ ■■' ) a a J jljuLjGD GiBGGBDG BGOGGGG BGGEDGBa riaGGEDDD '_^aBGGBQD "fflGGaODD :: a. idbd a BGOffl C3 IBGG a ^^"^'m produced by harness work as well as all figuring done by means of the Jacquard machine, the number of beams will in- crease according to figured character of design until a separate small beam "pile- warp spool " for each individual pile warp- thread must be used. In using this arrange- ment of spools it is advisable to adjust a hack (divider) in rear of the loom, so as to readily find the place of breaking of any thread in the loom during weaving. aDGHanaODDGaBGGGGGGBBGGGGGGBSGDU CjDafflBfflGiGGGfflfflafflG_GiGBBfflBGi:GGfflBBaOa QaaaafflaGGafflaBBaGGBBBBBB • eebbbbg DBHaaaaGaaaaaBaGGBBaBBB. i bbbbbbg HaffiafflBfflfflBBfflaBEBBBafflffiaaaaaaaaaaBBffl BaBBBEBBBBBBBBBBBBBBBaBaBaaaaaaa BBBBBBBaBBBBBBBBBBBBBBaHiBaaaaaaB BBBffiBBaaBBBfflBBfflBfflBHaaBaaaBBBBaBa G'fflBBBBB I "BBBBBB'._- iBBBaaB BaBaBB J GBBBBBBi iVBaBBBBGGBBBBBB: i.jaBBBBBG riLiaaBB'G' aaEaa'TGG: aasBGr )■ "'jBaaa 'i GGG'BB. ._.'_ BB._.GaGG ;Bffl g:GGGijBB_'G 1 GDGGGBBBBBBGGDDGDGGGL.BBBBBBaaGDG DGGGBBBBBBBBGGDGDGGGBBBBBBBBGGDG GGGBBBBBBBBBBGGGGGDBBBBBBBBBBGGG GGGBBBBGGBBBBGGGGGGBBBBGGBBBBGGG CGBBBGDGCDDBBBGDaDBBBDGGGL r '■■■ . i 1 GGBBGGGDGGGGBBGGGGBBGGGC Gji G 'BB . :_i DGBGGGi^'BBTinGGBGGGGBGGGGBBG: .G. -.BGG GGGGGG BBBB' 'GiGGGG' I'^GG'GGBBBBGGDGGD BGGiGGGBBBBi ■GGLUGBB GJGGGBBBBGLIGGGB BBGGGGi BB .GOC BBBB G jGBBGGGGGBB ■BGDDDGaQaaGGDBBBB ;: GGBB BGCGGBGaGGBaGGGBB. ^ U' • ~ m 'I'lGGB DGGGBBGaDGBBaGGG ■ ._ . BB BB.'GGD QDGBBBGGaCB«BGGG..jGGBBB. BBBGGG GBBBBDGDDDGBBBBGGBBBBGr' .. 'BBBBG IGDGGCGBBBBBBBBBBGr " ^ i J| E3 E3 a o 6 I— t '^i GGBGGBLl. C B' .lijaGGBGGB' ;3:...BaDBGGa' auGfflDDfflGGB CO'. BG a a a a :- GG. B BB B ■ I DEE I a, a a a DG[ BB B BG_.a_._a ,a._^.a„L DGG.BBGGGDGGLGGGG GEGL IBaaBDDBDGBDC i! _:BGGBGGBDGEGLIBGDBGGBaGBDDBQaBG ar iGaDGCGODGGGGGDGDDDGGGDBnDfflGr li ■a-^ r:ni -:r7C3GGBDGBGDBGGBGr-'BG'~iBr~.^'a BB '■ ' ■TiGGCGDGOGDGr B^'BB" BB '■ a a aLjGBDDEDDBDr ;a a, < a a ■■ BB :"'GGGaGGGGGL«B BB ■■ BB a a aG a ' a i a a a a a '=q GGL iBGGGDGDBGBGGr; BGGBODBDDB r"E" B DDDDuDDDGBB BB Ji: DBGDEDGEGL :3 C3 :: ■DGGGDDDGBB. BB . . BGGECGBDGB a a. a BBGDGGGGGL B B _ ' ->' • DBGQBGGEGGa,:,GaGGa_; a BBQaaGDGGCGGDGDGGGGE.- BDGBDDBGDBGDBGGBGDBr BDGGCGGBGGGGGGGBGGGV DBGGBG^^B" a"::a^" a:*": a DDDGDGBB i ■ . ■ BB ' EGGBGr :3 a a a ' a _ai BB .jG^li -■^CJ; GLr •a jGaGGBGGBGr X-3i ■ ..'-!• ■ 'BGjGGGGG'B'-'BGG"' »- . LjBGGBGGBGcaG: a 'a"' '"a GL ODDGGGGGGGi"'" BB ■■ aGGBGGBr_iGBGGia' : B'G'. a: '' a BDGBDDBaGBUGEL _ . IGGCDDGBQBGGGGf a ' " aGGBDaBGDECGE IB "■"'GGGGGGCGQC;', . ' ;3'. ' a GiaaGEGaBGGEiG' I ' ■' ""'BGGGGGjGGB DC DB' :3 DB 'BB Br.i a BB BB :.Ga a a w GGGDDQDG t. Bl :L ;a'.ji_ BLiL^BGGGDDB o BBGBGGGGGGGGGOni: N GEGGBGDEDGBGaBC")!: -DGD_.GDaaGG':a'^' w BGGBDGBGGB : B '""B DGaGDDGDffi! , aG' 'B ■; DBGGEGGB' ,' a ■ 'B DDGDGB 1.. .a BDG'BDLB i.'B DODGGB ' B E !' a a„_a _a a a a a La'iGBGL.a ■GDCDCDlB BB BB BB BB^BDGDDGGi GEGGBOGa . a a: a a 'Gedgbggb "— '■ -1 BB' 'BB BB-G'GGGGGr" a a a a a a B B " B'^' 'B'" a •^ GEr- GGB Qr',[ fj' r ~ ^i a B : B a ' :: B a 3 . a jGa , a . a :: J ".BGbaaGBQyBGGB 'BaGDDGDrJilGGGr " "GBGGBGGEGGBDL't ' " :'--:CDGGGffi I' lEGaBGC a .GGGDGGB! 'J a ' a B B B "' a B a ■ a ,' a : :: : •B' '' W ~ B' ' 'B :i: 1:G a __,aG3 "..iGGD .iGBGG GOGD a.naBa ■'■"iGGD irjEGG '• JGGG BGDEG 'BGGGD "BCD B JGGD a_jCED B: IGDG ■EGD COG a -GEG ^^BG a G ■■G a ■ aG BAG a G '. 'BG a ' aa _,GL..a iGBGG a TBG 8 B iG a J B BBG a a 1 B' BBG a G B BBG jGBG JGGG GBGG ', 3GGa a "JGBG IfflGGD GIBGG " "iBGGG a ""BG fi^ r I. 'aBGGG J. BBBEHGa aaaaaBG ■BBBBBBG o 00 6 :3 a a B G a a r iB B_Ga_ a "_ CGBZGB' a a GEGGBL ■ '' " GGGGGB EGDBG'G DDaDDB ^DHDPBLjI iBL. ■GDDDDrG.GB a B' B_ a" B ,,a '^^a ^^B ^B 'b' ''"a "b' "b'" a '] a 'B 1 . iB' a a .' it _ .b: , b' «' BGGEGGBiGGEL ,L a i' .B B' B ^. '"DGGGGGLiiGGL-.GBG JBGL i( WW*- C-1 CI -^ a a a a a a i 3 a a a a a a , :3 j .' a: ' B ' a B' ' n jLiGQ a i. iBGL;B^L a '• a iGEGGEOa 'GGGGUDGUafflGGBGDaDDDOaQt L,; ' BE ' • BB' " ' J BB '( ;' GL BBBB .: BBBB Li BBBB. CBaBBBB .riBBBBBEG ESaBBBB GBBBBBBi ^GBBBBBB'iLiaBBBBB BBaBBBBBBBBBBEaBBBaBBaBEaaBBBBBaaa BBEBBBBBBBBBBaBBBBBaaaBaaBaaaaBBB BBBEBBaBaBaBBaBaaaBBaBaaaaaBaBaBEa BEBBBBBBBBEaBBBEsaBaBBBaaaaaaaaBBB GBBBBBBLiGBBBaBEBG. 'BBBBBa BBBBaa i GBBBBBBGGBSBBBa_ii BBaBBB BBBaBB ; DG'BBBB' iiJGGBBBBi'lGI r iBBBBGi I BBBB i"] DG'i BB" i )GGi GjBB'JGGL.-I'-BB ;_ ' '. L BB.j, ..3 DGGGGBBBBBBDGDDDGGGGGBBBBBBGGGGGg DDGGBBBBBBBBGDGGGGGGBBBaBBBBGGGG DGGBBBBBBBBBBGGGGGGBBBBBBBBBBGGG DDCBBBBDGBBBBGDG""i'^BBBBi G iBBBBG^^G DDBBBDaDGDGBBBGGG "BBB G BIB G DCBBGODGGGGGBBGiG BB i" i r ' ■ ■■ G nGBr'iniHi-iHBrT-*-" B'"' B-GG.jBBG ■ Gl ."'" BBBB ' L.G'/iGBBBB BL I r,, BBBB BB iL'/ilGGBBBB B BB' '< G_'' BB ' BBBB ^Lr^QOd^, ^g BBGaaaaaGLiGG'^GBBBBi" """iG.jLLi BD BGDGDBDDDGBGGGi,. BB B LiL B i' B aGDDBBDDDGBBGCG' LL .BB_ '. 'GijBB JJ i.j DDDBBBaCGGBBBGGG^jG^'BBB-jGGGBBBGGG aBBBBGGGGGGBBBBGGBBBBQGGGGGBBBBG ■BBBBGGGDGGBBBBBBBBBBGGGGGDBBBBB ■BBBGGGDGGGiGBBBBBBBBilGGGGGaDBBBa ■BBGGDDDGGGG BBBBBB iGGGGGDDDGBBB GDCBBaDDDGGBBi_iLj'_ L . BBGGGaaDBfflGG'G DCaaBaGDGGBBBaGLi .' BBBBGaDaBaBaGG DHBBBBffl^i .BBBBBB' ' BBBBBB'GGBBBBBBG DaaaBBaGGBBBBBB "ii BBBBBB'i ^BaBBaB "J aBBaBBBBBBBBBBaBaaBBBEBaaBBBBBaBB BaaBBaaaBBaBaBBBBBBBBSBaBEBaaaaaB fflfflBaBBBBBBBaBBBBBBaBBBBBBBBBBBBg BaBBBaaBBBBBBEaBaBBBBBBBBBBBBBBBB DBBBBBBGGBBBBfflBGGBBBBaB rjBBBBaB i afflBBBBaaCffiBaBBBGGaBBBBB i LBBBBBBG DDBBBBDDaaBBBBIJDGGBBBB i' Gi_ BBBB ,G DaGBBDDaDDaHBDDDDDDBaGGGGi J^jBBJGG Fig. 804. Combination of figured pile-effects and figure-effects, produced upon two systems of warp and one system of filling. Arrangement of dressing : A, I end pile, 1 , J r 12 times =^ 24 ends. I end ground, J ^, I end figure, I ^g times = 36 ends. I end ground, j Repeat 60 ends. 173 Lowest number of harness possible for drawing in, is 24-harness. Filling: i wire (pile), 2 ground. Fig. ^o\b. Motive for weave 804. ffl pile effect. ■ effect produced on ordinary weaving with extra warp. In both designs (the motive and the weave) three repeats of the pile part and two repeats of the part figured by extra warp (ordinary woven) are illustrated. Fig. 805. Repeat: 60 warp-threads, 24 picks. Can be reduced, if required, to 21 or 23-harness. Fig. 805^. Motive for preceding weave. A B lj. J' JG ju uaaGnaDannnDDaDGaaaDaDDDODcnnDQ ;g ?ijb' ]! 1 SDQMGi l'J3G' IGt^GGCBGnCMaoaHi" IDfflGS Iffl fflGfflGaGfflGfflGfflGEGH )S SHGGGi-:: iG: jHGGL]r-5aGn[-iGGasG. ■;: ::■ ' SDDHGG.:;»GG'r»:^GG3' :' ..;•■■; :GGti j IDffl'JSGffl tffl: IfflGfflJEH a :ffl H iffl m I EGGGt] j'j ;.G. j'^ JG : :■: ... ■; . , .-3" DGfciGGG;=; ] jGS: Jl.,, ,:■: ■. , ,.■: . , !;-i ,■ ■ DfflGfflGBGfflGfflGfflGffljg "'a .a_JQ a BDDGSGGGHGGGGG;:"] :-J : i ,,■. ■ * ODKiGGaKaaasiGGL i:-; i ■ ■■) : ■; : .■ DffiGa iH'^'B' :aGffl'^a a a a a a EG'"! ■■'■-' '■■■:'-:■■• I Dc;-: ■ DfflGa ffl_ia .a 'B >h a a a a a EIDGGKG'"JGH jGG3G^_,. ■ DGKiaGGK'"JGGKGGiGt3GI , . DffiGfflGBGffljfflGffiGffiGSi^a a a a KOaCSGGGSGGLDKDGGi?; GDKinGQHG^GsnaaKia! j DfflGfflGfflGfflGEsnffliGfflaffl. :a a a a 84 a 'a h'< •'• ■"■ •"< ■■< '"• a a >"^ ►•• Dj g Sg joaGGG DfflL fflGfflGfflnfflDBGB ""B 1H IS KG IGKlGGGEinaGKlG 1 I^J J GCSDQGKIGGGKIG JGSGG G j DfflGHGBDfflGfflGfflGfflGfflGffi BGHGBG . gnGGSGGGH^GQSGGaKlG 1 <] 111 1 nOGBI ■■aBHBnBHBnriMnaGMnDGBGDa - HH^.-iBBiBni -'HBfHBMHi" iGMaanMa ■ . . : ^ , ! ' ■ MGaGaa \ m m ■ ■ ■ ■ ■ 'GHDGn :■ : '■ Hi :■. ■. ■ ■: laGGBn ; .ijgguggg; ! . ■ " • '"iG i "noBGiJBNH ■!■■;■ in ■^ t. i-JGHnGGBGLiH! -Hi Hi Ml mmO iLjL»GGGGaaaGLii jlji iG' li.EjLjLD 'iJCBGGQBGaaHGGBBBGHIiBGB lanaaBaGGHacaBBGBBBGGBB iGGnaGaGrjQDGCCGGGGGGaGQ iGDHDaGBQGDHDGBBBGGBBDB aGaOBGDDBDDGSBnGBHQBHB iGaiGaGcnGaGGGaGGGGGGGaa ' ..■ " I ■ ■. ■' 'G DGKaGC^GGnKIG G OSGBGBGBGB IB IB HGGGH_i m G I naSG rM JG "^ GBGH ]ffl_jffl BGS IB B KGGJKia GH J J"" aDHGGGKIGG 14; G J Gffl fflGBGBGSGB B ffl Kir^GGSG^GH ]J G nGtgGG'~SaG 3 IJ DBGB IB IBGBGB S B KGGGSGGGS^GG DGSaGGS ^T3G DBGBGBGBjBGS ~ ~ 1 ffl B 2 a J 1 1 G I IB a J GG B IB ■ ■ ■ . aJ !G ,G G._GG jGQBD IGDGG GSGGD i' IGGBQ JGGGG . :«nGa ■GG ■ ' BGG ■' HMG [a GGQI JQGGDQQL GG ^ i " ■ GBQaataDGDBnnC ■- ■ m, ■ :■ _ _ J ■WGCGWODGBGOGBD ■' ■' ■' . GB a BJffl B GC "IGGGGaoaDDDGGjL; IG ' ■ ■ CaGGGBGaDBG-iCBGrB! ■ < , ■ ■ _ _ J ■ i nGBDGaBGDaBO G»B' : fl B! IB S r^Gl nDGnGGGGG '_ , iG ~ ^ ^ IBB GGBGGGHGG'^f B ■ : m^ B' B' iG _ _ J B B BBGDCHGQCHB B B B' B B.*a S B IB IB GGraOGGr [ , , , /^,GGU 1 B B B B B BM GGBB B B B' B BBGGD G J B B B1I GBBB B B B B. B< :JGGBD JGB JBG GGLGGD .GGGGG SaGGKIDaaHGaaKGG^H^GGKlGGGHaa^aGGQISBGBHGaBBBDBBBGB B B GBOGG iQGKiaaaKiGDaKiaGaKiGaaKiaGGKiaaDBaaGBaaaBDaBBBDBBBaBBBGB _ sjgqbd 1 m (i represents pile, 2 ground, filling.) A B A > '. ^ " / 'BBBBBBBGGQGGGG . .jGBBBBBBBLjflBaGDGG JGBBBBBBBGBBBBBGGG ' r.BBBBBBB JBBBBBBBGG . -JGBBBBBB^ :Gl/ JBBBBBBI^ BBBBBBBaBBBBBBBB^ BL ' ' •■■ J BBBBBG BaaaaaaaBBBBBBB ~.Bi^gi j^. ji :'j< bbbbb BaaaaaaaBBBBBB: bb ^gg.'^i ':g:gbbbgb BaaaaaaaaasBB bbb ^. bbgbb BaaaaaaaaasjBBBBBB' '• '• iG' s :b[1Bbb BaaaaaaaaaaaBBBBBB - m mmmvi Baaaaaaaaaaa Fig. 808. the length of the pile ; and combining the terry and velvet effects, forming either terry figures upon velvet ground or velvet figures upon terry ground. Specimen Weaves for Astrakhans. Fig. 806 represents the weave for a plain Astrakhan fabric. Repeat : 3 threads of warp, 4 picks ; the entire pile warp (indicated by 3 and 6 in the figure) is raised at once over the wire Fig. 809. / t. -i t i k ■^ -^ i ■ pet i^ fUcr *ve^^ Zi pet of iwrvttftS Fig. Bio. as shown in picks D, D' . Texture of the warp is 2 ends ground or body -warp (cotton) to alter- nate with one end pile-warp for the drawing-in on 2 sets of harness. 1st set for ground- warp (containing harness a b c d). 2d set for pile-warp (containing harness e and /). 175 Diagram Fig. 807 represents the drawing-in of the warp on its corresponding two sets of harness (indicated at the right-hand side). Diagram Fig. 808 iUustrates the section of a fabric interlaced on weave Fig. 806. Both ground warp-threads, as working at the right and left, are indicated by dotted lines. The pile- warp indicated in full black is shown in the terry and velvet effect (cut and uncut). Fig. 809 illustrates another design for Astrakhans. Warp: 2 ends ground-warp, i end pile- warp, 2 ends ground-warp, i end pile-warp (to alternate with the first end pile-warp in weaving). Fig. 811. Each pile warp-thread is drawn on a separate harness, as shown in Fig. 810. Diagram Fig. 81 1 illustrates the method of operation in weaving a fabric with the weave just given. 2 picks ground B, C, E, F; i pick for inserting wire A, D. In pick A the harness f raises warp- thread 3 ; in pick D the harness e raises warp-thread 6. The interlacing of the body-cloth is done with the common 4-harness basket-weave having the two warp-threads between the pile warp-threads working the same ; also the pick before and the pick after the inserting of the wire. Fig. 812 illustrates a weave for Astrakhans similar to the one above. The same arrangement for texture, 2 ends ground I pile, 2 picks ground i wire, and 4 harness common-rib (filling effect) nanBDEJDBGHDBS rv DDnCHnnOGGBG-/'' HBHl" ' Vi -H \ "I DB :" ■ '' ^'-F D«aa'r)a[:jauc3aa4 „, nnaa»GannDBD-6^^ □0. - DH Gc:: I jHS'ia'' '"r-S" BAB Fig. 812. J. 2. 3» H, ■«> 6, Fig. 813. for the ground structure is used ; but the latter weave is arranged to have the two ground warp- threads, situated in the fabric near each other, work opposite ; thus the ground warp-threads working nearest on each side of a pile-thread raise and lower equally. In diagram Fig. 813, a section cut of the two pile-threads, as they interlace in a fabric, is shown. One pile-thread marked A is represented in outline (forming loops ^ and F), while the other pile-thread is shown in full black (forming loops S' and F'). The letters and numbers indicating the differ- ent warp-threads, picks, and openings of a shed for inserting wires, respectively correspond in weave Fig. 812 and diagram of section Fig. 813. 176 Weave Fig. 814 has the following arrangement of texture and principles of construction: Warp : 4 ends ground-warp, i end pile-warp, twice over in one repeat of the weave. Filling: 4 picks for ground, i pick for inserting the wire, twice over in one repeat of the weave. Gro und- weave : plain. Raising of pile-warp : alternate ends on alternate wires. A and B are pile warp-threads, C and D the shed for inserting the wires. D HDBHnHDHHncanHHnHnBcan -uicr BIJlJHi_'U DHaDH "a □a a n DHtT u a K' BIT :■} - a a . .a ■ 'J a HI a QaGH'JQULIH! lauUHi .iHI JQOa DHBCHDHHDHDEIHGHrjHBaa I I I I A B A' B' Fig. 814. HnnHnnHnnnnnHnnaannnnnBir^HPinnHnnnnDD Qtia ": !□ "•:: --^a -a ■ a a "a "a a^ ■ "~ian G' : ■ ' ■ ■ . ■ ■ . i .a , a a a' ■ - n j'joa G' .a a a . a a a a a a ai'DGoa B^-j a 1 a J a ^ a ^ a . a a a a Dnana Qi ,a a ^ ;a ■ a , a , a a a :a anGoaa GH « iB ' ■ «.: ' I j:_r_lGGHHa E a a a a a i a c: a : :a!iaaaaGa G-ia ja la la :a a a a ajGBGGGGQ Br ii a ' !■: . .a i a i .a i a .a , a ■ ikphiggggd ana 'a a a : 'a 'a a a a maoGa G^ ■ ■ ■ ■ ■ IGGEEE Bfl a I a . a : a . a a a . a .a , :, igggg Gria : ,a . .a a ^ a^ i ^a 'a \ v. a aGGoaa BtJ a : a a : a ■ a a a a a ggggg Gca a a a a a ia a a a 0000 GH . i' ■ ' .■ > ■ W , . .1.1: jGGSSB E^ ) ,a " , a ,' a .a a ' a 'a a : aNjGGGGG Gfii[i . 'a -a -a .a a a a a .S'IGGGD E i a .a a , ,a , a : a a :; a^s .aGGGO Gna -:: -la . -ia -a . ,a a ■ .a ^ a a jGGQC G: ■ ■ ■ ■ ■ JGGSSEB B-! a ; a :: ■ a a a a a a jGGGCG O' a . a ■ a i ,a a , .a a a a aaaaGG B'-'i a' ! -a .. 'a-i :a:-!ja 'a a a a ■ ogggg Gi-'a " a a . a .: a. a a a a • aGGGoa GB ■ ■ '• .BJ^B^j :GGBSffl E. . a a i iBLiLiHLoa a a a , a tigggg Qij-ia 'a iaGBHGaHL/ a a a a aGGDaa I I I I I I I I I I AAAAABBBBB Fig. 815. Weave Fig. 815 has the following arrangement of texture and principles of construction : 2 threads ground-warp, i thread pile-warp, 10 times over in repeat of weave. Filling\ 4 picks for ground, i pick for inserting wire ("cut"), 3 times over; 4 picks for ground, i pick for inserting wire (" uncut"), 3 times over; hence 30 threads warp and 30 picks in one complete repeat. Weave for body of fabric : plain. ssB on right-hand side of weave for wires " cut." EBB on right-hand side of weave for wires " uncut." O N- P- M- I I I IKKKKLLLL I I I I I I I I I I I I -GfflGGGfflGGGfflGGGffiGGaBaGGffiGGQEBaanfflaaGfflGGGBGGGHaGaaGaGGGfflS GGBBGGBBGGaBQGBBaGBBGGBBGGBaaLjaBGGBS'^OBBGGaEGGiiaGGGGG EBGGEHIQBBGaBBGGBHOGBBaaHBDGBBaGBBCGBHCCBHuaBBanGGGGa aGaraGGGGGGGGQGGGGGGCGGGGGGaaGGaGGBGaaBGGGBQGaBGauGBB- BHGGBBGGEBaaEBaGBBnaBBGGBBGGBnGGBWaGEBGDBBQGBBGGGGQaa -riGBBGGBBGGBBGGBH'-"=a"'"'f='a^:'"'Pa^-^ "'^a'-'^iHHGGHBaGBEaaaBGGGGG CjBnGafflGnaanaGfflaLGB;-ri b3 ■ a 'n i.JGGGaGGuGQQGaGGGasffl GGBEGGBEGGBEGGBEG BaaQBBGrjHBnriBBnna^ QGGGGG" • - I :: - .: BBGQBP' a ! I a i a -GGBHGriKia :a :a GfflGGGffl tS >-j S GGBBGr;! ia a c] EBGfiHfi' ' ,a ! a ;j QGG'^n ■ ■ , EBL.' a ■a GGHa -GfflC i GLua BB' GG" "1 EW " \ ^a :: .GUBG-,uc aaGGBBGi. GarjrjnB," •m V, au a i at. a: . a GLjHa -:a ■ t: ■ a i -a GGL, ' Q Dcea , ' 'a . , la -a a BBU' .an. ;, a: i :' a a DGB B H H QBG ,a;3 . ;a i ,a , a DGSBLjuHauuyEujLjria: j^a. j I I I I I A A A A B > IBGGBBGGBBDGBBGGGaa iGHMGnBBGnHBGGGGGGG I";'", m' 1 B "; IGBCGGGBB- ,ai I a' 1 J la-iGijaGGGG ■a : ' -'a ' ■ -a rGBEGGGGa ij tZ' fflGGGCGfflffl :: a a ; jbeggggg :: a aiSGGGGGGG iGGGQGCBB- a :: aiiGGGGGGG a :: a igbbggggg •:• >:< jSGQnGGffiffl a a a GBBaaDGG a a aUGGGGGGG I . . riGGGGOBB- ■a' a^ ■ a -'^'^"n--:rjQ ,a a a a IG irii fS . hi , , mm ■a ' a ■ ,1-aa . .,«□■ iGlilJG a ■ :J' JaGBHGUUGGQG IGGGGGGGQGI — Jl ^L-Jty^L Jl rmamm ] iai_jLjlE3Bl_JU iniiG ■ la mm iG 1 HB- J H ■E' E D B B B C C C C Fig. 8i6. /'■'^-aaBBHBHBnBBE rr D, ■9HB-// /^ - a a a a a a a a a a a a ^ ,r L HBBB . I-/1 A-aaaa ■ aaaa ,-, r, GG I :BBHB : i i .-h, y-'-EBaaaaaaaaaa r» , . BBBH i-Z/ A/-G._i aaaaaaaa „ ■BBB. JGjG. j_:_jJ-/>' Fig. 817. Fig. 816 illustrates another fancy weave for Astrakhans, containing the "terry" and "velvet" principles. The arrangement for the warp is : 2 ends ground, i end pile-warp (for terry); i end pile-warp (for velvet), 1 2 times over. The warp-threads marked on bottom of the design A, B, C, are for the velvet, and the warp-threads marked /, K, L, (indicated on top of the design), are for the terry. Picks D, D' , E, E\ H, H' , are to be the " cut " effect, and picks M, P, N, P', O, P'\ 177 the "uncut" effect. The weave for the body of the fabric is the common 2-harness rib-weave (two picks in a shed of common plain). In diagram Fig. 817, the motive for the pile-warp is clearly illustrated (representing the 3- harness twill ^ ^, velvet effect upon a terry ground for motive). It will be easily seen by any one that an endless variety of weaves and effects may be secured by combining cuf with uncui SeccTtt'. r»ii Fig. 818. pile. And whatever designs may be required, the principles given and illustrated in the preceding examples, will always apply, as they remain unchanged. In the method of weaving Astrakhan fabrics, as thus far explained, the raising of the pile has been effected with the use of wires, over which the loops of the pile were formed, and which were inserted and withdrawn at intervals. These wires being constructed in a single piece, the Fig. 819. width of the fabric which can be made on them is necessarily limited, as a very long wire cannot be withdrawn and inserted with precision automatically by the loom. Also, the means for operating such wires are of a character to prevent rapid weaving; hence it requires a special loom of complicated construction. In fabrics of a " cut " pile character and in fabrics in which the warp pile is not cut but inter- woven very loosely, this process of interlacing and its loom (power or hand) must be used ; while 178 in " terry " pile Astrakhans, which have their pile warp rather solidly interlaced with the body- structure, a device has lately been invented by T. Harrison, which he claims can be applied to almost any power loom, and is not limited to the width of the fabric which it can produce, and which can be arranged so as to form the pile at any desired interval upon the surface of the body fabric. It consists of a movable frame carrying a series of short " wires " upon which the Fig. 820. pile loops can be formed, each wire being pivoted at right angles to the plane of its longitudinal movement and provided with means for depressing its free end at proper intervals, so as to engage beneath the warps which are to form the pile. In Fig. 818 an exterior side-view of a loom embodying the arrangement is given. In this, as well as in the following drawings, referring to the present subject, those parts are omitted Fig. 821. which are well understood in their action and whose insertion in the drawings would only tend to confuse the mind, and render a comprehension of the special parts to which the present arrangement relates, less clear. Fig. 819 is a view in detail of a portion of the sectional wire which forms the basis of the arrangement, showing various parts connected with the portion of the sectional wire, as also a number of warp and filling-threads. 179 Fig. 820 is a front elevation of the loom with its attachment for raising the pile-warp. In this drawing the working parts are shown in one extreme position, while in Fig. 821 (corres- ponding to Fig. 820) they are shown in the other extreme. In diagrams I to X in Fig. 822 are represented the positions which the threads assume at each stage of the formation of the fabric. Two pile-warps may be used, which are indicated respectively by i and 2. The body-warps 3 and 4 of the fabric are brought from a separate beam. To form a row of loops with the pile- warp I, the operation commences, as shown in Diagram I of Fig. 822 — that is to say, the points of the wires a are all depressed, and the frame is at the extreme right-hand position shown in •wi Fig. 822. Fig. 821. Each wire a thereupon enters beneath a number of warp-threads and raises them slightly above the plane of the fabric. A shuttle is then shot through, after which the body- warp 4 rises and the pile-warp i descends, as shown in Diagram II of Fig. 822. The pile- warp 2 rises and a pick of the shuttle follows, and the action of the reed throws the filling-thread toward the wire a, so as to close the row of pile-loops thereon, as indicated in Diagram III of Fig. 822. The weaving then continues, as indicated from IV to VII inclusive, in Fig. 822, by means of both pile-warps and both body-warps, the shuttle operating in the ordinary manner. During all this period the taking up of the cloth has drawn over the bottom of the pile-loop somewhat to the left in the diagrams, and as soon as a sufficient number of picks have been made to securely lock the pile-loops the frame and the wires a are thrown to the right of Fig. 180 '820, or toward the observer from the point of view in the diagrams. This disengages the wires from the loops which they have heretofore supported, and leaves them as shown in diagram VIII in Fig. 822. So long as the wires have been surrounded by the loops and have rested upon the body of the fabric they have been maintained in a horizontal position ; but upon their being withdrawn from the loops and upon the rise of the frame bodily, this support ceases and the ends of the wires a dip downward by the tension of the spring. Ihis position immediately follows upon their withdrawal, and occurs when the frame is at the extreme right-hand position (shown in Fig. 821), or, in other words, is ready to engage with a fresh set of pile-warps. Returning now to the Diagram IX, Fig. 820, it will be seen that both the pile-warps are up ; "but in the Diagram X, Fig. 820, the pile-warp 1 (which has just formed the first series of loops) is down, and with it the body-warps 3 and 4 have descended, leaving only the pile-warp 2 up and ready to be engaged by the wires a, whereupon a repetition of the ten positions indicated will occur with the pile-warp 2, and so on throughout the weaving operation, the rows of pile-loops alternating from the warps i and 2. In the method illustrated in the diagrams six picks of filling are represented between the rows of pile-loops ; but this number can be varied by varying the frequency of movements of the frame and wires relatively to the picks of the shuttle, and in many cases a much less num- ber of picks will be found sufficient to lock the pile-loops, so as to prevent them from pulhng out. The invention claims further that the frame and its sectional wires can be applied to almost any well-known form of loom without interfering with the general arrangement thereof, and by merely increasing the number of wires a the fabric may be produced of as great width as the loom is capable of weaving. In the drawings the number of wires has been arbitrarily reduced and their individual proportions exaggerated, in order to more clearly show their construction; but in practice for making Astrakhans good results are obtained with wires one-eighth of an inch gauge, each about four inches long. Wires of any gauge may, however, be used, according to the fineness of pile which it is desired to produce, the only limit being in the stiffness of the wire, which of course may be relatively increased by diminishing the length of the individual sections. Machines for Curling Warp-threads for Astrakhans. In the manufacture of "Astrakhans" (and similar fabrics) it is necessary to impart a perma- nent curl or twist to the warp threads which are to form the face of the fabric. The yarn is crimped, the length of the crimp being regulated by the amount of waviness it is desired to give- The crimping is set in the yarn by a steaming process; the yarn is then made into a warp and woven over wires and cut, or the wires are withdrawn without cutting, as explained in the preced- ing articles on weaving these fabrics. The moment the wire is withdrawn (cut or uncut, as required,) it falls into crimps again, and thus is produced that wavy shagginess which characterizes the surface of these fabrics. Until lately, the method of producing these wavy yarns was a very slow one, the operation having been performed by hand. At present, however, they are produced quickly and entirely automatically by one operation of the machine. Figs. 823, 824 and 825 illustrate a machine for performing this work. The main part of the machine is a solid metal spindle, on which the thread is wound from a bobbin having a rotary motion around the spindle. As soon as the thread begins to wind on the spindle it is forced between two rolls, which are pressing against the direction of the winding of the thread on the spindle, and through their rotation draw the thread from the spindle. These rolls are heated by a gas jet and transfer their heat to the thread. Through the pres- sure and the heat the required curling of the thread is fixed. 181 Fig. 823 represents a side view of the machine. Fig. 824 represents the top view. Fig. 825 represents the mechanism for curling the thread (enlarged from Figs. 823 and 824). In Figs. 826, 827, 828, 829 and 830, we illustrate another machine (patented by T. Harrison) for preparing these pile warp-threads for Astrakhans or similar fabrics. Fig. 826 represents the front elevation of the machine. Fig. 827 a vertical central section through the coiling device. Fig. 828 illustrates a side elevation of the uncoiling device. Fig. 829 represents the top view of the latter, and Fig. 830 a view of the stop, by means of which a positive motion is imparted to the coiling mechanism. We will next give a description of the different parts of this machine as mentioned in the invention. B represents the frame of the machine, consisting of two parallel housings, with an inclined upper portion marked B^. ^^ is the driving shaft, to which the power is imparted by a belt upon the pulley A^. Upon the driving shaft is mounted a drum, extending entirely across the interior of the machine, and Fig. 824. Fig. 823. which is provided at intervals with grooves to receive a series of small driving cords or belts, which, after being brought into a horizontal plane by passing the inclined part of the belt over idlers, pass around a series of horizontal "whirls," which are journaled upon vertical rings H secured in a series of openings formed in the transverse platform L^. These whirls are formed with a circumferential flange on their upper side, thus providing seats for the " fliers" G and F. The three fliers marked 6^ are coiling devices, the three marked i^ being the uncoiling devices. The coiling fliers each consist of the two uprights, mounted at the bottom upon a ring which fits snugly within the flange of the wheel. At the top the two uprights are connected with a central sleeve which revolves upon a vertical tubular stem, which passes downward through the axis of rotation of the flier and for some distance below, where it is secured in the transverse piece ir\ extending across from side to side of the machine at the front thereof The spool upon which the warp that is to be coiled is wound in the first instance, fits snugly, but so as to revolve freely upon the outside of the before mentioned stem and rests upon a standard, through whose centre the said stem passes freely. 182 The last mentioned standard passes freely through the ring H and is supported upon a fixed platform K. The coiling flier is provided with eyes 1 1^ L, the latter of which is situated at the top of the sleeve 6^^ and is at right angles to the axis of rotation. At the bottom of the coiling fliers are stop-pins K"^ (see Fig. 830) projecting into slots in the flange of the whirls. These stops make the rotation of the coiling-fliers positive. As before stated, there are in the machine shown in the drawing, Fig. 826, six of the horizon- tal whirls, three of which drive the coiling-fliers, the other three driving the uncoiling-fliers. These latter resemble the coiling-fliers in shape, having uprights connected by bottom rings, which rest loosely within the flanges of the whirls, but which (unlike the coiling-fliers) are not positively connected therewith, the weight of the flier alone being the means by which it receives Fig. 825. Fig. 826. its motion from the whirl. The uncoiling-fliers have eyesz'z'^ at top and bottom, respectively, the latter being the eye which delivers the thread to the spool or body. They have also at the top a brake mechanism. A tubular stem extends down through the axis of rotation of each of the uncoiling-fliers, and is held in the cross-bar E' . These stems receive bearings at the top of the uncoiling-fliers. The spools or bobbins of the uncoiling-fliers fit snugly around the stems and are supported upon standards which also surround said stems, but which are mounted upon a vertically-movable cross-piece arranged to be reciprocated in a vertical direction. The spools or bobbins of the uncoiling-fliers are thus adapted to receive a rising and falling movement within the flier during the rotation of the latter, and in this respect differ from the spools of the coiling-fliers, which are 183 stationary so far as vertical movement is concerned. The upper ends of the fliers extend into openings in the shelf or platform, provided with rings, and are thus shielded during rotation. The latter shelf is hinged at the rear, so as to be thrown back when the fliers are to be removed. The brake mechanism of the uncoiling fliers is constructed as follows: Upon the top of each sleeve there is pivoted upon one side a lever, through the centre of which there is a vertical hole coinciding with the opening of the stem. This lever has at its rear end a cam-surface, which, when the lever is in a horizontal position, rests without substantial pressure against the stem. At the front end of the lever is an eye through which the thread, which is being uncoiled, passes, Fig. 827. Fig. 828. and thence rises to the eye i, mounted upon the top of the flier. So long as the portion of the thread between the eye and the axis of rotation of the fliers is substantially horizontal the lever will remain in a horizontal position ; but if that portion of the thread rises to an angle with the horizontal, then the strain upon the eye will raise the front end of the lever and bring the cam / gradually around, so a.s to press upon the top of the stem. The cam-surface being eccentric, as it turns in the direction of its longest axis, it will raise the flier /^bodily by bearing upon the top of the stem, and in so raising it will lift the flier clear of the whirl, so that motion will be no longer imparted to the flier. If desired, the lift may be such as to bring the upper part of the flier into frictional contact with the under side of the ring. 184 At the top of the machine is mounted upon suitable pins the spools or bobbins M, which contain the cord which is to form the core for winding the Astrakhan warp upon. These bobbins, Uke the coiling-fliers, are three in number, and the cord from them passes through feeding mechanism, down over pulleys mounted upon a horizontal shaft, and through the central stem of the coiling-fliers. A belt conveys motion from the driving-shaft A^ to a pulley, and thence by gears and pinions a very slow rotary motion is imparted to the shaft, which extends entirely across the top of the machine, near the bottom of the incline. Upon this shaft are mounted friction-rollers S, three in number, over which the cord passes on its way from the spools M. Upon the cross-piece v are mounted overhanging arms which support the shaft Q, on which are mounted friction-rollers bearing down upon the rollers .S". The shaft Q is provided with a spring pressure device, con- sisting of a vertical stem having a sliding collar with a hook-shaped projection, which engages with the shaft, and a spring whose tension is adjustable by means of a thumb-nut. By means of this tension device the rollers s' can be caused to bear upon the rollers 5" with any desired degree of pressure. Therefore, although the take-up devices at the bottom pull the cord with some strain, it is fed to them by the positive motion of the rollers S, and cannot be drawn more rapidly than the rotation of the latter will permit. A similar set of feeding-rollers, zv w', the latter mounted in similar spring-bearings, are arranged to deliver the cords from the bobbins to the three uncoiling-fliers upon the other side of the machine ; but the diameter of the positive feed- FiG. 829. Fig. 830. ing-rollers zv is less than that of the feeding-rollers S, and with the effect of feeding more slowly to the uncoiling-fliers than to the coiling-fliers. The take-up bobbins 0' M for the cords, which pass from the coiling-fliers and uncoiling- fliers respectively, are mounted upon horizontal rotating seats R, placed at the bottom of the machine and driven by the twist-belts passing around pulleys secured to the seats. The twist- belts are so arranged that they can slip upon their respective pulleys, in case the feed from above requires such slipping. In order to wind the cords upon the respective bobbins 0' M' evenly, a traveling guide-bar, E, is provided, which receives a slow vertical reciprocating motion. This traveling bar carries vertical rods, which rise and fall with it, these rods being guided by suitable openings in the cross-bar E. The rod /' serves merely as a guide-rod, but the other two rods /, carry at their tops a cross-piece, which supports the standards of the bobbins F. Thus if a vertical reciproca- tion is imparted to the traveling bar E its motion will cause the bobbin to rise and fall in the same manner. The traveling bar E is provided with openings or eyes opposite to the bobbins 0' M , which openings guide the thread during the rise and fall of the bar, so as to distribute it equally upon the 'bobbins. The operation of the machine in coiling and uncoiling the yarn is as follows : Upon the three bobbins M, at the top of the machine (see Fig. 826), are coiled cords which are to form the cores for winding the Astrakhan warp upon. These cores are carried down be- tween the feeding rollers .S" S' , over three of the rollers v, and on down through the axes of the 185 three coiling-fliers ; the passage being of course through the tubular shafts. They then are brought down and passed through the three left-hand eyes of the travehng guide-bar E, and are secured to the three bobbins 0' . The Astrakhan warps which are to be coiled' are wound in the first instance on the bobbins G' , and placed in position within the three coilmg-fliers. The ends of the Astrakhan thread, having been brought through the eyes / /' L, are tied fast to the three cores at a point just above the fliers G. Assuming now that the proper feeding and take-up movements occur at top and bottom of the machine, respectively, and that the fliers G are rapidly rotated, it will be seen that the Astrakhan thread is drawn off" from its bobbin and coiled tightly around the core. As the coiling progresses the feeding and take-up movements cause the com- posite cords to pass down through the tubular shafts, and thence to the bobbins 0' . The travel- ing guide-bar E causes the composite cords to be evenly wound upon the bobbins 0' . When a sufficient quantity has thus been formed, the composite cord — that is to say, the core with the Astrakhan warp wound tightly around it — is removed, steamed, or otherwise treated to render its twist permanent, and is then ready for uncoiling. A portion of the core m at the end of the composite cord is left uncovered for a clearer illustration. The uncoiling operation is as follows : The uncovered end portion of the composite cord (now upon the three bobbins at the top of the machine) is brought down through its feed- ing-rollers %v w' over the three right-hand rollers v, and thence down through the tubular shafts, through the three right-hand end eyes of the guide-bar E, and secured to the three bobbins M . The uncovered portion having been fed down until the commencement of the covered portion or composite cord reaches the top of the uncoiling-fliers. Then carry a loose end of the Astrakhan warp through the eyes of the lever P up to the eye z, and then down to the eye z at the bottom of the uncoiling-flier, when it is taken across to the bobbin and there fastened. The feeding move- ment at the top and the take-up movement at the bottom being continued and the uncoiling-fliers being rapidly rotated in the proper direction, they will uncoil the warp from the composite cords and wind up the now twisted warp upon the bobbins. These bobbins have the proper rising and falling motion to distribute the warp evenly upon them. The uncoiling movement is necessarily a trifle slower than the coiling movement, hence the composite cords do not require to be fed so fast as do the cores upon the other side of the machine. This difference of speed is produced by smaller diameters of the feeding rollers w as compared with the feeding rollers S. The uncoiling operation continues and the cores m are wound up in a proper manner upon the bobbins at the bottom of the ma- chine so that they can be again transferred to the positions indicated by Mand the operation re- peated. If the uncoiling tends to progress too rapidly, it is checked by the brake mechanism upon the uncoiling-fliers, which are operated by the portion n' of the warp assuming an inclined position, instead of substantially a horizontal one, between the eye and the core from which it is unwound. If the uncoiling takes place too rapidly, relatively to the downward feed of the core, the point of the uncoiling will rise higher and higher upon said cord, and will thus produce that inclination of the warp necessary to operate the brake mechanism. The uncoiling of the warp is thus automatically regulated by this brake mechanism and cannot progress with such rapidity as to tangle the warp or to break it TAPESTRY CARPET. Tapestry-carpet is a warp pile fabric in which the loop formed by the face warp-threads is not cut. The demand for its production is found in the need of a cheaper and more economical imitation of what is known as Brussels carpet. In its general appearance it resembles the latter to a great extent, but in its method of construction differs wholly from it, as may be seen by any one that examines the two methods. In tapestry carpets three different systems of warp-threads are used : A, the ground-warp ; B, the pile-warp or face-warp ; C, the stoffer or thickening-warp. 186 The general arrangement for the warp is : I end ground or binder-warp, I end double or three-ply thread, of stout linen for strengthening or thickening the body of the carpet, resting in the fabric below the pile-warp and actually forming the main part of the back of the structure. I end double thread of worsted for face-warp forming the pile, by being interlaced into every third opening of the shed over a wire, as required for the face of these fabrics. I end ground or binder-warp. 4 ends in repeat of arrangement of warp (== one set); to be reeded into one dent. The pile or face-warp, before being wound upon the warp-beam, has the pattern printed on it by wrapping the threads around a large cylinder, and coloring them according to the design. The length of a certain color for each pile-thread, required for each individual loop when woven, is regulated by the size of the needles used. Fig. 831 illustrates the example of a pile-warp printed as required before weaving. The same illustrates four different colors : black, white, heavy-shaded and light-shaded. Fig. 832 illustrates the same pile-warp as it appears when interlaced into the fabric; each effect in the warp being reduced to its required size or proportion to the corresponding effect in the design. Fig. 833 illustrates the sectional cut of the fabric. A and A' represent the ground-warp; B, the thickening- warp; C, the pile-warp; W, the wire requiring every third opening of the shed. Picks i and 2, requiring the first two openings of the shed in the repeat of three, are the means for interlacing the ground-cloth as well as fastening the pile to this ground structure. Fig. 834 illustrates the complete draft, or weave for producing a tapestry carpet. Each warp-thread and pick is marked in accordance with previously given explanations. Different Qiialiiies of Tapestry Carpets. The fineness as well as the value of these carpets is regulated by the quality of the material used as also by the height of the pile and number of pile-pick (technically known as number of wires) per inch. Seven to eight wires per inch are about the usual number in the arrangement. Method for Ascertaining Size of Designing Paper Wanted. The designs for tapestry carpets are generally painted on the squared designing paper in about a size equal to the design upon the face of the fabric when woven. Thus the number ot small squares to one inch in a horizontal as well as a vertical direction on the designing paper is regulated by the number of loops in the woven fabric, both in the direction of the warp and the filling. In some cases the number of loops is equal in both directions, while in others it differs to some extent. Designing papers known as 8 x 8 to I inch and 8x7 to i inch are those most frequently used. Tapestry carpets are generally produced 27 inches wide ; therefore the design will have to be of equal width. That arrangement for the design may be selected known as the " half-over pattern," or one that has one complete repeat in one width ; or a design may be produced which repeats twice (or oftener if small figures are wanted) in one repeat of 27 inches in the fabric. Lately a method of producing effects in tapestry carpets, classified as " sheeny " or " varie- ^gated," has been patented in this country, England and France, but is nothing more than a 187 method of arranging the design of the carpet so as to make use of more or less solid colored pile-warp yarn, hence requires no printing for this amount of warp. In Fig. 835 such an effect is illustrated ; a represents the solid colored threads, b represents the printed threads. Each Fig. 831. Fig. 835. kind of pile-warp is operated from a separate beam ; so it will be seen that a general range of effects can be produced by simply varying the solid colored threads in each style, leaving the printed warp entirely undisturbed. 188 BRUSSELS CARPET. Brussels carpet is a warp-pile fabric in which figures are produced by raising over the wire different solid colored warp-threads at certain places according to the design. Brussels carpets are of a far superior character, as respects color, quality of material used and the structure, than the tapestry carpets which have been just explained. In Brussels carpets the colors used are generally " fast," as the yarn is hank-dyed and not colored in the warp as is done with the tapestry carpets. Brussels carpets are technically classified by " frames," or in other words by the number of different colors called for in a vertical row of squares on the designing paper, as also one row of loops in the direction of the warp in the fabric. In tapestry carpets one double thread of worsted, printed according to the design, is used for one row of loops (warp-ways) while in Brussels carpets a similar double thread is used for each color as required by one row of squares warp ways in the design. One color only is raised at the time, while the threads then not called for rest in the body and partly on the back of the fabric ; therefore the thickness and substance of the fabric is not due to cotton or jute thickening threads, as in the body of the tapestry, but the same pure wool- thread which forms the face will at every place not called for by its color in the design, form part of the " body." The ground-warp in Brussels carpets is interlaced with the filling on the common four- harness basket-weave ( gB@g ) arranged so as to have each XQLJKa / ^^^^^^ two successive picks insert in the same opening of the shed (of the ground-warp) and only separated by the pile warps. Fig. 836. One pick passes above, and its mate pick below the pile warp-threads holding the latter firmly secured between; thus, if the raising of tjie pile warp over its wire for forming the characteristic loop should be omitted, we would produce nothing more than a fabric interlaced on the common four-harness basket-weave having a stout packing or thickening thread in the centre. As mentioned before, Brussels carpets are graded by '^frames" There are three-frame, four- frame, five-frame and six frame Brussels carpets. Under "frame" we classify the number of different colors found in the different rows of squares in a vertical direction on the designing paper ; thus a three-frame Brussels carpet has three different colors in one row of loops (warp-ways) in the fabric. Any of these three colors can at any other row of loops (warp-ways) be exchanged to a different color without changing the principle of a " three- frame " carpet. A "four-frame" Brussels carpet will extend the number of colors for each row of loops to four colors. Thus, a "five-frame" Brussels carpet will show five different colors in one row of loops warp-ways. A "six-frame" Brussels carpet will extend these number of changes to six colors. Having an individual warp-thread for each color in the formation of the loops will also speak greatly in favor of the Brussels as compared to the tapestry carpets. By means of these separate threads the design will be more clearly defined and its various parts more pronounced, while in tapestry carpets the figure is always more or less indistinct, which arises from the method of operation by which the pattern is produced. In Brussels carpets the different colors used are variously distributed, one color being used to a greater extent than the other, etc. This method of using every pile warp-thread at will and in a different amount than another, requires us to use instead of ordinary warp yarn beams, bobbins or miniature beams fixed in frames, or a huge creel, stationed behind the loom. The manner in which the different colors are controlled, in other words, in which they are concealed 189 from or brought into view upon the face of the fabric is of great importance in the manufacture of this article. Method of Structure of the Brussels Carpet. The pile (loop) is formed the same as in. common (uncut) velvet fabrics by the insertion of wires (see Fig. 836) under the pile-threads; but the method of selection is different. In producing a common velvet fabric we raise either the entire warp or one-half, etc., over each wire, while in Brussels carpet we select for each individual loop from a series of duplicate threads (set-frame) each of which has a different color. Another difference between a common velvet fabric and a Brussels carpet is found in the manner of operating the pile-warp during the insertion of ground- picks. In common pile fabrics, as explained in precedijig articles, the pile-warps interlace up and down in the body of the fabric, while in Brussels carpet the face or pile-warp rests during the time it is not used for forming loops in a straight line in the body of the fabric. Three-frame Brussels Carpet. Fig. 837 illustrates part of a design technically known as a " three-frame " Brussels carpet. In the same the different colors for 8 loops, warp and filling-ways (which equals in the present ta' *j c*. c*' c*^ d*- c-^c*-c^''3 umsmyjzma • m:^- 1 ■:: ■;: . ■;: ■:: ■:-: i i GBQaGaH::! 1 au ■:: ■:; ■:; ■:} ■:: ' i DBHwaDBn i ■:■: ■:; ■:: ^ ■□._. ■:■: ■:: 'J dbejmgdh:: ■:: ■:: ■:: -i jubqjHlJ'-.h:: ■::<4G DGDDDDi , jaDDQDC'. JO , . nnaDQEinuuKi_i._j J.j_;\: .,_' _'.rJLJ'jULinKIDaDKlDL)UULfcijijuJK2* 8th wire. nBnODDDDHanBnnaDGHDnn ^HanDBDDaDDCBDnBDDa KIBaQKIDQElHnHHElHBaHHBnKlGQHKlGBBHDKlHBSKlDHEHa HQaoKGnGaaKiGuaKGaDaaisiaaGKianijaDKiaanHnDDDa 7th wire. GaaaGLjGHaaGnaGGGGGBGaGGBGGaHaaGaHGaaGHnG GGGQGKiaQaBaHQaaKIGQGKiaGaHaElHQHKIGQBBGHBGHg GGGGGBGGGKlGaGGGKIGGGKIGGnGGBGaaSGGGaQKiGaGa 6th wire. GaHnaCGHGGGGHGGGaGBGGGGHaaGHGGaGHGGaGHGa KiaSGKiaaaQaSBBBHGaEBGaaBaKaHBQaKlBQGKlDBBGa , . KGGaHGGaaGKiGGGKiGGnnasGGaKGGaaaKiGGGKiacQua ' ^ 5tli wire. naasaGBGGGaaGBGaBGGGGBGaGGaGBGGBQOaaaHGa PTk- St7 GBBBGKltiQBSlGBBBGKiaaaKinQaaGKaBaHaEBBGKIBBQB V IG. 037. _ QGGGGElGaQKiaGGGaHQGaEIGGGGGkQDaKQaaaGlginGGa 4th wire. GGHGaGBGGaGGGHGGBGGaGBaaacaGBGaBGnGaQnBa HBBBEGBBBGKBBaKIQBBaaSBBBKiaBBBDKlBBQKIBaaBa , . KICGGKGGGGGBiaaGKIGGGaGKlQGaKiaDGaGKiaGaKQGGaG 3rd wire. GGHGGGGHGGGGElGGGDaBaaaGBGGacaGGaaHGGGaElGn GBaBaHBaaHGBaBGKlBBBKGBBBaHQBaKIGBaBaKBaaS , . BGGGQKiaGGEiaGGGGaGaaKaQaQOigiaaDHQCDaGGKiGaaia 2nd wire. GaHaGGGHGaQaHaauGGBGGGaBGaGHnaGaHaQaaHGG BBBBKaBBBGSBBBSGBaBGKBaBiaGBBaGSBBaKiaBBaa , . KIGGGKIGDBaGEiaGDEIGGGGGKIGGaSGQaGOHaQaBaGGaa ist wire. DBDGDaDGBGGBGGGaOHGGaaHaaGBGGaGGaBGGBGaa SBBBnnBHB ■■ ■ ■ ■ H UB mw_ ^"k 1 - L JLJU 1 B ist I 2nd I 3rd I 4th I sth I 6th I 7th I 8th dent. dent. | dent. | dent. dent. | dent. | dent. dent, | Fig. 838. example 8 by 8 = 64 loops) are indicated for each color by a separate kind of type. In the same line of the design (looking at the design lengthways), apparently in the same thread, three colors form the pile in succession, which is practically produced by employing three distinct threads, each of which is so controlled that it only appears in the pile when required to produce the design. In Fig. 838 the ground plan of the method of interlacing is shown. On the top of the plan the arrangement of the warp is indicated. I end binder-warp. 3 ends face or pile-warp, each representing a two-fold end of worsted and each of these 3 so indicated pile-threads to be of a different color than the other. I end binder-warp. 5 ends in the repeat of arrangement for the warp. Thus 5X8 = 40 threads of warp in ground plan, representing the construction of a 3-frame Brussels carpet, similar to the one shown in design Fig. 837. 190 In plan Fig. 838 every shed for inserting the wire is represented on the left side of the design ; and on comparing with the part of the design of the face, Fig. 837, it represents the threads as indicated in the latter raised from each set. Pick I in the design calls for i ■, i a, i ■, 2 □, i ■, i h, ib. Examining wire i in the plan we find the selecting of the different colors from each set arranged accordingly. Thus we select — From the first set ■. " second " b. third " m. fourth " B. fifth " Q. sixth " ■. " seventh " ■. " eighth " ■, etc. Pick 2 in the design calls for 3 q, 2 a, 3 a, and the colors of the face-warp for raising over wire number 2 in the plan are selected accordingly. From the first set of 3 pile warp-threads we call for □. second " third " fourth " fifth " sixth " seventh" eighth " Pick 3 is a repetition of pick number 2. Pick 4 in the design calls for i a, i ■, i a, 2 ■, i a, i ■, i ■, and the colors of the pile-warp raising over wire number 4 in the plan are selected to correspond. From the first aet of 3 pile warp-threads we call for a. second " " third " fourth •' fifth sixth '• seventh " eighth " " " Pick 5 in the design calls for i ■, i ■, i a, 2 ■, i a, i ■, i □, and the colors of the pile-warp raising over wire number 5 are selected to correspond. From the first set of 3 pile warp-threads we call for ». second " third " fourth " fifth sixth " seventh " eighth " Picks 6 and 7 are duplicates of picks numbers 2 and 3. a. a. m. M. a. □. □. « 191 Pick 8 in the design calls for i ■, i a, i ■, 2 a, i ■, i a, i ■, and the pile warp-threads raising over wire number 8, as shown in the plan, are selected to correspond in colors. From the first set of 3 pile warp-threads we call for second " third " fourth " fifth sixth " seventh " eighth " it « It (t Any pick that will be called for in any complete design always has its method of interlacing arranged similar to the principle explained in the specimen 8 picks of part of a design given for example. Pile. DUKIKIDDKIH Fig. 839. Fig. 840. The two binder warp-threads working between each set of threads in Brussels carpet of any " frame," interlace with the filling as shown in Fig. 839. The reeding of a 3-frame Brussels carpet is arranged for " i binder, 3 pile, i binder," in each dent ; thus splitting by the reed ahvays the two binder warp-threads. Fig. 840 illustrates the section of a 3-frame Brussels carpet. In the same, threads marked d and e represent the binder-threads. A, B, C, represent the 3 different colored pile warp-threads. Wires i, 2, 3, 4, 5, 6, 7, illustrate the section of the wires as used in the opening of the 3d, 6th, 9th, I2th, 15th, i8th, and 21st opening of the shed. Picks i, 2, 4, 5, 7, 8, 10, ii, 13, 14, 16, 17, etc., of the ground structure of the fabric are indicated by shaded circles. DnnnDKinnnKnnnnnBnnDg KDDOKlOnDnngDDDBDDDDD □BEEiaHQQHEJnElBEinHHBBEl I jDDDQKiDanHaaDnaHDnDKi KBBBKinBQBDSBBBKlDBBEa KnaaKicaQaDSCGnHnanDa DQEQDHQEBKlDBBBaHQQQa Fig. 842. ©TOWn^'PiS. The binder-warp is drawn in two common harness frames which are placed in front of the Jacquard-harness. The face or pile is drawn in the Jacquard-harness, which is tied up for as imany sections as there are frames in the carpet, so that in the present example of a 3-frame car- pet we must use a 3-section tie-up. (See section on "tie-ups" in my treatise on The Jacquard, etc.) [By forming the shed for the insertion of a wire only one pile warp-thread from each set is raised, is is required by the design. If the pile-warp in a carpet, constructed as thus far explained, is ;ut, the name Brussels is changed to Wilton. 192 Diagram Fig. 841 illustrates the method of interlacing a 3-frame Brussels carpet. This diagram readily explains itself on examination. Warp-threads indicated by A, B, C, are the three different colored pile-threads required (as explained before). Thread A is shown blank, thread B shaded, and C black. The binder or body warp-threads, situated in the fabric on each side of the face-threads, are indicated by / and 2. The ground picks and places for inserting the wires are ■■«■■■□■ t Bc; m e ::■ m I ►s:; ■ B I :: ^:•■[l IE >! .■ 1 8 Fig. 843. 8th wire. 7th wire. 6th wire, 5th wire. 4th wire. 3rd wire. 2nd wire. HRfflQ :j^ ma LBH >i ■:■: ,hi iBU: :q . Bc: Si . ■:: Ki ■:: >-n ■:: in ma ma ij«UJB^j«auE'^_HHUEa.j^iHauffl,_j„Ha,ffl,_,._,Ba:j£a^.jHc:!jaLjuHaHEan DDDDGaaGDauCiuaajLiGajuLJGaoaatjGujanGanrjaLjiJarjGauiJDa nDcaDaanGaaGnGaaaaaaGDDacaGaaGDGGGQaGaaGaaaGaaua DGGanaKGaGGKiGGaGaGBaaGGBGGQaaaEaacGKiaGQDQaHGaaGKiz* aBGaaaGaGBGaanGBaaacaafflDnnGBGaGGGiiaQaGGBGaancaGaa KaHHHaGHQHBGKHQHQKuQQHHCKGHEQKlQQBaHGHBEHHEaGQaEHa KiGGaGKaaGaaGKiGaGGKiaGQGanKDaGGKiDDGDGaHGaaaKiGGcaGa GGGHiGaGBDGGnaGGnfflaaDaBaGaGaBGaDGGBQaGataGGaGaGBGa GQBQHGKHQHHISIGQGQQQBQHHBEinQGHaGKlHBHQHaBQEGGHBgilSS GGGGGGKlGGGaaaGGGGGHGGGGKlGaGGGaKJaGaLJHGGGaGaEIGijnaKI aaGBaanaGBGGaBaaGnGQGBGaDGnBGGaGHGGGnGGafflGGGCHaa KGaGGaGQGHBGKlHBGBElCBQSBGKlBBBQKICBHQBaKIBQBBKiaBBBBa KGGI naEGGGGGaaGQGGEJnaGGGGKIGGGGKlDGGGGaKIGGGDKI JGOGGG GGfJHGGGaQBGGaGGMGaGBGGGGGGHaQGGGaBGaGaGBGaaGGaffln QBaaQGKIBQaBKlGQBQQGIEIBBBBKIGBBBEaaQBBBKlQBBBBGKlBQBBKI GGGGGGKlGaaGKlGDGGGGKiaaaaKiaDGGGGEiCQGDKlGGaGGCIEIGaGGBI GGaGBGGGaaGGnnCJHaaGGHaGQGBQaCaaGGBGGGGGHGGaGGBGG ElEQEBglGBBBEaBHBBEEIGEBHBGKlBEBBKiGQBGBGKBBQBKEBEEBC KGGaGKGGGGGGaGGGGHGGGGGGBGaGGKlGGGGGGKGGGGKGaGGGC GaaBGOGGaCfflaGGHGnGGaGBGGGGGaGaaBGGGGGGGBGGGGGBaC GBBEBGBGBBBKlGEBEEGKIQHHHKlGBBEBGiaQBBaKIGaBEBGKEEBBE GDGGGGKlGGGaKIGDGaaOI^GaGGKlGGGGCQHGGGGHanGaGGKlGaGag GGGBaGGGQGGGaGDBGGGaGBaGGaaBGDDaaGfflaaBDaQaDGGBGC KBaEBKGEQEBGKBBEEKaaQBEGKBBHBiaGEEGBGKlEEBBKiaBBBBC aSQBBGHGBBBKiaBBBHGKBBBBSGBBBaaKlBBBEKiaBBBBGKEEaGKIl 11 I I I I I I I 48 ist 2nd 3rd 4th 5th 6th 7th 8th I dent. I dent. I dent- I dent. I dent, I dent. I dent. 1 dent. Fig. 844. marked on the bottom of the diagram. P on the top of the drawing represents the interlacing of the fabric, omitting the loops, and thus giving, at a glance, the correct principle of interlacing the body. Fig. 842 illustrates the weave for this part. Shed for " wire " omitted. 5 on the top of the drawing Fig. 841 represents the entire procedure. The wire marked i calls for the raising of warp-thread C (= black) for forming the face of the fabric. Wire marked 2, the successive wire, calls for the raising of warp-thread B {= shaded) for forming the face of the fabric. vO If) ca inHifflDGGI !□ iBD I' II la: ffiO I in ea I in lassn:: IHilfflD IH >!*□ ic: >ia in m ■□BSDGGI m ifflo: fa a so ui m t/i n m IHBfflnGQl infiBD' ' ■ ■:3 tin fSBBBBHOffl a^Qi 4-nBQ BDSa: '^BB ■CDEBC'}'-;: iB BBC^QSai-tH BBBUDSUH IBBBBQDEaa Fig. 845a;. 8th wire. GLjH tn .5 m lEBffinaGBHiianGQBHHfflQG iH>- WO ii BHrtBsanr.BnFjfflQG VS SD BK: Sn!": BH: ESOG IE EEQ. , BB. EaaV.-BE. EQG -.. jLjGuljljljljljuGlji_jGi— 'ljGG jaGGGGGGGGGaaaGGGG „ JGGKGCGaGQaKGGQGDE]24 ""GGQGaGCGnnGQGGGfflGG BGQaaEl^JaaaEBGSBaaBQBaQBBQGUEBEEBSKGBGBBBGBBQBBBKlGBBBBEG ' GBBaBEGKIBaBaBHDEBGBBGKIEQBBBElDBBBBECElEBBBBKGEBaBBGKBBBEaKI GQaGGGGKIGanaGBlGaaGGaGSGGaaLJHGaGGGGaHGDGaGBGGGGGGGKlGGGDGK] 6th wire. GGnBGnGGGaGfflGaaGEiaGGaGGaBGGaaGQrjaOGGBGGOQGQBaCGGGGGHaGGa KBBBBEKIGBQBBBaKIEEEaBSaaBBQBGKlBBEBBHGEEBBBGKlBBBBESQBBEEaa KIGGGGGKlGGGGaGagiGGGGaElGGGGaGaKIGGaGGKlCGaGGaGKlGaGaGKiGGGGGaq Sth wire. GGaGGGOGI IGaGOGGGnGaaGGGaaGaaoaaBGGGGaGBGGaGBQGGaaGBaDaGg GEaEEEGK!BGaEBKlL-.BBBaEa65BaaEBKIGEQEBBGKIBBEGBElGBEEBSaKlBaBEBg GGGGGGGKIGGGaGKiaGIDGGaGBGGGGCKGGaCiaGGHaGGGGKIGaaGCaGKGGGGGKI 4th wire. GBGGGGGGaHCJGGGGGaGanGGGaGfflGaaGHGGaGGGGBGGGGaGSGGGaBqqGGq KEEBaBKIGBBBBBaEJEBEBBKaBBBBBaHBBBBBSGBBEBSGHBBBEBKiaBEBBBg SGGGCGKaaaGGGGKlGaGGGKlGGaaDDCHGGGDGXIGGGGGGGglGGGGGHGaGGaGG 3rd wire. GBGaGGGGBaaGaaaGaaGGGGGaaanGGGGGfflaGGaHGaGGGGGHGGGaGGBGGg GBaSaEaKlBBBaBgiaBEaEEGSBBapBKIGEEQBBGSEBEBBKaBEBBBGHBBBBSKI BGGGGGGgJGCGGGKlGGGGGGGgiaaaGaHGGGGuOGHGGGGGKIGaGGGGaKGGaaGKI 2nd wire. □GGBGGGGBGaGGGGBGGGGGLiGHnOG GGGnGGGDGGaaBGGGGHGGGGGGGBGGa KBBBBBiaaEBBBBGSBBBEEKiaBBBBQGKlBEBBEBaEBEEBaKlBBEaaKEBEEBBG KIGGGGGKIGGGGGGaKlGGGaGKIGGGaGLjaSGGGGaHGGGGaGGKiaGGGGHaQaGQan 1st wire. aGaBGGGGaGBaGaaiaDGGGGBGGGGGGaaaGGGGGGaanaaGGafflGGGGcacaGa GBBSBBGBBBEBBHGBBEBBaKQBaBQKlGBEEEB[]iaBBEEBElGBEEaBGBaBEBaKll |l ist I 2nd I 3rd I 4th I 5th 1 6th I 7th I Sth 66 I dent. 1 dent. I dent. I dent. | dent. I dent. I dent. I dent. I Fig. 845(5. Wire marked 3, the next successive wire, calls for the raising of warp-thread C (= blank) for forming the face of the fabric. Warp-threads 2-C-B-A-1 are drawn in one dent of the reed, as indicated on the left-hand side of the drawing. Fig. 843 illustrates part of a Brussels carpet design classified as a "four-frame." 193 Fig. 844 furnishes an analysis of the latter. The difference in the construction of a " four- frame," as compared to a " three-frame " carpet, consists in its having four different colored pile warp-thieads, instead of only three, as in the latter, so that the figuring possible in both carpets is equal in proportion as 4 is to 3. Having thoroughly described the method of constructing the " three-frame " carpet, the present " four-frame " design will the more readily explain itself Fig. 845 a illustrates part of a design for a " five-frame " carpet, which in Fig. 845 b is also analyzed. Brussels and Wilton carpets are made up to and including " six-frames," also " in part of full frames " (after the " three-frame "), as may often be required in order to cheapen the fabric. DOUBLE-FACED PILE CARPETS In which the Pile is Produced by Inserting a Special Heavy Filling-Cord Instead of a Wire. The construction of these fabrics has for its object the production of a cheap, strong, firm and durable double-faced carpet, wherein the figure at each side of the fabric is derived from Fig. 846. ^=?W'fff m;v//////////Mmim>. m/M///////////m/m Fig. 847. Fig. 848. face-warps appearing upon one and then upon the other side of the fabric for one or more rib-picks. In addition to the face-warp there is also used a binder-warp, usually having two threads worsted face-warp alternate with one end binder-warp. These face and binder-warp-threads are interlaced into one fabric by means of two kinds of filling, the interior (heavy) filling and the binder-filling. The binder-filling at alternate picks passes above all the face-warps and then below all the face-warps. The binder-filling is tied to the upper and then to the lower side of the face-warp by the binder-warp, two picks of binder-filling and two picks of stuffer (interio'r, heavy or cord) filling being put in in succession. The binder-warp is lifted into the upper half of the shed between the insertion of the first and second picks of stuffer (cord) filling, the binder- warp thus splitting the stuffer or interior filling. The crossing of the warp and filling is such as to enable the two picks of interior or stuffer, when beat up into the shed, to lie nearly one over the other, forming ribs opposite each other at opposite faces of the fabric. Fig. 846 represents a longitudinal section. Fig. 847 is a diagram representing the arrangement of the warp and filling as they interlace in the fabric. 194 Fig. 848 illustrates part of a design (face and back) corresponding to diagram Fig. 847. The threads shown in Figs. 846 and 847 are separated for a clearer understanding of their working ; but in the actual fabric they are beat closely together by the reed and appear somewhat similar to those illustrated in part of a design (effect) Fig. 848. Metliod of Operation. These carpets are produced on an ordinary two-box Jacquard loom with the addition of front- harness. For the binder-warps an independent harness or set of harness is provided, being operated through a cam on the picker shaft. The sheds for the binder-filling are formed by the binder-warps on the one hand and by all the face or body-warps on the other hand. The face- warps (indicated by letters E, E , G, G' in Figs. 846 and 847), which are generally of worsted and of different colors, and dyed or printed according to the colors and patterns it is desired that the carpet shall show, will be operated on by a Jacquard machine of the usual construction, so as to split the face-warps at suitable intervals to form sheds for the introduction of the stufifer or interior filling (indicated by letters E, A', in Figs. 846 and 847) carried by a shuttle. The face warp-threads uppermost or at one side of the fabric remain at that side of the fabric for as many picks as desired, and then are carried to the other side of the fabric. The binder-warps (indicated by letter d in Figs. 846 and 847) are carried by one or two harness frames and are distributed at suitable intervals between the face-warps. They are arranged so as to appear at both sides or face of the fabric between each two picks of interior (or stuffer) filling. Method of Successive Interlacing of the Warps and Fillings. Examining Figs. 846 and 847 from the right to the left, it appears that pick i has all the face-warp down and the binder-warp raised, thus forming a shed between all of the face-warp and binder-warp to receive a pick of binder filling. Pick 2 — the second binder-pick — has all the face-warp raised and all the binder-warp Jowered. Pick 3 has one-half of the face-warps raised, which with the binder-warp then down, forms a shed for receiving the first stuffer or interior filling. Pick 4 has one-half of the face-warp and the binder-warp in the upper part of the shed, and the other half of the face-warp in the lower part. (This pick is not illustrated in Fig. 847, it being opposite to pick 3.) This operation is repeated until such time as it is desired that the face-warp uppermost in the last shed to receive the stuffer or interior filling shall be made to appear at the opposite side of the fabric. When it is desired to make the warp upon one face of the fabric show for one or more sheds upon the opposite face of the fabric, these face-warp-threads are themselves bodily carried, as indicated at the line F, from the upper to the lower part of the shed. DOUBLE-PILE FABRICS. Principles of Construction of the Plain "Double Plush." The end to be gained in the manufacture of warp pile fabrics of the present division is, the production of two single velvet (or similar) fabrics with one operation of the loom. In the manufacture of double plush the f g^ ***** wires so conspicuously referred to in speaking of warp pile fabrics, are ^^^ omitted. The pile-warp-threads, after interlacing into the "body structure" '^^^ of one of the single fabrics, pass across to the *' body structure " of the other fabric, where in turn they are interlaced before returning to the fabric from which they 195 started. Constantly exchanging pile-warp-threads from one cloth to the other forms the principle of double-pile weaving, and is illustrated in diagram Fig. 849 by a. After combining the pile of a two-ply fabric in the manner previously explained, its pile-warp-threads, running across the centre or interior of the fabric, are cut automatically by means of an attachment on the loom known as the " cutting knifed The variously constructed knives in practical use, as well as the methods of their operation, are treated later on. Methods in Use for Interlacing the Pile-zvarp in Do2ible-plush Fabrics. Various methods for exchanging the pile- warp in weaving " double plush," as also the different ways of interlacing (or fastening) these pile warp-threads to the ground-cloth of each fabric, are in practical use. An explanation of a few of these is given, whereby a pretty clear conception Fig. 850. may be had of the method of interlacing double plush. Diagram Fig. 850 illustrates the section of a double-plush fabric. In this, four distinct warp-threads are visible, and are indicated by the numbers i, 2, 3 and 4. These four warp-threads and the sixteen sections of the filling illustrate one repeat of the arrangement of the warp and filling, as well as the method of intersecting both systems, technically known as their weave. Line AXo B m. the diagram indicates the direc- tion for cutting the pile-warp. In diagram Fig. 851, another method for forming double plush is shown. The diagram illustrates the section from a specimen fabric. In this, two distinct sets of warp-threads (shown by dotted lines) form the body structure for each individual single " plush fabric," while the pile is produced by a separate set of warp-threads which alternately interlace into one and then the other body-structure. The body-warp for the upper fabric is indicated by letters A and B, and that for the lower by D and E. Line F to G shows the course through which the pile is cut to produce the two separate plush fabrics. 1 s 1 s 3 5; lUaDDB— 6 1 □anna— 6 [Picks for the top fabric. ■nDnB-4) fflHffiaB-2 \ Picks for the bottom fabric. (i denotes face fabric, 2 bottom fabric, 3 pile-warp.) Fig. 851a. Fig. 851. An analysis of the section shown in Fig. 851 gives as follows: Picks i, 2 and 3 for the lower fabric and picks 4, 5 and 6 for the upper fabric. Fig. 851^ is a plan of the method of interlacing, technically known as the "weave." 2 harnesses are required for the body-warp of the upper fabric ; 2 harnesses for the body-warp of the lower fabric and i harness for carrying the pile-warp; thus 5-harness in repeat. In reeding the warp five threads must be put in one dent. To produce a well covered full face in the fabric, two kinds of ground or body-warp must be used. One kind for threads working as shown by warp-threads A and E, or tighter than the other body-warp, or threads working the same as warp-threads B and D, which operate with less tension ; hence two beams are necessary for the body or ground-warp, with one beam for carrying the pile-threads. 196 The adjusting, or " setting " of the harness is such that when the loom is at rest the set of warp-threads for the upper section of the fabric is in a sufficiently elevated position as compared to those for the lower cloth. The method of operation for the harness is such that for the picks of the upper cloth harnesses are lowered, and for picks for the lower fabrics harnesses are raised. This method of weaving double plush only requires one shuttle, and the weaving is per- formed the same as ordinary weaving. . a 3 01 o ad cdi 2 12 u ■ : ■ U .■ 1 izv. ;:: □a „ jata C3n la □a 8 Fig. 852. r," ! occcaaou 1HDBBHHB RgRSS H-" □ ■ a ■ £3 e::hhc| ■ ■ '.a ^C3 mo a m E CH ■ ■ i'-iiJD a Li I j C-: ' ■ a m n ■ i' '^ 1 .n ■' ■ '^GQ Q ■ EH Earn ■:: ■■:::: ■:: ■■ ::: m. ~ ■ c; ma ■:-:: ■ ^^ehme ■□ □ ■ ■0:0 ■:: ■ Fig. 852^. HnHD HUHn Dtaaa DBDH 4BDHa BOHa DHDH IDQDH 1 2 Fig. 852a. □■RinHMHBrsinKiB r^ ■■::■:■■■ ^ '■'^:-m I .::■, . .:;■-■: Ci m : c: ■ [ . ::■. ::■ : ?□■ [ L El E 1: : [ : IE. :> ■ lEiH .'J 'iEBIS lai^mastm Fig. 852^. an . □■ '1 m. ma . ■□ M am ; am am ob; j ■□ ■□ 1 [..['.□■ ' □■ Ci-ma . ma &■□ ma 1 am □■ 1 e;' ■□ HO &;{ QH. □■ □■! ~i rn ' j ■a aa 1 ct;aH □■ iQ^aa :'.:Ma 1 4 Fig. 852^. oc.. -y. ji J C.< € ►A. d.<^ >l QOQaQDIQDjQDIQDIQ'D j.< «.- ►A. ■s- OXXOUDnunODlODUD: QoiQoiQaQonoiaaoD 1 'WiC mil/ w/ mi// mi// %w mi//' Fig. 852(5. pjd:ojd:ox):ojd:ojd:o.d:ox) »A. ^E. The arranging of three successive picKS alternately for each fabric is of no disadvantage to either structure. Each plush fabric will show the same smooth surface after cutting. Diagram Fig. 800, on page 170, in the chapter on the construction of single plush and velvet fabrics represents the section for each separate single cloth of the double plush illustrated in Fig. 851. Fig. 852 illustrates another plan for weaving double plush. In this instance a double shuttle loom is used (cam-loom principle), using each shuttle for interweaving in the one system of the structure. Consequently two sheds must be formed at one operation of the loom, which is effected by using for the pile-warp " Cams " which are capable of holding- the harness frames in three 197 different positions, "the bottom," "the centre," or "the top" part of the complete double shed. It will be readily understood that " the centre " refers to the upper division of the lower shed, as well as the bottom division of the upper shed. In Fig. 852 the first 4 harnesses, for future reference indicated by letters a, b, c and d, repre- sent the pile. In the same the ■ type indicates the raising of a harness in the top division of the upper shed or " the top," the a type indicates the placing of the harness for forming " the centre " (being also the temporary " shuttle-race " for the shuttle interlacing the upper ground fabric). This position is also technically known as " dwelling." The □ type indicates the lowering of the harness for forming " the bottom " of the lower shed in the loom. The rear 4 harnesses indicate the working of the ground warp. Harnesses indicated by i form the one body-structure, while the harnesses indicated by 2 form the other body-structure. Each set of the ground- harnesses (i, I and 2, 2) is placed by a respectively high or low strapping into its proper position for guiding either the ground or body warp of the upper or lower ground-cloth. The drafting for the present weave is 1 end ground-warp for the top cloth, i end ground-warp for the lower cloth, 2 ends pile-warp, thus 4 threads in one repeat. Fig. 85 2« illustrates the separate weave for interlacing each body-structure, being the com- mon (2-harness, 4 picks) rib-weave, or the common plain two picks in a shed. In Fig. 852^, six respective diagrams are given for illustrating the compound weave Fig. 852. Diagram indicated by a represents the section of the corresponding pile warp- thread a in the weave ; diagram b shows the section of pile warp-thread b in the weave ; diagram c illustrates the section of pile warp-thread c in the weave, and diagram d refers to pile warp- thread d in the weave. The ground or body-warp working close by the pile-warp is shown by the dotted lines in each diagram. Letter A, in all the diagrams shown under Fig. 852 b, indicates the upper fabric and letter B the bottom fabric. Horizontal line ^ to / indicates the direction for cutting the pile as performed afterwards. In diagram s of Fig. 852(5', the complete interlacing of all the four pile-threads in a fabric is shown. In the same, ground-warps (as previously shown) are omitted so as to give a clearer understanding of the subject. Letters of reference are also selected to correspond with the previously explained diagrams a, b, c and d, as well as to diagram /, which illustrates the section of the four pile warp-threads when cut (ground-warp again omitted). In Fig. 852-. 5 Fig. 878(5. Fig. 878a. Fig. 879. roller, one being a left-hand screw and the other a right-hand screw, on a horizontal shaft, E, which has its bearings in brackets XX, also secured to the side of the frame A. One end of this shaft ^ is provided with a beveled gear-wheel, which engages with a similar beveled gear-wheel on the end of the picking«shaft D, and is thus continuously driven. The other end of shaft Shears against a rod, L, in the bracket X, provided with jam-nuts, in order thereby to secure desired pressure against the shaft and its actuating-wheel, more especially when actuated by friction as a substitute for the gear-wheels shown. The pile warp-threads are delivered directly from the guide- roller R to one of the metal rollers C, and under and around the same, and from thence in like manner under and around the other roller, C, these rollers rotating toward each other, and from the last-mentioned roller Cthe pile-warp is carried to a second guide-roller, S, supported horizon- tally in the frame A, and is from thence taken up by vertical rods Y, held up by pull-springs W^ to support the warp in its passage to the heddles, and to create the necessary tension thereon to hold the same taut. Carrying the pile warp-threads to a point over the main rollers C the loose waste driven off by the operation will drop onto the warp after passing the second roller, C, injuring the pile-warp and clogging the mechanism. To prevent this, a shield, T, is arranged over the second roller, C^ 208 consisting of a fiat tin or otlier suitable plate extending from side to side of the loom and secured to its frame. Another arrangement for delivering the pile warp in looms for weaving double pile fabrics has been lately invented by Mr. Fred. Pearson. This invention consists of a mechanism for the proper feeding of the pile warp into the harness, and is placed in such a position in the loom as to pre- vent any fibres or other substances, which may be freed from the warp yarn as it passes over the mechanism (friction rollers), from falling into the latter, and thus injuring the warp-yarn as well as clogging the mechanism. Another advantage Mr. Pearson assigns to his invention is the means provided by which this feeding mechanism can be easily thrown out of action, so as to allow the weaving of the ordinary close-stitched double-cloth required for the weaving of a proper heading at the beginning and ending of each cut. The mechanism is also arranged to permit a quick and correct changing of the amount of pile warp to be delivered, as regulated by the height of pile required for the fabrics woven, by substituting a smaller or larger worm-wheel upon the axle of the main roll. Diagrams Figs. 880 and 881 illustrate this mechanism. Fig. 880 is a side elevation of the rear part of a loom or attachment to a common cam- loom, and embodying Mr. Pearson's invention. Fig. 881 is a sectional elevation, showing the delivering of pile warps (from two beams) and Fig. 880. Fig. 881. the direction of the running off of the ground warps (from one beam). The respective parts with the letters of references given (the same for both Figs.) will in a great measure explain the modus operandi. A represents the beam for the ground-warps; B and C, the beams for the pile warps ; E and //, the guide-rollers; i^and 6^, the main or friction-rollers, whose axes are mounted in open bearings in an adjustable bracket N, attached to and mounted upon the main frame of the loom. The axis of the lower friction-roller is provided at one end with a worm-wheel which gears into a worm P on one end of a horizontal shaft, which is driven by gear wheels R and 6". Upon the opposite ends of the axes of the friction-rolls are mounted gear wheels V X, which gear into^ each other. J represents the harness frames. An examination of Fig. 881, with regard to the direction of running the pile warps and ground warps of the fabric, gives us as follows : The pile warp-threads, upon the beams B and C, are, together, carried over the guide roll E, under and around the main roll F, and around the main roll G, under the guide roll H, and over the horizontal yielding, or spring-supported rods / contained in the vertical guides K, and are thence run to the heddles. The ground warp-threads upon beam A are carried over supporting or guide-rollers a b to the harness-frames. At the beginning of the description of this invention we mentioned that a part of the claim was based upon allowing a quick changing from pile weaving to a weaving of regular close- 209 stitched double- cloth used as headings for the fabrics. This is accomplished by shifting lever T to the right (/. e., towards the rear of the loom), thus elevating friction-roller /^ and its worm- wheel, carrying the latter out of contact or gear with the worm P, whereby the revolution of the main rollers /^and G will be discontinued and the feeding of pile warp-threads to the heddles will be stopped. Another method for arranging the beams for pile warps and ground warps in the loom in weaving double plush is that used by Mr. R. H. Patton. In looms of his construction the beam, carrying the ground warp is situated in the rear part of the frame, as built in addition to his regular cam loom for operating the harness. The beams carrying the pile warps rest in the upper middle part of said frame. To give a clearer understanding diagram Fig. 882 has been designed. In this A indicates the side of the frame previously alluded to, B the beam carrying the ground warp, and C and D the beams for both sets of pile warps. In the present style of arranging the beams for the pile warp and guiding those warps in their run to the delivering Fig. 882. rollers H G, and from there to the respective harness, one great advantage over that of the pre- viously shown methods will be readily noticed, i. e., that the pile warps are delivered to their . respective heddles without crossing the ground system, and consequently any possible chafing is avoided. The ground warp for the upper cloth in the loom passes from the warp beam B over stationary guide-roller E towards the harness frames ; this set of threads being indicated by letter a. The other set of ground warps required for the lower cloth passes from beam B below guide roll F and from there direct to the respective harness frames. This set of ground or body warp has been indicated by the letter d. The two sets of pile warp, one from beam C and one from beam D, are guided from their respective beams into the delivering rollers G and H. The lower roller {H) is covered with a fine sand-paper, while the one above is covered with a plush fabric. After leaving the delivering rollers one set of the pile threads is passed over guide-roll y and below guide-roller L, and the other set below guide-roller K. Each of these two guide-rollers is adjusted to a lever which is on one extreme end connected with the loom frame and on the oppo- site end has adjusted a spring which is fastened to the floor. These springs will greatly assist in 210 easing up the "beating home" of the pile warp. The let-off of the pile warp is regulated by sproked gears adjustable to the axis of the delivering roller H and gets the motion from the "take-up" by means of a chain belt. The present method of delivering pile warps allows the harness in the front part of the loom to be arranged for an extremely high pile, i. e., the keeping of the two sets of ground warp — ground cloth — as far apart as possible. The bracket for holding guide-roller F can also be applied to the centre standard of the frame. Double Pile Fabrics Made with a Proportionally Higher Pile. In some double pile fabrics a greater length of pile may be required than the one which can be produced on a common loom. To overcome this difficulty James, Fred, and George Priestley have lately invented an improvement on the lay, suitable to be adopted for any loom. To secure a proportionally higher pile their patent advises the cutting away of a large portion of the solid part of the lay and inserting small steel plates set upon edge. Each plate reaches across the cut-out part of the lay, and the tops of all the steel plates are in a line and carry the shuttle when in operation. The warp-threads of the bottom fabric drop into the spaces between the steel plates and are well out of the way of the shuttle when the top or upper fabric is being woven, and at the same time the pile-threads are kept tight and at full stretch between the two fabrics. -0 ^ Fig. 883a. rrrm-m 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Fig. 883d. 1 Fig. 883 to a horizontal position, thus giving the pivots of the pitmen B a movement away from the lay, and increasing the distance between the crank-shaft and the lay. By this means the lay in its next forward movement will be moved forward to the cloth-making line, beating home the previously inserted two picks and causing the terry warp-threads to be looped or raised from the body of the cloth. The screws K, passing through the side projections of links C, act as stops for the roller-supporting levers E, limiting their upward movement, thus regulating the length of the terry-loops, making them longer or shorter, as desired. The arms F may be given more or less movement by shifting the pivots or screws, by which the connecting- rod G is attached to the arm F or to the lever H. When it is desired to do plain weaving, the Fig. 907. Fig. 906. Fig. 908. hand-lever ^ on the breastbeam is moved to the right, causing the lever Q to act on the hook M, pressing it toward the lever H, when it will hook under and lock the lever H as soon as the lever is raised to the proper height. The parts will remain in these positions until the hand-lever 5 is thrown to the left, thus unlocking the lever H from the hook N, when the loom will be in con- dition for terry-weaving, all these changes being accomplished without stopping the loom. Before closing the chapter on the construction of the various looms for weaving terry fabrics we refer to the patent of T. A. Brady, it being a loom for weaving terry-pile fabrics such as Turkish towelings, etc., and in which there is a different throw or beat of the lathe, due to the shifting of the boxes or bearings for the crank-shafl of the loom. The shifting of the boxes car- rying the crank-shaft is effected by means of a grooved cam. Figs. 906, 907 and 908 are drawings illustrating the principle of this operation. Fig. 906 is a longitudinal section of parts of a loom sufficient to illustrate the present expla- nations. ■ 221 Fio-s. 907 and 908 are drawings representing enlarged face views of the cam by which the parts are operated to effect the shifting of the sHdes forming the bearings for the crank- shaft, and thus regulating the forward beat (towards the last woven part of the fabric) of the lathe. The cam has an outer flange, /i, an intermediate segmental flange, /', and a central cam, 7n, the inner portion of which is concentric with the flange i, so as to form an inner groove, n, while the outer portion of the cam is such as to direct the roller on the stud of an arm fastened on the loom into a groove,/, formed between the flange i and the outer flange /i. Pivoted toes s and / form continuations of the flange i, these toes being such that their ends can be thrown inward, so as to bear upon the nose of the cam //-;, or can be thrown outward, so as to come in contact with the outer flange, /i, of the cam. The toe i- has a projecting pin passing through a segmental slot, a-, in the disk of the cam, and having an anti-friction roller, which is acted upon by a spring, tending to thrust the point of the toe outward against the flange // of the cam, so that, supposing the cam to be rotating in the direction of the arrow, Fig. 907, the roller on the stud of the arm would be under the influence of the cam /n and inner groove ;/,.and the arm would be depressed at the proper intervals to effect the forward movement of the slides and the full beat of the lathe. If the toe s, however, is adjusted to the position shown in Fig. 908, the roller will traverse the outer groove,/, of the cam, and will be free from the influence of the cam ;;/, so that there will be no vibration of the arm and no movement of the slides and crank- shaft; thus the lathe will move forward to the full-beat point on each stroke, so as to produce plain or unpiled fabric. The toe ^ serves to bridge the groove n when the roller is traversing the outer groove,/, there being in such case a practically unbroken flange, i, so as to insure the proper guidance of the roller. In order to permit the ready adjustment of the toe s to the position shown in Fig. 908, when such adjustment is desired, hang to one of the frames an arm, which is adapted to act on the roller, carried by the pin of the toe s, this arm being connected by a suitable cord to a lever, hung to a stud on the breastbeam of the loom, so as to be within easy reach of the attendant. For figured terry fabrics as produced on harness-work, the Geo. W. Stafford Manufacturing Company, Providence, R. I., build a dobbie specially adapted for this purpose. This dobbie requires the pegging of two patterns on the chain. By means of the box-chain we can arrange the former to move automatically sideways so as to bring the different patterns, as required by the fabric, under the operation of the hooks. Thus we can weave terry for a certain distance, and then move the chain for ordinary weaving. For very heavy work the "Positive Dobbie " must be used, which, by being a " Double Action',' is very easy on the yarn. PILE FABRICS OF A SPECIAL METHOD OF CONSTRUCTION. Smyrna Carpets and Rugs. These fabrics are made on a loom specially built for their manufacture and is known as the " Haute lis se Loom!' Diagram Fig. 909 illustrates a section of this loom. In this loom the warp passes from the beam g (upon which it is wrapped) over the guiding roller f, through heddles b, c, down towards the place a, where the weaver is situated while at work. The heddles being in a horizontal position are fastened to two rollers, ^and e. The latter (by reason of their turning to the right or left) operate the heddles, which in turn produce the opening of the shed. (The loom, it will be observed, is technically a "vertical loom.") The pile in these fabrics is produced by inserting, separately, loops of yarn for each square on the designing paper of the respective design. This method of producing the pile in a fabric is a slow and troublesome work, still fabrics showing many varieties of colors can be produced. 222 The body or ground structure of a Smyrna Carpet or Rug is made with either strong woolen-linen or jute threads, and the pile of a soft woolen yarn. Diagram Fig. 910 illustrates the method of interlacing (shown in the front view). The vertical threads represent the warp, and the horizontal threads the necessary ground or body picks. At a is shown the insertion of a loop (pile). This loop, intertwined with the two warp- threads of the ground structure, is shown separately in its section in Fig. 911. The body-filling is inserted by a "block," as shown in Fig. 912 (clearly indicating the yarn as wound around it, and leaving this block at the place marked p). The beating up of the filling (ground and pile) is effected by means of a comb shown in Fig. 913. In this method of operation Fig. 910. the weaver inserts two body-picks ; next, he places one row of pile loops over the entire width of the fabric (selecting their different colors in accordance with the design which is to be produced). Then he again inserts two body picks (by turning the rollers d ox e for each pick) to be followed by the next row of loops across the fabric ; and selecting the colors as required by the design. This method of alternately exchanging two body picks with one row of loops is repeated until the fabric is finished. On fabrics of a sufficient width two or more persons can operate at once. After the fabric is finished upon the loom it is " sheared " so as to produce an even height of the pile. This method of tying each individual pile-thread to the ground structure in Smyrna or Turkey carpets and rugs is very laborious, and hence materially increases their cost of manufacture. Fig. 912. Fig. 913. Various methods have been devised to imitate these beautiful fabrics in a way that would give a better production for the manufacturer as well as to provide a mode whereby a certain proportion of any desired number of carpets of the same pattern might be produced in one operation. This has been accomplished quite successfully in a process invented by Messrs. Kohn & Watzlawik and resembles in its main features and principles the explanations given by us in a former chapter, pages 154 to 158, on the manufacture of chenille rugs and carpets, and pages 160 to 165, on the manufacture of chenille fringe. Such imitations of Turkey carpets are produced mechanically from patterns composed of colored squares that clearly indicate the design and arrangement of the colored squares to be reproduced in the carpet. In the carpet each transverse range of squares corresponds to a pick 223 of pile filling, and each pick of this pile filling consists of a woven strip (or ribbon), the warp of which is composed of wool threads of the required colors. These filling strips have edges con- taining no filling (fringed) and which are intended to be brushed up for forming the pile of the carpet. These ribbons or filling strips also contairuno filling in their centre, for two reasons: To form the imitation of the knot characterizing the real Turkey carpets, and again to reproduce the (pile) pattern of the face in an ordinary woven appearance on the back. These explanations demonstrate that two operations are necessary in producing the imitation. First, the weaving of the fringed strips or ribbons composed of different colored threads, according to the transverse ■^iiKiiiii§!irigiiaiii§ra!igii^ii III 'ill i viii'rignai!^^- ' mmm&\ Fig. 914. Fig. 915. Fig. 916. ranges of the colored squares in the pattern, and, second, the weaving (or setting) of these strips in a common warp to produce the pile carpet. In diagrams Figs. 914 to 919 a clear illustration of the entire method of operation is given. Fig. 914 illustrates a carpet pattern. Fig. 915 shows one strip (ribbon) cut from a chain corre- sponding to the upper transverse range (or row) of the pattern Fig. 914. Fig. 916 shows a like strip from which the centre filling has "been removed. Fig. 917 represents the back of the carpet. Fig. 918 illustrates by a perspective view the method of operation at the loom, weaving imitation Turkey carpets. Fig. 919 is a section cut of the shed and two transverse ranges of pile picks previously inserted. We will next give a short description of the methods for producing the filling strips or ribbons necessary for the construction of the fabric. ;i:»*g|s|sM^liM|||ll5i|||l!;f5i!fe;il i^i;^*i*:i|«i«i:iili?»;il»llilli»Jii^i;fl ^mml^i^l^mMMm^m'm\^ im\imfmm^m!^.mf^SM ilffi|M|^ii|:srr|^gpjpili!.rpiilirfii{<1i|iii'-^^ i i«|ii|««;!L<«T»iS°gtt|iii|Btn"|wjii^:Sliyiik* : iii«*V|iife5'fiii'a|ii|ri:|ii3£|iiijf.iiFi^^^^ Fig. 917. Fig. 918. Fig. 919. As many different warps for weaving the chenille strips for a certain carpet are necessary as there are differently figured or colored transverse ranges (rows of squares) in the pattern of the carpet, each warp producing any desired number of fringed filling or pile strips of the same trans- verse range of colors, that are woven into suitable warps for as many different carpets of the same pattern, or into a warp for one carpet as many times as the transverse range of colors correspond- ing to the strip or ribbon recurs in the carpet. Thus, for instance, the strip or ribbon shown in Fig. 916 corresponds with the transverse range A' of the pattern shown in Fig. 914, and, sup- posing that one hundred such ribbons are produced from one chain of warp, they may be used as a strip (pile pick) in one hundred carpets for one transverse range of colored squares in the 224 pattern, or in a given number of carpets for a multiplicity of identical transverse ranges of squares in the pattern. The length of these multicolored warps therefore not only depends on the number of carpets of the same pattern, but also on the number of times the same transverse range of colors is repeated in this pattern, also on the length of the pile of the carpet. After a warp is beamed, it is bound at intervals equal to twice the length of the pile to be formed by a few picks of any suitable filling, the fabric being cut centrally of the fillingless portion on opposite sides of the filling to form the fringes for the pile. The width of these multicolored-wool chains, or, in other words, the length of the filling strips or ribbons to be produced therefrom, corresponds, of course, to the width of the carpet to be produced thereby, and the number of colored-wool threads per inch, which is usually from four to five threads, according to the quality of the carpet. The length of the fringe in the chenille strips is regulated by interweaving a flat bar or lath, b, b' , Fig. 915, of a certain width. After cutting the different strips apart they must be numbered. To prevent the displacement of the wool-yarn filling, these are firmly sewed to the warp with a sewing-machine, as shown by dotted lines x xm Fig. 916, and finally the pack-thread d, between the wool-threads c and c' , are drawn out to leave a central fillingless portion in the strip or ribbon, as shown in Fig. 916, that imitates in the completed carpet the knots of the true Turkey carpet, and reproduces the pattern on the back of such carpet, as shown in Fig. 917. By means of these strips or ribbons the carpets are produced as follows, referring more particularly to Figs. 918 and 919: A ground-warp is drawn in two harness, e and e\ of an ordinary loom, the reed f of which contains one thread for each split. (The weave used for interlacing is the common plain ■□ weave.) In beginning a carpet, a few picks of wool-yarn are first introduced into the warp, and then the first strip or ribbon. To prevent the shrinking of these strips they are secured at their ends to a rod or bar, /, triangular in cross-section, which is introduced into the chain or warp in such a manner that the rear or thicker portion will be elevated above the forward or thinner portion of this rod. By means of a brush the fringe at the front edge of the ribbon is brushed up or erected to form the pile. The position of the warp-threads is now reversed, the reed beaten up against the rod /, and the latter tilted so as to elevate its front edge above the rear edge, which will enable the operator to brush up the fringe along the said rear edge of the filling strip or ribbon, and when this has been effected the strip or ribbon is detached from the rod i, and the latter is withdrawn from the warp. In order to fill out the warp between the pile-threads of adjacent strips or ribbons, a few picks of strong wool yarn are interpo.sed and a new strip of ribbon introduced as a filling into the warp of pack thread and the operation repeated until the carpet is completed, when again a few picks of strong wool yarn are woven in to bind the edges. The carpet so produced is then finished in the usual manner by steaming, beating, brushing and shearing. Having given in our chapters on pile fabrics (page 149 to 224) a very closely detailed description of their methods of construction, both theoretical and practical, commencing with the simplest structure and finishing with some of the most intricate pile structures known, we feel confident that we have imparted sufficient details to enable any student of technical designing to master the principles of construction of any given pile fabric. These chapters also illustrate the extensive use of pile fabrics for floor and other household decorations, in addition to their use for clothing purposes. The manufacture of these fabrics is of great extent and importance. In some households is often to be found for floor decorations a less durable and effective fabric known as the " Ingrain Cai'pet" which is no pile structure but a common dqublc-cloth structure. In my treatise on " The Jacquard Machine analyzed and explained, with an Appendix on the Preparation of Jacquard Cards and Practical Hints to Learners of Jacquard Designing," the structure of the Ingrain Carpet fabric and the preparing of designs for the same, as also the practical part of manufacturing, and the tying-up of the harness and operating the loom, etc., are fully treated. 225 The thorough study of these chapters will prove very profitable, especially the chapters on tying-up Jacquard harness for the different other Jacquard fabrics such as damasks, dress goods, upholstery fabrics, gauze, shawls, etc. Two-Ply Ingrain Carpet. We herewith give the reader a brief description of the method of construction and the principles governing the manufacture of the Two-ply Ingrain Carpet, an article composed of two fabrics, produced on the regular double-cloth system. These two fabrics are arranged in the loom to form figures by a simple exchanging of positions (see Fig. 920). A great variety of colors may be put into each of these separate cloths, (I and II), and the most elaborate designs Face of Warp. No. I, Single Cloth. *^- No. II, Single Cloth. ^. No. II, Single Cloth. No. I, Single Cloth. Warp-threads a and l> for cloth number I. Warp-threads c and d for cloth number II. Fig. 920. may be used for exchanging cloth I and II. On every part of the carpet where these two fabrics do not exchange, each works on the plain weave. The exchanging of these two fabrics binds both into one, thus forming the Ingrain Carpet. In the manufacture of this carpet four sets of warp-threads, and also four sets of filling-threads are generally employed; but if occasionally more or less should be used in warp or in filling, or in both, in the same fabric, the principle of ex- changing is still observed. If employing four sets in warp and filling, two sets of each are used for forming the figure, the other two sets forming the ground. Each of the figure threads has as its mate one of the ground threads. In the common effects in the Ingrain carpet, (ground up, figure up, or one or the other shot about effects) these threads are so arranged that when a figure thread appears upon the face of the fabric, its mate appears upon the back, and when the figure thread appears upon the back of the fabric, the corresponding ground thread appears upon the face. /"v ^ , A ^ 9 1 n 11 iS It I t9 ii.^ fe * 9 o 31. Fig. 921. o Diagram Fig. 921 shows the section of the effect commonly used in ingrain carpet. Suppose the filling-threads for the figure to be: Red, indicated by heavy shaded circles; picks 2, 6, 10, 14, 18, 22, 26, 30. Black, indicated by full black circles; picks 4, 8, 12, 16, 20, 24, 28, 32. And the filling-threads for the ground to be: White, indicated by empty circles; picks I, 5, 9, 13, 17. 21, 25, 29. Olive, indicated by light sliSded circles; picks 3, 7, 11, 15, 19, 23, 27, 31. A careful examination of the drawing shows that the white threads mate with the red, and the black threads with the olive, so that when one of these colors shows upon the face the mating color will show upon the back, and vice versa. 226 As a general rule, these warp-threads are of the same color as the filling-threads; hence, every filling pick appearing on face is bound by a warp-thread of the same color, and if appearing on back by the other color of the same system; thus, in the present example, the white filling is covered on the face of the fabric by white warp, and if appearing on the back of the fabric by olive warp; the olive filling is covered by olive warp on the face of the fabric and by white warp on the back of the fabric. The red filling is covered by its red warp on the face of the fabric and by black warp on the back of the fabric; the black filling being covered by black warp on the face of the fabric and by red warp on the back of the fabric. / // /// DOBaanaDDDGBHaBBBBaaBBia DDBDDDDnDaaGB'": "". ' ■' '■'-'■ 'J noBB'nacGcnGGr .■■■■bbbbhbb D:BBDnnCGDLDDGL;B_.. _ Gi !• :j OBBBGDGGDGGDGGL^BaBHBBBBB GBBBGGaDGQDOaaGCB. , ] GBBBBGGGGGGGGOnQrBBBaBBB GBBBBGGGDDGOGGaGLj m> '. IGI iG BBBBBBGGGaGGnGGGGI UBBBBB BBBBBBnanaaaDGGaGGGGBaaa BBBBBBBDanGaDaDQGDQDnBBB ■BBBBBBBGGGGGnCGGGni 'JGOBQ BBBBBBBBBGGGGDaaaGGnaaaB BBBBBBBBBBGDOaGGDaaaGDDa ■BBBBBaBBBBGGaDaGGGGaaaa ■BBBBaaaaBBaGnGaGGaaaaaG Fig. 922. Fig. 923. In the diagram Fig. 921 the four "standard effects" of the ingrain carpets are illustrated with 32 picks, allowing 8 picks for the illustration of each part. First effect, picks I to 8, is ground up (white and olive). Second effect, picks 9 to 16, figure up (red and black). Third effect, picks 17 to 24, is first effect in "shot about" (red and olive up). Fourth effect, picks 25 to 32, is second effect in "shot about" (white and black up). Fig. 922 represents a small portion of a design illustrating the three principal combinations required in the manufacture of the two-ply ingrain carpets. /= figure up; // = ground up ; /// = effect, technically known as " shot about," and derived from " one pick figure up, one pick ground up " (in the design), and repeated. In Fig. 923 a detailed description or analysis of the interlacing warp and filling of Fig. 922 is given. In the same ■ represents figure up, q represents ground up, produced by the Jacquard machine ; s represents weave for ground, 13 represents weave for figures, produced by journals. Fig. 924. In Fig. 923 the weaving of the " shot about " effect calls for two picks face and two picks back. An examination of this part shows that the warp-thread represented by the light pick 3 is to be raised, or has been raised in the adjoining heavy pick ^ , ; further, we find the two 1 ' light picks separated by the raising of a different warp-thread in each pick, which is also effected between the two heavy picks by the lowering of another warp-thread. If these mate threads introduced in succession should be required to show side by side (as may be the case in some special effects) either on the face or the back of the fabric, these changes must be indicated on the design by different colors. If such effects are to be introduced when using the common ingrain Jacquard machine, the needles of the latter must be operated on at each pick. This 227 requires twice as many cards as are used in designs where the mate threads are always placed below or above their respective corresponding threads. In diagram Fig. 924 a section cut of an ingrain carpet, also containing the previously ex- plained effects of " mate threads side by side on face of the fabric," is shown in connection with the regular effects, " ground-up, figure-up, and both combinations of shot about." Diagram Fig. 925 indicates the rotation of inserting picks in each ply corresponding to the section of the fabric shown in Fig. 924. Ground-up. Mate threads side by side. Figure up. Shot about. ist effect. 2nd effect. ist effect. 2iid effect. Face-ply. 1357 9 10 13 14 19 20 23 24 17 18 21 22 26 28 30 32 34 35 37 40 Face-ply. Back-ply. 2468 II 12 15 16 25 27 29] 31 33 36 38 39 Back ply. Fig. 925. Diagram illustrating the rotation of inserting the picks in each ply, corresponding to section of two-ply ingrain carpet. Fig. 924. Other effects (combination of colors) in ingrain carpets are produced by using three different colors of filling in each of the two single-cloth fabrics, and also by throwing them singly and in a definite order or succession in each ply. For example, the three colors for the one cloth are black, blue and brown. They must be interwoven as follows : Black — blue, brown — blue, black — blue, brown — blue, and so on. Suppose the colors required to be used for the other cloth are white, olive and drab. They must be interwoven as follows : White — olive, drab — olive, white — olive, drab — olive, etc. •,G3.®5 0,«,03®3.07. 0#..(8)6.@^.0...%®6.@8 Z'^f )i\t ._ O ='^^ttt @ =J5rotinv (g) --J)ra&. Fig. 926. As the loom weaves both ply at the same time, throwing a shot in each ply alternately, the actual order of weaving in the present example would be as follows: ist pick, black; 2d pick, wliite; 3d pick, blue; 4th pick, olive ; 5th pick, brown; 6th pick, drab; 7th pick, blue; 8th pick, olive, and so on, eight picks in the repeat of one combination. The colors printed in italics repre- senting the colors of one ply, and the colors printed in roman represent the colors of the other ply. Fig. 926 illustrates a diagram representing the previously explained method of placing colors in an ingrain carpet. Rules for Selecting the Squared Designing Paper for Ingrain Carpets. In selecting the squared designing paper for a two-ply ingrain carpet, always observe the pro- portion existing between the number of warp and filling-threads. For instance, take a carpet having 1072 ends warp (536 ground and 536 figure) per yard, with 30 picks per inch (i pick ground and I pick figure, or 15 pairs). Then, 1072 h- 36 = 29!! ends of warp per inch. The proportion is as 29 ft : 30; or, what is practically the same, 30 : 30, showing that the paper must be equally divided, and 8x8 the squared designing paper to be used. Again, take a carpet having 832 ends warp (416 ground and 416 figure) per yard, with 20 picks per inch (i pick ground and i pick figure, or 10 pairs). Then, 832 -^36= 233*6, and the proportion is as 23 I : 20, or as 7 if : 6f, practically 8:7; and 8x7 paper may be used. Gauze Fabrics. Principle of Construction. Gau/.e fabrics form the second main division of textile fabrics, and are characterized by not having their warp-threads resting parallel near each other, as observed in previously explained weaves and fabrics. In gauze fabrics they are more or less twisted around each other, forming through the different ways of twisting as well as of stopping to do so, different designs. In gauze we find two distinct divisions of warp-threads : The regular warp called the " ground- warp," and the " douping-warp," or the warp used for twisting around the former. The " douping-warp " threads are also known as " whip-threads." In diagram Fig. 927, the structure of a " plain gauze fabric," is shown. Threads indicated by a and shown in outlines repre- sent the " ground-warp;" whereas, threads marked b and shown in black illustrate the " whip-threads." ' 7^ 1^ H^ ^» 3i Gauze weaving is done upon a system wholly apart from ^ ^ — i^, - 4^r^ ^ *. Fig. 927. ordinary and pile weaving. For the reason that we find two systems ' - ^a\\, uI '^\^ ' of warp-threads in the gauze fabrics we must use two systems, or sets of harness, for operating the warp at the weaving. One set of the harness is known as the " Ground-harness set" (which we will indicate in our following illustrations of drawing-in drafts for gauze weaving by ^) and the other harness set is technically known as the " don ping harness set" (which we will indicate through the lecture by B). Before proceeding with the weaving and con- struction of gauze fabrics we will give an explanation of the douping-harness set, and use for explanation the arrangement necessary to produce fabric. Fig. 927, or a single one-sided doup. In diagram Fig. 928 a specimen of a complete doup is shown. In the same we find a heddle similar to heddles used in regular weaving (see a, b in diagram) and which is known in the present kind of weaving as the " standard heddle." To this standard heddle we find the actual doup adjusted (see d, c in diagram). The doup con- sists of a smooth and strong linen or silk thread which is fastened to the lower part of a common harness frame (see c in diagram), passes then through the upper opening of the standard heddle (see e in diagram Fig.. 928), returning to its starting point by passing through the eye of the standard heddle, and thus connecting the upper part of the doup ■ ^ ■ to the standard heddle. Through the part of the doup extending outside of the upper part of the standard heddle to its eye, the whip-thread is passed, (see black dot at place indicated by d in diagram 928 representing its section). Two movements of the doup and the standard heddle contain the entire secret of gauze weaving When these are clearly understood by the student well up in designing and weaving the first main division of textile fabrics, the method of constructing the present system will readily explain itself to him. In gauze-weaving, every warp-thread (ground as well as whip-thread) must be drawn, the same as for common weaving, in the ground harness set; see A, Fig. 929. Next, the whip-thread is passed below the ground-thread through the doup (see B in Fig. 929, illustrating the plan of this method of operation), and with its mate (the ground-thread), through one dent of the reed. Now let us examine the first movement of the doup and its standard heddle, and also with reference to the ground harness set. Suppo.se we lift the harness frame containing the doup adjusted to its lower shaft, technically known as the " skeleton harness," and so permit the doup to get loose, and consequently allow the whip-thread to be operated on, as in common weaving, by means of the ground harness. (228) 229 The whip-thread will in this instance return to its regular position near one side of the ground- warp, as regulated by the drawingfin of the warp in the ground harness set (to the right hand side in the present example). Suppose, again, we raise this ground harness and insert a pick in the shed thus formed. During this process the doup will raise, but out of action, behind the reed. Having thus inserted pick number one let us next raise the standard heddle and the skeleton harness, leaving the ground harness set undisturbed. This movement of the harness compels the whip-thread to raise, close to the eye of the standard heddle, drawing the whip- thread below the ground-thread and raising the former on the opposite side of the ground warp- thread, as done in the previous pick. This time the doup will be in position parallel to the .standard heddle, whereas the whip-thread will be crossed behind the reed, between the sets of douping and ground-harness. This crossing and raising of the thread to full height of shed in such a short distance will consequently put a great amount of tension on the whip-thread and therefore necessitate tzvo points in the method of operation which we will mention briefly. We must have sufficient space between both sets of harness, /. r., the heddle of the ground harness set in which the whip-thread is drawn and the standard heddle and doup-head through which this whip-thread is passed in rotation. We also must arrange in rear of harness set near the whip-roll an arrangement technically known as " Slackener." All the whip-threads required to doup are pas.sed over this slackener, which is situated above the regular warp- line after leaving the "whip-roll" of the loom and in their running towards the ground harness set. on.. Fig. 930. On the first pick previously ex- plained, this slackener will remain undis- turbed, as no strain is required on the whip-thread, whereas on the second pick explained, this slackener is automatically Fig. 931. , , 1 • 1 1-1 1 1 lowered to brmg the whip-thread nearly in the regular warp line in rear of har- ness. This- in turn allows the whip-thread to ease up in front, where required, to cross around the ground warp-thread and is raised a short distance by the doup on the opposite side of the ground warp-thread, as compared with the first pick. This slackener for gauze weaving is also technically known as "easer" (by reason of easing the whip-thread when douping). We will later on return to a more detailed illustration and explanation of the same and its arrangement for plain as well as figured work. In diagram Fig. 930, A represents the whip-roll of the loom, b the section of the .slackener, d ground heddle for ground warp-thread, e ground heddle for whip-thread, /"doup, //-/ reed, k last end of woven fabric. Thus the line shown in full black, a, d, k, represents the ground-thread, and line in full black, a, b, e, k, represents the whip-thread; both threads "at rest." The object of the present illustration is to explain the principle of the slackener, and therefore we want the doup (standard and skeleton harness) rai.sed (see/" to ^) as represented by ^. To counteract the strain thus put on the whip-thread, we lower at the same time the slackener (see b to c), giving it position c, at the same time the doup is raised to position g. Hence the dotted line a, c, c\ g, k represents the whip-thread when douping. After inserting the filling by means of shuttle [s), the shed {n) closes and the slackener returns automatically to its point of starting, b. In Fig. 931 we illustrate a corresponding ground plan to diagram Fig. 930, representing a clear idea of the drawing in of the warp and threading of the doup. Outlined warp-thread a, d, k represents ground warp-thread, thread shown in full black, a, e, f, k, the whip-thread, d and e the ground harness set, / the passing of the whip-thread below the ground warp-thread and h, i the reed. This illustration explains the threading of a whip-thread in a doup situated at the left of the Fig. 932. 230 ground warp-thread, but the student will readily apply the same arrangement to the opposite kind of doup by simply reversing the illustration. We will next turn our attention to the designing of various gauze fabrics, and commence with the plain gauze, as illustrated in Fig. 927. In plain gauze all the warp-threads work in pairs — I end "whip" and i end "ground." The .entire warp is drawn on harness similar to any other warp. Afterwards the whip-threads are passed below the standard heddles and threaded in the doup (see Fig. 929), which are passed through the standard heddles (see Fig. 928). Fig. 932 represents a different method for threading the doup, occasion- ally used, but which is not as practical as the arrangement of the doup illus- trated in Fig. 928. In diagram Fig. 929 we illustrate the plan of drawing-in ground harness and threading the doup for producing a piece of plain gauze, as shown in Fig. 927. A represents the set of ground-harness (2-harness). B represents the douping set. (Standard and skeleton.) Standard warp-threads are illustrated in outline. Whip-thread is shown in full black. We find, as previously mentioned, every warp-thread threaded first in the ground harness set ; next, the whip-threads passed below the ground-warp and threaded to the doup. Examining the plan of the fabric, we find pick i requiring the whip warp-thread raised in its proper position as placed by the ground harness (to the right of the gi"ound warp-thread); therefore this pick will require the raising of ground harness 2 and the skeleton harness, hence loosening the doup for common weaving. Pick 2 calls for the raising of the whip-thread on the opposite position of pick I (to the left side of the ground warp-threads); therefore we must doup on this pick by raising only the standard and the skeleton harness, or, in the present example, the entire douping set. Pick 3 = pick i, pick 4 = pick 2, thus 2 picks repeat. In the present example. Fig. 927, we find every pair of warp-threads (i ground and i whip) twist in the same direction Fig. 933. and having the crossing in the corresponding drawing-in draft arranged from right to left. This crossing can also be arranged in the other direction, see Fig. 933, but will, in the present fabric, be of no advantage to its general appearance, as shown in Fig. 934- We will next explain and illustrate the combination of both styles of crossing in the same fabric. For example see Fig. 935. the drawing in of ground harness and arrangement for threading doup: 1st pair, whip-threads Fig. 934. Fig. 935. Fig. 936. 1* 1- X k%:<.\. X X i^V .. X v^ . X X r.* . I Fig. 937. Harness-chain for plain guaze fabric. Figs. 927, 936. t/1 ■i 1 5 t/5 1 i u X <> if'.Svc X y< 2^' X <> l-^ . X X !'■' ' Fig. 938. Harness-chain for plain gauze fabric, Fig. 934. threaded to the left-hand side of ground warp-thread; 2d pair, whip-threads threaded to the right-hand side of ground warp-thread. 231 Fig. 936 is the plan of the woven fabric. Harness chain is similar to the one required and explained for fabric Fig. 927 and illustrated in Fig. 937. The dravving-in drafts, Figs. 929, 933 and 935, are illustrated for 2 ground harness and I doup. This is done to simplify the principle of construction. The same way that we can illustrate the common plain weave drawn in 2-harness straight, for the clear understanding of the beginner and use in practice, 4, 6, 8, etc., harnesses as required and guided by the height in texture of the fabric (number of warp-threads per inch), we may also, in practice, have to increase in gauze-weaving the number of ground harness, or the number of doups (standard and skeleton), or both at the same time. Peculiar Character of Gauze Fabrics. Comparing a plain gauze fabric, as shown in Figs. 927, 934 or 936, to any other woven textile fabric results in not finding one as firm in its method of interlacing nor as light in texture. The principle of gauze-weaving — the twisting of warp-threads around each other and holding at the same time the filling securely fastened between — will necessarily result in producing a very strong fabric; again, the twisting of the warp-threads between each pick, in plain gauze, will not allow the picks to come close together in the fabric, thus resulting in the production of a fabric containing large perforations. In diagram Fig. 939 we illustrate the plan of a fabric which is actually a combination of plain and gauze and is technically known as leno, or half- gauze. Pulling out from the present fabric sample every uneven numbered pick (i, 3. 5, 7) will result in transforming the half-gauze in the fabric to a regular plain gauze effect. Fig 939- Combination of Plain and Gauze Weaving, Technically Known as Fancy Gauze. In Fig. 940 a combination of plain weaving and gauze is shown in the plan of a fabric. An analysis of this plan will show 3 picks interlacing on ordinary weaving to exchange with one Fig. 941. Fig. 940. 2 t/1 j- 6 -6 i. a -.^ si :i !- • X ^ ■^'.^id^ K 5« 3'.^ ' . 5< a- . ^ _J ^ ^^ ■ Fig. 942. Fig. 944. Fig. 943. gauze pick. Thus four picks in repeat. Drawing in of ground harness and the threading of the doups is shown in Fig. 941. A represents the ground harness set, (2 harness), B represents the doup (standard harness and skeleton harness). Fig. 942 illustrates the harness-chain executed correspondingly to Figs. 940 and 941, and so will readily explain itself In Fig. 943 another plan of a gauze fabric, combining the common plain cloth with gauze 232 structure, is shown. Liberating picks, 2, 3 and 8, 9, of the present structure would result in changing the same to the fabric shown in its plan in Fig. 940. The drawing in of ground harness set, and the threading of doups to fabric. Fig. 943, is shown in Fig. 944. In Fig. 945 we illustrate the plan of a gauze fabric similar to the one shown in Fig. 943, the only difference being the using, alternately, left and right-hand threading of the doups. Repeat: four warp-threads, "two pairs," and 6 picks. Drawing in of ground harness set and the threading of doups for producing the present fabric is shown in Fig. 946. In the same we used four-harness for ground-warp, but we can also use the drafting and threading shown in Fig. 935, which only calls for two ground harness in set A and will produce the same effect. Fig. 948. Fig. 945. Fig. 947. Another plan for producing fancy gauze-effects is found in arranging the whip-thread to cross over two or three ground warp-threads; for example, as shown in the plan of a fancy gauze fabric, Fig. 947. In the same we find the whip-thread, after interlacing in connection with three ground-threads into three successive picks, on regular plain cloth, cross oelow the mate (3) ground-threads for forming at the fourth pick gauze. Repeat: 4 warp-threads, ( I whip, 3 ground), one set drawn in one dent, 4 picks, 3 ordinary plam weaving, 1 douping^ . The method of drawing in both systems of warp in the ground harness set, and the method of threading the whip-threads in the doups is shown arranged for three successive sets (corres- pondingly to fabric sample) in diagram Fig. 948. The same reason which compelled us, in plain gauze, to draw each pair of threads (i ground, i whip) in one dent, leaving as many dents empty between the threading of each pair of warp-threads as required by the size of the perforations in the fabric, requires in the present example of fancy gauze. Figs. 947 and 948, to thread each set of i whip-thread and 3 ground-threads in one dent, leaving as many dents empty between the threading of each set as required by the size of perforations wanted in the fabric. Fig. 949 illustrates the harness-chain necessary for weaving the present explained fabric of fancy gauze (Fig. 947.) The next plan for constructing fancy gauze fabrics is to use two doups in connection with four or more ground harness. In this manner fabric sample, Fig. 950, is constructed. Fig. 95 1 represents the drawing in of ground harness and the threading of the doups. In the same we find two ■ sections ground harnesses I and 2, with doup i', forming section i ; ground harnesses 3 and 4, with doup 2', forming section 2. CO ■8 -6 "1 1- J. J, 3- X X. X 4'.^p,ck X X 3'^ . X 5< >c Z^ • X <> !•* • 233 In drawing in and threading doups we arranged two repeats for each section, thus 8 warp-threads in repeat of arrangement of pattern. This method of drawing in ground harness as well as threading of doups will, as shown in the fabric sample, allow us to operate each section I A^F Fig. 951. t g 1^ " -si t/2 x/l 5S fV-l J- x ♦ •;?5 1^'A-pick,, *■ X •)jc « 3'^'. K ^ « 2,-* „ . X X ^ « 1^? . Fig. 950. Fig. 952. independent of the other, thus forming, by arranging the douping for each set for different picks, additional figures in the fabric. Fig. 952 illustrates the harness-chain for fabric and drawing-in draft, just explained. Fig. 954. Fig. 953. Fig. 956. Fig. 955. In diagram Fig. 953 the plan of another fancy gauze fabric, produced with two doups, is shown. Fig. 954 illustrates the method of drawing in the ground-harness and the threading of the doups, which in the present example is a right-handed and a left-handed doup for each set. A U) 1' \n c/l e>c •)!« % ^ ■x- •*:• 4v \n ► Fig. 957. Fig. 958. Four ground-harness are used in connection with the two doups. Ground-harness i and 2 {A) and doup i' (Z?) equal 1st set; ground-harness 3 and 4 [A) and doup 2' (B) equal 2d set. Fig. 953 illustrates another fancy gauze fabric, produced with two se*"J= of doups and upon a general arrangement in two sections. 234 Fig. 956 shows the general arrangement for drawing in ground-harness set as well as the threading of the doups. Four ground-harnesses are used in connection with the two doups. Ground-harness i and 2 {A) and doup i' (5) equal ist set; ground-harness 3 and 4 (^) and doup 2' (B) equal 2d set. Fig. 957 illustrates the harness-chain for the fabric and drawing-in draft just explained. Fig. 960. i i 6 i i 'A 1 5 c •A i 3 cO > C4- K * 5< X « 1 Ipw-H. X X X >< X 9"' - * X X X X i^ ■ X * X X X -».tk^ x< .X 1 X rV ■• X X nil X X l< , * >* 'ill X X 5'.' . X xr 1 1 111 ^• ^4 . w X ' ''ill X i'f ■ *1 .X. lllllj z-^ . ■ *l .*, ll L_ l'.< . Fig. 963. Fig. 964. Fig. 961 shows the harness-chain required for weaving the fabric shown in Fig. 959. The "two-section" arrangement, as explained and illustrated, can be extended to three, four or more sections, and in this manner giving fancy effects to an unlimited number of designs. A further step in producing figured gauze is the combining of gauze and ordinary weaving in the form of stripes. After using a certain number of warp-threads, drawn in its own separate 235 set of harness, for interlacing with the filling either on plain, twill or satin, or in a combination of all three, use similar effects as previously illustrated and explained, either with one, two or more differently working doups, left or right-hand twisting, or all the effects combined. This method of combining stripes of gauze with ordinary woven cloth will also afford great scope for producing figured effects through alternately exchanging both systems of weaving warp and filling ways. Design Fig. 962 illustrates such a stripe effect in a fabric. Fig. 963 shows the corresponding drawing-in draft and threading of the doups. Warp-threads indicated by a (light) are the ground- 4WI*- iU ■ Mni ■ Mill ■ ■■■■■ r.v'ii ■ ■■■■■ I ■III! I ■iiir\ 4111 ■ MHI I ■III! ■ r:\!j I am .16' .14. ■ ■■■■■ ■ mn-\ 4 ■■■■■ I ■■■■ ■ ■■■■». V^IIIB ■ ■■■■■ ■ ■■■■ %wi\. * ■■■■■ ■ •■■■■ ■ ■ w\2nd SUckener. ■■■r iBmLinnanBD ) ■'':■' i ■ ' ■■ mcM ■:''■ ■ . ■■■ MO JBGBD) lOBOB i ■ ■ k ■llJBLj .■ ■■■□■'JJU,_:UL ■■■DaHDDDDni ■■■DBDCnGCB' ■GBGGBGCBHGBGB ■GH iBuGGBBBGBO B B B'_ BB'~B. % '• lY Fig. 973. Fig. 974- C cL. (X V C c*. a, V Fig. 977. Fig. 978. Fig. 972. c d. Fig. 975. Fig. 976. rL\ c d. Fig. 979. Fig. 980 [In my treatise on "The Jacquard Machine, Analyzed and Explained," etc., a chapter is entirely devoted to the method of operation in tying up looms for these fabrics as well as the preparing of designs for the latter fabrics.] We will next explain the method of operation and adjustment of slackeners in Jacquard fabrics composed of threads working in pairs (one whip-thread douping with one ground-thread). 241 In such fabrics every whip-thread must be threaded three times; first in a heddle in rear of the regular harness, technically known as the "rear heddle" or "rear harness." These heddles have eyes Vi inches high and are fastened from i% to i ^ inches lower than the heddles of the if ^ - '^^iiiii i''i iLii'i i !, Ill, ffi Itti. :t I llliil' llilii:t if •'••II ■iiiiiiiiii' '' II '''II *'''''? ii![: , iiilifii!"! m^^'. iiiiilltim;'!! jl iiK:!!!! ' i'i'iil!!}!,,: ;;'':i;:!:;::!iiif' u::! .;::?<;ii4i!;!' ' itii, ">'\\\- •i>''U.'"-,'-iin.iK'"!"T'ii ill: ' :i;iii"i.Mi;it.,'!!!i,;;;;;;l;;!i!iii;.: : iHliiiiilUHi; III '!' 11,,,, n Fig. 981. li"''l?iP'aFii irf I life '•:'!iltiiiilfiill:!i!!l I ititi'ii'if ti ■liiiif'")!' H ,iiiihiiii.i,' iiiiiiili' in; ii;!l)j, 'I'nilliilllJH ground-harness and the doup. This rear harness is generally placed at a distance of 8 to 10 inches from the ground-harness. Each rear heddle is connected by means of a harness-cord for operating the corresponding standard heddle of the doup at the place where the latter joins the neck-cords of the Jacquard machine (thus both harness-cords to one hook), and consequently the ft k ( Fig. 982. rear heddle will lift at the same time when raising the standard, and thus the whip-thread is "slackened" from the rear when required to twist around the ground-warp when douping. After the whip-thread is drawn in the rear heddle, it is next drawn in its respective heddle of the ground-harness, from where it is threaded to the doup. 242 In diagram Fig. 972 a plan of the entire procedure as thus far explained is given. In diagrams Figs. 973 and 974 are shown the ground plans of threading the previously ex- plained Jacquard gauze. Fig. 973 represents the threading of the whip-thread in a doup situated at the left-hand side of the ground-thread (pair). Fig. 974 illustrates a respective threading of the whip-thread to a doup situated at the right-hand side of the ground-thread (pair). Both positions of doups to their respective ground heddle are mentioned as considered by the weaver standing at work in front of the loom. Letters of reference are selected correspondingly: R= rear-harness; (9= ground-harness; , and held by the latter firmly, but with sufficient play for a longitudinal motion for pressing towards their springs. The pin 0, is inserted for holding the springs in their places, requiring one pin for each vertical row of needles. If the heads of the needles are pushed backwards, in the direction of arrow, the hooks are also moved. If the needles are not pushed, the upper crooks of the hook will remain in position, as in drawing, over the griffebar; and raising the latter, will consequently raise every one of these hooks. 10 J^ tlf s^ irm 7^ t.| Fig. iooo. E '2, E W. E I] y Fig. iooi. Therefore, if a blank card is pressed against the 2o8 needles of the machine, used for present illustration, all the needles and hooks will be pushed back out of the way of contact with the griffebars, thus causing an empty lift when they are raised ; while by pressing with an empty cylinder, or with a card containing as many holes as the machine has needles, and so placed that the holes are exactly opposite the needles, none of them would be moved, and each hook would remain vertical over its griffebar; and raising the griffe will lift every hook. The griffe which has its section of the different bars represented in Fig. lOOO, is shown in its top view in Fig. lOOi. In the drawing, the dark-shaded places, marked /, are the hollow places through which the screw is fastened to the plunger. Z- ► • • • « . 996*99e»«*e«e«ae*e «••••• • 9®9Cj0 99iSS® Oei9e9e®999®e9 Fig. I002. The cylinder around which the cards are working (for operating the needles and these in turn the hooks, neck-cords, leashes and warp-threads) is carried in the batten. This batten has sufficient vibratory motion to enable it to move the required distance away from the needle-board. After coming in contact with the catch, it still moves until the cylinder has performed a complete turn. The cylinder is steadied in the required position by the hammer pressing, by means of a spring, towards the lantern from below. Fig. 1002 represents the cylinder with the lantern for turning the same, by means of the catches mentioned before. The raising of the " griffe," which in turn also operates the other parts of the Jacquard machine, as previously explained, is generally done by means of a lever arrangement. Fig. 1 003 represents the perspective view of a 400 single-acting Jacquard machine (W. P.Uhlinger, Philadelphia, builder). 252 Fig^. 1004 illustrates the " Rise and Fall Shed Jacquard " as built by the Geo. W. Stafford Manufacturing Co., Providence, R. I. The Jacquard cards have, for regulating the required raising and non-raising of the hooks, holes punched so as to allow their respective needles to penetrate into the cylinder holes and are interlaced in an endless arrangement; hence, one card is brought after the other in rotation towards the needles. If using a great number of cards in a set, they are made to fold into a " rack." This is done by attaching a wire i to i ^ inches longer than the cards, at the junction of say every 12th to 20th card. (See r. Fig. 1005, between cards indicated by a and b^j Modification of the Single-Lift Jacquard Machine. During the past few years various modifications in building Jacquard machines have been Fig. 1003. Fig. 1004. introduced. The object of this has been either the simplifying of designing and card stamping or the saving of card paper and labor for special fabrics, as in the " Ingrain Carpet Machines," the "Brussels Carpet Machines," etc. Again, the item of "speed," and conse- quently more production in cloth for a given "~ time, in damasks and similar fabrics, has been satisfactorily solved by the construction of the "Double-Lift, Double-Cylinder Jacquard Ma- chine." Another principle of a modification Fig. 1005. 253 over the single-lift Jacquard machine is to be found in the " Double- Lift, Single-Cylinder Jacquard Machine," which has for its object the saving of the warp by operating each individual thread only when required to, by the changes from tip to down, or vice versa, in the design or weave, etc. These machines are, in their principle of construction and method of operation, individually explained and illustrated on pages 67 to 72 in my treatise on "The Jacquard Machine." Card Stamping.* As mentioned previously, holes are punched in each individual card, according to the design. This is done for each row at one stroke or revolution of the piano card-punching machine. Fig. 1006 illustrates the perspective view of such a machine (operated by belt-power), while Fig. 1006a represents the top view of the " head" (cover taken off). In the same, the small open spaces for holding the punches for stamping the holes in the cards for the needles, as well as the large opening for holding the punch for stamping the peg holes, are clearly visible. Al- ia.ll.-.'--,4,-r>i»«-iv;;T' i I. " . // .10.9 J ^fe_5. ■• V 'Iff ' Fig. 1006a. Fig. 1006. If several sets of cards of one design are required for starting a corresponding number of looms, and the first set has been produced by the piano machine, exact duplicates can be obtained by means of the " Repeating Machine." In this machine the entire card is duplicated at one stroke. The Jacquard Harness. To the lower end of the hooks in the Jacquard machine the neck-cords are adjusted. The latter are passed separately through one of the corresponding holes of the perforated bottom board. To these neck-cords are fastened the leashes of the Jacquard-harness, about one-half to one inch above the frame containing the rods which guide the neck-cords vertically, as the hooks are raised and lowered. The different harness-cords are threaded through the "comber-board," or the "journals," in various ways, and are called "tie-ups." After the harness-cords are threaded the heddles are adjusted. *In a chapter on "Preparing and Stamping of Jacquard Cards," comprising pages 85 to 102 of the author's treatise on "The Jacquard Machine," a thorough and complete description, conspicuously illustrated (45 illustrations), of the above subject will be found. 254 In my treatise, already alluded to, the different methods of "tying-up of Jacquard harness" have been classified as follows: I. — Straight-through tie-up. II. — Straight-through tie-up for repeated effects, in one repeat of the design. III. — Straight-through tie-up of Jacquard loom, having front harness attached. IV. — Centre tie-up. V. — Straight-through and point tie-ups combined. VI. — Straight-through tie-up in two sections. VII. — Tying-up a Jacquard harness for figuring part of the design with an extra warp. VIII. — Straight-through tie-up in three sections. IX. — Point tie-up in three sections. X. — Combination tie-up in two sections. XI. — Straight-through tie-up in four sections. XII. — Tying-up of Jacquard looms with compound harness attached. XIII. — Tying-up Jacquard looms for gauze fabrics. XIV". — Tying-up harness for carpets. Each of these methods of tying-up is treated in a thorough manner and is fully illustrated by over one hundred special illustrations. The Comber-board and Methods of Figuring for it. The comber-board is placed in the Jacquard-loom for the purpose of guiding the harness- cords from the neck-cords to their respective position as required by the fabric for operating the heddles (to which they are adjusted on their other extreme end.) There are two kinds of comber-boards in use. a. Comber-boards made of a solid piece of material, either wood or porcelain, or constructed by using wires crossing each other and adjusted in a frame (see Fig. 1 007). b. Comber-boards made in strips of either wood or porcelain and adjusted afterwards in a wooden frame (see Figs. 1007a and ioo7<^). Fig. 1007 Comber-boards Made of a Solid Piece of Material. Before ordering a comber-board, it is necessary to know the texture of the fabric in the loom, and also the number or size of the machine to be used ; for the number of holes per inch in the comber-board is regulated by this. Afterwards, we may, if we choose, arrange the number of holes in depth of the comber-board, according to the number of griffe-bars in the machine (guided by the fabric to be made). We may have eight griffe-bars in the machine, and arrange the comber-board 4, 6, 8, 10, 12 rows deep; or we may have 12 griffe-bars in the machine, and arrange the comber-board 12, 10, 8, 6, 4 rows deep. Rule : The number of holes to one inch in the comber-board must equal the texture of the fabric to one inch in loom. The width and depth of the comber-board are regulated by the width of the cloth required 255 and by the design to be used. The greater the number of rows in depth the closer they must be- the same is true of the width. It is necessary to take care not to have the comber-board too deep as the consequence would be a bad shed; furthermore, we must not have the holes too close to-ether as in a high texture this would make trouble in the weavmg through the catch- ing of the heddles with \he warp, and also cause useless chafing of the warp-threads and the heddles. The Chang-ing- of Solid Comber-boards for Different Textures. In Tacquard work we generally use the same texture, or as near as possible, as the loom is tied up for; but changes are unavoidable. If we must reduce the texture of the fabric m a Jac- quard loom tied up with a solid comber-board, we must also reduce proportionally the number of hooks and needles used in designing, and hence the number of heddles used per inch. These heddles will thus be left empty when drawing in the warp. To accomplish this, lift the tui machine and throw the hooks not to be used from the griffe-bars, lowering m this way every mail which is not to be used. Sometimes there may be only one, two, three, or four hooks to be thrown off, on account of the design. At other times it may be necessary that one-eighth, or one- fourth, or even one-half, of the whole number shall be dropped for this purpose. Comber-boards Made in Strips and Adjusted Afterwards in a Frame. By these comber-boards which are used to a great advantage on narrow loom work up to 36-inch fabrics, we can change the texture for the fabric ; for the strips composing the comber- Fig. 1007a. *c: r f r a. ■^ 10. 0. ^- Dcc %^ 2*^ l*^ 3 a.. n^ lUJJfcJ^^MM^I El? T 1 Fig. 10073. board may be drawn apart, thus changing the high texture to lower. To give a standing. Figs. 1007a and 1007^^ are given. Fig. 1007^ represents an 8-row deep comber-board, a, b, c, d, composed of 10 are set close together. By examining each strip 5 cross-rows of holes will be found, whole number of holes 400. Suppose this comber-board is intended for a texture of lOO ends per inch; this the width of the fabric (shown below, i, k to /, m) 4 inches. In Fig. 1007a, the comber-board is arranged for a texture of half as many ends per inch, and the 10 strips are arranged accordingly; the empty places between the same size as the strips themselves, and the fabric design below the comber-board is correspond. clear under- strips which making the will give for , or 50 holes strips are of arranged to 256 GOBELIN TAPESTRY. Tapestry is neither real weaving nor true embroidering. Though wrought upon a loom and upon a warp stretched out along its frame, there is no filling thrown across the threads with a shuttle, but the filling is worked with many short threads of various colors, put in with a needle. Tapestry runs back into remote antiquity. The Greeks and Romans used tapestry for cur- tains and other hangings; and the use of it for like purposes was common throughout Europe in the succeeding ages. "Arras" was the usual name for hangings of this kind, owing to the excel- lence of the work produced in that town in England. "French tapestry" has long been famous also. Francis I. brought Flemish workmen to Fontainebleau, and the establishment was kept up by his successors. A hundred years later, Colbert, the celebrated minister to Louis XIV., took under his protection a manufactory which had been set up b)^ two brothers, of the name of "Gobelin," originally dyers; and in a very short time the productions of the "Hotel royal des Gobelins" were universally admired. The well-known tapestry which for many generations hung upon the walls of the House of Lords, London, England, and which were destroyed by the fire of 1834, were Flemish, and executed in the reign of Queen Elizabeth to commemorate the destruction of the Spanish Armada. But the culminating point in the history of tapestry was when Rafaelle was employed i|M l^w^ Mn-H n^W MW te fefeaj j^ to make the designs for a series of Scripture subjects, to J» H ^^C'^^ ^^sa 'Bs^jgs '^^M be hung upon the walls of the Sistine chapel in Rome. lL_ liJLL ^^H— Ti,™, '™1™. „,„_ L Tapestry work is the most costly and effective of J _.■ II l.DJ ' ' ■ M the textile manufacture. We will next explain the ■1 (IL 1 1 [i ' 'J, L method of operation as observed m the manufacture of T^ mirn M^tH nvffirn rTrn rWn m these fabrics during the last three centuries. (Older kinds of tapestries, for example the well-known " Bayeux tapestry" were wrought by the needle on the surface of the cloth and thus are actually produced by embroidering). As mentioned before, the warp-threads /^ U -..^^- | W'-JO : - 4 ^^i§j P^fl^ M^ ^^ ^^^ stretched in a frame (loom) in a vertical position for xiia V-4iir =- 1 h rr-A l^sd em^ b Mbad k the weavers. The method of interlacing the filling into the before mentioned warp is done after the prin- ciple of the plain weave by means of various numbers of colored filling-threads each guided by a needle. These different colors of filling are arranged after a cer- tain design. For this purpose warp-threads in the required position are pulled by the weaver towards himself with one hand, and with the other hand the required needle (bobbin) block con- taining the color of filling as called for by the design is inserted. Supposing in the present example the weaver pulls towards himself the uneven numbered warp-threads (1,3, 5, etc.) with the left hand, and inserts the block containing the required colored thread in the direction from left to right, by means of the right hand. Next he pulls the even numbered warp-threads (2,4, 6, etc.) and returns the block before mentioned. In this mannei the weaver continues to entwine one color until a certain part of the design requiring this color is finished. He takes next another color as required by the design and finishes, similar to the before explained method, any place where this color is required. In this manner he continues to treat each color as required by the design. The beat- ing up of the filling so inserted is done by means of a comb. Taking the fabric into consideration in its vertical position it will be seen that there is no interlacing from one color effect to the other; therefore these effects must be sewed together after the embroidering is done. Diagram Fig. 1008 illustrates the method of operation for such a Gobelin. Fk;. 1008. APPENDIX. Analysis of the Various Textile Fabrics and Calculations Necessary for their Manufacture. The analysis of textile fabrics forms a prominent part of the knowledge required in a com- petent designer and manufacturer. In addition to theory a practical experience in the construc- tion of the various fabrics is likewise called for. Thorough analysis consists not only in "picking out" the arrangement of the interlacing of warp and filling (the weave), but also in ascer- taining the materials of which both systems of threads are composed, the process such raw materials must be subjected to before the required yarn or thread is produced, necessary for the construction of the fabric on the loom, as also the various processes commonly designated as finish- ing. The analysis of a fabric is not always required for duplicating the fabric, as in some in- stances it has for its main object only one of the previously mentioned points, as to materials used, amount of twist in yarn, process of finishing necessary, etc. But whichever special point is re- quired to be ascertained, or should a complete reproduction of a given sample be required, it is al- ways best to have a clear understanding (or analysis) of all points. For example : A knowledge of the weave will be the guide for a special analysis as to the materials to use — the amount of twist to put into the yarn — or the finish required, for the harder a weave " takes up" the stronger the warp yarn must be (as to quality of material to use, or amount of twist to be put into the yarn) so as to resist the amount of wear incurred during the weaving. The weave employed in inter- lacing the warp and filling, and the raw materials used in the manufacture of the yarn, will influ- ence the process of finishing required, etc. The complete analysis of textile fabrics can thus be classified under the following eight points; I. Ascertaining the Weight per Yard and Ends per Inch in Warp and Filling for the Fin- ished Fabric from a Given Sample. II. Ascertaining the Weave. III. Ascertaining Raw Materials Used in the Construction of Textile Fabrics. IV. Ascertaining the Texture Required in Loom for a Given Fabric Sample. V. Ascertaining the Arrangement of Threads in a Sample according to their Color and Counts for the Warp and Filling. VI. Ascerta'ning the Sizes of the Yarns, or their Counts, as Necessary to be Produced For the Reproduction of the Given Sample. VII. Ascertaining the Weight of the Cloth per Yard from the Loom. VIII. Ascertaining the Process of Finishing Necessary, and Amount of Shrinkage of the Fabric during this Process. These eight points, when carefully considered, will in most cases produce the required object, "a thorough analysis " or a thorough understanding of the construction of the fabric with which the manufacturer has to deal. I. Ascertaining the Weight per yard of the Finished .Fabric, and its Finished Texture (Ends per inch in Warp and Filling). Usually the sample given to the designer for analysis is less in length than one yard (of the finished fabric), and generally narrower than the finished width of the cloth ; oftentimes only one or two square inches, or even less, being furnished. Should, however, one or more yards of a (257) 258 fabric, having its regular width be given, it is easy for the designer to solve the question by weighing the cloths given and dividing the weight thus ascertained by the number of yards in the sample. The result will be the weight per yard of the finished fabric. But when the size of the sample submitted is small (less than one yard) the weight per yard must be found by figuring in proportions. Rule for Ascertaining from a Small Sample {finished) the Weight of the Fabric in Ounces for One Yard, Cut your sample to a known size, and divide the number of square inches thus derived into the number of square inches which one yard of the fabric will contain. 1944 square inches f wide fabrics = 54 inches wide. 972 " " I- " " 27 " Multiply the result with the weight in grains of your sample and divide the product by 437^ which will give you the ounces per yard for the fabric in question. For example : Suppose you have a f wide fabric. The sample cut, or stamped, with a die, 3 inches by 3 inches equals 9 square inches. Suppose the weight of these 9 square inches is 25 grains. Question: Required the weight in ounces of one yard of cloth, being f wide? Answer : I or 54 inches wide fabric 54 x 3^ or 1944 square inches, 1944 -=-9 = 216X25 = 5400 -^ 437-5 ■=^ 12.34 oz. ; thus the weight of the fabric is 12}^ oz. Another example. Take a f wide fabric. The sample cut, or stamped with a die 3 inches by 4 inches, equals 12 square inches. Suppose the weight of these 12 square inches is 28 grains. Question : Required the weight in ounces of one yard of cloth to be 27 inches wide. Answer : 27 inches wide fabric = 27 x 3^ or 972 square inches. 972 -J- 12 = 81 X 28 = 2268 -^ 437-5 = 5.18 oz., weight of fabric per yard. Table for Ascertaining the Number of Square Inches in any Fabric with a Width of 18 Inches to 5^ Inches. Width of Fabric in inches. Number of square inches in one yard. Width of Fabric in inches. Number of square inches in one yard. • 18 648 37- J332 19 684 38. 1368 20 720 39- 1404 21 756 40. 1440 22 792 41. 1476 23 828 42. 1512 24 864 43- 1548 25 900 44. 1584 26 936 45- 1620 27 972 46. 1656 28 1008 47. 1692 29 1044 48. 1728 30 1080 49- 1764 31 1116 50. 1800 32 1 152 51- 1836 33 1188 52. 1872 34 1224 53- 1908 35 1260 54- 1944 36 1296 60. 2160 To Ascertain the Finished Texture of the Submitted Sample. For this purpose unravel a few ends of the warp and filling of each system on one side of the sample, and count the number of threads one inch contains (in each system). In the places 259 from which the fiUing has been extracted the texture for the warp will be found, and in the places from which the warp-threads have been drawn the filling texture will be found. It is best to ascertain the texture for each system of threads in at least two different places, so that if found to be the same it will serve as a test for correct work. If found not to correspond, it will require a third counting of the respective threads per inch, so as to ascertain which of the two previous countings is correct. Fabrics having a fancy arrangement with regard to their threads frequently require to have the number of threads ascertained in more than one inch. In some fabrics the texture must be found by counting the number of threads in one repeat of the pattern and then dividing this result by the number of inches these threads occupy in the fabric. Example. — i8o threads of warp in one repeat of the pattern occupy 3^ inches space in the finished fabric. Question: Find the texture (average). Answer: 180 ^ 3^ = 48 threads, tex- ture of warp in given sample. II. Ascertaining the ^Veave. This part of the analysis of a fabric is based first of all upon a thorough comprehension of the theory of constructing the various weaves for single cloth, double cloth, etc. It also requires, in dealing with heavy fulled fabrics, or fabrics having the face filling broken during the process of finishing, a considerable amount of patience. Ascertaining the weave implies to the designer that he is to solve from a sample the manner in which both systems of threads, composing the fabric, interlace each other, and this is techni- cally known as the "picking-out" process. An experienced designer will in most cases ascertain the weave necessary for producing a given sample by a mere glance at it, while in fabrics having fine counts of silk or cotton yarn the microscope will assist him in designating the weave without "picking-out." But as such skill can only be arrived at after years of practice and experience we will define the "picking-out" process for the benefit of the unskilled. If it is required to ascertain the weave in a fabric having a nap on its surface, the nap must be carefully removed by singeing it off by holding it over a flame, care being taken not to burn the threads. Next carefully remove the burnt refuse adhering to the structure with a sharp knife. (It is well to have a sharp knife or razor always at hand for this purpose.) Always endeavor to get the samples for "picking-out" sufficiently large, containing at least two or three repeats of the weave, warp and filling-ways, in excess of the amount 01" cloth necessary for liberating threads in each system, so as to get the proper starting-point for commen- cing to pick-out. If a sample is submitted for "picking-out" which does not contain a complete repeat of the weave, dissect the amount on hand and finish the complete weave in accordance with the instructions given in the theory of constructing weaves. The experienced designer, when he gets a sample for dissection, readily understands which system of threads are the warp and which the filling, but to the inexperienced this will prove the first difficulty which will have to be mastered. To aid in this the following rules are given, which if carefully con^idered (with reference to the sample given) must greatly assist the novice in solving the problem. If the sample submitted for " picking-out " contains a part of the selvage, the latter will readily indicate warp from filling, for the selvage-threads always run in the direction of the warp. If the threads in one system are "harder" twisted than in the other, the hard-twisted threads are generally the warp system. If the sample submitted for analyzing has what is technically known as a "face-finish" (kersey, beaver, doeskin, broadcloth, etc.), the direction of the " nap" indicates the warp. The "counts" of yarn found used in each system will often assist in ascertaining which is the warp and which is the filling, for in most instances the yarn used for warp is of a finer number than the filling. 260 Fig. 1009. If the fabric has cotton yarn for one system of threads and woolen for the other (as in union fabrics), the cotton yarn is generally the warp yarn. If in the sample submitted for analysis the one system of threads is found to have been sized or starched, and not the other, the former is the warp. If the sample contains "reed marks" (or im- perfections known to the weaver as being caused only by the warp system), such imperfections <). | || l || il li l li l| | |i l| ||'i l ii|t f fHM^ (iitll l il!llllllll l lll illMll !ll!llll l l l ll t4iBt ' readily characterize the respective systems of I ^^ B ^ ^ B ^ M i I l ll ll l l ll ii l l l i l 1 1 II Hi threads. Another guide for distinguishing the warp from the filling is found in the "style" of the respective fabrics submitted for "picking out." In fabrics having a striped character, or check effects in which the one direction of the lines is prominent compared with the others, the direc- tion of the stripes, or the prominent lines in the check, indicate the warp system. In fabrics composed of two systems of filling (face filling and backing) and one system of warp, the heavy and soft-spun filling, known as the " backing," indicates itself, and thus the system of threads. Fabrics are generally dissected by in- vestigating the method of interlacing the filling into the warp; some fabrics require their weaves to be dissected by ascertaining the interlacing of successive warp-threads in the filling, such as the corkscrews, diago- nals and similar fabrics. Weaves in pile fabrics, such as velvets, Astrakhans, etc., are ascertained the quickest by analyzing the body structure. The instrument required for "picking out " is a strong needle with a sharp point. In some instances the microscope is found to be of much service. The work of picking out a sample is most readily accomplished by proceeding as follows :* Clear off the nap or fibres on the sur- face of the sample as previously mentioned. In fabrics without a nap this is, of course, not required. Next unravel sufficient filling on top of the fabric, and warp on the left hand side, to produce two fringed edges of say about y^ to ^'inch in length. If you should desire to save, from the sample sub- mitted for analysis, as much as possible, make straight cuts with the scissors at a distance of about ^3 to ^ inches from where you want to stop dissecting threads This procedure is illustrated by diagram Fig. 1009. A-B-C-D, sample submitted for "picking out." Arrow O direction of warp. Arrow 0^ direction of filling. *Use picking out of the filling from the structure in the example given for explanation. Fig. ioio. / Fig. ioii. 261 The cuts in the fabric are shown at the places indicated by e and /. Letter 5 indicates the place where the first warp-thread and the first pick meet — the point for commencing to " pick-out." After the sample is prepared according to the illustration just given, raise the first pick about tV of an inch with the "picking-out needle." See Fig. loio. Place the sample in the left hand asshown in diagram loi i, next ascertain the arrangement of interlacing pick number i, warp-ways, until repeat is obtained. Every time a warp-thread is found situated above the filling, put a corresponding indication on the respective square of the designing paper (with pencil marks or prick holes with the needle), whenever you find the filling covering (floating over) one, two or more successive warp-threads, leave correspondingly one, two or more successive squares empty in the lateral line of small squares upon the designing paper. After the intersecting of number i pick has been clearly ascertained liberate this pick out of the fringed warp edge and duplicate the procedure with pick number 2, to be fol- lowed by picks 3, 4, 5, etc., until the repeat is obtained. If dealing with a soft-spun filling yarn be careful in raising it, to avoid breaking the thread ; also be careful that after the interlacing of the pick has been ascertained, it is entirely removed so that no small pieces of the thread remain in the fringed part of the warp; for if such should be the case it might lead to mistakes in examining the next adjoining pick. III. Ascertaining Raw Materials Used in the Construction of a Fabric. In most cases an examination of the threads liberated during "picking-out" with the naked eye will be sufficient to distinguish the material used in the construction of the fabric yet sometimes it is found necessary to use the microscope or a chemical test for their detection. For example : Tests might be required to show whether a certain thread is all wool or whether a certain thread is all silk, etc. For solving such questions, the following methods are given : A common and ready method for ascertaining the difference between animal and vegetable fibres is to burn some of the threads of yarn in a flame. The vegetable fibre is composed of carbon, hydrogen and oxygen, while the animal fibre, in addition to these, contains nitrogen. By burning, the threads used in testing the first mentioned fibre will result in carbonic acid and water, while those of the latter, or of animal fibre, result in combinations containing nitrogen which element readily makes itself known by its peculiar smell or disagreeable odor similar to burnt feathers. Another point which it is well to note is the rapidity with which the thread com- posed of vegetable origin burns as compared with the burning of the thread having an animal substance for its basis. In the latter case, only a little bunch of porous carbon forms itself at the end submitted to the flame, and it does not form a flame as in the case of the former. As in some instances these two tests will be found unreliable, a more exact analysis may be required. If so, proceed after one or the other of the following formulas : To Detect Cotton or other Vegetable Fibre in Woolen or Silk Fabrics. Boil the sample to be tested in a concentrated solution of taustic soda or potash, and the wool or silk fibre will rapidly dissolve, producing a soapy liquid. The cotton or other vegetable 262 fibre therein will remain undisturbed, even though boiling in weak caustic alkalies for several hours, care being taken to keep the samples below the surface of the solution during the opera- tion. If during this steeping process it is exposed to the air, the cotton fibre becomes rotten, especially when the exposed portions are also at the same time brought under the influence of steam. (Any cotton fibres remaining from the testing, if colored, may be bleached in chlorine water, and afterwards dissolved with cupro-ammonia.) Prof. E. Kopp gives the following test : " Wool is only soluble in cupro-ammonia by the aid of heat. Concentrated acids, such as sulphuric, nitric, or preferably hydrochloric, act in the cold upon silk, but not on wool. The dissolving properties of cupro-ammonia on all vegetable fibres, make it one of the most reliable of tests. Cupro-ammonia is prepared by suspending strips of copper in concentrated ammonia in a large flask, tightly corked and occasionally shaken, so as to bring the metal in contact with the oxygen of the air. By degrees a tolerably concen- trated solution of oxide of copper in ammonia is obtained which dissolves cotton, and other vegetable fibres, leaving animal fibres untouched." To Detect Silk from Wool or the Vegetable Fibres. Prof. Hummel gives the following process in his treatise on "The Dyeing of Textile Fabrics:" " The best solvent for silk is an alkaline solution of copper and glycerine, made up as follows : Dissolve i6 grams copper sulphate in 140-160 c. c. distilled water, and add 8-10 grams pure glycerine (Sp. Gr. 1.24); a solution of caustic soda has to be dropped gradually into the mixture till the precipitate at first formed just re-dissolvcs ; excess of NaOH must be avoided." This solution does not dissolve either wool or the vegetable fibres and thus serves as a distinguishing test. Still another method is given, as follows: Concentrated zinc chloride, 138° Tw. (Sp. Gr. 1.69) made neutral or basic by boiling with excess of zinc oxide, dissolves silk, slowly if cold, but very rapidly if heated, to a thick gummy liquid. This reagent may serve to separate or distinguish silk from wool and the vegetable fibres, since these are not affected by it. If water be added to the zinc chloride solution of silk, the latter is thrown down as a flocculent precipitate. Dried at 230° to 235° F the precipitate acquires a vitreous aspect, and is no longer soluble in ammonia. Rules for Arranging the Fabric to be Tested and Methods for Ascertaining the Various Percentages of Each Fibre Composing the Thread or Woven Cloth. Cut the sample to be tested to a known size with a sharp pair of scissors, or stamp out the de- sired quantity with a die, of which you know the exact size. Always use the largest sample avail- able and be very accurate in cutting to measure. Next weigh the sample upon a scale (of great ac- curacy) and make a careful memorandum of its weight; then submit the sample to one of the above mentioned tests (adapted to the material to be tested), and dry the remaining fibre. Weigh the latter after thoroughly dry and deduct the weight from the gross weight previously obtained. The remainder will represent the weight of the fibre dissolved by the test. " The amount of each kind of fibre in sample is in proportioii to ^ the percentage of each fibre m a full piece of cloth." Example : Required to ascertain percentage of cotton and wool fibres in a fabric. Sample stamped with a die 2X4 inches = 8 square inches weighs 24 grains. Suppose the "caustic soda" process for testing is used and the refuse of cotton, dried, weighs 8 grains. Hence : 24 grains gross weight of cloth 8 square inches. 8 " weight of cotton in 8 square inches. 16 " " " wool " 8 square inches. 263 Or, 8 grains cotton in 24 grains gross weight ^331^ per cent, of 100. 16 " wool " 24 " " " = 662^ " " " 24 " 100 Answer: The cloth given for testing in the present example contains 33^ per cent, cotton and 66^ per cent, wool, or, one-third of the mixture is cotton fibre and two-thirds wool fibre. IV. To Ascertain the Texture of Fabrics Required in Loom. Of all the different points required to be ascertained the present is probably the most difficult to master, in fact, it can only be accomplished after considerable practical experience. To mate- rially aid the novice in this work, it is strongly recommended that he provide himself with a col- lection of different samples of finished fabrics with the given amount of shrinkage of each during finishing. Such a collection he can afterwards use as a guide for ascertaining the texture of similar fabrics. T/ie Shrinkage of a Fabric in Width from Loom to Case {or Finished State). The "setting" of a fabric in the loom, or the reed-space the warp must occupy during the process of weaving, compared to the width of the fabric when finished (ready for the consumer) is regulated by the raw material used, the manner in which the yarn has been produced, and the different processes the fabric is to be subjected to during finishing. Some kinds of woolen fabrics require a large amount of fulling, hence must be "set" wider in the loom than fabrics having a similar material for their basis but requiring very little or no fulling. For example, billiard-cloth must be "set" nearly twice as wide in the loom as its finished width, while beavers, kerseys, and similar woolen fabrics need to be "set" but about one-half their finished width wider, and fancy cassimeres from one-quarter to one-third. Worsted or worsted and cotton dressgoods mostly require but very little wider "setting" in the loom than the finished width of the fabric calls for. The weave itself has also a considerable influence in regu- lating the shrinkage. These general rules are worthy of consideration : The finer the quality, and the softer the filling is spun, the more the cloth will shrink in width. If the filling is hard twisted, and of a coarse nature, the cloth will have but little tendency to shrink. If the weave has a wide stitching, it will produce a narrower fabric than when the texture is more closely intertwined. The less tension put on the warp during weaving (''take-up") the narrower the fabric will be. In comparing woolen and worsted yarn, the former produces fabrics which shrink more in width than fabrics made with worsted yarn. This result, when produced from the same raw material, is based upon the two different processes of ''carding" or "combing" the wool fibre. By carding the wool every fibre, through mixing up in every shape and direction, is twisted in itself, and such fibres always endeavor to resume their original position. By worsted combing the wool fibres are separately united, besides being combined in one thread. Each fibre is its own, as placed in posi- tion for forming the thread, and thus such a thread remains undisturbed in the fabric. The fabric constructed out of such threads will keep wider than if using a wool-spun yarn of equal size and under equal conditions. Shrinkage or Take-up of Warp During Weaving. We must also carefully consider the amount of take-up the warp is subjected to during weaving, and the amount of shrinkage in length the cloth undergoes during the finishing process. The latter point will not come into consideration in the case of fabrics which are ready for the market when leaving the loom. The first mentioned shrinkage, or the "take-up" of the warp during weaving, is different, and varies from fabrics requiring two, three, four or more 264 times the length in dressing than the fabric length woven, to fabrics in which the warp-length dressed equals the fabric length woven or, if any difference, to be very little. The points given in the previous chapter on the shrinkage in width of a fabric also apply to the shrinkage of the fabric in length. The weave and the number of picks per inch are the chief ob- ject in regulating the take-up of the zvarp during weaving, for example, a fabric interlaced with a far stitching satin weave (say 8 to 12 harness) will "take-up" very little if any at all, unless we use an unusually high texture of warp and filling. Thus, the oftener a warp-thread intersects the filling in a given distance the greater the amount of take-up required for the warp. For this reason fabrics which have two systems of weaves combined — suppose I -inch wide plain weave \o alternate with a 2-inch wide 8-harness satin = 3 inches repeat, 10 repeats in width of fabric — re- quire two beams — one beam to carry the warp for weaving the plain, and one beam for carrying the warp for weaving the satin. This also applies to worsted fabrics made with woolen back-warps. The amount of shrinkage in warp pile fabrics for its pile-warp is considerable. It is regulated by the height of pile required and the amount of wires or loops per inch. Such fabrics may often require their pile-warp dressed four to eight times longer than the piece measures woven. To ascertain the exact percentage of " take-up " for a fabric needs experience and can only be mastered after thorough study of the theory of constructing the different weaves, as well as the nature of the different raw materials, with their various methods of preparations for the yarns, and the vari- ous processes of finishing. V. Ascertaining the Arrangement of Threads in a Sample, According to their Color and their Counts, for the Warp and Filling. During the process of "picking out" a fabric sample, it will be advisable to indicate on the squared designing paper near each filling-thread as picked out, its color or general remarks as to thickness, twist, etc. Also, to indicate the colors and size of the I warp-threads as found in the sample dissected. (For illustration see ■g Fig. loi 2.) By proceeding in this manner it will be found that after a certain number of successive threads in warp and filling have been picked out, the same arrangement of using threads of various colors •gg§gsl||g or counts, or both combined in the sample, repeats over again. ■5nBiani5niiaiii5iliW3Biack. This is classified as the "repeat of the pattern." All repeats of a nnMMnnBBnnBDBmnnMBBiack. .... , , , .,- , , ■■nnSBnnSSaSnnSynnBiSe'^' pattern must be similar to each other; thus, if we place two, three or SBy^SSSnaSBSMnSMSBitck. more repeats of the sample above each other, they must in every St •8 c3 c=S3-t:-S= si ■■nnwinnBBnMnnBBnaBrown. instance cover itself in color, size or counts of threads, and method ^'^- '°^2- of interlacing. Again, if a number of these repeats are placed near each other in the direction of the warp and filling, they must connect. If patterns are found not to contain this peculiarity, or, in other words, " do not repeat," they must be arranged so as to have this peculiarity, or be made to repeat. The arrangement of the warp is known as the "dressing," while the arrangement of the filling indicates the building of the "box-chain" in practical work. VI. Ascertaining the Size of the Yarns (their Counts) Found in Sample, and the Amount and Direction of Twist. The size or thickness of a thread is ascertained generally by comparing the picked out thread with a collection of yarns of the same material and of a known size. For this purpose prepare a collection of woolen, worsted, cotton and silk yarns most commonly used. In fabrics requiring no fulling, or only a very little, such as worsted dress goods, etc , weigh a small sample of the threads and calculate from their length and weight the size of the yarn ; but as a general rule the first given method will be found quick, correct and less troublesome to the designer. Care must be taken to compare threads of which the counts are required to be ascertained with samples of threads of a known size, which have previously been subjected to an equal amount of shrinkage by " fulling " etc.; or, if such a thread cannot be obtained, compare the picked-out thread with the standard threads of a similar material, but take into consideration the process the first mentioned thread has been subjected to during the finishing process of the fabric it was a part of VII. Ascertaining the Weight of Cloth per Yard from the Loom. This subject, based entirely upon results obtained by previous points, forms the most inter- esting work in the analysis of cloth. Whatever the size of sample may be which is submitted for examination, and whatever the quantity of yards of cloth to be produced, the weight per yard from loom will form the standard upon which future calculations in manufacturing must be based by figuring in proportion. After knowing the number of threads required in the width of a fabric submitted for analysis, the counts of the respective threads, and the dressing and the shrink- age of the warp in weaving, it will be easy to ascertain the weight of warp yarn required. Example A. Dressing: 4 threads black, 4 run woolen yarn. 2 <( blue. 4 « <( « 4 <( brown. 4 « « « 10 threads in repeat. 3,600 ends in full warp, 6 per cent, shrinkage or take up of warp during weaving. Required: Find weight of warp yarn of each kind necessary for one yard of the woven fabric. 100 — 6 = 94. Thus 94 : 100 : : 36 : X and 100 Y. T)^ ^= 3600 -^ 94 = 38.3. Each individual thread requires 38.3 inches length dressed to produce 36 inches interwoven. Hence 3,600 X 38.3 = 137,880 inches = 3,830 yards of warp required to produce one yard of the woven fabric (plus amount of filling required). 3,830 yards 4 run yarn equal in weight 9.575 oz , ten threads repeat of the pattern, thus: 9.575 -^ 10 = 0.9575 oz. weight in proportion for each thread, consequently: 4 threads black = 4 X 0.9575 = 3.830 oz. per yard. 2 " blue =2X0.9575 = 1.915 " " 4 " brown = 4 X O.9575 = 3.830 " " 9.575 oz. total weight. Answer: The previously given example requires 3.83 oz. 4 run black warp for each yard woven. 1.915 " 4 " blue 3.83 " 4 " brown consequently 9.575 oz. weight of complete warp in one yard woven (3,600 threads 4 run yarn, six per cent, take up of warp). The threads used are not always of the same counts. Two, three or more different sizes of yarn may be called for in a fabric. If such is the case first ascertain the number of yards required of each kind and next their weight. Suppose the previously given example read as follows: Example B. 3,600 ends in warp — 6 per cent, shrinkage of warp in weaving. Dressing: 4 threads brown 2.30s worsted. 2 " blue 2.28s 4 " black 2.32s " 10 threads repeat of pattern. 266 As explained in previously given example, 36 inches woven equal 38.3 inches dressed by- allowing six per cent, take up. 3,600 ends in warp -^ by 10 threads in one repeat = 360 repeats of each thread ; thus, 4 threads brown 2.30s worsted = 360 X 4 = 1,440 threads {a). 2 " blue 2.28s " = 360 X 2 = 720 " (/). 4 " black 2.32s " = 360 X 4 = 1,440 " (c). 10 threads in repeat. 3,6oo threads in warp. a. Brown, requires 2.30s worsted = 8400 yards to i lb. 36 : 38.3 : : 1440 : x 38.3 X 1440 -^ 36 = 1532 yards of 2.30s brown worsted required. 8400 : 16 : : 1532 : X 1532 X 16 -^ 8400 = 2.918 oz. of brown 2 30s worsted required for I yard cloth woven. l>. Blue, calls for 2.28s worsted = 7840 yards to i lb. 36 : 38.3 : : 720 : x 38.3 X 720 -r- 36 = 766 yards of 2.28s blue worsted required. 7840 : 16 : : 766 : x 766 X 16 -^ 7840 = I-S63 oz. of blue 2.28s worsted required for I yard cloth woven. c. Black calls for 2.32s worsted = 8960 yards to i lb. The number of threads are equal to a, thus: 1532 yards of 2.32s black worsted required. 8960 : 16 : : 1532 : x 1532 X 16 -^ 8960 = 2.735 oz. of black 2.32s worsted required for i yard of cloth woven. Answer: The previously given example requires the following amount of yarns : Brown, 2.30s worsted = 2.918 oz. Blue, 2.28s " = 1.563 " Black, 2.32s " = 2.735 " 7.216 oz. weight of complete warp in i yard woven. TABLE OF RELATIVE LENGTHS Of Inches Dressed and One Yard Woven, with Reference to a "Take-up" During Weaving, for i per cent, to 50 per cent. Per cent, of take-up during weaving. Number of inches required dressed to produce one yard or 36 incites woven. Per cent, of take-up during weaving. Number of inches required dressed to produce one yard or 36 inches woven. I 2 3 4 5 6 7 8 9 10 II 12 36-36 36-73 37-11 37-50 37-89 38-30 38-71 39-13 39-56 40.00 40-45 40.91 13 14 15 16 17 18 19 20 25 30 40 50 41-38 . 41.86 42-35 42-85 43.37 43-90 44.44 45.00 48.00 51-43 60.00 72.00 The next point for ascertaining the weight of cloth per yard from the loom is to ascertain the amount of filling required for one yard. To explain this subject let us continue the example previously given and indicated by A. Suppose those 3600 ends require 72 inches wide setting in reed (aUowing i inch for width of 267 selvage on each side), and suppose the fiUing found used in sample submitted for analysis calls for 3!/^ run black woolen yarn and 52 picks per inch in loom. Question: Find amount of filling required for weaving one yard. 52 (picks) X 72 (width) = 3744 inches filling required for i inch of cloth, or 3744 yards of filling required for I yard of cloth. 3744 yards of 35^ run filling (3744 -^ 350) = 10.697 oz. Anszver : 10.697 oz. filhng required for weaving i yard cloth in the present example. If two, three or more kinds of threads of various counts of fillings are used, ascertain each kind independent of the other. For illustration let us continue example B as previously given for ascertaining the warp. Suppose the width of fabric (including ^ inch selvage for each side) calls for 64 inches and the arrangement of filling for 6 picks 2.26s black worsted and for 6 picks 2.28s brown worsted = 12 picks in repeat of pattern and 56 picks per inch in fabric. Question : Find the amount of filling required for weaving i yard. 56 (picks) X 64 (width) = 3584 yards of filling required to weave i yard of cloth. Thus: 3584 -^ 2 = 1792 yards 2.26s worsted black (a), and 1792 yards 2,28s worsted brown {d), the filling required to weave i yard of cloth. a. 2.26s worsted (= 7280 yards to I lb.). Thus : 1792 : x : : 7280 : 16 1792 X16 -^ 7280 = 3.938 oz. of 2.26s black worsted required. d. 2.28s worsted (= 7840 yards to i lb.). Thus : 1792 : x : : 7840 : 16 1792 X 16 -;- 7840 = 3.657 oz. of 2.28s brown worsted required. Answer : 3.938 oz. of 2.26s black worsted. 3.657 oz. of 2.28s brown worsted, 7.595 oz. the amount of filling required for weaving i yard of cloth in the present example. The next thing to be ascertained will be the amount of selvage threads to be used, and their respective weight. Suppose example A calls for 30 threads 2 run (woolen yarn) for selvage for each side of the fabric, thus 60 threads for complete selvage. + 6 per cent, take-up = 63.82 yards of two run selvage, equal to 0.319 oz. of yarn for i yard of woven cloth. For example B. allow 30 threads of 2.20s worsted for selvage on each side of the fabric ; thus 60 threads for complete selvage. + 6 per cent, take up = 63.82 yards of 2.20s worsted = 0.182 oz, of yarn for i yard of woven cloth. Example A. thus requires : 9.575 oz. warp yarn, 10.697 oz. filling, 0.319 oz. selvage threads. 20,591 oz. the weight of l yard of cloth from the loom. Example B. thus requires ; 7.216 oz, warp, 7.595 oz. filling, 0.182 oz. selvage threads. 14.993 oz. the weight of i yard of cloth from the loom. After the weight of i yard of the cloth woven is ascertained it is easy to calculate the amount of yarn required for i piece of cloth or any number, by simply multiplying the weight per yard with the number of yards required. 268 For example : Suppose previously given example A to be applied to a fabric 40 yards " from loom." Thus : 9.575 oz. X 40 = 383 oz. = 23 lbs. 15 oz. warp yarn, 10.697 oz. X 40 r= 427.88 oz. == 26 lbs. 11.88 oz. filling yarn, 0.319 oz. X 40 = 12.76 oz. = 12.76 oz. selvage. 20.591 oz. total, 51 lbs. 7.64 oz. weight for i piece 40 yards long. Proof: 20.591 oz., weight of cloth per yard, x 40, number of yards of cloth required, equals 823.64 oz., -^ 16 ^ 51 lbs. 7.64 oz. Suppose the previously given example under B applied to the following — Question: Find the amount of yarn required for producing 20 pieces, each 50 yards Ion f:r from loom, thus: 20 pieces X 50 yards each cut = 1000 yards of cloth required, hence 7.216 oz. X 1000 = 7216 oz. = 451 lbs. 7.595 " X 1000 =7595 " =474 " II oz- 0.182 " X 1000= 182 " = II " 6 " 14.993 937 lbs. I oz. weight required for 20 pieces, each 50 yards long, or 1000 yards of cloth woven. Proof: 14.993 oz. weight per yard of cloth X looo (number of yards of cloth woven) 14993 oz. ^ 16 = 937 lbs. I oz. VIII. Ascertaining the Process of Finishing Necessary and the Amount of Shrinkage of the Fabric. t The shrinkage of a fabric during finishing is regulated by the amount of fulling required. Woolen fabrics, and especially such as are constructed out of soft spun yarn, shrink more than any other textile fabric. In arranging the width of a fabric for weaving (" setting " in reed) we must calculate the amount of .shrinkage of the fabric on the loom as well as during the process of finishing. The shrinkage in length of the fabric can more readily be regulated during the finishing process (fulling). Worsted fabrics, which require no fulling — only scouring — shrink very little, while cotton goods, which require only calendering or pressing, etc., do not lose any, and may possibly rather gain, in length. During the process of carding and spinning, oil, water, etc., are taken up by the wool, and during dyeing some of the dye-stuff will remain loosely in the yarn. These substances must be removed in the scouring of the cloth; therefore we must allow for a corresponding loss in weight for such fabrics from their relative weight in the loom until the fabric is scoured. The subsequent processes, such as gigging and shearing, will also reduce the previous loom weight of the fabric. Fabrics requiring none of these processes consequently need none of these considerations, while fabrics requiring a starching, calendering or flocking may even gain in weight during such an operation. The shrinkage of fabrics in finishing requires, similar to the two different widths (width of fabric when finished, and its width in reed), to figure in two different lengths during calculations. a the length of the cloth from loom, b its finished length. It will be easily understood that when orders are given for a certain number of yards from a buyer or the commission house, they con- sider the number of yards given as the "finished yards"; therefore the percentage that the fabric shrinks during the finishing process must be added for ascertaining the number of yards required ''from loom," or woven. Take-up during weaving added, will give us a third length, or the length of warps dressed, while the shrinkage of a fabric in finishing regulates, as previously mentioned, the width of the fabric in loom, in addition to the width of the finished fabric. 269 GRADING OF THE VARIOUS YARNS USED IN THE MANUFACTURE TEXTILE FABRICS ACCORDING TO SIZE OR COUNTS. OF The sizes of the yarns, technically known as their counts or numbers, are based for each different raw material upon the number of yards necessary to balance i lb. (avoirdupois), conse- quently the higher the count or number the finer the yarn according to its diameter. The number of yards thus necessary to balance i lb. is known as the " Standard " and varies accordingly for each material. I. Cotton Yarns. Cotton yarns have for the standard 840 yards (equal to i hank) and are graded by the number of hanks I lb. contains. Consequently if two hanks, or 2 X 840 yards = 1680 yards, are necessary to balance i lb., we classify the same as number 2 cotton yarn. If three hanks, or 3 X 840 yards = 2520 yards, are necessary to balance i lb., the thread is known and classified as number 3 cotton yarn. Continuing in this manner, always adding 840 for each successive number, it gives us the number of yards the various counts of yarn contain for i lb. Table for Lengths of Cotton Yarns. I From number i to 240s. ) No. • Yds. to I lb. No. Yds. to I lb. No. Yds. to I lb. No. Yds. to I lb. I 840 25 21,000 49 41,160 73 61,320 2 1,680 26 21,840 50 42,000 74 62,160 3 2,520 27 22,680 51 42,840 75 63,000 4 3.360 28 23,520 52 43,680 76 63,840 5 4,200 29 24,360 53 44,520 77 64,680 6 5,040 30 25,200 54 45,360 78 65,520 7 5,8so 31 26,040 55 46,200 79 66,360 8 6,720 32 26,880 56 47,040 80 67,200 9 7,560 33 27,720 57 47,880 85 71,400 10 6,400 34 28,560 58 48,720 90 75,600 II 9,240 35 29,400 59 49,560 95 79,800 12 10,080 36 30,240 60 50,400 100 84,000 13 10,920 37 31,080 61 51,240 no 92,400 14 11,760 38 31,920 62 52,080 120 100,800 15 I2,6go 39 32,760 63 52,920 130 109,200 16 13.440 40 33,600 64 53,760 140 117,600 17 14,280 41 34,440 65 54.600 150 126,000 18 15,120 42 35,280 66 55,440 • 160 134,400 19 15,960 43 36,120 67 56,280 170 142,800 20 16,800 44 36,960 68 57,120 180 151,200 21 17,640 45 37,800 69 57,960 190 159,600 22 18,480 46 38,640 70 58,800 200 168,000 23 19,320 47 39,480 71 59,640 220 184,800 24 20, 160 48 40,320 1 72 60,480 240 201,600 Cotton yarns are frequently manufactured into 2-ply. In such cases the number of yards required for i lb. is one-half the amount called for in the single thread. For example: 20s cotton yarn (single) equals 16,800 yards per pound, while a 2-ply thread of 20s cotton, technically indicated as 2.20s cotton, requires only 8,400 yards, or equal to the amount called for in single los cotton (technically represented as los cotton). If the yarn be more than 2-ply, divide the number of yards of single yarn in the required number by the number of ply. 270 Rule for Finding the Weight in Pounds of a Given Number of Yards of Cotton Yarn of a Known Count. Divide the given yards by the number of yards of the known count required to balance i lb. Example (single yarn). — Find weight of 1,260,000 yards of 30s cotton yarn. 30s cotton yarn = 25,200 yards to i lb. Thus 1,260,000 ^ 25,200 = 50. Answer: 1,260,000 yards of 30s cotton yarn weigh 50 lbs. Example (2-ply yarn). — Find weight of 1,260,000 yards of 2.30s cotton yarn. 2.3OS cotton yarn = 12,600 yards to I lb. Thus 1,260,000 ^ 12,600 = 100. Answer: 1,260,000 yards of 2.30s cotton yarn weigh lOO lbs. Rule for Finding the Weight in Ounces of a Given Number of Yards of Cotton Yarn of a Known Count. Multiply the given yards by 16 and divide result by the number of yards of the known count required to balance i lb. Example (single yarn). — Find weight of 12,600 yards of 30s cotton yarn. 12,600 X 16 ^= 201,600. I lb. 30s cotton yarn = 25,200 yards. Thus 201,600 -^ 25,200 ^ 8. Anszver: 12,600 yards of 30s cotton yarn weigh 8 oz. Example (2-ply yarn). — Find weight of 12,600 yards of 2.30s cotton yarn. 12,600 X 16 = 201,600. I lb. 2.30s cotton yarn = 12,600 yards. Thus 201,600 -^ 12,600 =16. Answer: 12,600 yards of 2.30s cotton yarn weigh 16 oz. II. Woolen Yarns— " Run " System. Woolen yarn is, with the exception of the mills in Philadelphia and vicinity, graded by the "runs," which have for their standard 1 600 yards. Consequently i run yarn requires 1600 yards to I lb.; 2 run yarn, 3200 yards to I lb.; 3 run yarn, 4800 yards to I lb., etc., always adding 1600 yards for each successive run. In addition to using whole numbers only as in the case of cotton and worsted yarn, the run is divided into halves, quarters and occasionally into eighths, hence 200 yards equa 'A run. 400 % a 600 ^8 (( 800 % a 1000 % <( 1200 % it 1400 n 11 1600 I " e etc. The run basis is very convenient for textile calculations by reason of the standard number equalling lOO times the number of ounces that one lb. contains. By simply multiplying the size of a yarn given in " run " counts by lOO and dividing the result into the number of yards given (for which we have to find the weight) gives us as the result the weight expressed in ounces. Example: Find the weight of 7,200 yards of 4 run yarn. 4 X 100 = 400. 7,200 -4- 400 =18. Answer: 7,200 yards 4-run yarn weigh 18 oz. Questioyt : Find weight of 3,750 yards of 3^ run yarn. Answer : 3,750 -- 375 = 10 oz. If the weight of a given number of yards and of a given size of woolen yarn, run system, is required to be calculated in pounds, transfer the result obtained in ounces into pounds or frac- tions thereof 271 Table for Lengths of Woolen Yarns {Rnn basis) from One-fourth Run to Ffteen Rzm. Run. Yds. to I lb. Run. Yds. to I lb. Run, Yds. to 1 lb. X 400 4 6400 IYa, 12400 k 800 4X 6800 8 12800 K 1200 aVz 7200 8X 13200 I 1600 aH 7600 8K 13600 ^% 2000 5 8000 8X 14000 A 2400 S% 8400 9 . 14400 \% 2800 5'A 8800 9Yz 15200 2 3200 5^ 9200 10 16000 ^)i 3600 6 9600 io>^ 16800 2K 4000 e% 10000 II 1760O 2^ 4400 6K 10400 ii>^ 18400 3 4800 eu 10800 12 19200 \% 5200 7 11200 13 20800 yA 5600 7% 1 1 600 14 22400 2>H 6000 r/z 12000 1 15 24000 III. Woolen Yarn — "Cut" System. As previously mentioned, woolen yarn is also graded by the "cut" system. 300 yards is the basis or standard, consequently if 300 yards of a given woolen yarn weigh i lb., we classify it as i cut yarn; 11 11 a ti (I ~ <( n 600 " 900 " " " " " " I and so on, hence the count of the woolen yarn expressed in the " cut," multiplied by 300, gives as the result the number of yards of respective yarn that i lb. contains. Table for Lengths of Woolen Yarns {Cut Sjystem). (From I Cut to 50 Cut Yarn.) Cut. Yards to lb. Cut. Yards to lb. Cut. Yards to lb. Cut. Yards to lb. I 2 300 600 13 14 3,900 4,200 25 26 7,500 7,800 37 38 11,100 11,400 3 4 900 1,200 15 16 4,500 4,800 27 28 8,100 8,400 39 40 11,700 12,000 5 6 1,500 1,800 17 18 5,100 5,400 29 30 8,700 9,000 41 42 12,300 12,600 7 8 2,100 2,400 19 20 5,700 6,000 31 32 9,300 9,600 43 44 12,900 13,200 9 10 2,700 3,000 21 22 6,300 6,600 33 34 9,900 10, 200 45 46 13,500 13,800 II 12 3,300 3,600 23 24 6,900 7,200 35 36 10,500 10,800 48 50 14,400 15,000 Rule for Finding the Weight in Ounces for a Given Number of Yards of Woolen Yarn, Figured by the "Cut" Basis. This rule is similar to the one given for cotton yarn. Multiply the given yards by 16 and divide the result by the original number of yards for the given "count" of cotton yarn that i lb. contains. Example. — Find weight for 12,600 yards of 40-cut woolen yarn. i2,6ooX 16=201,600. I lb. of 40-cut woolen yarn= 12,000 yards. Thus 201,600--- 12,000=16.8. Answer: 12,600 yards of 40-cut woolen yarn weigh 16.8 oz. 272 Rule for Finding the Weight in Pounds of a Given Number of Yards of Woolen Yarn, Graded by the "Cut" Basis. This rule is also similar to the one previously given for cotton yarn. Divide the given yards by the original number of yards for the given "count" of woolen yarn (cut basis) in i lb. The result expresses the weight in pounds or fractions thereof Example. — Find weight of 1,260,000 yards of 40-cut woolen yarn. 40-cut woolen yarn = 12,000 yards to i lb. Thus 1,260,000 -~- 12,000 = 105. Answer: 1,260,000 yards of 40-cut woolen yarn weigh 105 lbs. IV. Worsted Yarns. Worsted yarns have for their standard measure 560 yards to the hank. The number of hanks that one pound requires for balancing indicate the number or count by which it is graded. Hence, if 40 hanks, each 560 yards long, are required to equal one pound in weight, such a yarn is known as 40s worsted. If 48 hanks are_ required, it is known as 48s worsted, etc. In this manner is found the number of yards for any size or count of worsted yarns by simply multiplying the number by 560. Worsted yarn is, like cotton yarn, produced very frequently in 2-ply. If such is the case, only one-half the number of yards are required to balance the pound. Hence, 40s worsted (technically for single 40s worsted) requires 22,400 yards per pound, and 2.80s worsted (techni- cally for two-ply 80s worsted) requires also 22,400 yards per pound. If the yarn be more than 2-ply, divide the number of yards of single yarn in the required number by the number of ply. Table showing the Number of Yards of Worsted Yarn to the Pound, either Single or Two-ply, in any Count not exceeding 200. No. Yds. Single Thread. Or, Yds. Two-Ply. No. Yds. Single Thread. Or, Yds. Two-Ply. I 560 280 54 30,240 <( 15,120 2 1,120 560 56 31.360 (( 15,680 4 2,240 1,120 58 32,480 ii 16,240 6 3.360 1,680 60 33,600 (( 16,800 8 4,480 2,240 62 34,720 U 17,360 10 5,600 2,800 64 35,840 (( 17,920 12 6,720 3,360 66 36,960 (( 18,480 14 7,840 3,920 68 38,080 (( 19,040 16 8,960 4,480 70 39,200 u 19,600 18 10,080 5,040 72 40,320 <( 20,160 20 11,200 5,600 74 41,440 (( 20,720 22 12,320 6,160 76 42,560 c < 21,280 24 13,440 6,720 78 43,680 »( 21,840 26 14,560 7,280 80 44,800 (C 22,400 28 15,680 7,840 82 45,920 (C 22,960 30 16,800 8,400 84 47,040 (( 23,520 32 17,920 8,960 86 48,160 (C 24,080 34 19,040 9,520 88 49,280 (( 24,640 36 20,160 10,080 90 50,400 n 25,200 38 21,280 10,640 92 51,520 tt 25,760 40 22,400 11,200 94 52,640 (( 26,320 42 23,520 11,760 96 53,760 (( 26,880 44 24,640 12,320 98 54,880 (I 27,440 46 25,760 12,880 100 56,000 1 i 28,000 48 26,880 13,440 150 84,000 (t 42,000 50 28,000 14 000 200 112,000 ( ( 56,000 52 29,120 14,560 273 Rule for F*ind[NG the Weight, in Ounces of a Given Number of Yards of Worsted Yarn. Multiply the given yards by i6, and divide the result by the number of yards the given " count " of worsted yarn contains balancing i pound. Example: (Single worsted). Find weight for 12,600 yards of 40s worsted. 12,600 X 16=201,600. I lb. of 40s worsted = 22,400 yards, thus: 201,600 -=- 22,400 = 9. Answer : — 1 2,600 yards of 40s worsted weigh 9 ounces. Question: (2-ply worsted). — Find weight for 12,600 yards of 2.40s worsted. 12,600 X 16 = 201,600. lb. of 2.40s worsted = ii,200 yards. Hence, 201,600 -~ 11,200 = 18. Answer — 12,600 yards of 2-40S worsted weigh 18 ounces. Rule for Finding the Weight in Pounds of a Given Number of Yards of Worsted Yarn of a Known Count. Divide the given yards by the number of yarns of the known count required to balance I pound. Example. (Single yarn). Question: — Find the weight of 1,260,000 yards of 40s worsted yarn. 40S worsted = 22,400 yds. to I lb. Thus, 1,260,000 h- 22,400 = 56)^ lbs. Anszaer: — 1,260,000 yds. of 40s worsted yarn weigh 56^4^ lbs. Question: (2-ply yarn). — Find the weight of 1,260,000 yds. of 2.40s worsted yarn. 2.40s worsted =: 11, 200 yds. to i lb. Thus, 1,260,000 -=- 1 1,200 = 112}4- Answer: — 1,260,000 yds. of 2.40s worsted yarn weigh 112^ lbs. V. Silk. A. Spun Silks. — Spun silks are calculated as to the size of the thread, on the same basis as cotton (840 yards to one hank, and the number of hanks one pound requires indicate the counts). In the calculation of cotton, woolen or worsted, double and twist yarn, the cu.stom is to con- sider it the same as twice as heavy as single; thus double and twisted 40s worsted (technically 2.40s worsted) equals single 20s worsted for calculations. In the calculation of spun silk the single yarn equals the two-fold; thus single 40s and two-fold 40s (40.2s) require the same number of hanks (40) = 33,600 yards. The technical expression of two-fold in spun silk is also corres- pondingly reversed if compared to cotton, wool and worsted yarn.. In cotton, wool and worsted yarn the 2 indicating the two-fold is put in front of the counts indicating the size of the thread (2.40s), while in indicating spun silk this point is reversed (40.2s), or in present example single 80s doubled to 40s. B. Raw Silks. — The adopted custom of specifying the size of silk yarns is in giving the weight of the looo yards hank in drams avoirdupois; thus if one hank weighs 5 drams it is tech- nically known as " 5 dram silk," and if it should weigh 8^ drams it is termed " 8^ dram silk." As already mentioned the length of the skeins is lOOO yards, except in fuller sizes where lOOOyard skeins would be rather bulky, and apt to cause waste in winding. Such are made into skeins of 500 and 250 yards length, and their weight taken in proportion to the lOOO yards; thus, if the skein made up into 500 yards weighs 81^ drams, the silk would be 17 dram silk; if a skein made 274 up into 250 yards weighs 4 drams, the silk would be 16 dram silk. The size of yarns is always given for their "gum" weight; that is, in their condition before dyeing. Previous to being dyed silk yarns are subjected to " boiling off/' a process taking out the gum or saliva which the silk worm spins into the single thread. In this " boiling off" yarns lose from 24 to 30 per cent according to the class of raw silk used ; China silks losing the most, Eu- ropean and Japan silks the least. The following table shows the number of yards to the pound and ounce from i dram silk to 30 dram silk. The number of yards given per pound in the table is based on a pound of gum silk. Length of Gum Silk Yarn per Pound and per Ounce. Drams per Yards Yards Drams per Yards Yards Drams per Yards Yards 1000 yards. per lb. per oz. 16,000 1000 yards. per lb. per oz. 1000 yards. per lb. per oz. I 256,000 5 51,200 3,200 : 16 16,000 1,000 iX 204,800 12,800 5/2 46,545 2,909 i 17 15,058 941 I>^ 170,666 10,667 6 42,667 2,667 18 14,222 889 x% 146,286 9,143 6'A 39,385 2,462 19 13,474 842 2 128,000 8,000 7 36,571 2,286 20 12,800 800 2^ "3,777 7,111 7K 34,133 2,133 21 12,190 762 ^% 102,400 6,400 8 32,000 2,000 22 11,636 727 2% 93,091 5,818 S/z 30,118 1,882 1 23 11,130 696 3 . 85,333 5,333 9 , 28,444 1,778 24 10,667 666 Z% 78,769 4,923 9% 26,947 1,684 25 10,240 640 i'A 73,143 4,571 10 25,600 1,600 26 9,846 6i5 3^ 68,267 4,267 II 23,273 1,455 27 9,481 592 4 64,000 4,000 12 21,333 1,333 28 9,143 571 A% 60,235 3,765 13 19,692 1,231 29 8,827 551 A'A 56,889 3.556 14 18,286 1,143 30 8,533 533 4H 53,368 3,368 15 17,067 1,067 RULES FOR FINDING THE EQUIVALENT COUNTS OF A GIVEN THREAD IN ANOTHER SYSTEM. A. Cotton, Woolen and \A/^orsted Yarn. Rule : The counts of a given thread are to the counts of an equal thread (in size) ot a different material, or a thread of the same material but figured after a different "standard" in the same proportion as the " standard number " of the one to be found is to the " standard number " of the one given. Example i. Cotton — Worsted. Find equal size in worsted yarn to 21s cotton. Cotton standard : Worsted standard. 840 : 560 =3:2. Thus, 3 : 2 : : X : 21. 3 X 21 = 63 ^ 2 = 311^. Answer: A thread of 21s cotton equals (in size) a thread of 31 J^s worsted. Example 2. Cotton — Wool (run system). Find equal size in woolen yarn (runs) to lOS cotton. Cotton standard : Run standard. 840 : 1600 = 21 : 40. Thus, 21 : 40 : : X : lo. 21 X 10 =: 210 ^ 40 = 5^^. Answer: A thread of los cotton equals (in size) a thread of 51^-run (wool). 275 Example 3. Cotton — Wool (cut system). Find equal size in woolen yarn (cut basis) to los cotton. Cotton standard : Cut standard. 840 : 300 = 14 : 5. Thus, 14 : 5 : : X : 10. 14 X 10 = 140 -^ 5 = 28. Answer: A thread of los cotton equals (in size) a thread of 28 cut (wool). Example 4. Worsted — Wool (run system). Find equal size in woolen yarn (run basis) to 20s worsted. Worsted standard : Run standard. 560 : 1600 = 7 : 20. Thus, 7 : 20 : : X : 20. 7 X 20 = 140 -=- 20 = 7. Answer : A thread of 20s worsted equals (in size) a thread of 7 run (wool). Example 5. Worsted — Wool (cut system). Find equal size in woolen yarn (cut basis) to 15s worsted. Worsted standard : Cut standard. 560 : 300 == 28 : 15. Thus, 28 : 15 : : X : 15. 28 X 15 = 420 -H 15 = 28. Answer: A thread of 15s worsted equals (in size) a thread of 28 cut (wool). Example 6. Worsted — Cotton. Find equal size in cotton to 30s worsted. 2 : 3 : : X : 30 = 60 -J- 3 = 20. Answer : — A thread of 30s worsted equals (in size) a thread of 20s cotton. Example 7. Woolen Yarn. Run System — Cut System. Find equal size in the cut basis of a 6-run thread. 16 : 3 :: X : 6 = 96 ^ 3 = 32. Answer : — A 6-run woolen thread equals (in size) a 32 cut thread of the same material. Example 8. Woolen Yarn. Cut System — Run System. Find equal size in the run basis of a 32-cut woolen thread. 3 : 16 : : X : 32 = 96 -=- 16 = 6 Answer: — A 32-cut woolen thread has for its equal in size a 6-run thread of the same material. B'. Spun Silk Compared to Cotton, ^Voolen, or W^orsted Yarn. The basis of spun silk is the same as that of cotton. Therefore, the rules and examples given under the heading of "Cotton " refer at the same time to spun silk. B% Raw Silk Compared to Spun Silk, Cotton, ^A^oolen, or Worsted Yarn. Rule. — Find the number of yards per pound (on table previously given) in raw silk, and divide the same by the standard size of the yarn basis to be compared with. Example 9. Raw Silk — Cotton. Find equal size in cotton yarn to 9 dram raw silk. 9 dram raw silk = 28,444 yds. per lb. Thus, 28,444 ^ 840 (cotton standard) = 336. Answer : — 9 dram raw silk equals nearly 34s cotton. Example 10. Spun Silk or Cotton — Raw Silk. Find equal size in raw silk to 38s cotton. 38s cotton = 31,920 yds. per lb. (38 X 840). Refer to table for raw silk, where you will find 8 dram per lOOO yards gives 32,000 per lb. Answer : — A 38s-cotton thread equals (nearly) an 8 dram raw silk thread. 276 TABLE OF RELATIVE LENGTHS. Of Cotton Yarns by Numbers and ^A^oolen Yarns by Runs. Taking the Number as a Basis. 840 yards single Cotton Yarn = i Number. 1,600 " " Woolen " = I Run. No. I Single Cotton Yarn =r 21 ?7 2 u (( = 1 2V 3 (( ( ( = m 4 l( { ( = 2tV 5 i( tt = 2f 6 (( tt = 3/0 7 i< ti = 3U 8 u tt = 41 9 I i It = aFo 10 li t( ^= 5\ II (t tt = 5H 12 (( tt = 6A 13 It (t = 63 3 14 It tc = 7A 1^ Run Single Woolen. No. 15 Single Cotton Yarn = 7I Run Single Woolen. 16 " " " = 8f " " " 17 18 19 20 21 22 23 24 25 26 28 30 = m = 9^5 = „39 = 10^ = "iV = "i^ = I2lV = I2f = i3i = I3M = I4t'o = I5l TABLE OF RELATIVE LENGTHS Of Cotton Yarns by Numbers and W^oolen Yarns by Cuts. Taking the Number as a Basis. 840 yards single Cotton Yarn = i Number. 300 " " Woolen Yarn = i Cut. No. I .Single Cotton Yarn = 2f Cut Single Woolen. 2 3 4 5 6 7 8 9 10 II 12 13 14 = 5i = 8f = iii = 14 = iet = 19? = 22| = 25! = 28 = 30* = 33f = 3H = 39i 0.15 Sing] e Cotton Yarn ='42 16 i I t = 44* 17 i ( t = 471 18 i( t = 5of 19 ti i = 53i 20 U t = 56 21 i ( = 58| 22 (( ( = 6i| 23 (( i = 64f 24 (< i = 67i 25 it i = 70 26 (< ( = 72| 28 < I ( = 78! 30 ti t = 84 Cut Single Woolen. TABLE OF RELATIVE LENGTHS. Of Cotton Yarn by Numbers and Worsted Yarn by Numbers. Taking the Cotton Number as a Basis. 840 yards Single Cotton Yarn = i Number. 560 " " Worsted " =1 Number. No. I Single Cotton Yarn 2 4 6 8 10 12 14 16 x8 20 No. 1^2 Single Worsted. 3 6 9 12 15 18 21 24 27 30 No. 22 Single Cotton Yarn = No. 33 Single Worsted. 24 " " " = 26 " " " = 28 " " " = 30 " " " = 34 " " " = 36 " " " = 38 " " " = 40 " " " = 42 " " " = 36 39 42 45 48 51 54 57 60 63 277 "lo. 44 Single Cotton Yarn = No 66 Single Worsted. 1 No. 64 Sing 46 i( ( ( = 69 " 66 " 48 <( (I = 72 ; 6S " 50 (C <( ;= 75 1 70 " 52 a (< =. 78 " ! 72 " 54 l« u = 81 74 " 56 <( u = 84 " 76 " 58 U (4 = 87 " 78 " 60 <( i< = 90 80 " 62 i = 10% = 12 = i3K = 14?^ = 16 = i7K = 18% = 20 = 2I>^ = 22% = 24 = 25>^ = 262/^ = 28 = 29K = 30% = 32 = 33>i = 34% =1 Cut. Run WoolenYarn ^=36 Cut. 8 8X 8K 8^ 9 9X 9>^ 9K 10 loX io>^ II iiX iiK 11^ 12 = 2,VA = 38% = 40 = 41% = 42% = 44 = 45>^ = 46% = 48 = 49>^ = 50% = 52 = 53M = 54% = 56 = 57>^ = 58% = 60 = 61% = 62% = 64 RUN I Single Woolen Yarn 2 (( (( a 3 (t (( {( 4 (1 (( it 4;^ U it It 5 u n n u te a 5^ a (< t( 5^ ik (f a 6 n (( ti 6X u l 1 ^ lOfS " =10^ " TT 1 ^= I^T^ = II4 " = IlA TABLE OF RELATIVE LENGTHS Of Woolen Yarn by Cuts and Worsted Yarn by Numbers. Taking the Cut as the Basis. 300 yards Single Woolen Yarn = i Cut. 560 " " Worsted " = i Number. I Cuts Jingle Wooler Yar 2 't (( it (i 4 it (( (( « 6 ti (> <( i< 8 tt « (f it 10 a u « (1 II It <( « « 12 ft <( « < <( tt it 281 TABLE OF RELATIVE LENGTHS Of Worsted Yarns by Numbers and Cotton Yarns by Numbers. Taking the Worsted Number as a Basis. 560 yards Single Worsted Yarn = i Number. 840 " " Cotton " = I Number. No. I Single Worsted Yarn = No. % Single Cotton Yarn. 2 << II II = iK II II II 4 (( II II =. 2% II II l< 6 (( It II — 4 II 11 II 8 ^ \ ( 1 1 II 40 it It II = 26% II II II 42 n It II = 28 II 1 1 II 44 it n (1 = 29>^ 11 it II 46 it <( II = 30% l< ti tt 48 ti (( II = 32 II 1' it 50 (( (1 II = 33^ tt II tt 52 (1 It II = 34% tt II tt 54 (( tt << = 36 l< II it 56 (( << 11 = 37% II ll ti 58 (( (1 1 1 = 38% II ll ti 60 a II II ^= 40 l< ll ti 62 It < I Qt. = 34 o 6 16 !- ^ I Lb. = 12 II 16 2. lOz. = 18 1% ^ I Dr. = I i\\ J Relative Weights of " Avoirdupois" Weights iti ^'Apothecaries" Weight. Avoirdupois = Lbs. oz. Dr. Scr. Gr. I Lb. = I 2 4 2 \<> I Oz. = 7 . 17^ f|:| I Dr. ^_ ^ I 7H J ^ ■ Backing, the filling which produces by interlacing with warp-threads the lower or back structure in a fabric. Basket-weaves are subdivisions of the plani weave, plain, 42 fancy, 45 Batten is a part of the Jacquard machine; the frame which carries the cyhnder in its motion to and from the needle board 251 Binder-warp, the warp threads producing the foundation of a fabric ; interior warp ; this warp is generally not visible in the finished fabric. Used in Astrakhans, velvets, Brussels carpets, upholstery fabrics, etc. Broken Draws, 32 Broken Twills are twill weaves in which the direction of the characteristic twill line is arranged to run partways of the repeat in the weave from left to right, and partways from right to left. Broken Twills are a subdivision of the regular twills, 52 Brussels Catpet, 188 Calculations necessary for the manufacture of the various textile fabrics, 257 Camel Hair is the hair of certain camels, and is used either combed or carded. Cam Loom, a loom in which the harnesses are actuated on by cams. Card Stamping. 253 Cashmere, or Kashmere wool, is the fine hair of the Cashmere goat, which thrives upon the Himalaya mountains and surrounding country, in Asia. Cashmere is also used to indicate certain fabrics made of wool or silk warp and goat hair, or fine Merino wool filling. Checkerboard effects in fabrics, produced by the color arrangement, are the combination of Hair line and Tricot effects. See fig. 20. Chenille is a fringed thread used either for filling in the manufacture of rugs, curtains ; or in its first woven state in Trimming"?, Fringes, etc. 153 Chenille Cutting Machine. 158 (287) 288 PAGE. Chenille Fabrics, as produced by cross weaving , , . 244 Chinchillas are pile fabrics produced by an extra filling ; used for overcoatings, 152 Colors. Primary : Blue, Red, Yellow. Secondary : Purple, Orange, Green. Teriiary a : Russet, Olive, Citron. , Tertiary b : Brown, Maroon, Slate. Color- Harmony. Every color has its perfect harmony, (contrast,) and also other colors which harmonise with it in different degrees. When two colors are to be used in a textile fabric which do not accord, the proper selection of a third may make a harmonious combination. Comber-board 2l part in the Jacquard loom ; placed in the latter for holding harness cords and heddles in the proper position 254 Co})ibinalio7i of different systems of IVeaves ior one "Dtsign 90 Combiftation of the Swivel effect in fabiics interlaced with two systems of warp and one or two systems of regular filling lii Combination of Weaves for fabrics constructed with one system of warp and two systems of filling, . . 105 for fabrics constructed with two systems of warp and one system of filling 114 Combination Steep- Twills are a. svib-d\vis\on oi the rGgulaxt-wiVLS. Their method of construction, . . 67 Combining two systems of filling with one kind of warp, for increasing the bulk of a fabric, . . . 105 two systems of filling with one kind of warp, for figuring with extra filling upon the face of the fabric loS two systems of warp and 07te system of filling for producing double-faced fabrics, . . . 114 two systems of ivarp and one system of filling for producing the bulk in fabrics, . . . . 115 Corduroys are pile fabrics produced by an extra filling, 149 tbr/^.fcr^zfc' Tze'zV/.y are a sub-division of the regular twills. Their method of construction, ... 68 (Tc^'^f;/ is the white, downy, fibrous substance which envelopes the seed of variouj species of the cotton plant, gossypium, belonging to the natural order malvacece. Cotton or other vegetable fibre, how to detect, in woolen or silk fabrics, 261 Cotton Yarns, grading of, 269 Cotton Yam, woolen yarn (cut basis), table of relative lengths, 276 woolen yarn (run basis\ table of relative lengths, . . 276 worsted yarn, table of relative lengths, 276 Cross-weaving as used for producing fast centre selvages, 247 as used for the manufacture of Filtering-bags, 246 or Gause weaving. 0«'J'i?a^/?OT7/.y are the combinations of regular twills and steep-twills. Their method of construction . . 62 Cutting Double Pile fabrics after leaving the loom, mvich'wviicix, , . . . 205 Q//i«(/^r, a part of the Jacquard machine, 251 Delaine, a light worsted cloth of specially selected long, fine and strong staple in the material when pro- ducing the yarn. Derivative Weaves from the Plain weave, 41 from Twills, 52 from Satins, 84 Designing Paper. Selection of, 12 Divisions of Textile Fabrics 2.QcoxAm^\.o tXxitw {:ons\x\}iC'\\ox\, ■ . 9 Z?>w;(!i/^ .S"«//«i- are a subdivision of the regular Satin weaves. Their method of construction, ... a«zV(?- fr^azr^ are weaves producing in the fabrics they are used for small broken-up effects. Their method of construction, 85 Cr/^^, a part of the Jacquard machine, 251 Griffe-bars, the constituents of the Griffe 251 Ground-warp, the warp around which the whip-threads are twisted in Gauze weaving. Ground zvarp or Body ruarp, the warp which forms by interlacing with the filling the body structure in pile fabrics. Hair-line, fine line effects (running warp ways) in a fabric. See Figs. 18, 87, 88, 214, 215, 219, 220, 221. //(7;/a'£'r-/;/, the operative assisting the " Drawer-in " in threading the warp in its harness 31 Harness, or harness-shaft, or shaft, the frame holding the heddles in position 31 Heavy Square in Dcsignhig paper, practical use of the, 10 Heddles, the same are adjusted to the harness-shaft and have the warp-threads drawn through their eye . 31 Heddles ; Rules for estimating the number of heddles required on each harness. 38 Heddle-eye, the opening in the centre of the heddle through which the warp-threads are threaded, . . 31 Honeycomb Bedspread, a fabric interlaced with peculiar weaves known as honeycomb weaves. Honeycomb Weaves, their method of construction, 98 Ingrahi Carpet, 225 Imitation Gauze Weaves, their method of construction, 102 Imitation Tricot, fine line effects (running filling waysj in a fabric, see figs. 19, 213 and 216. Jack, a part of the harness-motion in a loom. Jacquard Gauze, ' 240 Jacquard Harness, 253 Jacquard Machine, .... ..,.,, , , ♦ 250 290 PAGE. Jersey Cloth, the name of a fabric characterized by its great amount of elasticity. This fabric is mostly produced by knitting machines. For imitation of Jersey cloth produced upon the regular loom see weave fig. 628. Jute is a native plant of China and the East Indies ; its long fibre, which is of a brown to silver-gray color, is used largely in the manufacture of Brussels and Tapestry carpets, rugs, etc., for the body-ground structure of the fabric. It is distinguished from flax by being colored yellow under the influence of sulphuric acid and ioditte solution. The grading of the yarn when spun is done similar to woolen yarn cut basis (300). Lantern, the iron extension put on the cylinder of a Jacquard machine. The cylinder is turned by means of the catches working on the lantern, 251 Lappet Weaving, 123 Lay, Lathe or Batten, a part of the loom. To it are secured the shuttle-boxes and the reed. Leash, two or more harness cords combined and adjusted to one neck-cord. Let off Mechanism for the Pile warp in Weaving Double Pile Fabrics 209 Machines for curling warp threads for Astrakhans. ..." 180 Mail, made of metal, forms the centre part of a twine heddle ; in the eye of the mail the warp-thread is drawn. Matelasses, a fabric chiefly used for ladies' jackets or mantle cloth. 140 Metric Denominations and those used in the United States, Tables of relative Length, Weight and Capacity between, 285 Mixed or Cross Draws 35 iVt'i^/^<:a//f;w of the single-lift Jacquard Machine 252 vM7Aaz>, the fleece of the Angora goat. It is largely used in the manufacture of light-weight dress goods, which are characterized by their lustre. In pile fabrics, as plushes, velvets. Astrakhans, etc. , of a plain or figured denomination, mohair is frequently used for the "Pile warp," while the ground or body of the fabric is made of cotton. Open shed Loom, the name of a loom which by means of its harness motion changes the position of the harness only when so required by the weave, consequently acts as easy as possible on the yarn ; and this with an additional allowance for high speed. Open shed Looms adopted for Gauze-weaving. ...» . 237 Peculiar Character of Gauze Fabrics. . . . ' 231 Picking out or ascertaining the weave 259 Pile Fabrics are woven articles characterized by a soft covering overspreading the ground-structure of the fabric. 149 produced by an extra filling. 149 produced by an extra warp. 166 Plain-weave, is also known as cotton weave; in this weave, warp and filling cross each other at right angles, and interweave alternately 13 Plahi Pique Fabrics 140 Plush Fabrics (single plush) , 168 Point Draws 33 Point- harness, the technical name for the first and last harness in a point draw. /bi«/(fa? 7'z£'///.y are a sub-division of the regular twills. Their method of construction 80 Process of Finishing 9iecessary a7id amount of Shrinkage of the Fabric, 3.?,cer\dii\\mg, 268 Quilts are fabrics used for bedspreads, toilet-covers, etc., made in white, with cotton for material. The design in these fabrics is produced by a visible stitching in double cloth, 140 Raisers, or warp up, or the warp to be visible on the face of the fabric, 12 Ratine^ a filling pile fabric used for overcoatings, 152 Raw Materials used in the Construction of a Fabric, ascertaining, 261 Raw Silks, 273 Reclining- Twills or flat-twill weaves, are a sub-division of the regular twills. Their method of construc- tion, 60 Reed, a series of narrow strips of metal, between which the warp-threads pass in the loom, • • •> 39 Reed Calculations 39 Repp, a fabric showing rib lines in the direction of the warp or filling, or in both systems of threads in the same fabric, 14 Rib Fabrics, ^42 Rib weaves are sub-divisions of the plain weave. Ril> weaves, plain, • 4i fancy • • • 43 291 PAGE, Rib Weaves, figured, 46 oblique, 5° combining plain and oblique rib-weaves, 51 Roller Loom, a loom in which the harnesses are actuated on by means of straps passing over rollers. Rules for designing double cloth, 130 Rules for finding the equivalent Counts of a given Thread in another System, 274 Satin Weaves, their method of construction, 25 influence of the twi^t of the yarn upon the fabric produced with the latter, 29 arrangement for commencing the same for special fabrics, 29 .S of warp during weaving, 263 Shuttle-race way, the part of the lay on which the shuttle travels to and fro. Silk consists of the pale yellow, buff colored, or white fibre, which the silk worm spins around about itself when entering the pupa or chrysalis state. Silk, to detect from wool or the vegetable fibres, 262 ^■////^^r^, or filling up, or the filling to be visible on the face of the fabric, . 12 Size of the Yarns found in Sample, ascertaining, 264 Skeleton Harness, the harness frame to which is fastened the doup, 228 Skip Draws 35 Skip Tzuills are a subdivision of the regular twills. Their method of construction, 63 Slackencr or Easer, an attachment on the loom necessary in gauze weaving to ease up the whip-threads when douping, Smyrna Carpets and Rugs are pile fabrics of a special method of construction, made upon the " Hautelisse" loom 221 Spun Silks. 273 Squared DesigJiing Paper, as used for the different textile fabrics, 9 Standard Harness, the harness frame carrying the standard heddle ; through the latter the doup is threaded 228 Steep Twills, or Diagonals, are a sub division of the regular twills. Their method of construction. . 56 Stitching, technical for the procedure of combining two single-cloth fabrics into double-cloth. Substitutes for Regular Doups in Gauze weaving 242 Swivel Loom, a loom capable of two different movements ; namely, the swivel and the plain weaving movements in Swivel Weaving, a method of weaving for producing figures upon fabrics otherwise interlaced with a reg- ular warp and filling ; used in the manufacture of figured dress goods, ribbons, etc 109 Table for ascertaining the tmmber of square inches in any Fabric, with a width of 18 inches to 54 inches. . 258 Table for finditig the Satin Weaves most frequently used. 29 Table for Letigths of Cotton Yartis, from No. i to 240s 269 Table for Lengths of Woolen Yarns (cut basis), from i cut to 50 cut yarn. . 271 Table for Lengths of Woolen Yarns (run basis), from % to 15 run 271 Table for Relative Lengths of inches dressed and one yard woven 266 Table showing the Length of Cum Silk Yarn, per pound and ounce, from i dram to 30 dram silk . . 274 Table showing the number of yards of Worsted Yarn (single or two-ply) from number i to 200. . . . 272 Tapestry Carpet. 185 Terry Pile, the pile in a fabric in which the loop is left intact 166 7>rry Pz7^ 7^«3r/f5 in which the pile is produced during weaving without the aid of wires, .... 216 Texture, number of warp and filling ends to one inch in a fabric. There are two textures : a, for the fabric from the loom, b_ for the finished fabric. Texture of Fabrics required in loom 263 Three-ply Cloth, a fabric produced by combining three single-cloth fabrics into one structure, ... 146 7>^z'^//^or cutting knife used for cutting (by hand) the pile in warp pile fabrics, 167 Tricot fabrics more or less elastic as compared to other woven articles. Tricot Weaves. Their method of construction 126 TTvills, weaves forming fine diagonally running lines in the fabric. 16 Twills having Double Twill Effects, are a sub-division of the regular twills. Their method of construction. 77 292 PAGE. Tivill Weaves producing Checkerboard Effects are a sub division of the regular twills. Their method of construction, ' . 78 Twisted Yarns composed of Tzvo or more minor Threaas of juhich the Counts are Known, ascertaining their compound counts, 283 Two ply Ingrain Carpet, 225 Velveteens are filling pile fabrics, 149 Velvet Fabrics, 168 Velvet Pile, the pile in a fabric in which the loop is cut, 166 ^/adding, or interior filling. Used in the manufacture of Chinchillas, Matelasses, Piques, and similar fab- rics. In the first-mentioned class of fabrics it is solely used for increasing the bulk, while in the latter fabrics it is used to give, in addition, a rich, embossed effect to the design. Weave, ascertaining the, 259 Weight of Cloth per yard from Loofn, asceriammg 265 Weight per yard of the Finished Fabric, method in nse for ascertaining, 257 Whip thread, or douping warp in gauze. Whip roll. A part of the loom. The warp passes from the warp-beam around the whip-roll towards the harness. ?^25:V«^j(/'.y Filling Pile Fabrics, used for overcoatings, . \ 152 Wool. By the term wool we comprehend the hairy covering of several species of mammalia, more especi- ally that of the sheep. It is more flexible, elastic and curly than hair. Wool, as used for warp and filling, is either combcdox carded, technically known as zvorsted ox wool-spun yarn. Woolen Yarn, "cut system," 271 cut basis, — cotton yarn, table of relative lengths, 279 cut basis, — woolen yarn, run basis, table of relative lengths, 279 cut basis, — worsted yarn, table of relative lengths, 280 '^ run system," • 270 run basis. — cotton yarn, table of relative lengths, 277 run basis, — woolen yarn, cut basis, table of relative lengths 278 run basis, — worsted yarn, table of relative lengths, 278 Worsted Yarns, 272 Worsted Yarn, cotton yarn, table of relative lengths, 281 woolen yarn, — cut basis, table of relative lengths, 282 woolen yarn, — run basis, table of relative lengths, . . 282 Worsted Coatings, a double cloth in which the stitching is arranged to form designs, 138 Yai-n Calculations, 283 Silk Plush Looms, -^i Mohair Plush Looms, Worsted Plush Looms, /^HESE Looms are a great success. The Fabric may be cut in Loom or out of Loom as desired. I am building a Loom that is especially adapted for SILK ; also a MOHAIR and WORSTED LOOM. ^ALSO BUILDERS OF^ PATENT RAW STOCK DYEIM MACHINES, mmn, pickers, reeis, Etc., SHAFTINd HANGERS AND PULLEYS. Call on or Address for Full Particulars, H H yi 1 R. H. PATTON, Proprietor, Office : 226 Chestnut St., Philadelphia. Manayunk, Pa. 293 P ATENTS. HQWSQN & HQWSON. TTOWSON c^ HOWSON, ATTORNEYS- AT-LAW AND SOLICITORS OF FA TENTS with offices in the cities of FHILA- DELPHIA, NEW yORK and WASHINGTON, D: C, attend to Fatefit Law business, in the Courts, and before the Fatent Office. They solicit Fatents and register trademarks and labels in the United States and in foreign countries ; prosecute and defend infringement and other suits relating to patents, trademarks or copy- rights in the Courts ; examine into, and give re- ports and opinions upon, questions as to the nov- elty of invejitions, the validity of patents, etc. , and attend to Fatent Law business in all its branches. CHARLES HOWSON, HENRY HOWSON, HUBERT HOWSON. Jig S. Fourth Street, FHILADELFHIA, FA. 38 Fark Row, NEW YORK. giS F Street, WASHINGTON, D. C. Washing, Drying and Burring Machinery. BURR CYLINDERS, LICKER-INS, METALLIC FEED ROLLS, DOFFER COMBS, METALLIC BREASTS, GARNETT MACHINERY, GARNb-TT PICKERS, EXHAUST FANS, WOOL DRYERS, Etc., Etc. CO -»— > -4—1 P- o biO 5=1 OS All kinds of Shafting Appliances, Millwrighting, etc. WORKS AND OFFICE: Hancock Street, above Lehigh Avenue, PHILADELPHIA, PA. DESIGN PAPER IX AI^Iv SI«ES, FOR- Woolen, Cotton, Carpet a„d Upholstery MILLS E. -A.. IPOSSEXjI', 2152 K. Twenty-first Street, Philadelphia* JAMES HUGHES. JOHN RUSSUM. HUGHES & RUSSUM, PROPRIETORS M utual M achine W^^ks, BUILDERS OF LOOMS, BEAMING MACHINES, ETC. With all the latest Innprovements, Oxford «.^^ Hedge Streets, FRINKFORD, PHILIDELPHII. ' Special attention given to Repair Work, which we will furnish promptly and at reasonable prices. ORDERS BY MAIL WILL RECEIVE PROMPT ATTENTION. 294 ESTABLISHED 1848. OF EVERY DESCRIPTION FOR TCSES Promptly attended to and satisfaction guaranteed. Send for Circular. IMPROVED Jacquard Machine FOB Figured Double Velvet and Plush Fabrics, Being the only perfect Jacquard for these popu- lar fabrics in the market. (See pages 213 to 215 of this book.) IMPROVED PATENT DOUBLE-LIFT, SINGLE- CYLINDER JACQUARD. Can be applied to any loom. This machine has come into general use amongst upholstery and tapestry goods manufac- turers, being the best machine for both fine and heavy goods. These ma- chines operate easier on the yarn and thus permit the use of an inferior grade of yarn, with the best results. Maker of Brussels Jac- quard Carpet Machines, Piano and Witch Ma- chines, Comber - boards, Lingos, Etc. Address all communications to the works, SeS'Z IL/^TjLtter Street, :E=^]n.ila.d.elpl:Lia,- 296 Established i860. Telephone Call 495A. I. A. HALL & CO. Reeds, Harnesses AND deneral Weavers' Supplies, Nos. 30 and 32 Division Street, PATERSON, N. J. Reeds and Harnesses for Ribbons and Dress Goods of all kinds, for Silk Manufacturers, a specialty. Improved Cop Winding Machines — Winds Direct fron\ Skein io Shuttle— No Bobbins Used. Successor to A. J. GULP & CO., MANUFACTURER OF doto, Woolen and Wor^teii MACHINERY, No. 2427 Mascher Street, PHILADELPHIA. IMPROVED BOBBIN WINDING — DIRECT FROM SKEIN TO SHUTTLE BOBBIN— SAVES SPOOLING. Upright Spindle Patent Bandless Machine for Hosiery. UPRIGHT AND SECTION WARPING MILLS, YARN BUNDLING PRESS, BEAMING MACHINES, CARPET ROLLING MACHINES, WARP SPLITTING MACHINES, BOBBIN W^INDERS, SPOOLERS, ROLLERS, WRINGING ARMS, DYE STICKS, LOOM JACKS, LOOM TREADLES, LOOM RODS, CRANK ARMS, PICKING STICKS, BOBBIN WHEELS, Etc. U ACOB WALDER 188 RIVER STREET, Paterson, - N. J., Mnfr. of all kitids of Reeds, Harnesses, Lingoes, Mails, Shuttles and Quills. —DEALER IN— Weavers' Materials in General. Plusli and Velvet Reeds a Specialty . EXCEL^IOi^ LOOH 1(EED WORl^^, PATENTEES AND SOLE MANUFACTURERS OF ADAMSONS' Flexible Bevel Dent Reeds. REINFORCED WITH SOLDER. ESPECIALLY DESIGNED FOR WEAVING FINE WORSTEDS. WOOLENS AND FANCY COTTON GOODS. You will save expense in your Weaving Depart- ment by using Our Patent Flexible Dent Reeds, in preference to any other make. They cause no "Streaky" Goods, cause no friction on Warp Threads, less broken Yarn, no Reed-Rowy Goods. These Reeds are more durable, and are in every way an improvement on the ordinary kind. Prices as low as the best work of Makers of the Common Reed. Please place with us a trial order, and you will adopt them. Excelsior Loom Reed Works, EDWARD ADAMSON, Prop., PAWTUCKET, R. I. 297 GILBERT LOOM CO., BUILDERS OF Looivirs For Woolens, Cotton, Carpets, Wire, Cane, Velvet V Plush Also, Patented Special Kinisliing IMachiin.er3^ for Pvleasuring, Doubling and Folding, Perching and Btj.rling. works: 1 86 UNION STREET and 36 N. FOSTER STREET, WORCESTER, MASS. =^= NO YELTIES.^^ MASON-BUTLER DROP-BOX LOOM. S™pk - Dura^LIc - ConvenienI - Quict-I^unnin$. GUARANTEED UNSURPASSED. CARDS NEW MULE. «/f«crwM^ SPINNING MASON ^<^ FRAMES iillACHINE WORKS, COTTON MACHINERY MULES TAUNTON MASS. NEW FRAME LOOMS MASON HIGH-SPEED SHEETING LOOM. New, Improved, Heavy, Convenient, with Great Range. Silk Loom. Duck Loom. Seamless Bag Loom. 298 L. S. WATSON & CO., Leicester, Mass., MANUFACTURERS OF WATSON'S PATENT MACHINE WIRE HE DDLES. Guaranteed to be perfectly adapted to Weaving all kinds of Cotton, Woolen and Worsted Fabrics, Fancy Cotton, etc., etc. Superior Harness Frames furnished promptly. Also manufacturers of Hand Stripper Cards of every description. K:iiL,BXJH.nsr, LiisrcoLnsr Fall River, Mass. & CO. MAKERS OF xOxOxlv£xS For Collon ai 81 Mm The Seaconnet Mills, of Fall River, wove in 301 days of lo hours 14,329,219 yards of 64 x 64 goods on 928 of our "High-Speed Looms," a daily average of 51X ^y yards per loom per day. -ics^s^; 299 THE CAMBRIA SHAFTING AND MACHINE WORKS, MANUFACTURERS OF- e above Cut represents our Improved Cop 'Wlncling Machine. Much Saving in Stock, Better Results in Woven Cloth, Etc. AVrite for Particulars. CHARLES C. KLEIN, - - Marshall & Cambria Streets, - - PHILADELPHIA, PA. CHAS. M. McCLOUD & CO., 216 Chestnut Street, Philadelphia, IMPORTERS AND MANUFACTURERS SILK NOILS YARNS, white and fast colors. FOR Cloths, Upholstery and Dress Goods. Spun Silks, Tinsels and Fine Cotton Yarns and Warps. Selling Agents for MALCOLM: M:ILLS CO. Chenilles, Tinsel Twists and Threads, Sewing Cotton, Polished Threads and Cords, Fancy Twists in Worsted Silk and Cotton. 300 CROMPTON LOOM WORKS, WORCESTER, MASS. THE ORIGINAL AND MOST EXTENSIVE WORKS FOR THE BUILDING OF CARPET, FANCY WOOLEN, COTTON AND SILK LOOMS IN THIS COUNTRY, The Crompton Cam Loom With " 1886 " box motion is superior for Flannels and Blankets, and is built of any desired width and Shuttle- Box capacity, and with two, three, four and five -leaf cam. The Crompton Silk Loom Is excellent in design and operation, and has patent special devices particularly adapted for the wants of Silk Manufacturers. The Crompton Gingham Loom Is the STANDARD foT Ging- hams and Similar goods. It is made with four or six boxes at one end, or four boxes at each end, and with two, three and four -leaf cam. It has many patent improvements. The Crompton Jean Loom Has a fixed reputation for Kentucky Jeans, etc., etc. ■ft-j)^, -rnip: ~W^S^' The Crompton Improved Close-Shed "1886" Fancy Loom. The BEST for Worsted and Fancy Cassimeres. It is of twenty - seven harness ca- pacity, four boxes at each end, and patent automatic let-off and safety filling stop-motions. The " 1886 " Box motion is a positive crank and differential lever movement ; any of the com- partments of either series of Shuttle Boxes are com- manded at any pick. Single or Double Beam arrange- ments as desired. Crompton's Improved Comb on the Noble Principle Is freely admitted by ex- perts to be, in many re- spects, the BEST Comb yet produced. In workman- ship, character and produc- tion, it competes with any Noble Comb made. In price it cannot be underbid. Is adapted for either coarse or fine wool, and is fur- nished with a bailer, or a can coiler, or spout for a stationary can, as may be desired. The main driving and smaller shafts are steel. The circles are of choicest construction and guaran- teed in every respect. Crompton's New Ingrain Carpet Loom. Crompton's New Ingrain Carpet Looms. THE attention of manufacturers of Ingrain Carpets is called to the consideration of a new Carpet Loom just put on the market. It carries four (4) shuttles boxes at each end of the lathe ; any one of the series at each end can be brought into line with the shuttle race at any pick. The Jacquard is of the most approved con- struction and moves the warps kindly. The let off and take-up motions bring out perfectly matched goods. On two-ply work, it makes sixty (60) yards per day. The apparatus for moving the boxes cannot be surpassed for its simplicity and efficiency. This loom has no equal in speed and simplicity from four (4) to seven (7) colors. CROMPTON'S UPHOLSTERY LOOM, "With Improved. 1886" Box Motion, is Capable of High Speed and Nice Adjustment for its Special Line of Goods. Philadelphia Exhibition Rooms. Echo Mills, Hancock Street, above Lehigh Avenue, WHERE THE CROMPTON LOOMS MAY BE INSPECTED. ( Ocrrespond-ence Solicited.. ) 301 QUAKER CITT DYE-WORKS CO. Oxford, Howard & Front Streets, PHILADELPHIA. New York Dice, 99 Franklin Street,Watson Bailding, Room 10. DYERS AND FINISHERS OK WORSTED COATINGS, Woolen and Cotton Dress Goods, Jersey Cloths, Stockinettes, &c. DYERS OK WORSTED, mm AND COTTON SKEIN YABNS, SLUBBING AND WOOL. 802 Dyeing, Drying and Finishing Macliinery. -FOR- COTTON, WOOLEN ^^^ WORSTED GOODS. TENTERING MACHINES, Clamp and Pin Chain. SINGEING MACHINES, (Gas and Plate.) JIGGERS. WASHING MACHINES, Dolly and Open. PADDING MACHINES. CRABBING MACHINES, Single, Double and Treble. DYE KETTLES, with Small Engines attached. CALENDERS AND MANGLES, with Paper, Cotton and Husk Rolls. HANK YARN DRYING MACHINES, (Hartman's Patent.) DRYING MACHINES, with Horizontal and Vertical Frames, and with Copper and Tinned Iron Cylinders. H. W. BUTTERWORTH & SoNS, York and Cedar Streets, Philadelphia, Pa. LOOM PICKER COMPANY, BIDDEFORD, MAINE, Manufacturers of- RAW HIDE AND LEATHER LOOM PICKERS, Including many styles of raw hide pickers of which we are the only manufacturers, such as the Parker Patent Drop Box Picker which has no plug in the shuttle strike, can not break off at the head nor work loose around the rod hole, and is guaranteed to be more durable than any other drop box picker made. Also Scoops, Centre Scoops, Pressed Centres, Feathered Feet Bows, and all other English styles which have heretofore been imported. loom: harnesses. Both single and double knotted, made of the best twine and stock, and finished in the most thorough manner, making them of guaranteed superior quality. ENOLISH PICKER LEATHER. This leather is better adapted for picking purposes than any other. We have the same kind and quality which is used almost exclusively in England for this purpose, and will send sample on application. ILLUSTRATED CATALOGUE AND SAMPLES OF OUR WORK MAILED ON APPLICATION. 303 THE TEXTILE RECORD Contains more Original Practical Matter than any other Textile Journal. Papers on practical Processes for the Woolen Manufacturer, the Cotton Manufacturer, the Dyer and Bleacher, the Calico Printer, the Knitter, Etc., Etc., Etc. RICHLY ILLUSTRATED ARTICLES ON NEW TEXTILE MACHINERY. It Is the only periodical in the World that fully represents the Knitting Industry. SUBSCRIPTION PRICE. $3.00 PER YEAR. The Best European Correspondence. Able Editorials on Industrial Questions. New Processes Translated from French and German Technical Presses. The TEXTILE RECORD Confessedly Ranks First Among' American Journals as the Representative of the G-reat Textile Industries. The Textile Record Hand-Books. No. 1. Practice in Wool Carding " 2. Practice in Finishing, - 50 cts. 80 cts. Any two for $|.00; the four, $1,75. The best practical Hand-Books ever published, and the cheapest, " 3. Practice in Weaving and Loom Fixing, 75 cts, Uent postpaid on receipt of price " 4. Practice in Cotton Carding. ■ - - 75 cts ) ^' '"' °®"- The volumes are small enough to go in the pocket. The prices of technical textile books are usually very high. These have been issued for the uses of workingmen, and the prices put at very low figures. THE TEXTILE RECORD, 425 Walnut Street, Pliiladelphia. 304 UNIFORM IN SIZE WITH THIS BOOK AND BY THE SAME AUTHOR THE JACQUARD MACHINE ANALYZED AND EXPLAINED: With an Appendix on the Preparation of Jacquard Cards & Practical Hints to Learners of Jacqnard Designing WITH 230 ILLUSTRATIONS AND NUMEROUS DIAGRAMS. By E. A. rOSSEliT, Bead Master, Textile Department, Pennsylvania Museum and School of Industrial Art. This book, quarto, handsomely bound in cloth, will be mailed, postage prepaid, to any address, upon receipt of Price $3.00. ABSTRACT OK THE CONTKNTS. History of the Jacquard Machine. The Jacquard Machine — General Arrangement and Appli- cation, Illustration of the different parts of the Jacquard Machine — Method of Operation, etc. The Jacquard Harness — The Comber-boards. Tying-up of Jacquard Harness. I.— Straight-through Tie-up. II. — Straight-through Tie-up for Repeated Effects, in one Repeat of the Design. III.— Straight-through Tie-up of Jacquard Loom, having Front Harness attached. IV.— Centre Tie-up. V. — Straight-through and Point Tie-ups Combined. VI. — Straight-through Tie-up in Two Sections. VII.— Tying-up a Jacquard Harness for Figuring Part of the Design with an Extra Warp. Vni.— Straight-through Tie-up in Three Sections. IX.— Point Tie-up in Three Sections. X.— Combination Tie-up in Two Sections. XI. — Straight-through Tie-up in Four Sections. XII. — Tying-up of Jacquard Looms with Compound Har- ness attached. XIII. — Tying-up Jacquard Looms for Gauze Fabrics. Modifications of the Single Lift Jacquard Machine. I. — Double Lift Single Cylinder Jacquard Machine. II. — Double Lift Double Cylinder Jacquard Machine. III. — Substitution of Tail-cords for Hooks. Tying-up of Jacquard Harness for Two-ply Ingrain Carpet. General Description of the Construction of the Fabric. Straight-through Tie-up. Point Tie-up. APPENDIX, Preparing and Stamping of Jacquard Cards. Dobby Caid-Punching Machines. Piano Card-Stamping Machines, Stamping of Cards, Repeating Jacquard Cards by the Positive Action Repealer. Lacing of Jacquard Cards. Lacing of Jacquard Cards by Hand. Lacing of Jacquard Cards by Machine, PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING, Squared Designing Paper for the different Textile Fabrics executed on the Jacquard Machine. Selection of the Proper Brush for the different n De- signing Papers. Colors used for Painting Textile Designs, Preservation of Textile Designs Sketching of Designs for Textile Fabrics to be executed on the Jacquard Machine, Methods of Setting the Figures, Size of Sketch Required. Enlarging and Reducing Figures for Sketches. Transferring of the Sketch to the Squared Designing Paper, Glossary, Outlining in Squares, Rules for Outlining in Squares Inside or Outside the Drawing Outline. Illustration of a Sketch — Outling on El Paper — Finished Design — Fabric Sample (Single Cloth), Designs for Damask Fabrics to be executed on a Jac- quard Loom, with Compound Harness attached. Designs for Two-ply Ingrain Carpet. Designs for Dressgoods Figured with Extra Warp, Designs for Figured Pile Fabrics. The Shading of Textile Fabrics by the Weave. ABSTRACT OF COMMENTS OF THE LEADING TEXTILE PRESS ON THIS WORK. It is a thoroughly practical work, written by one who is master of the business in all its various branches. Boston, Mass., November 19th, 1887. Wade's Fibre and Fabric, Boston. The work is well gotten up, and with its explanatory illustrations, cannot fail to be of great service both to the student and the advanced weaver. New York, N. Y,, November, 1887, The Manufacturers' Review and Industrial Record, New York. This work has long been a serious need in textile mills, and amongst designers and card stampers, and we predict for it a wide circulation. Tributes to its value have reached us from most prominent manufacturers in the country, Philadelphia, Pa,, November, 1887. The Philadelphia Carpet Trade. The most important addition ever made on this side of the Atlantic to the literature of the textile industry, etc. Philadelphia, Pa., September 15th, 1887, Textile Record of America, Philadelphia. It is a great work, and is a credit to the author, etc, etc. The Bulletin of the Philadelphia Textile Association, now the Manufacturer. Philadelphia, Pa., October ist, 1887. It is the only work in the English language that treats exclusively on the Jacquard Machine. No designer who wishes to be up in his vocation should be without it. Boston, Mass,, November 5th, 1887. Boston Journal of Commerce, This work may be obtained from the Author, E, A. POSSELT, 2152 North Twenty-first Street, or HENRY CAREY BAIRD & CO,, Industrial Publishers, Booksellers and Importers, 810 Walnut Street, Philadelphia, or SAMPSON LOW, MARSTON, SEARLE & RIV- INGTON, Limited, St, Dunstan's House, Fetter Lane, Fleet Street, London. 305 Patented Aug. 21, i Patented Aug. 21, i 'ti^ STAFFORD'S Patent Equalizing Spring Jack Is constructed so that the weight on harnesses is reduced in lifting, making great saving in power. Can be applied to any Loom or motion. WK LEAD them: ALL. •1^ >'*'^r''Sn^' Horizontal Lever. Double-action Dobbie. 12 to 25 harness capacity. GEO. W. STAFFORD MFG. CO., PROYIDENCE, R. L To THE Textile Manufacturers, Greeting: — Your attention is called to the superior advantages of our special machinery for fancy weaving, for producing any class of goods that can be woven upon a loom. Upward of eight thousand looms fitted up by us in the United States is a sufficient guarantee of our ability to fulfill all we promise. DOBBIES OF ANY CAPACITY. JAGQUARD MACHINES UP TO 1200 HOOKS, Single or Double Action, also Rise and Drop Shed for Worsteds. Patents— June 7, 1887, and Aug. 21, 1888. A FULL LINE OF SUPPLIES FOR FANCY WEAVING CONSTANTLY ON HAND. Patented January 4, 1881. Correspondence Solicited. See Next Page. "^^H Vertical Lever, Double-action Dobbie. 12 to 25 harness capacity. Compact, easy working, reliable. Single-action iiilieddiug; Engine. 12 to 30 harness capacity. 306 Patents— June 7, 1887, and Aug. 21, 18 Rise and Drop Shed Jacquard. Specially adapted for Heavy Worsteds and Cloakings. 400 to 600 hooks capacity. Sateen Dobbie. 3 to 12 Shades. More goods can be produced than with cams (1200 in use). Instruction Given in Weaving Any Class of Goods, AND SATISFACTION GUARANTEED. GEO. W. STAFFORD MFG. CO., 5 POINT STRKKT, IPKyOVIXDEIsrOiH], Z^. I. Patented September 6, 1887. Stafford Comber-Board, COMPOSED OF WIRE. Will Not Wear Out, Does Not Cut Harness. A LAEGE NUMBER IN USE. Schaum 8l Uhlinger, 1030-1038 New Market Street, Philadelphia, Pa. MANUFACTURERS OF RIBBON, TAPE AND WEBBING LOOMS, LATEST IMPROVEMENTS. NEW PATTERNS. CIRCULAR BATTONS, For Ribbons, Fringes, Tapes, Gimps, Suspender and Goring Web, etc. STRAIGHT BATTONS with one, two, three or four Banks of Shuttles, Our Battons are made on a system which insures accuracy in all details of construction ; we use only the best materials and produce the best Batton in the market. Write us for estimates, it will pay you. JACQUARD MACHINES, With any desired number of hooks. Applied to any manufacture of loom. Harness Tied up for all Figured Weaving, A FULL LINE OF WEAVERS' SUPPLIES : Mails, Lingoes, Heddles, Harness Twine, Compart-Boards, Glass Rings, Shnttle Eyes, &c. If you contemplate manufacturing figured goods, write to us for information, or send us samples of the goods you desire to make and we will furnish you estimates for a complete equipment, including Jacquard Machines, with harness tied-up, designs made, cards cut, etc. Sixteen years practical experience in this line of business enables us to give our customers the best results with the least expense. Schaum & Uhlinger, 1030-1038 New Market Street, Philadelphia, Pa. y / STERLING & FRANCINE CLARK ART INSTITUTE NK8804 .P67 1889 stack Posselt, E. A./Technology of textile des 3 1962 00074 1250 ^ p, UHLINGER Wo;?^ MACHINISTS, ^ lA to 3e E. Oansa St., I=liUa.. 5 Dobbx card-PiincliIns: Blaclilne. This machine is built for punching Jacquard or Dobby Cards of the strongest pasteboard, punching the whole card at one revolution or stroke. After the keys are set, any number of duplicates can be punched. It is well constructed, simple, and a most effec- tive machine. ^ JACQUARD MACHIPiB. Made for weaving figured goods of all kinds, from the lightest to the heaviest, either for Silk, Cotton or Wool. Single lift, double lift or raise and drop machines. Harness tied up and made ready to set on looms of any make. Our raise and drop are especially adapted to weaving the finest silk and worsted goods. UHI,I9{GER'S imPROVEID RIBBOBI 1,0091.