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JACQUAKD 
 WEAVING AND DESIGNING 
 
JACQUAED 
 
 WEAVING AND DESIGNING 
 
 BY 
 
 T. F. BELL 
 
 NATIONAL SCHOLAR IS DESIGN (^1875-8) AXD THIRD GIIADK CKIITIFICATED ART MASTER, 
 SCIENCE AND ART DEPARTMENT, S. K. : MEDALLIST I!< HONOURS AND CERTIflCATKl) 
 TEACHER IN 'LINEN MANUFACTURING,' AND IN' 'WEAVING AND PATTERN 
 DESIGNING," Cri'Y AND GUILDS OF LONDON INSTITIIIK 
 
 LONDON 
 
 LONGMANS, GREEN, AND CO. 
 
 AND NRW YOPiK : 15 EAST Hi"' RTRF.RT 
 1895 
 
 AH viyhts reservfii 
 
PEEFACE 
 
 The contents of the following pages have been derived from a long 
 course of art and technical training, together with a lengthened practical 
 experience in textile manufacturing and designing ; during which time 
 I received much valuable assistance from many kind friends— especially 
 Mr. B. Ashenhurst, when master of the Belfast Technical School, and 
 his brother, of Bradford ; also Mr. John Mitchell, of Belfast and 
 Glasgow — which I thankfully acknowledge. 
 
 To supply a treatise that would be alike suitable to the manu- 
 facturer, the workman, and the student \yOuld be a difficult matter. To 
 explain each point so fully that it would be clear to every person would 
 make it wearisome to those having a knowledge of the subject. I have 
 therefore endeavoured to keep the descriptions as concise as is com- 
 patible with a fairly clear explanation, which I hope will be considered 
 the wisest plan to adopt ; and, while quite aware of the many short- 
 comings of the work, I venture to hope that it will prove a valuable 
 assistance to those wishing to improve their knowledge of jacquard 
 weaving and designing. 
 
 T. F. BELL. 
 
 Belfast, 1894. 
 
 It affords me much satisfaction to add a few words of introduction 
 to this work of my friend Mr. Bell. I cannot pretend to criticise his 
 
vi JACQUAED WEAVING AND DESIGNING 
 
 explanation of technical processes, but, from an examination of the 
 proof-sheets, I am convinced that the book will be found an invaluable 
 aid to students of both art and technical schools. We already 
 possess numerous text-books on designing as an art, as also on the tech- 
 nical processes of weaving, &c., and on the materials of manufacture. 
 Mr. Bell has aimed at bringing the technical and artistic sides of the 
 subject together in a practical form, and has thus provided us with a 
 valuable handbook. 
 
 Though we have a Government Department of Science and Art, a 
 knowledge of both branches is seldom united in the same individual. 
 The artist is too often deficient in the science of his craft ; while the 
 man of science not unfrequently shows contempt for art. The author 
 of this volume is peculiarly qualified for the task he has set himself, 
 being a practical manufacturer as well as a designer of long experience, 
 and thoroughly learned in the science of his subject. His book will 
 supply a long-felt need. 
 
 GEORGE TROWBRIDGE, 
 
 Head-Master Govevmicnt School of Art, Belfast. 
 
CONTENTS 
 
 CHAPTER PAGB 
 
 I. INTRODUCTION . 1 
 
 II. JACQUARD MACHINES 27 
 
 III. FULL-HARNESS MOUNTINGS 69 
 
 IV. DESIGNING AND DRAUGHTING 110 
 
 V. CARD-CUTTING AND LACING . . 139 
 
 VI. SPECIAL JACQUARDS AND HARNESSES 155 
 
 VII. GAUZE 196 
 
 VIII. DOUBLE CLOTH 233 
 
 IX. TAPESTRY AND PILE WORK . . 255 
 
 X. CARPETS 264 
 
 XI. LAPPETS AND SWIVELS 294 
 
 INDEX 301 
 
JACQUAKD WEAVING AND DESIGNING 
 
 CHAPTEE I 
 
 INTBODUCTION 
 
 Though the terra 'jacquard weaving' is properly applied to work 
 done by the jacquard machine, it will here be taken to apply to all 
 harness weaving, or work that extends beyond the range of shafts, or 
 leaves of heddles. 
 
 The question arises, When is the limit to the number of shafts that 
 ought to be used reached ? It apparently used to be when no more 
 could be got into the loom, as up to ninety-six shafts were used ; and 
 this seems to be quite enough for any weaver to get the yarn through, 
 or for any loom to hold, but it must be remembered that at present the 
 appliances are much more suited to the work than they formerly were ; 
 and now, except in woollen or worsted goods, where it is desirable to 
 use shafts on account of their firmness in comparison with that of a 
 harness, from twelve to sixteen shafts are as many as it is generally 
 thought desirable to have in a power loom. I have seen thirty-five 
 shafts, all in one tier or set, working diaper very conveniently in a 
 hand loom, and more than double that number of leaves working 
 worsted in a power loom ; but whether the latter was desirable, or not, I 
 must leave to the judgment of the manufacturer who possessed it. 
 
 Many ingenious inventions have been made for the purpose of 
 simplifying the working of a large number of shafts, but as a descrip- 
 tion of them would be out of place here, we may pass on to the draw 
 loom, which appears to be the first form of harness of which weiiave 
 
 B 
 
2 
 
 JACQUAED WEAVING AND DESIGNING 
 
 an accurate description. How the cloths of Babylon were woven, in 
 which 
 
 Men's figured counterfeits so like have been 
 That if the party's self had been in place, 
 Yet Art would vie with Nature for the grace — 
 
 is not known, though in Gilroy's report of Arphaxad's description of 
 his loom to Deioces, king of the Medes, it is stated to have been 
 accomplished by means of carved blocks of wood acting on needles, 
 which wrought the harness or heddles and thus formed the pattern ; 
 but as Gilroy has admitted that the introduction to his work on weav- 
 ing is a pure invention of his own, for the purpose of making it appear 
 that the Ancients were acquainted with motions 
 similar to those on our modern looms, or as a ' take- 
 off on those who angle hourly to surprise, and bait 
 their hooks with prejudice and lies,' we need not 
 dwell further on the subject. In any case, figured 
 cloths must have attained considerable excellence 
 in very early ages. The curtains of the Tabernacle 
 were embroidered with figures, and the veil of the 
 Temple was, according to Josephus, embroidered with all sorts of 
 flowers, and interwoven with various ornamental figures, the door 
 curtain being embroidered with blue and purple and scarlet. The 
 ephod of the High Priest was similarly embroidered. 
 
 The Egyptians worked coloured patterns in the loom so rich that 
 they vied with the Babylonian cloths, which were embroidered with 
 the needle. The method of working is unknown, but cloths taken from 
 the tombs in Egypt, which may be seen in South Kensington Museum 
 and in the Gobelins tapestry manufactory, Paris, appear to be made on 
 a principle similar to that of the Gobelins tapestry ; the warp is of flax 
 and the weft of coloured wool : and the looms depicted on the cata- 
 combs in Egypt are very similar in appearance to tapestry looms. 
 
 Embroidering was practised in Egypt prior to the Exodus of the 
 Israelites ; and gold and silver threads or wires were used both for 
 embroidering and weaving, being known nearly 4,000 years. 
 
 The Babylonish garment taken by Achan, whose sin brought much 
 
INTEODUCTION 
 
 3 
 
 woe upon the Israelites, is said, by Josephus, to have been a Royal 
 garment woven entirely of gold ; but it might only have been em- 
 broidered with gold, and was probably wrought in the plain of Shinar, 
 as it was not till long after that Babylon was celebrated for its manu- 
 factures. 
 
 Pliny says that weaving cloth with gold thread was invented by 
 Attains, an Asiatic king, and that the Babylonians were most noted for 
 their skill in weaving coloured cloths. This was in Homer's time, 
 about 900 B.C., when weaving and embroidering appear to have attained 
 great excellence, and to have been very gorgeous. At that time the 
 labour of the loom was considered an accomplishment, which ladies 
 and even princesses tried to excel in. 
 
 As before stated, the draw loom is the first form of machine for 
 figured weaving of which we have any record. It is not known where 
 it was invented, but it probably passed from China to Western Asia with 
 the silk manufacture. The ancient Egyptians, Greeks, and Romans 
 do not appear to have known it. The Chinese have still in use a draw 
 loom in which the drawboy stands on the top and draws up the par- 
 cels of twines which have been previously arranged for him. After 
 being estabhshed in Damascus (hence the name damask), the draw 
 loom passed on to Europe, where the Chinese method of working was 
 used till 1G04, when M. Simblot, in France, connected to the neck a 
 separate series of cords, called the ' Simple ' (perhaps a corruption of 
 his name), so that the drawboy could work when standing at the side 
 of the loom. It is said to have been introduced into England in 1567. 
 The next improvement was to dispense with the drawboy's services, 
 and for this purpose a patent was taken out in 1687, by Joseph Mason, 
 for ' a draw boy engine by which a weaver may performe the whole 
 worke of weaving such stuffe as the greatest weaving trade in Norwich 
 doth now depend upon without the help of a draught boy.' In 1779 
 William Cheape patented a plan to dispense with the drawboy by 
 having the ' simple ' above his head, and drawing it down with knots 
 which were held in notches, as described in Fig. 2. 
 
 Before beginning to describe the draw loom it may be better first to 
 describe what it is required to do. 
 
4 .TACQUARD WEAVING AND DESLGNING 
 
 Its principal use appears to have been for the weaving of damask, 
 which is one of the simplest forms of figured weaving. Eeduce a 
 damask texture to its elementary form, and it consists of twilling, or, 
 more correctly, turned or reversed twilhng. If we take a common dice 
 pattern woven with shafts, it will easily be seen that one dice is formed 
 by a warp twill, and the next one by a weft twill, or that the dices are 
 formed by warp and weft twills alternately. 
 
 Now, what forms the pattern ? The yarn may be all of one colour, 
 the threads may be so closely set together as to make them individually 
 invisible, or to appear as a plain surface, and yet the dices come out 
 distinctly in two shades of colour. The play of light on the longi- 
 
 FiG, 2 
 
 tudinal and latitudinal threads produces this effect. The dices formed 
 by the latitudinal or horizontal threads will always appear darker than 
 the yarn in the cloth when the latter is placed between the observer 
 and the light, whether these threads be warp or weft, as there is a 
 certain amount of shade on each of them, and of shadow cast by them, 
 whereas the longitudinal or vertical threads are illuminated, without 
 any shade or shadow, and appear lighter than the yarn did before being 
 woven ; and this is the reason why a good side light is the best for 
 showing up the pattern on damask, it developing the above to the 
 utmost. In a good material the difference of shade between the 
 ground and figure is very considerable, but in some thin, coarse goods 
 
INTEODUCTION 
 
 6 
 
 it is hardly visible, requiring them to be held in a favourable light to 
 show the distinction : the pattern will appear light on a darker ground, 
 or the reverse of this, according as the surface threads forming it run 
 across the light or in the direction of it. 
 
 This is the reason of the pattern appearing on the cloth ; then it 
 is the business of the designer to regulate what form it is to partake 
 of, by preparing a suitable design ; and according to instructions 
 furnished to him by the design, it is the duty of the drawboy to raise 
 the warp by regulating the cording of his harness, and drawing it so 
 as to reverse the twill from a weft one to a warp one wherever the 
 figure is to be formed on the cloth, and to do so in such order as to 
 produce the pattern required. 
 
 The draw- loom mounting consists of two parts — the drawboy 
 mounting, or the harness with its tail and simples, to be wrought by 
 the drawboy ; and the shaft mounting, which is required to form the 
 texture of the cloth, or to interlace the warp and weft through both 
 ground and figures ; the harness only interlaces them at the edges of 
 the pattern, or causes either warp or weft to be above, to form the figure 
 en bloc, but without interlacing them together. 
 
 It is therefore a ' compound mounting,' and is known as a ' presser ' 
 or ' pressure ' harness. For simplicity's sake let us suppose the 
 principle of the draAvboy to be applied to shafts or healds, and take 
 a simple figure, as Fig. 1. 
 
 For it there are 5 parts, or it could be wrought with 5 leaves of 
 heddles with a straight draught. Fig. 2 shows the mounting ; a a 
 is the back mounting, which in this case is a shaft mounting, but 
 would be a harness for a more extensive pattern, b, b are the pressure 
 heddles or front mounting. These are 5 in number, as the ground or 
 texture is taken as a 5-end satin or twill, c is the pulley box with the 
 tail cords, d, d, passing over the pulleys, and tied to the wall or to the 
 loom framing as at e. The knobs f hang over the weaver's head, 
 and are attached by cords h, passing through a hole board g, to the 
 tail cords, d, d. There are beads on the cords h, and the holes in the 
 hole board are made thus ; so that when the weaver pulls down 
 a knob the bead can pass through the round hole, and the shaft or 
 
6 
 
 JACQUARD WEAVING AND DESIGNING 
 
 shafts of the back mounting attached to it will be raised, and can be 
 kept in this position by drawing the cord into the notch or narrow 
 part of the hole, which the bead will not pass through. Any number 
 of shafts can be raised tha.t are required to form the pattern, either by 
 pulling down the knob for each shaft, or by having the knots corded 
 to the shafts, so that each one will raise the proper number of shafts. 
 Thus, in the figure, each knob is only tied to one of the tail cords ; 
 therefore a knob must be pulled down for each leaf of heddles to be 
 raised, but each knob might be attached to any number of the tail 
 cords according to the number of leaves of heddles it is reqviired to 
 raise, so that pulling down each knob in succession will complete the 
 pattern. It might require too many knobs to do this, and then the 
 former method would have to be adopted. When the weaver begins 
 to work he draws the first figure shed with the back mounting by 
 pulling down one or more of the knobs as is required ; he then works 
 over the ground treadles, b, b, till a change of pattern is required. Next 
 he releases the drawn shed by pulling the cord out of the notch in the 
 hole board ; draws another shed, and works over the ground treadles as 
 before. This gives the principle of how the draw loom works, but 
 the principle of forming the texture with the back and front mountings 
 combined will be fully explained under ' Pressure Harness.' 
 
 Fig. 3 gives the draw-loom harness ; a, a is the carriage, or the 
 rails that support the harness, which rests on the capes or side rails 
 of the loom. Supported by the carriage is the pulley box p, which is 
 a frame fitted with small pulleys, and must be sloped at such an angle 
 as will allow the tail cords to sink when opening the sheds without 
 obstructing the pulleys underneath them. The neck twines extend 
 from the figures 1 to 8 to the knots above the hole board d d. The 
 cords which connect the neck twines to the mails E, e are called 
 sleepers, and those which connect the mails with the leads f, f aire 
 called hangers. The hole board is made of hard wood perforated wit.h 
 holes, which run from front to back in diagonal rows from right to 
 left ; it should be a little finer than the set of the reed, to allow for 
 empty holes that are sometimes caused by the tie of the harness endimg 
 with broken rows of hooks in some or all of the repeats. In Scotlan(d, 
 
8' 
 
 JACaUARD WEAVING AND DESIGNING 
 
 .for this reason, when the reed is set on 37 in., the cumber board, or 
 hole board, is set on 36 in, 
 
 B, B are the tail cords, attached to the neck of the harness at one 
 end, and at the other end all of them are fastened to the tail stick m, 
 by means of which they are secured to the roof of the house. There 
 must be a tail cord for each part of the harness ; here only eight are 
 shown for the front row of the harness, and if there were eights rows 
 of harness in the hole board, 64 tail cords Avould be required, and the 
 complete harness would be made up of several repetitions of the 64 
 neck twines ; four of these repetitions are here given for the first row 
 of the hole board. Of course there might be 400 to 600 tail cords in a 
 full mounting. 
 
 From each tail cord descends a vertical cord to the ground, as 
 shown at g, g. These are the simple cords, which, taken collectively, are 
 termed the ' Simple.' It is on these cords that the pattern is read, or, 
 rather, tied up. The simple cords are gathered together, according to 
 the pattern, by passing twines round them and forming the twines 
 into lashes or leashes, as shown at i, i. Heads of stronger cord, to 
 which the lashes are attached, are shown at n, n. The leashes or 
 lashes are made of cotton yarn No. 48, from six to eighteen plies of 
 which are moderately twisted together so that the twine will not curl ; 
 the heavy twine is used for coarse work, where only a small number of 
 lashes is necessary. The length of the lashes is from 8 to 12 in., 
 according to the breadth of the simple. The heads are about 4^ in. 
 long, of good cord, as foot twine, which is used finer or coarser accord- 
 ing as more or less heads are required. The heads are made with a 
 noose on them that will run up or down on the gut cord l, which is a 
 strong cord, generally extending from the ground to the roof of the 
 house. K, K are the bridles connected with the lashes, and used to 
 draw them down in succession as they are wanted by the drawboy. 
 When there are a great number of lashes, two gut cords are used, as 
 shown at No. 1 (Fig. 3), and the lashes are looped alternately on each 
 and bridled accordingly. In coloured work, where three or four draws 
 are required for each weft line of the pattern — that is, one draw for 
 each colour — it is usual to have two gut cords with cross bridles from 
 
INTRODUCTION 
 
 9 
 
 the cne to the other which will slide up and down on them. On these, 
 cross bridles the heads of the lashes are fastened, about 1 in, apart, so 
 that the drawboy can take them in succession and draw the shed for 
 each colour. 
 
 The method of preparing and mounting the draw-loom harness is 
 much the same as that now in use for jacquard harnesses, and, as it is 
 entirely out of use, it is unnecessary to describe it. 
 
 In order to make the neck twines draw evenly, rollers are placed 
 between each set of cords at the points 1, 2, 3, &c. ; these rollers keep 
 the cords straight and make them all rise the same height at the mails, 
 which they would not do unless they all sloped to the hole board at 
 the same angle. 
 
 READING OR LASHING THE PATTERN 
 
 The pattern, painted on design paper, same as for pressure-harness 
 damask, is fixed upon a lashing frame, as shown in Fig. 4, and the 
 lower ends of the simples are passed over it and fastened to the cross- 
 bar B. The simple cords are held in position over the design by the 
 comb c, c, which must be of such a fineness as to make each simple 
 cord stand directly opposite that space of the pattern to which it corre- 
 sponds, one simple cord being placed between each pair of teeth of 
 the comb. It will thus be seen that there must be a simple cord for 
 each vertical line on the pattern, or rather for each vertical space be- 
 tween the black lines. In the same way, there must be a head of lashes 
 for each horizontal space, or line, as it is usually called, and which 
 would answer to a card for the jacquard or dobby. The straight-edge 
 B E is made so that it will slide up and down in the frame, to mark 
 the line on the design paper that is to be next read by the lasher. Now 
 refer to the line of the pattern above the straight-edge, and it will be 
 seen that the first square or check to the left is blank, and it is accord- 
 ingly passed over by the lasher ; the second and third checks are 
 painted, and as the simple cords corresponding to them have to be 
 dirawn to form the pattern, the lasher twists one end of his lash over 
 the pin g, and takes a turn of it round the second and third simples,. 
 
10 
 
 JACQUARD WEAVING AND DESIGNINQ 
 
 again passing it round tlie pin G. The fourth check, being blank, is 
 passed over, and a turn or tack of the lash twine is taken round the 
 fifth, sixth, and seventh simples, as the checks on the design paper 
 opposite these are painted. The reading and lashing proceeds in this 
 way till the line is finished, as shown in the figure ; then the two ends 
 of the lash twine are tied together round the pin g, which is then taken 
 
 Fig. 4 
 
 ovit, and the loop made round it by the lash twine is twisted round 
 and formed into a snitch for the purpose of fastening it to the head. 
 The lash is now pushed down behind the board h, to make room 
 for another ; the straight-edge is then shifted to the next line, and the 
 lashing proceeded with as before. If too many painted squares of the 
 design paper come together, all the simple cords corresponding to them 
 ^lust not be looped or lashed together, but can be taken in two or more 
 
INTRODUCTION 
 
 li 
 
 loops or tacks, never taking more than six or seven simple cords into 
 one tack of the lash twine. 
 
 It will be observed that the board h is rounded at the back ; 
 this is for the purpose of having all the simples at an equal distance 
 from the pin G when they are tacked up by the lash twine, and conse- 
 quently a more regular shed will be produced when they are drawn in 
 the process of weaving. 
 
 The method of fastening the head to the lash is to loop the cord 
 for the head, which should be double, round the gut cord, then knot 
 the two ends of it together, and take this knot through the snitch formed 
 on the end of the lash, and when the snitch is drawn tight the knot 
 prevents the head from slipping out. 
 
 In weaving with the draw loom two persons are required — the 
 weaver, who works over the ground treadles, throws the shuttle, beats 
 up the weft, &c. ; and the drawboy, who takes the lashes in succession 
 as he draws them down by the bridle, and by pulling out the simples 
 raises the harness and holds it in this position till the weaver has 
 worked as many shots as are required to be given to each draught. 
 
 When some thousands of twines were required for the harness, and 
 with a simple of three or four hundred cords, the weight and friction 
 made it very severe work for the drawboy. To assist him a fork, as 
 shown at v. No. 2, Fig. 3, was used. It was made to run to and fro 
 on a carriage, so that when the simples were drawn forward by the 
 lashes, one spike of the fork could be run in behind those drawn forward, 
 while the other spike was in front of them. When the fork was de- 
 pjressed, till the handle t came to the position shown by the dotted 
 lines, it drew down the simple cords, and they could easily be held in 
 that position till a change of draught was required. 
 
 When the mounting of the draw loom was very extensive, it was 
 necessary to employ from two to ten pulley-boxes and as many draw- 
 boys, so that it is not surprising that many endeavours were made to 
 work without the aid of a drawboy. One of these machines, known 
 a,s the ' Parrot ' or ' Pecker,' is shown in Fig. 5. It is wrought by the 
 treadles t, which are attached to the marches m, and these are con- 
 nected by the pulley p, on the rocking shaft k, by a cord which passes 
 
12 
 
 JACQUARD WEAVING AND DESIGNING 
 
 over and is fastened to it. When one of the treadles is pressed down 
 the pulley rocks and turns the shaft to one side, and when the other 
 treadle is pressed down the shaft will rock to the other side. The 
 parrot or pecker k is movahle on the rocking shaft— that is, it can 
 
 Fig. 5 
 
 slide along it— but it must rock from one side to the other with the 
 shaft. The cords c, c are passed through holes in the boards b, b, for 
 the purpose of keeping them in position, and they have knots or beads 
 on them at m, m, and weights, w, w, at their ends to keep them in 
 
INTRODUCTION l3 
 
 tension. Fastened to the cords c, c is another set of cords, s, connected 
 Avith the tail cords of the draw-loom harness, and so corded or arranged 
 as to draw those tail cords required to be sunk to raise the harness to 
 form the pattern. As the shaft e is rocked from side to side by de- 
 pressing the treadles in succession, it carries with it the pecker k, and 
 the groove or notch at the point of the pecker, shown clearly in Nos. 2 
 and 6, coming into contact with the knots or beads on the cords, 
 draws them down alternately, first at one side of the machine and then 
 at the other, until the pecker, as it slides along the rocking shaft, has 
 passed over all the cords ; it is then released and drawn back to its 
 original position by means of the weight d, attached to it by the cord e. 
 At the end of the rocking shaft is a ratchet wheel, n. The cord e passes 
 from the pecker through the segmental hole in the pulley p, as shown in 
 No. 4, and is fastened to a boss, o, on the inner side of the ratchet 
 Avheel. This wheel receives its motion from a catch, as shown at e, 
 No. 5, which is simply a pin fixed in a slotted piece of wood. The pin 
 y forms the catch, and the slot acts as a guide, which passes over the 
 edge of the ratchet wheel, and keeps the catch in position. The catch 
 is attached to the marches and works vertically. It is raised by the 
 treadles, and when released is drawn down by the weight attached to 
 it, the wire y catching one of the teeth of the ratchet and moving it 
 round. There are two pins, z and i, in the ratchet, as shown in No. 3, 
 and it is according to their distance apart that the length of traverse 
 of the pecker is determined. The bar q, shown in No. 3 attached to 
 the pulley v, which is loose on the axle, is raised by the stud t, as the 
 ratchet wheel is advanced' tooth by tooth, till it comes . into contact 
 with the catch s, and raises it ; this allows the ratchet wheel to be 
 reversed by the weight d on the end of the cord e till the stud z comes 
 round and draws away the bar, which allows the catch to fall into 
 position again and stops the pecker where the pattern is to begin. 
 Thus, the distance between the studs z and t must be arranged to suit 
 the number of cords the pecker has to pass, or to give the number of 
 threads in the pattern. The teeth of the ratchet wheel and traverse of 
 the catch must be of such a pitch that as each tooth is moved round 
 the pulley will be turned the exact distance required to move the 
 
14 
 
 JACQUARD WEAVING AND DESIGNING- 
 
 pecker from one cord to the next one. No. 2, Fig. 5, is an elevation of 
 a ' parrot ' arranged for a single row of cords, as these machines were 
 first made. There was only one treadle, as shown in section at m. No. 
 2, and the pecker only rocked to one side. Either this or the double 
 machine could be used for a shaft mounting where a large number of 
 treads are necessary. The cords c pass over pulleys, and are fastened 
 to long coupers or levers with their fulcrum at the side of the loom, 
 and to these the shafts are hung from jacks or oth^wise. These 
 machines were made to work very exactly. In the double machine 
 the pecker would travel over three or four hundred cords in consecu- 
 tive order. 
 
 To avoid confusion the beads are not shown on the front cords in 
 No. 1. 
 
 cross's counterpoise harness 
 
 About the year 1810 Mr. James Cross, of Paisley, invented a 
 machine to do away with the drawboys. 
 
 This machine is fully described by Murphy and Gilroy in their 
 works on weaving. Only the general principle of it will be given here, 
 as an introduction to the jacquard. The detail of drawing the lashes 
 and treading, though ingenious, is not of any practical importance 
 now, and it requires rather a lengthy description to explain it. The 
 harness P is the same as in the common draw loom till it reaches the 
 tail cords, where the counterpoise apparatus commences. The framing 
 B B (Fig. 6) of this machine is supported by the carriage a a, which 
 rests on the capes or top rails of the loom. In this frame are two 
 boards, c and d, perforated with holes corresponding in number with 
 the tie of the harness or cords in the simple. The top board is called 
 the suspension board, and is mortised into the bar e. From thi^ 
 board the harness hangs, the neck being taken up through the holes 
 in it, and fastened above them. The lower board, d, which is mortised 
 into the bar a, is called the neck board, or directing board, as it keeps 
 the harness in its proper place, h and k are two other boards, perfo- 
 rated as shown in Fig. 7, mortised into the sHding bars i and l re- 
 spectively ; these are called the trap boards, m, m and n, m are four 
 
INTRODUCTION 
 
 15 
 
 boars, called pushers, which are fastened to the sliding bars i and l as 
 wvell as to the pulleys p, p, and when the pulleys are oscillated by 
 nweans of a treadle the sliding bars will be moved up and down. The 
 krnot cords or tail cords o, o are fastened to the suspension board c, 
 
 Fig, 6 
 
 acnd pass through the two trap boards, then through the neck board, 
 annd are tied to the harness. Only two of these cords are shown tied 
 too the harness, to avoid confusion. These knot cords have knots or 
 beeads on them as shown, and the round 
 hooles in the trap boards H and k, as 
 shhown in Fig. 7, must be sufficiently large 
 (aabout \ in. in diameter) to allow the knots 
 orr beads to pass freely through. There 
 ar>re notches or saw-cuts at the sides of 
 thhe holes to admit the cords, but support 
 thhe knots. T, is the simple, extending 
 hoorizontally through the knot cords. It is 
 faastened to the ceiling beyond t, and to 
 
 thae frame of the machine beyond t'. s is a half -leaf of heddles for the 
 puurpose of supporting the simple. cords. Each simple cord is tied to a 
 knnot cord, and beyond the simple is lashed according to the pattern. 
 Ina working the machine the lashes are drawn by means of hooked 
 
 Fig. 7 
 
16 
 
 JACQUARD WEAVING AND DESIGNING 
 
 levers, wrought by a treadle connected with the pulley v, and those 
 simple cords that are drawn down pull the knot cords into the notches or 
 saw-cuts in the trap boards, so that when the trap board is raised the 
 harness fastened to those knot cords that are drawn into the saw-cuts 
 will also be raised, e is a set of cords with weights on their ends for 
 the purpose of drawing the knot cords out of the saw-cuts as soon as 
 the simple is released by the lashes. The two trap boards rise and 
 fall alternately, and this is why the machine is called a counterpoise. 
 
 Some time after an improvement was made upon this machine 
 which was known as 
 
 THE COMB DKAW LOOM 
 
 This machine appears to have been invented in both Scotland and 
 Ireland, as Gilroy describes it as an invention of Dr. McLaughlin, of 
 
 D 
 
 Fig. 8 
 
 Ballyshannon, County Donegal ; and Murphy describes a similar machine 
 invented by Mr. Bonnar, of Dunfermline. The machine is shown in Fig. 
 8. A, A are the posts of the loom, and b b the top rail ; c c is the 
 framing of the machine. The harness g, g is suspended from the 
 suspension board d, and passes through the guide board e and the 
 cumber board f. The upper portion of the harness is composed of tail 
 or knot cords, as in Cross's machine. From each of the tail cords a 
 simple cord, h, extends horizontally over the weaver's head, and is 
 fastened to the board i. The lashes k hang from the simples over the 
 
INTKODUCTION 
 
 17 
 
 weaver's head, and have a knob on the end of each^ so that the weaver 
 can catch them and draw his own draught. 
 
 The lash cords have a knot or bead on them, so that when drawn 
 they can be held in the cuts of the board l, also shown in plan at l 
 (Fig. 9). M, N (Fig. 8) is a side view of the comb and handle, or 
 lever, shown in plan at m, n (Fig. 9). s is a cord or chain attached to 
 the end of the lever m, and passing down to a treadle. When the 
 weaver draws one of the knobs, the tail cords connected with the 
 simples in this lash are drawn between the teeth of the comb, as 
 shown by the dotted lines in 
 Fig. 8. He then depresses the 
 treadle, which raises the comb, 
 and the harness along with it ; 
 he holds the treadle down with 
 his left foot, and works over the 
 ground treadles with his right 
 one. The comb is recovered or 
 counterbalanced by the cord o, 
 which passes from the comb 
 through the board p, and has 
 
 a weight, e, suspended on it. d (Fig. 9) is a plan of the boards d, e, 
 F and I (Fig. 8). 
 
 o oooooooo/ 
 
 Fig. 9 
 
 THE BABEEL OE CYLINDEE LOOM 
 
 This machine was introduced by Mr. Thomas Morton, of Kilmar- 
 nock. The harness and tail or knot cords are arranged similarly to 
 those in the comb draw loom ; but instead of the simple cords for 
 drawing out the tail cords, each tail cord in the barrel loom passes 
 through a slide, or horizontal wire. The points of these slides are 
 acted upon by the pattern cylinder or barrel, and those held back press 
 out their tail cords from the others, and the knots on these tail cords 
 are caught by the teeth on the comb or roller, and the harness 
 raised. 
 
 The pattern is arranged upon the barrel much in the same way as 
 a tune is arranged on the cylinder of a barrel organ or musical box. 
 
 c 
 
18 
 
 JACQUAED WEAVING AND DESIGNING 
 
 A section of the barrel is shown at a (Fig. 10), with wire staples driven 
 into it to form the pattern. 
 
 Each of these staples represents so many lines of the design paper, 
 or so many lashes or draughts. The pattern is ruled out and painted 
 on the barrel, and staples are driven into it so as to cover the painted 
 
 of the barrel is being made, b is a section of the comb ; it is a cylinder 
 with teeth, c, like a parrot's beak fixed to it. The teeth are made of 
 this shape to hold the knot cords when they are caught by them, and 
 they rise or fall as the roller is rocked upwards or downwards by a 
 treadle. 
 
 Whilst these improvements on the draw loom were being made in 
 this country for the purpose of producing a convenient method of 
 harness weaving, the French were endeavouring to obtain the same 
 result, but on a different principle, and their method has proved suc- 
 cessful. 
 
 In 1725 M. Bouchon employed a band of pierced paper, pressed by 
 hand against a row of horizontal needles, so as to push back those 
 which were opposite the blank spaces, and thus bring loops on the 
 extremities of vertical wires into connection with a comb-like rack 
 below, which, being depressed, drew down the wires, pushed on the pins 
 in it, and raised the harness. 
 
 Fig. 11 is a sketch of a model of this loom in the Conservatoire des 
 Arts, Paris. A is the pulley-box with tv^ro rows of pulleys in it ; b the 
 tail cords ; c the simples, tied to rings on their upper ends, which run 
 on the tail cords at b ; the other ends of the simples pass over a small 
 roller at d to prevent them rubbing against the side of the loom, then 
 down through the hole board f, under which they are tied to wire 
 hooks or loops, as shown under a (Fig. 11a). Next these wires pass 
 through the needle box g, also shown at b, Fig. llA,^and down to the 
 
 squares of the pattern. The barrel is so 
 
 ^ arranged on the loom that exactly the 
 f space of one line of the design paper is 
 
 Fig. 10 
 
 ^ turned round for each draught, and the 
 slides are drawn back by cords attached 
 from their ends to a roller when the shift 
 
INTEOLUCTION 19 
 
 comb H (Fig. 11), and c (Fig. lU). The perforated paper is rolled on 
 the roller e, and passing downwards, is pressed against the needles with 
 a hand bar, as shown at l. Fig. 11b. The roller k is for rolling up 
 the paper as it passes down from the upper roller. 
 
 Fig. 11b is a back view of the mounting, a shows Avhere the 
 simples are connected with the tail cords p ; b shows the connection 
 
 Fig. 11 
 
 of the tail cords with the harness ; c is the cumber board ; d the mails 
 and E the leads, f and k are the two rollers for the paper, h the 
 needle box, and i the comb. This was the first attempt at forming the 
 pattern by means of perforated paper acting upon needles and wires. 
 
 In 1728 M. Falcon adopted a chain of perforated cards in lieu of 
 the perforated paper, and placed his horizontal wires or needles in 
 several rows or ranks, thereby admitting the use of a greater number 
 
 c 2 
 
20 
 
 JACQUARD WEAYlNa AND DESiaNING 
 
 of them in a moderate space. He also used a square prism or cylinder, 
 as it is called, for the cards to pass over. 
 
 Fig. 12 is a sketch from a model of his loom, also in the Conserva- 
 toire des Arts. The principle of it is much the same as the preceding. 
 A is the pulley box for four rows of pulleys, b the connection of the 
 simple with the tail cords, c the hole board for the simple to pass 
 through and also the support for the cylinder h, d is the needle box, 
 B the comb or gi-iffe, f the levers for drawing down the griffe, and g 
 \h.e treadle. The cards are laced in a chain and pass over the cylinders 
 
 Fig. Ub 
 
 I and H, but they are pressed against the needles by a hand bar, similar 
 to that used by Bouchon. There are two racks or receptacles for 
 holding the cards, as shown. The cylinders h and i are simply used as 
 rollers to support the cards, and not for pressing them against the 
 needles, as in the jacquard. 
 
 Figs. 12a and 12b give detailed views of the hooks, etc., for drawing 
 the harness : the letters in both refer to the same parts as are marked 
 with similar letters in Fig. 12. The simples b are tied to loops on the 
 hook-s under the hole board c. In Fig. 12b it will be clearly seen how 
 
INTEODUCTION 
 
 21 
 
 the needles in four rows act upon the hooks. The griffe consists of 
 four round iron rods or wires set in the frame b, Fig. 12a, which can 
 be drawn down by the treadle g, connected with the levers f by the 
 cords 3 and 4. One of the levers has its fulcrum at one side and the 
 other has it at the opposite side, and the points of the levers are tied 
 to the griffe frame by the cords 1 and 2. The griffe, when sunk, is 
 brought back to its place again by weights hanging on cords running 
 over pulleys. It may be seen that the hooks hang in front of the rods 
 
 Fig. 12 
 
 or bars of the griffe ; therefore, those hooks will be pushed on the griffe 
 whose needles come against the solid portions of the cards, thus acting 
 similarly to Bouchon's machine. The hand bar for pressing the cards 
 against the needles is shown at f. The needles can pass through the 
 slot in it, and, when a card is pressed against the needles, the bar can 
 be fastened with hooks for the purpose, so that the operator is free to 
 depress the treadle. There are no springs on the needles, but a clap 
 board comes behind them, which is pressed in by means of a cord 
 passing over each end of it and fastened to a spiral spring. There are 
 
22 
 
 JACQUAED WEAVINQ AND DESIQNING 
 
 ten leaves of heddles in front of the harness. They are plain clasped 
 heddles, and apparently act as five, the front five heing raised by the 
 top levers connected with the treadles, as shown in Fig. 11, and the 
 back five are held up by a set of levers at each side, with weights on 
 the ends of them, similarly to those now used for hand-loom damasks, 
 and tied to the treadles, below, so that sinking a treadle would cause 
 one of the back leaves to sink and one of the front ones to rise. Only 
 
 Fig. 12a Fig. 12b 
 
 the harness mechanism of Falcon's loom is given in Fig. 12, the front 
 portion being similar to that of Bouchon, or to any hand loom. 
 
 In 1746 the accomplished mechanician, Vaucanson, altogether dis- 
 pensed with the cumbrous tail cords and simple of the draw loom, and 
 made the draw-boy machine completely self-acting by placing the 
 hooks upright on the top of the loom, and hanging the harness from 
 them. This loom may fee seen in the Conservatoire des. Arts, as well 
 
INTEODUCTION 
 
 23 
 
 as a model of it on the same scale as those already mentioned — viz., 
 one-third the size. The machine for drawing the harness is exactly 
 like a small jacquard, with two rows of hooks and two rows of needles, 
 as shown in Fig. 13. Instead of a square cylinder and cards, the 
 pattern is punched on a band of paper, which passes over a round or 
 true cylinder. This cylinder is fitted with a rack wheel, so that a tooth 
 can be passed for each change of pattern, the cylinder moving out and 
 turning one tooth, then pressing in against the cards again. The dia- 
 meter of the cylinder is about twelve inches. The hooks are raised 
 with a griffe, similar to that in a jacquard, which is fastened to a lever 
 connected to a treadle below. This treadle, and four others for work^ 
 ing the heddles, is wrought by tappets, made of wood, on a shaft 
 running along the side of the loom and turned by a wince handle in 
 front. Altogether, the loom is a nice mechani- 
 cal contrivance, and a great step in advance of 
 its predecessors. ^ 
 
 Joseph Marie Jacquard, a working mechanic 
 of Lyons, having invented a fishing net loom, 
 turned his attention to improving the means 
 
 of drawing the harness in looms for figured 
 
 ^ ^ Fig. 13 
 
 weaving, about 1790. A model of a machine 
 
 by him, dated 1790, to dispense with the drawing of the harness, is 
 in the Conservatoire des Arts. It is made with cords and rollers, 
 and has no resemblance to the machine ■ bearing his name. He 
 was brought to Paris to repair Vaucanson's loom about 1804, and 
 it appears to be then that he combined the best qualities of the 
 machines of his predecessors, and produced the jacquard, a model 
 of which, dated 1804, is in the Conservatoire des Arts. This is very 
 much like our present jacquard, but with four rows of hooks and 
 needles made similar to those of Vaucanson, Fig. 13. He dispensed 
 with Vaucanson's cylinder and band of paper, and used instead a 
 square prism with a chain of cards passing over it. The cylinder (or 
 prism) he set in a frame or carriage, made to run on four wheels or 
 pulleys on the top of the frame of the loom. The carriage is drawn 
 out by depressing a treadle, and brought back again to press the 
 
24 
 
 JACQUARD "WEAVING AND DESIGNING 
 
 cylinder against the needles, by means of weights tied to cords running 
 over pulleys. The griffe is raised by means of two levers, one at each 
 side ; one end of each is connected with the griffe, and the others to a 
 crossbar at the bottom of the loom, and this crossbar is fastened from 
 its centre to a treadle. In all these looms the cards or paper hang at 
 the side of the loom, the mounting being on the principle known as 
 the London tie. Jacquard was born in 1752, and died in 1834. 
 Vaucanson died in 1782. 
 
 FRENCH DRAW LOOM 
 
 Shortly after the introduction of Cross's counterpoise harness, a 
 machine was imported from France, which is shown in Fig. 14, and 
 described in Murphy's ' Art of Weaving ' as a French draw loom. This 
 machine far surpassed any attempts at the improvements at the draw 
 loom that had hitherto appeared, in simplicity of construction and 
 operation. From the neck upwards the harness is similar in construc- 
 tion to Cross's counterpoise, having the knot cords arranged in the 
 same manner, but with only one trap board. Instead of the cumbrous 
 tail, the knot cords are acted upon by wires or needles, on each of which 
 is a loop, through which one of the knot cords passes, d is the cylinder 
 or barrel, perforated with holes, as in the common jacquard cylinder, 
 and c, G shows the chain of cards for forming the pattern ; e is the 
 lever for raising the trap board, to which it is connected by means of 
 pieces of iron at each side, with a bar across between them, to the centre 
 of which the lever is connected with apiece of wire, o o are crossbars 
 of wood, with holes in their centres, through which run pieces of strong 
 iron wire, which are fixed into the trap board at each end to keep it 
 steady while in operation. There is no spring box for the needles as is 
 now used in the jacquard, but into the crossbar or frame f is inserted 
 a flat piece of wood moving on springs, which yields to the pressure of 
 the needles that are forced back by the barrel, and recovers them again 
 when the barrel is withdrawn. The lever b is drawn down by the cord 
 H, attached to a treadle, when the trap board is to be raised, and the 
 barrel is drawn back by the cord g, which is attached to another treadle 
 The barrel is pressed against the needles by springs, and when it is 
 
INTEODUCTION 
 
 25 
 
 relieved by the treadle and is moving inwards, it is turned by one of 
 the catches shown in Fig. 14a. Either of these catches can be brought 
 into action, so as to turn the barrel either way, by raising or lowering 
 them with a cord. When at rest the knot cords stand in the notches 
 or saw cuts of the trap board, but when the cards are pressed against 
 the needles, except where there are holes in the cards, the needles are 
 pressed back and the cords are pushed out of the notches so that the 
 knots stand above the holes in the trap board, and pass through them 
 when the board is raised by depressing the treadle connected with the 
 lever e. The trap board is shown in Fig. 7. 
 
 Fig. 14 
 
 Fig. 14a 
 
 Whether this machine was Jacquard's invention or not, I have not 
 been able to ascertain ; but Gilroy states that Jacquard's first machines 
 were made with cords and trap boards, like Cross's counterpoise 
 machine. It is also recorded that WilHam Jennings, of Bethnal Green, 
 invented a machine, similar to the above, about 1830, as an improve- 
 ment on the jacquard, on account of its simphcity, as the latter appears 
 to have given the weavers some trouble, and notice was taken of his 
 machine by the Society of Arts. 
 
 Machines similar to the above are still in use for hand- loom work, 
 and answer very well. They have also been used for power looms, but 
 
2G 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the cords do not stand the friction long. As at present made about 
 
 Glasgow, the cylinders of these machines work on shde rods, and 
 
 receive their motion from the rising of the trap board, same as the 
 
 cylinders in jacquards are sometimes wrought by the rising of the griffe 
 
 with what is known as the ' swan neck ' motion. The spring board 
 
 at the ends of the needles is held back by a spring and drawn in by the 
 
 cyhnder frame as it moves outwards, 
 
 which brings all the needles forward, 
 
 and the cords into tlie saw cuts in the 
 
 B Lm^ trap board, or comb as it is frequently 
 
 called. The knots on the cords for 
 
 these machines are made as at b, 
 Fig. 15 ' 
 
 Fig. 15, which, when drawn tight, are 
 as shown at a. The cord is a good twisted cord, such as whipcord, and 
 the holes in the trapboard are about -f^ in. in diameter, which the 
 knots on the cords must pass freely through. The upper ends of the 
 cords pass through a perforated board on the top of the machine, and 
 another cord is drawn through loops on their ends, which prevents 
 them from being drawn throixgh the holes. 
 
27 
 
 CHAPTER II 
 
 JACQIJABD MACHINES 
 
 The jacquard macliine was introduced into England about 1818 and 
 came into general use from 1824 to 1832. It was introduced into 
 Scotland about 1824. Fig. 16 is a representation of the early form of 
 jacquard, and of course intended for hand-loom work. Although the 
 present machines for power-loom work are very different in make, 
 nearly all the working parts as here used are to be found in different 
 machines at present working, or still being made, though the best 
 machine makers have adopted newer and better principles for fast work- 
 ing and withstanding wear and tear. Fig. 16a is a view of the interior 
 of the machine. The working of the machine will be explained further 
 on ; only those parts that will not be given in the new machines will 
 now be noticed. The griffe or frame for raising the hooks is lifted by 
 the straps A, A, Fig. 16, which are attached to the pulleys b, b, and a 
 cord c over a pulley on the same shaft as b, b, is attached to a treadle 
 beneath the loom. As the weaver presses down this treadle the griffe 
 is raised, and when the treadle is released the griffe falls of its own 
 weight. The cylinder is moved out and in by the pulley e, fastened on 
 the bent iron bar, attached to the frame which carries the cylinder, 
 when the griffe rises and falls, d, d is a frame which hes in the 
 turned-up portion of the hooks ; only a few hooks are shown, and the 
 outer bars of the frame. There should be a bar in the frame for each 
 roAV of hooks. This frame rises up and down with the hooks, the turn 
 on the ends of which must be of such length that when the frame is 
 raised by the hooks lifted by the griffe, it will not be raised out of the 
 turns on those that are left down. This frame is for the purpose of 
 preventing the hooks- from turning round, so that the turns on the 
 
28 
 
 JACQUARD WEAVING AND DESIGNINQ 
 
 upper end of tliem, as shown at a, a, Fig. 16a, cannot get out of 
 position to be caught by the blades or crossbars of the griffe. The 
 lower ends of the hooks rest on a perforated board as shown in 
 Fig. 16a, and tail cords are looped on them and pass through the 
 perforated board as shown. To these cords is fastened the neck of the 
 harness. Machines with these perforated boards and frames to keep 
 the hooks in position are still (1890) being made in Yorkshire. In 
 Fig. 16a is shown a section through the spring box b. This box con- 
 
 FiG. 16 
 
 tains a spiral spring for each of the horizontal needles, the ends of 
 which press against the springs, which allow them to yield or move 
 back as the cards press on their points ; but recover them again 
 when the card is moved away by the cylinder. Similar spring-boxes 
 are now used. 
 
 It might be interesting to describe the various changes and attempted 
 improvements that have been made on the original jacquard, but it 
 would take up too much space, and many of them are of more historical 
 
JACQUAED MACHINES 
 
 29 
 
 than practical importance ; some of them Avill be mentioned that 
 may be interesting from a mechanical point of view, in connection with 
 the descriptions of the machines, even though they have only been 
 partially successful. Though a very different machine from what it 
 originally was, the principle of the jacquard remains the same, and is 
 not likely to be altered or superseded till a revolution takes place in the 
 process of weaving. 
 
 A jacquard machine is simply a shedding motion by which a great 
 variety of sheds can be formed ; the larger the machine, or the greater 
 
 Fig. 16a 
 
 the number of hooks it contains, the greater is the variety of shedding 
 that can be produced by it. 
 
 If a jacquard is made small, with, say, from 16 to 48 hooks, it is 
 called a dobby or shedding motion, and is used for working shaft 
 mountings ; but the ordinary jacquard machines have from 200 to 600 
 hooks, which have long cords, called the harness, connected to them, 
 no shafts being required, as each hook has only a few cords tied to it, 
 which can be raised independently of the others. The fewer the cords 
 that are tied to each hook, the greater is the variety of shedding that 
 can be made on the same number of warp threads, till, when there is 
 but one cord to the hook, any thread or any number of threads can be 
 laised independently of any of the others. 
 
30 
 
 JACQUAKD WEAVING ANP DESIGNING 
 
 Jacquards may be divided into four classes — viz. single-actii^g, 
 double-acting lift, double acting with double cylinders, and twilling 
 jacquards ; and besides these there are several other varieties made for 
 special purposes. The single-acting is the real jacquard, and much 
 the simplest machine. It has the disadvantage which all single-acting 
 shedding motions have — viz. that one shed must be closed before the 
 following one begins to open. This is on account of the same lifter 
 having to open each shed ; it must bring down the set of hooks that 
 are raised, and then raise the next set. ^ 
 
 This constitutes the true jacquard lift ; and while it makes a clear 
 shed, and is desirable for some purposes, it is generally considered the 
 most imperfect form of shedding— that is, so far as the making of a 
 good cloth is concerned. It is not suitable for making a heavy, well- 
 covered cloth, nor for working at a high speed, 120 to 140 picks per 
 minute being a very good speed to drive it. 
 
 A single-acting jacquard is a very simple machine, and when 
 properly made should give very little trouble in working, particularly 
 if the motions are properly set in relation to each other, and if such 
 methods of working are adopted as will cause the least wear and tear 
 on it. 
 
 In whatever way jacquards are made, the principle of working is 
 much the same. There are a number of upright hooks set in a frame ; 
 attached to each hook is a horizontal wire or needle, one end of which 
 is pressed upon by a spring, which keeps both it and the hook steady 
 and in position, while the other end, or point, passes through a per- 
 forated plate, beyond which it projects about half an inch (see Fig. IGa). 
 To lift the hooks there is a set of bars or knives arranged in a frame, 
 just below the heads of tho liook§ ; tlii§ frame i§ called the * griffe ' or 
 
 .' brander,' and if raised would draw all the hooks up with it. What 
 hooks will be lifted for each shed is regulated by perforated cards being 
 pressed against the points of the needles. A perforation in the card 
 allows the point of a needle to pass through and the hook to be raised ; 
 but where there is no perforation the card comes against the point of 
 the needle, pressing it back, and holding the head of the hook clear of 
 the blade of the griffe, so that the griffe will pass without raising the 
 
JACQUAED MACHINES 
 
 31 
 
 hook. It will thus be seen that any variety of shedding can be made 
 by punching the cards to suit it. Fig. 17 shows one of the best makes 
 of single-acting jacquards. One of the best methods of driving is shown 
 in this and the following figure. The griffe is raised by means of the 
 lever g, which is sometimes supported on a beam fastened to the roof 
 or pillars of the shed, or it may be supported by an upright fastened 
 on the frame of the loom. A portion of this upright is shown in Fig. 
 
 Fig. 17 
 
 17, and as well as being fastened to the loom frame, it should be stayed 
 to the top of the machine. One end of the lever is fastened by a link 
 connection to the centre of the bar across the griffe frame, care being 
 taken that the connection is so made as to draw up the griflfe vertically, 
 and not have any strain on the slide rods or spindles that are used for 
 keeping the griffe horizontal when rising. 
 
 The other end of the lever is connected to a crank on the crank- 
 
32 JACQUARD WEAVING AND DESIGNINQ 
 
 shaft of the loom by a rod, b (Fig. 17) ; also shown at a (Fig. 18), where 
 the crank is also given. 
 
 In hand-loom machines the griffe is frequently pushed up from 
 below instead of being drawn up from the top as is shown in Fig. 17. 
 
 The method of doing this 
 is similar to that given 
 for lifting the griffes of 
 twilling jacquards, 
 
 F (Fig. 17) is called 
 the cylinder or barrel, 
 evidently taking its name 
 from the round cylinders 
 or barrels used in the old 
 machines, but is in reality 
 a square prism. It is 
 made of wood, and per- 
 forated on each side with 
 a set of holes— a hole for 
 each needle in the ma- 
 chine ; its use is to draw 
 round the chain of cards 
 and press each one against 
 the needles, or horizontal 
 wires, in the machine. In 
 order to keep the cards 
 firmly on the cylinder, 
 flat steel springs are some- 
 times used, as shown, 
 attached to the top rail of the frame which holds the cylinder ; and 
 there are also steel wires which pass down in front of the cylinder over 
 the ends of the cards. These springs are useful when only a small 
 number of cards is used and the machine driven quickly ; with a 
 large set of cards, where there is plenty of drag on them from their 
 own weight, they are not necessary, and but seldom used ; but they 
 are in common use in the Yorkshire districts. 
 
JACQUARD MACHINES 
 
 33 
 
 It will be seen from the illustrations (Figs. 17 and 18) that the 
 cylinder hangs in a frame suspended from the top of the machine ; this 
 is called the swing or batten motion, to distinguish it from the hori- 
 zontal or sliding motion which is show^n at Fig. 20 (No. 1) and in Fig. 
 27. The swing motion is the simpler of the two, and is cleaner, 
 requiring less oil ; but the sliding motion is steadier, and does not 
 swing the cards so much, consequently is more suitable when the 
 cylinder has to travel quickly. The swing motion also requires the 
 machine to be higher ; with a slide motion the frame is usually cut off 
 a little above the griffe. 
 
 The cylinder has to travel out and in when the machine is working, 
 so that it may be turned round and bring a fresh card against the 
 needles for each shot. There are many methods of accomplishing this, 
 which may be divided into two classes — viz. independent motions, or 
 those which are driven from the loom independently of the machine ; 
 and self acting motions, or those which drive the cylinder out and in 
 through the rising and falling of the griffe. The latter are the sim- 
 pler, but the former are much better, causing less wear and tear on 
 both the cards and machine, as will be explained further on. 
 
 It will be seen in Fig. 18 that as the cylinder travels out it will be 
 caught by the hook and turned round ; the head or lantern of the 
 cylinder is made of iron, as shown, so that the hook, or shears, will 
 take a firm catch on it. To prevent the cylinder from turning more 
 than one card at once, and to keep it steady so that it will always come 
 in fair against the needles, it is held firm by a hammer pressed on it 
 by a spring. This pressure is applied in different ways, one of which 
 may be clearly seen in Fig. 17, and another in Fig. 27. When taking 
 out the cylinder, or wanting to run it round quickly to draw over a 
 number of cards, the hammers can be held up by a hook or sliding 
 catch, which should be fitted to the machine for the purpose. 
 
 One of the best independent motions for driving the cylinder is 
 shown in Fig. 17 ; and that shown in Fig. 18 is also a very good one for 
 small machines, perhaps the most convenient that is made ; but the 
 former is much stronger. In Fig. 17 a connecting-arm from the frame 
 of the cylinder is attached to the lever b. The connecting-arm should 
 
 D 
 
34 
 
 JACQUARD WEAVING AND DESIGNING 
 
 have a slotted j oint, so that it can be made shorter or longer, if re- 
 quired, for the purpose of regulating the pressure of the cylinder on 
 the needles. 
 
 The lever b is on a horizontal shaft, bracketed to the frame of the 
 loom, or to the beams on which the machine rests ; or some machines 
 have bearings attached to their framing for it. There is, of course, a 
 lever, as b, and a connecting-arm at each side of the machine. There 
 is another lever on the end of the shaft, at right angles to b, which is 
 connected with an eccentric on the crank-shaft of the loom by a rod, c, 
 in the same way as the rod c is connected with the eccentric in Fig. 18. 
 The eccentric can be set to bring the cylinder against the needles at 
 any required time, independent of the lifting motion of the machine, 
 which cannot be done when the self-acting motions are used. The 
 
 Fig. 19 
 
 larger the eccentric, the greater dwell the cylinder will have against 
 needles. The method of working the cylinder in Fig. 18 is somewhat 
 similar, and can easily be seen ; but it will be observed that a good deal 
 of pressure will be put upon the studs on which the cylinder frame, or 
 batten, hangs, particularly when the cylinder is being pressed in, as 
 this is effected by drawing down the lever l ; however, in a hght 
 machine this does not matter much. 
 
 The principal feature in this motion is the escapement apparatus 
 for the purpose of disengaging the cyHnder from its connection with 
 the driving eccentric when it is required to turn some of the cards back. 
 Fig. 19 (Nos. 1 and 2) shows this arrangement. The motion is not quite 
 the same as that given in Fig. 18, but is on the same principle, and 
 one may be easily understood from the other. In Fig. 18 the latch g 
 
JACQUAED MACHINES 
 
 85 
 
 comes out of the notch in the quadrant f, when the handle e is pressed 
 close ; the handle is on the lever d, having its fulcrum on the shaft n, 
 and the quadrant f is connected to the eccentric rod c. The quadrant 
 is loose on the shaft, and the lever is fast on it. Fig. 19 is a more 
 convenient motion. The two halves of the handle a are held apart by 
 the spring h, and this, through the hook b on the inner end of the 
 handle, presses the latch or catch on the slide d into the notch on the 
 quadrant c. The quadrant and handle are one piece, and are fast on 
 the shaft e, and a lever f on this shaft is connected to the batten of 
 the machine, in the same manner as shown by d and b in Fig. 18. 
 When there are two or more machines, one of these levers would be 
 required for each. The lever k is loose on the shaft e, and the rod g 
 connects it with the eccentric, same as is shown by the rod c in Fig. 18. 
 In No. 2, Fig. 19, the quadrant is left out to show clearly how the hook 
 B acts on the slide d, and also to show the lever k on the shaft. The 
 two halves of the handle, being pressed out by the spring, keep d in 
 position, firmly pressed inwards ; but when the handle is pressed the 
 hook B presses the slide d outwards, leaving the quadrant free to pass 
 up or down ; and by pulling down the cord h (Fig. 18), which raises the 
 shears k and k\ the cards can easily be turned back by working the 
 handle up and down, as the under shears will catch the cylinder and 
 turn it the reverse way. The weaver must be careful not to jerk the 
 motion and throw the cards off the cylinder or damage them ; but a 
 very little practice will enable anyone to turn them back quite easily 
 and quickly. This motion answers very well for one, or perhaps two, 
 small machines ; for a 400 or 600 machine, or any smaller size working 
 spottings, &c., it is very convenient, but when large mountings are 
 required, as in 800 to 2i00 machines, it is quite too weak for the 
 work ; even if made strong enough it would not be satisfactory, as the 
 strength of spring that would be required to bear the strain and keep 
 the catch in the notch would make it a very difficult matter to use the 
 motion for reversing the cyiinder. For heavy machinery the method 
 of working the cylinder shown in Fig. 17 is far preferable, and sepa- 
 rate motions for turning back the cards can be fixed on the machine. 
 These will be explained further on. 
 
 D 2 
 
86 JACQUARD WEAVING AND DESIGNING 
 
 Instead of the eccentric and crank for driving the cylinder and 
 raising the griffe being as they are shown in Fig. 18, though a plan 
 frequently in use, it is neater, and perhaps better, to have the eccentric 
 at the back of the fly-wheel, and the fly-wheel either cast with one 
 half solid, or have a plate fastened across two or more of the spokes, to 
 which the connecting-rod can be attached with a bolt fastened in a slot. 
 The amount of hft can be increased or diminished, either by shifting 
 the top of the connecting-rod along the lever g (Fig. 17), or by increas- 
 ing or reducing the throw of tlie crank at the fly-wheel. 
 
 Self-acting motions actuate the cylinder through the rising and 
 
 Ficx 19a 
 
 falling of the griffe without requiring any special connection from the 
 loom. One of the most convenient of these is that frequently used 
 on hand-loom machines, and known as the S iron or swan-neck motion. 
 It is shown in Fig. 19a (No, 1), and another form of it on a swing 
 cylinder motion is shown in Fig 16. d is the swan-neck or S iron. In 
 the groove in it a roller stud on the griffe frame travels, sliding in and 
 out the cylinder a as the griffe falls and rises, e is the slide bar, which 
 may be fiat or round ; if round, there must be some means of keeping 
 it from turning in its bearings, which is generally accomplished by 
 having a crossbar bolted across the two slide bars behind the machine. 
 No. 2, Fig. 19a, is a motion for the same purpose, but consists of a 
 
JACQUAED MACHINES 
 
 37 
 
 series of levers ; and No. 3 is an arrangement of a similar natm-e. b is 
 tlie fulcrum of the levers, or fast pin by which they are connected to 
 the machine, c shows the attachment of the levers to the slide rod of 
 the machine, a is the connection with the cylinder frame. As the 
 griffe rises or falls it will easily be seen that the cyUnder will be driven 
 out or in. 
 
 The connecting-bar h is in two parts, slotted and bolted together at 
 H to admit of regulating the position of the cylinder. 
 
 No. 4 is a motion on a different principle ; it is a French motion. 
 It will readily be seen that the cylinder is driven out and in by the 
 toothed wheel, which is wrought by a rack on the slide rod e. This 
 slide rod works outside the framing of the machine, as is common in 
 the French machines. One point must be observed about these 
 motions — viz. that they must have a certain amount of dwell at the 
 bottom of the stroke, or when the cylinder is in. The reason of this 
 dwell will be explained further on, but the method of obtaining it may 
 be given here. In the swan-neck motion (No. 1), any desired dwell 
 can easily be obtained at either top or bottom by the length of the slot 
 that is in a vertical direction, as when the stud is passing through this 
 portion of the slot no motion is given to the cylinder. In the lever 
 motions Nos. 2 and 3, as well as in No. 4, the dwell is got by the levers 
 or arms passing the centres ; in Nos. 2 and 4 it is by the lever or arm 
 H passing the back centre, which may be considered as a crank ; and in 
 No. 3 it is the short lever c passing the centre that gives the dwell. 
 
 Fig. 20 is a view of the interior of a single-acting jacquard machine 
 with the framework removed ; only one row of hooks and needles are 
 given, to avoid confusion. The blades or knives of the griffe, with a 
 support running across their centres, are shown at b. a is the face- 
 plate or needle board, sometimes made of iron, but better to be of hard 
 wood, c is the spring-box, the detail of which is given in Fig. 24. 
 E, E 1 are the hooks, and f, f ^ the needles, d is the grating through 
 which the hooks pass, and are supported by it. It will be seen that 
 the hooks and needles are arranged in rows of eight : a 400 machine 
 would have 50 or 51 of these rows in it ; 500 machines are usually 
 arranged in rows of 10, and 600 machines in rows of 12. The hooks 
 
38 
 
 JACQUARD WEAVING AND DESIGNING 
 
 should be set perfectly upright or vertical, and should be close up 
 against the knives, but not i:)ressing against them. There should be 
 a provision made for shifting both the grating and the knives, so as to 
 admit of both them and the hooks being properly set in relation to 
 each other ; but if set correctly by the maker, which they should be, no 
 alteration is necessary, a (Fig. 21) is a side view of four hooks and 
 needles, with the ends of the knives of the grifi'e shown at a, a, a, a. 
 
 Fig. 2(J 
 
 When the machine is working the needles are acted upon by perforated 
 cards cut from the pattern. Suppose we take plain cloth — that is, a 
 pattern in which each half of the warp, or evei'y alternate thread, is 
 raised and sunk alternately ; then, if the first card acts on all the odd 
 numbers of the needles, and the second card on all the even numbers, 
 this repeated Avould make plain cloth. Whenever a hook of the 
 jacquard is to be raised a hole is exit in the card for the needle con- 
 nected with that hook, and a card with all tlie even numbers of holes 
 
JACQUARD MACHINES 
 
 39 
 
 cut in it will cause the griffe to raise all the even-numbered hooks. 
 Refer to h (Fig. 21), where the second and fourth holes are cut in the 
 card. If the card is pressed against the needles, as at c, the first and 
 third needles will be pressed back, and will push the first and third 
 hooks back from their position — shown by the dotted lines — to the 
 position in which they are shown in b (Fig. 21) ; but the second and 
 fourth hooks are not moved, as their needles pass through the holes in 
 the card. If the griffe is now raised, the blades or knives will pass the 
 
 4?^ 
 
 & fl_ 
 
 Fig. 22 
 
 Fig. 21 
 
 first and third hooks, but will lift the second and fourth ; and if the 
 odd numbers of holes are cut on the next card, the first and third 
 hooks will be lifted when it is pressed against the needles, as shown at 
 c (Fig. 21), thus making the cross-shed ; and this explains the principle 
 of working any pattern by the jacquard without taking into considera- 
 tion the intricacies of mounting, &c. In c (Fig. 21), it will be seen 
 that if the knives d, d were upright instead of slanting, they would 
 come down on the heads of the hooks that are under them, but, being 
 
40 
 
 JACQUAED "WEAVING AND DESIGNING 
 
 slanted, their lower edges pass the heads of the hooks, and press them 
 away as the griffe descends. Sometimes, even with slanting knives, if 
 there is much vibration in the hooks, or if the loom ' bangs off,' some 
 of the hooks are liable to get under the knives and be ' crowned,' or 
 bent down. To avoid this deep blades are often used, principally in 
 double-acting machines, so that the lower edges of the blades will not 
 pass the bottom hook, as shown at d (Fig. 21). This prevents any 
 danger of crowning, but it darkens the machine a little — that is, makes 
 it more difficult to see down into it if any of the wires require to be 
 examined ; it also requires the heads of the hooks to be somewhat 
 higher above the heads of the needles than is necessary with the 
 narrow blades. Another principle has been tried — viz. that of making 
 the heads of the hooks as shown in Fig. 22, and using narrow blades. 
 This effects its object well, but there is too much friction of the knives 
 against the hooks, and the latter are hable to wear out too quickly. A 
 good machine with firmly set hooks should work very well without 
 these protections if it is steadily placed above the loom, and it is better 
 not to be resting on the loom framing, if convenient to have it so. It 
 will be seen from the foregoing explanation that the proper time, or, 
 rather, the necessary time, for the cylinder to press against the needles 
 is just after the griffe begins to rise. When the griffe is down the top 
 edges of the knives should be i^'^in. or ^in. lower than the turned points 
 of the hooks, and before this edge rises up to the hooks those that are 
 not to be lifted should be full back, or the cylinder should be close in, 
 having the front of the head of the hooks -^^in. or |in. behind the 
 blades. The cylinder should have a short dwell in this position ; and 
 if it has a longer dwell it may assist to reduce the friction of the heads 
 of the hooks against the knives ; but if it has too great a dwell it may 
 have to travel out and in too quickly to make up for the lost time, which 
 will probably not be compensated for by the advantage of the increase 
 in the dwell. Now, when the cylinder is driven with an independent 
 motion, as in Figs. 17 and 18, it is easy to set the eccentric so that it 
 can be brought in at any required time ; but when a self-acting motion 
 is used, it is plain that if the cylinder must press against the needles 
 when the blades of the griffe are passing the heads of the hooks in rising, 
 
JACQUARD MACHINES 
 
 41 
 
 it must also press against them in the same position when the griffe 
 is falling, unless some special escapement motion could be devised 
 to avoid it, and this is where the dwell is required, and where the evil 
 effect of the motion takes place ; and it is worse in a double-Hft 
 machine with one cylinder, as the heads of the hooks in it are larger, 
 or have a longer turn on them. A little consideration will suffice to 
 show that when the brander or griffe is falling, say, with one-half of 
 the hooks hanging on its knives, and the cylinder is brought in against 
 the needles before the hooks are quite down, as it must be, it will 
 either cause the hooks to be shot off the knives, or will put a consider- 
 able strain on them, as well as upon the needles and cards. It is for 
 this reason that these motions are objectionable, particularly in power- 
 loom work, where the speed is high and the hooks are strong. In 
 hand-loom work it is not so objectionable, as there is more spring in 
 the wires, and the heads of the hooks need not be too large, and, 
 besides, the speed is less and the wear and tear not so great ; but, even 
 with this^ if a hand-loom machine that has been in use for some time 
 be examined, it will be seen that the points of the hooks are consider- 
 ably worn, and that the edges of the knives are hollowed out like a 
 coarse saw by the friction of the hooks on them. This latter will partly 
 arise from the lifting of the hooks. 
 
 In the old Jacquard, given in Figs. 15 and 16, the hooks are shown 
 resting on a perforated board, and it was mentioned that in order to 
 prevent them from turning round a frame lay in the turned-up portion 
 of the hooks. The grating in Fig. 20, through which the turned-up 
 bottoms of the hooks pass, readily accomplishes this object. Sometimes 
 flattened hooks are used, as in c (Fig. 23), with the needles twisted 
 once or twice round the hooks ; this makes a firm arrangement, but if 
 anything goes wrong with a hook it is not easy to get it clear of the 
 needle. When the needles were made with a full twist or loop on 
 them, as at B, the same was the case ; they are now usually made as 
 at A, and if arranged in the machine as in Fig. 20, there is no danger 
 of the hooks sliding out of the recess in the needle, and if a hook gets 
 bent or broken, it can be taken out and replaced by a new one without 
 disturbing the needles. 
 
42 
 
 JACQUAED WEAVING AND DESIGNING 
 
 Fig. 16 shows how the needles press against the springs in the 
 spring-box, which is much the same as that at present in use. Fig. 
 24 is the present arrangement. No. 1 gives a plan of the end of a 
 needle, b. c c is the horizontal wire which supports it as shown in 
 section at c c in No. 2. d (No. 1) is a section of the vertical wire 
 shown at D D (No. 2), which passes through the loops or eyes on the 
 ends of the needles, and keeps the springs from shooting them too far 
 forAvard. a (No. 2) is a wire which passes down at the outside of the 
 box over the ends of a row of springs, so that by drawing out this wire 
 any of the springs can be drawn out without taking off the spring-box, 
 
 Fig. 24 
 
 as the springs pass through the box. The springs should be strong 
 enough to keep the hooks and needles steady, but if unnecessarily 
 strong they give the card and cyhnder unnecessary work. 
 
 In some machines there is no sprlng-box. Tlie kooks are made 
 double, as shown in Fig. 25, and rods, as a, a, run along between the 
 rows of hooks ; the spring of the double wire keeps the hooks steady. 
 There is a clap-board used, similar to that in the French draw loom, 
 (Fig. 13), which is pressed against the needles with springs ; this board 
 IS connected with the face-plate by a bar at each end, forming a frame. 
 The needles do not project much through the face-plate, but when the 
 cylinder is pressed against it, it slides back on the needles, and presses 
 
JACQUAED MACHINES 
 
 43 
 
 the clap-board back, which also allows those needles to go back which 
 the card presses against. The needles are not looped on the hooks, 
 but have a turned catch in front of them as shown. The bottom of the 
 hook rests on a hole board, c, through which the tail cords pass ; and 
 through the hooks at d are wires fixed in a frame which rises and falls 
 when the hooks are raised, and keeps them from turning round, same 
 as explained in Fig. 15. Machines of this description are at present 
 being made in France, and work with a rising and falling shed, which 
 will be hereafter explained (see Fig. 30). 
 
 Fig. 25 Fig. 26 Fig. 27 
 
 In working, the card cylinder must be so set that it will come for- 
 ward fair on the needles— that is, that when it comes forward the 
 points of the needles will enter fair into the centres of the holes in it. 
 For the purpose of setting it there must be provision made in the 
 fittings so that it can be moved laterally or vertically. In the swing 
 motion the frame can be moved laterally by means of the two screw 
 studs on which it hangs, c, Fig. 27, shows the bearing on which the 
 stud of the cylinder revolves. This bearing can be raised up or down 
 in the frame e — a side view of which is given at s — by slackening the 
 
44 
 
 JACQUARD WEAVING AND DESIGNING 
 
 bolt B with the wing nut a, and adjusting the bearing with the set 
 screw D or E. 
 
 A method eommonly adopted by tacklers or tuners to see that the 
 needles are perfectly fair in the centres of the holes in the cylinder, is 
 to rub their fingers on some dirty oil, and touch over the points of the 
 needles with it. They then bring in the cylinder against the needles 
 with a card on it, in which about half of the holes are cut. The 
 points of the needles mark the card where there are no holes, and 
 it can easily be seen whether the mark is in the centre of where a 
 hole should be, or not. 
 
 One of the best bearings and attachments for a cylinder with a 
 horizontal slide motion is given in Fig. 26. d is the bearing for the 
 cylinder e, and c the bolts for setting it. p p is the bracket which 
 holds the hammer and bearings, which can be set in position on the 
 slide bar b by the bolt a. i is the hammer held down by the spring h 
 attached to the rod g. 
 
 The cards are kept in position on the cylinder by pegs or studs, 
 originally made of wood, and driven into the cylinder. Now they are 
 made of brass, and set in a slotted bracket, so that they can be shifted 
 in order to have the holes in the cards corresponding exactly with 
 those in the cylinder. The pegs should also be set on springs, so 
 that if a card gets off them, and between them and the needle plate, 
 they will yield or sink into the cylinder, and not break the card. In 
 all good machines they are made in this way. 
 
 When the motion for driving the cylinder is not fitted with an 
 escapement for the purpose of turning back the cards, it is necessary 
 for the convenience of the weaver to have a motion on the machine 
 for the purpose. 
 
 Figs. 28 and 29 show two varieties of these motions, a is the 
 cylinder head ; c, the catch for reversing the cylinder ; f, the spring 
 for returning the catch to its position ; e, a cord which hangs down, 
 with a knob on the end of it, in a convenient position for the weaver to 
 catch and work the motion. In Fig. 28 the motion is on the opposite 
 side of the machine to the shears, but might be on either side, and the 
 weaver has to raise the shears to turn the cylinder, which she can 
 
JACQUAKD MACHINES 
 
 45 
 
 Fig. 28 
 
 easily do by catching the knob for raising the shears in one hand, and 
 working the reversing motion with the other. The cyHnder must be 
 full out for this motion to turn it properly, and this prevents the 
 weaver from tearing the cards on the 
 needles, as she might easily do by 
 trying to turn the cylinder when it is 
 too close in. In Fig. 29, b is the 
 shears for turning the cylinder, and 
 both it and the pushing catch, c, pass 
 through a keeper or bracket, d, on 
 the side of the machine. There is a 
 rise on c a little back from the point, 
 and when the cord e is pulled down 
 
 c is shot forward by the lever, Avhich has its fulcrum at g, and in going 
 forward the rise on it comes into contact with the bend in the shears, 
 and raises them up so that it can turn the cylinder when it catches on 
 the head of it. Both these are good and convenient motions. For the 
 latter the cylinder should 
 be. about half-way out 
 when the cards are being 
 turned back. 
 
 Sometimes the cylin- 
 der may not be com- 
 pletely turned by the 
 shears when the machine 
 is working, by reason of 
 
 the cards catching, or if the shears are too long, or ii may arise from 
 other causes. In this case the cylinder would come in with one corner 
 against the needles, and be pressed heavily against the needle plate. 
 Some of the levers would probably be broken, or the cylinder might be 
 shot out of its bearings and fall, breaking the yarn, or perhaps injuring 
 the weaver. To avoid this, small snecks, as at h, Figs. 28 and 29, are 
 set so that when the cylinder is square it will pass over them ; but if 
 turned angularly its lower edge will catch on the point of the sneck, as 
 the cylinder is coming in, and turn it square. The sneck is held up 
 
 Fig. 29 
 
46 
 
 JACQUAKD WEAVING AND DESIGNING 
 
 with a spring so as to allow the cylinder in turning to depress it. 
 Sometimes the sneck, as at h, is liable to cause broken shots ; for if the 
 weaver turns back the loom, and the cylinder moves out sufficiently 
 far to be turned to its angular position, and remains there, it will, in 
 coming in, be turned square by the sneck, and thus a card would be 
 passed over without a pick being put in for it. This is sometimes 
 remedied by putting the sneck above the cylinder, instead of below it, 
 which would turn it the reverse way ; but this might come wrong at 
 other times. The better plan is to keep it below, and let the weaver 
 get to understand what she is doing, as it is not very difficult to learn. 
 
 The setting of a jacquard machine for working consists in adjusting 
 the cylinder motion so as to bring in the cylinder at the proper time, 
 and press it sufficiently close against the face-plate to keep the hooks 
 clear of the knives of the griffe, without pressing it too close ; and 
 regulating the lifting of the griffe to suit the time for shedding, and 
 to give the size of shed required. The shed must be open for the 
 shuttle to pass through ; the time for picking is when the cranks of 
 the crank-shaft of the loom are at the bottom centre, therefore the 
 shed should be almost fully open at this time. The lifting of the griffe 
 can be made a little earlier or later to suit circumstances, but very little 
 alteration can be made, as it takes a full revolution of the crank to 
 raise and lower the griffe. Further consideration will be given to 
 jacquard shedding after double-acting machines have been explained. 
 
 The motion for working the cylinder, if an independent one, 
 should be rigid and strong ; for if there is any spring in it, though the 
 cylinder may be brought in sufficiently close when there is much 
 cutting on the card, if a blank card or one with very little cutting on 
 it comes on, the extra pressure on the needles, especially with a large 
 machine, may prevent it from getting in sufficiently close to clear the 
 hooks from the griffe. With self-acting motions there may sometimes 
 be some trouble in this way, as the weight of the griffe may not be 
 sufficient to press in the cylinder. In this case the griffe may be 
 weighted, or may be allowed to drop quicker, or the lifting rod and 
 lever may be made to assist in pressing it down somewhat. 
 
 Before starting the machine the needles should be examined to see 
 
JACQUAKD MACHINES 
 
 47 
 
 that they are all free, and that they will spring out easily after being 
 pressed back. The griffe should be perfectly horizontal and all the 
 knives properly set ; the holes in the cards and cylinder should 
 exactly correspond, and when the cylinder comes in the needles should 
 be fair in the centre of the holes ; if not, the cylinder must be set as 
 described (see description of Figs. 26 and 27). 
 
 The driving of heavy single-acting jacquards will be further con- 
 sidered under Twilling Jacquards. 
 
 When any of the hooks or needles in a jacquard get bent or broken, 
 they can easily be straightened, or taken out and replaced by others. 
 By putting a thin blade of iron or wood down through the needles 
 alongside of the hook to be replaced, and springing open the passage, 
 the old hook may be drawn out and a new one put into its place. The 
 tail cord must, of course, be cut off the bottom of the hook, and a new 
 one tied on. For changing a needle take off the spring-box and draw 
 up the pin which fastens the row of needles at the back ; then the 
 needles in this row may be taken out till the defective one is reached, 
 and the row made up again ; or, the old one may be renewed without 
 taking any of the others out. A flat blade is used to slide through the 
 hooks and keep clear the place for the needle to be put in. 
 
 Card Frames. — The cards for jacquard work are usually hung on 
 a frame as o, Fig. 18, wires sufficiently long to catch on both sides of 
 the frame being tied to the lacing of the cards. The number of cards 
 between each wire may vary to suit the space and the quantity of cards. 
 Sixteen to twenty suit very well, the former for small and the latter for 
 larger sets, and for very small sets twelve or fourteen might be more 
 convenient. The frame may be made of round iron rod, or of flat or 
 bar iron, and should be of the shape shown in the sketch, and not semi- 
 circular, as is usually the case, which presses the cards together in the 
 centre; almost flat at the bottom, with just enough of a slope to 
 make the cards slide back, is much the best. Of course, for a few 
 cards ib does not matter much what shape it is. p (Fig. 18) is the 
 frame for the rollers over which the cards travel to the cylinder. They 
 should be so sloped as to make the cards travel up nicely with sufficient 
 drag on them, and not too much ; on this depends a good deal the 
 
48 
 
 JACQUARD WEAVING AND DESIGNING 
 
 proper working of the cards, particularly when the machine is running 
 at a high speed, and when springs are not used to steady them on the 
 cylinder. It is usual to have a roller below the cylinder, attached to 
 the frame which holds the cylinder, and the falling cards pass over it. 
 Sometimes the cards, when falling, are shaken, so that some of the wires 
 may not catch on the frame, but pass through it, or the ends of some 
 of the wires may be bent and cause the same result ; if the weaver 
 neglects to put these up on the frame before the cards work round to 
 those that have fallen, the wire may catch on it and prevent the 
 cylinder from turning, or, perhaps, pull it out. Sometimes a crank or 
 bend is made in the frame at the outer end, so that the wires can pass 
 up through it without catching. The frame should just be sufficiently 
 wide to enable the cards to pass freely through it with, say, one-eighth 
 of an inch clearance at each side ; then, if three or four inches at the 
 outer end is cranked, or set out so as to be a little wider between the 
 two bars than the length of the wires, they will pass up through with- 
 out catching. Frames of the shape described are, of course, only suit- 
 able when the cards are to be wrought forwards — that is, with the 
 cards falling between the cylinder and the machine ; but if they 
 require to be wrought both backwards and forwards, as is sometimes 
 the case, the card frame must be made more of a semicircular shape, 
 and the rollers must be set so as to give a sufficient fall to the cards, 
 and keep them firm on the cylinder. 
 
 As has already been said, the nature of the shedding of a single- 
 acting jacquard is objectionable for speed in working, for ease on the 
 yarn, and for heavy work, or for well- covered work. The jacquard harness 
 is levelled so that the yarn is all sunk, and the shed is entirely a rising 
 one ; it can easily be understood that when the griffe rises to open one 
 shed, it must again fall before it can begin to rise to form the next 
 shed. Now, mostly all tappet motions, and a great many dobbies or 
 shedding motions, either have the yarn springing up and down from 
 the centre, or have one portion rising and the other portion falling at 
 the same time, so that in them the second shed could be open at the 
 same time that the griffe in the single-acting jacquard had fallen to 
 begin to rise the second shed ; but as this would be much too soon, 
 
JACaUAED MACHINES 
 
 49 
 
 they can take a greater time to accomplish the work, and thus have a 
 much slower and steadier motion. 
 
 It has been attempted to work the single-acting jacquard on the 
 centre-shedding principle, and machines are at present being made in 
 France of this class. It is only necessary to let the board on which 
 the upright hooks rest fall at the same time that the griffe is rising in 
 order to accompHsh what is required, and the method of working is 
 good, and would suit well in dobbies where the heddles can be taken 
 firmly down. But in the jacquard the drawback is in the harness : 
 
 Fig. 30 
 
 the constant rising and falling causes a vibration in it, and does not 
 admit of nearly so firm work as when the rising shed alone is used. 
 
 One of these machines is shown in Fig. 80 ; they are a very com- 
 pact and neatly made machine, and contain a much greater number of 
 hooks than one of the English machines. Fig. 26 gives one of the 
 hooks in this machine, and the way in which it acts is there explained. 
 It will be seen that the frame for the cylinder is inverted ; f is the face- 
 plate or needle board as it rests when the cylinder is not pressing 
 against it, being" held in this position by the spring h pressing on a 
 stud on the bar i, which extends from the face-plate to the clap-board 
 G. The cylinder frame is driven by a rod, c, connected with a lever, e, 
 
 E 
 
50 
 
 JACQUARD WEAVING AND DESIGNING 
 
 are two racks on the ends of the hole board on which the hooks rest, 
 and D, D are two levers with quadrant racks on each end, which work 
 into the racks e and e', and also into the racks on the slide bar aK 
 This shde bar is fastened to the griffe a a, which is raised by a con- 
 necting-rod from a horizontal lever to the stud a. As the griffe is 
 raised one end of the racked levers, d, is also raised, and the other end 
 sinks, taking down the hole board by pressing on the racks e and e'. 
 The hole board is fixed so that it will easily slide up and down. If the 
 griffe is raised two inches, the hole board falls rather more than one 
 inch. 
 
 This is a very good motion, perhaps could not be surpassed for the 
 purpose, but, as I said before, has the objection which all similar con- 
 trivances for the purpose must have— viz., causing too much vibration 
 in the harness. All the cords constantly dancing up and down causes 
 an unsteadiness and swinging that is not to be found in the ordinary 
 jacquard harness. These machines have sixteen rows of needles in 
 them, which are much closer set together than those in this country, 
 and give a large number of hooks in a small-sized machine, which is a 
 great advantage when extensive patterns are required. In this 
 machine the half-card contains 440 holes, or 880 holes to the full or 
 double card. The pitch is shown at A, Fig. 31, which represents the 
 end of one of these cards, and a piece of one of the usual 8-row cards 
 as here used is shown at B for contrast, the black dots in both cases 
 representing holes. 
 
 These machines have not been adopted here, nor is it likely that 
 they will be, although they are said to work well in France. They 
 have been tried here, and the difficulty lay in setting the cards properly 
 so as to act correctly on the needles, and keeping them so for any 
 length of time. The least contraction or expansion of the paper, or 
 any irregularity in the cutting, any bend in the points of the needles, 
 or, in fact, anything but perfect exactness, interferes with the working : 
 there is too great compactness in the machine, and in the ordinary 
 wear and tear of work a little allowance is necessary for success. 
 Considering that these are working, it would appear that the pitch and 
 size of the holes in our cards are unnecessarily large, except where 
 
JACQUAED MACHINES 
 
 51 
 
 small machines answer and saving of space is no consideration ; in that 
 case the extra paper required for the cards might be more than com- 
 pensated for by the strength of the machine, and the saving of trouble 
 in attending to it. 
 
 The method already mentioned of getting over the disadvantage of 
 the single-acting jacquard is not likely to gain general favour, and is 
 not required, as it is surpassed by the double-acting jacquard, or that 
 in which there are two griffes, one rising when the other is falling, 
 forming a counterpoise as well, making the shed more after the 
 
 A 
 
 •••••• 
 
 •••••• 
 
 •••••• 
 
 •••••• 
 
 •••••• 
 
 •••••• 
 
 •••••• 
 
 Fig. 31 
 
 principle of ordinary tappet shedding. In a loom fitted with a single- 
 acting jacquard, if there is much weight to be hfted, it will turn round 
 the loom so that it will rest in no position but with the griffe down, 
 and this is frequently of so much annoyance to the weaver as to 
 necessitate a counterpoise being applied to balance it. Sometimes 
 Aveights are used, and sometimes springs. With the double-acting lift 
 nothing is required, and this was first used in Cross's counterpoise 
 harness (about 1816). 
 
 In the double-lift machine there are double the number of hooks 
 
52 JACQUARD WEAVING AND DESIGNING 
 
 that there would be m a smgle-hft machine of the same size, but the 
 same number of needles ; each needle is connected with two hooks, as 
 shown in Fig. 32, which gives one row of hooks and needles for an 
 8-row or 400 machine. There are two griffes, one working above the 
 other, as shown at A and B, Fig. 33. e, e is the top griffe in both ; c, c 
 is the bottom griffs, shown complete at A, but at B the side-bar of the 
 frame is omitted, leaving only the knives to show how they fall in 
 between those of the bottom griffe ; d, are the two slide rods or 
 spindles which keep the griffes steady in their traverse. There must 
 
 ¥io. 32 Fig. 33 
 
 be a sufficient space between the frame c of the lower griffe and that 
 of the uppfir griffe, e, to allow of the required draw being given to form 
 the sheds without them coming into contact. In these machines, 
 although there are 16 hooks in the row, they only act as eight, so far 
 as forming the pattern is concerned, as two hooks are governed by one 
 needle ; the additional hooks are solely for the purpose of obtaining a 
 rising and falling shed. Each pair of hooks is connected together at 
 the bottom by a piece of strong cotton cord, called the tail cord or tug 
 cord, as shown in Fig. 35. The griffes are raised by two levers 
 arranged side by side, and similar to the one shown in Fig. 17. These 
 
JACQUAKD MACHINES 
 
 53 
 
 levers are wrought by rods connecting them to a double crank, or 
 sometimes to a tappet, on the tappet shaft of the loom. The common 
 form of crank is shown at A, Fig. 34. B is the tappet shaft, and on 
 the end of it is fastened a disc. A second disc, which carries the 
 double crank, g, is bolted against this one, and can be shifted to what- 
 ever position is required to give the tread at the correct time. The 
 cylinder is driven from an eccentric on the crank- shaft as before 
 described. One of the griffes rises for each shot, the other falling at 
 the same time ; but the cylinder must come in for every shot, and 
 it is here that the principal fault in this machine lies. Not only 
 has the cylinder to travel at a high speed, but when one griffe is at its 
 highest position, it has to press against the needles, so as to clear away 
 
 Fig. 34 
 
 those hooks that are not to be lifted by the lower griffe, which should 
 now be beginning to rise ; and in consequence of the needles being 
 attached to two hooks, one belonging to the upper griffe, and the other 
 to the lower one, it follows that those needles that are pressed in by 
 the cards have to spring back the hooks connected with them that are 
 raised by the upper griffe, which is a severe strain on both needles 
 and cards. To prevent the hooks being pushed off the upper griffe, 
 they must have larger turns on them than would otherwise be 
 necessary. 
 
 Fig. 35 shows how the raised hooks can be allowed to yield to 
 the pressure of the needles, a, b, c, d are four hooks connected with 
 two needles, 1 and 2. When the hook a is raised, if b, which raises 
 the same warp— as will be seen by the connection of the tail cords with 
 
54 
 
 JACQUAED WEAVING AND DESIGNING 
 
 the harness at e — is not to be raised for the next shot, the needle 1 is 
 pressed back by the card, and presses the hook b back from its knife as 
 shown, the dotted Hne being its original position ; the a hook, being 
 connected with the same needle, must also be sprung back, bvit its 
 head cannot get back, as it is held on the blade of the griffe, so that 
 the wire would require to spring, if some escape were not made for it. 
 The lower ends of the hooks are made V- shape in the grating, so that 
 when raised, if pressed on by the needles, they can move forward as 
 showai, the dotted line showing the original position of the hook a. 
 When the hooks fall, they fill the slots in the grating, and are thus 
 kei^t steady, a shows the tail cords as connected with the harness 
 ■when both hooks are down ; e shows them when one hook is up and 
 the other down, and if the hook b was raised for the next shot, the 
 tail cord on it would be tightening up as that on a would be falling, 
 and the harness attached to them w^ould be caught up a second time 
 from the middle position, thus forming centre shedding with any 
 portion of the harness that is raised several times in succession. With 
 plain-texture cards the upper and lower portions of the shed w-ould 
 pass each other in the centre when the sheds are being reversed, all 
 the even numbers of hooks being on one griffe, and all the odd numbers 
 on the other. 
 
 The tail cord consists of two pieces of cotton cord, one fastened to 
 each hook of a pair, then the two ends are together tied to the bunch 
 of neck twines that are to hang from these hooks, as shown m Fig. 35, 
 and at a, Fig. BG. When one hook is raised and the tail cord drawn 
 up wath it, the other portion of the tail cord, which is tied to the other 
 hook, is slackened — as shown at a. Fig. 36 — which causes a certain 
 amount of friction on them. Also, when one hook of the pair is falling 
 with the descending grifi'e, and the other hook rising, the pluck 
 occasioned thereby on the cords, when the hooks are passing at the 
 centre, has a tendency to wear and break them. Although this does 
 not occur when the lingoes are of a moderate weight (18 to 25 per lb.), 
 and w^hen only a few neck twines are tied to each tail, yet when a large 
 number of neck twines (say 20) are tied to each tail, with w^eighty 
 lingoes, as may frequently be the case in weaving small patterns on 
 
JACQUARD MACHINES 
 
 55 
 
 woollen and worsted goods, the breakage of the tail cords is a common 
 source of complaint, which not only gives the trouble of renewing 
 them, but is liable to cause defects in the cloth, by the weaver not 
 observing the breakage for some time, as one hook of the pair may be 
 
 K \ 
 
 B 
 
 V 
 
 Fig. 35 
 
 Fig. 36 
 
 raising the neck twines—that is, in case of the tail cord to only one of 
 the hooks breaking. To remedy this Messrs. Hancock, Rennie, and 
 Hudson have this year (1890) introduced a patent link connection for 
 joining the tail to the hooks, which only requires one cord, or double 
 cord, to be used, instead of two as before. This is shown in Fig. 36 at 
 
56 
 
 JACaUAED WEAVING AND DESIGNING 
 
 B. When one hook is raised and the other down, the hnk is in the 
 position shown at c. The old method is shown at a. When one hook 
 is rising and the other falhng, the partial turning of the Hnk causes a 
 loss of time equal to about a quarter of an inch of hft, and this eases 
 the sudden pluck on the tail cord. When both hooks are down there 
 is also a loss of a quarter of an inch in the lift when one hook begins 
 to rise, caused by the turning of the link. 
 
 This patent works very well, but, except when heavy weights are 
 
 Fig. 37 Fig. 38 
 
 on the hooks, is not likely to supersede the older methods. These 
 links are fitted to machines by makers in Manchester and Bradford. 
 
 Before the form of griffe shown in Fig. 33 was adopted the hooks 
 were made of two heights, as shown in Fig. 37, and one griffe wrought 
 above the other, instead of the one set of blades or knives passing 
 through each other ; but this method was given up on account of the 
 vibration of the long hooks, which made it uncertain whether they 
 would remain on the knives or keep clear of them when required. 
 
JACQUAKD MACHINES 
 
 57 
 
 Fig. 37 shows this arrangement of hooks for a double-cylinder machine ; 
 for a single-cylinder machine with two griffes the heights of the hooks 
 would be similar, but the heads would all be turned in the same 
 direction, and the knives sloped to suit this, as is done when the hooks 
 are all of the one height ; each needle would be connected to a short 
 hook and a long one. The short hooks give much more certain work, 
 and can have the cylinder set so as to press back the hooks only as 
 much as is required, whereas with long and short hooks allowance had 
 to be made for the vmcertainty of the vibration and the difference in 
 the length of the two sets of hooks. 
 
 Fig. 88 is a view of one of the best makes of double-lift jacquards 
 with a single cylinder. 
 
 The machine is made by D-evoge & Co., of Manchester, but is not 
 here given as being specially recommended in preference to others ; it 
 is only given as an illustratioru Those wanting to buy a machine had 
 better see what are in the market, and select what they, consider most 
 suitable to their work and price. This applies to all the machinery 
 given in these articles. There is rarely a best machine for all 
 purposes. 
 
 These machines are much in use, and can be run at a high speed, 
 say 160, or even 180, and by 
 many are preferred to the double- 
 cylinder machines, as there is no 
 danger of one cylinder getting 
 before the other, and the cards 
 are all laced in one set ; besides, 
 it may be more convenient for 
 working, as some arrange their 
 machines so that the cards for 
 one loom hang to the back, and 
 those of the next to the front. 
 
 When these machines are to work 
 
 Fig. 39 
 
 at a high speed, the slide-motion 
 
 cylinder will probably be found the most satisfactory. Fig. 89 
 illustrates one of these machines with slide cylinder motion and th^e 
 
58 JACQUARD WEAVINa AND DESIGNINQ 
 
 levers for driving it, the connections being as before given. The levers 
 for raising the griffes are also shown, but here go to the back, whereas 
 they are usually at the side. 
 
 The most perfect jacquard machine in the market is undoubtedly 
 
 the 
 
 DOUBLE-ACTING JACQUAED WITH TWO CYLINDERS 
 
 The only drawback to this machine is, except what maybe said against 
 the method of shedding, the liability of one cylinder to be turned out 
 
 Fm. 40 
 
 of time, or get a shot or two before the other, so as to put the cards oif 
 their proper rotation ; but this is only a difficulty in the hands of inex- 
 perienced weavers ; nevertheless it exists. The effect will be to spoil 
 the pattern on the cloth, giving the twill a mixed or broken-up appear- 
 ance. There are motions in use for stopping the loom, unless the cards 
 come in rotation, but many prefer to work without them. Fig. 40 is a 
 view of a two-cylinder machine made by Messrs. Devoge & Co., with 
 
JACQUARD MACHINES 
 
 59 
 
 swing-motion cylinders, which are, perhaps, the hest motions for these 
 machines, as they do not require to travel quickly. A very good speed 
 for the machines to work at is 160 to 180 or 200 picks per minute, and 
 the cylinders would only travel at half this speed. The cylinders should 
 be driven by an eccentric, same as given for the single-acting machines, 
 but instead of being on the crank shaft, it should be on the tappet 
 shaft, which runs at half the speed ; and as the two cylinder frames 
 are connected together, when the one is going out the other is coming 
 in, so that one eccentric making a revolution for two beats of the slay 
 
 Fig. 41 Fig- 42 
 
 will drive both cylinders. Sometimes the eccentric is on the tappet 
 shaft, inside the framing of the loom, and is connected with the 
 top lever, as shown in Fig. 34 (B). c is the eccentric, d the 
 fulcrum of a &hort lever attached to it, and b the upright rod attached 
 to an arm or lever on a horizontal shaft supported by the machine, or 
 on the top of the loom. A lever from this shaft on each side of the 
 machine drives the cylinders. ' The eccentric may be on the end of the 
 tappet shaft, same as it is shown on the crank shaft in Fig-. 18 ; but it 
 might not always be convenient to have it here, and perhaps the most 
 
60 
 
 JACQUAED WEAVING AND DESIGNING 
 
 desirable way to have it at any time is to have a pinion on the crank 
 shaft with, say, twenty teeth in it, and a stud wheel alongside with 
 forty teeth gearing into it. On this stud the eccentric can be fixed, 
 and will give a very steady and convenient method of driving. The 
 griffes are raised in the same way as for the double-lift jacquard with 
 one cylinder. (See Fig. 34 (A) ). 
 
 Fig. 41 shows the arrangement of a row of hooks and needles for 
 a double- cylinder machine. The top needle of the upper set and 
 the bottom needle of the under set are attached to two adjoining 
 hooks, which are connected together with the same tail cord. This 
 arrangement is to enable the cards when working at both sides to act 
 on the correct hooks, which will be better understood by referring to 
 the description of lacing cards for these machines. In Fig. 41 it will 
 be observed that all the hooks are vertical. Sometimes the hooks are 
 slanted a little, as in Fig. 42, to give more space between the hooks at 
 the top, without increasing the width of the machine, and there is a 
 slight difference in the arrangement of .the hooks and needles, as is 
 shown. Both work very well. 
 
 Fig. 43 shows a two-cylinder machine, by Messrs. Devoge & Co., 
 with a shde motion for the cylinders, which would be driven in the 
 same way as the swing motion. 
 
 It has been said that the shedding of a single-acting jacquard is of 
 the worst description for general weaving. That of the double-acting 
 machine is by no means perfect either ; some prefer the single- to the 
 double-acting for making fine damask. Jacquard shedding cannot be 
 regulated in the same way as tappets or the best shedding motions can. 
 In tappets the dwell can be regulated to suit the cloth required, and the 
 time of the shedding can be made early or late as desired. In jacquards 
 this cannot be done to anything like the same extent. The shed must 
 always be open in time for the pick, and the pick should begin when 
 the cranks are about the bottom centre, a little earher or later, as 
 desired. The jacquard must have the shed open at this time, and must 
 keep it open till the shuttle passes through. 
 
 It has been said that the usual method of raising the griffe or 
 griffes is by a erank (or a stud in the wheel, which is practically a 
 
JACQUAED MACHINES 
 
 61 
 
 crank) on the crank shaft for a single-acting machine, and by a double 
 crank on the tappet shaft for a double-acting machine. Now, a crank 
 gives a continuous eccentric motion with a slight dwell when it is at 
 both top and bottom centres. Sometimes a tappet is used to raise the 
 griffes instead of a crank, and of course any required dwell can be 
 made on a tappet ; but then it must suit the jacquard, and the greater 
 the dwell, the less time is occupied in the rising and falling of the 
 
 Fig. 43 
 
 harness. If the harness is plucked up or dropped down too quickly, 
 the result is a dancing or unsteadiness of the cords, and in a double- 
 lift machine there will be a considerable plucking when the hooks that 
 are rising take up the cords that are falling. In order to keep the cords 
 as steady and free from vibration as possible, if there is any swinging 
 in the weights or lingoes, it is a common practice to put a frame 
 round these, with wires run through it at whatever distance apart is 
 thought desirable, so as to partition them off in bunches and keep 
 them from swaying about. 
 
62 
 
 JACQUAED WEAVINa AND DESIGNING 
 
 The smoother and slower the harness can be raised and lowered,, 
 the better. Therefore, to get a high working speed, the time or the 
 portion of a revolution of the crank shaft given to the rise and fall 
 must be as great as possible, so that very little could be gained by 
 using a tappet. If a tappet is to be used, a box tappet Avill be required, 
 or is more satisfactory for a single-acting machine, in order to make 
 the grifi'e in falling follow the tappet and avoid any plucking or jerk- 
 ing ; sometimes a fork lever, with the tappet or wiper working between 
 the prongs of the fork, is used for the same purpose. For a double- 
 acting machine double wiper tappets, acting on levers or treadles, are 
 sometimes used, the griffes falling of their own weight ; the tappets are 
 nearly round eccentrics, or like plain tappets with a very short dwell, 
 not more than one-fourth of a revolution of the crank shaft. It may 
 therefore be considered that the harness should always be moving 
 either up or down, with a small pause when the griffes are at the top 
 and bottom, to admit of an easy turn and to allow the shuttle time for 
 its passage through the shed. With the crank drive the shed will re- 
 quire to be opened a little wider than if the dwell was as great as it 
 should be, especially in wide looms, in order to let the shuttle get 
 through freely ; but it would be more desirable, and a saving of strain 
 on the yarn, to have the dwell greater, and not open the shed any 
 wider than is necessary to admit the shuttle. 
 
 Speaking generally, the usual rule for the time of shedding may be 
 said to be to let the shed be closed when the cranks of the loom are at 
 the top centre, or perhaps one- sixteenth of a revolution farther for- 
 ward, and let the shed be full open when the cranks are about the bottom 
 centre. It therefore follows that the single-acting jacquard must open 
 the shed in a little less than half a revolution of the crank shaft, and 
 close it in the same time ; but the double-acting machine takes nearly 
 a full revolution (three-quarters, or a little more, should do) to either 
 rise or let fall one of the griffes. It will be evident that there is a con- 
 siderable difference in the nature of the shedding. A single-acting 
 machine requires the w^eft to be beaten up on a closed shed (the time of the 
 crank in coming from the top to the front centre being taken up with 
 rising the griffe from the bottom up to catch the hooks), whereas in a 
 
JACQUARD MACHINES 
 
 63 
 
 double-acting machine the case is different ; though the shed is closed 
 at the same place, or in the same position of the cranks, the griffes are 
 in an entirely different position. The closed shed with the single- 
 acting jacquard is when the griffe is down, but with the double-acting 
 machine it is when the two griffes are on a level— that is, halfway up. 
 Of course, more or less of the yarn may be at the bottom position, so 
 that there may be no closed shed, or in no position of the griffes may 
 the yarn be all on a level, unless none of the hooks are on either of 
 the griffes, or if one griffe has all the hooks on it. When the single- 
 acting machine begins to open the shed, the driving-crank of the griffe 
 is upright or at the top centre, and in the position to give the slowest 
 motion to the griffe ; whereas for the double machine the lifting 
 cranks are horizontal when the shed is closed, and in the position to 
 give the griffes the quickest motion ; therefore, when the lay gets to 
 the fell of the cloth in a single-acting machine, the shed is still close, 
 whereas with a double-acting machine it is fully half open. From 
 this it follows that, to get a close covered cloth, the double-acting 
 machine is the better, as the weft is beaten up in a crossed shed ; but 
 to get a clean- surfaced fabric, with the weft lying straight between the 
 two portions of the warp, the single-acting jacquard is better. It is 
 for this reason that the single-acting machine is preferred by many 
 workmen for making fine damask, which does not require much cover- 
 ing to give it a good appearance, and there is less chance of having 
 cut weft and of looping when striking on the open shed. Of course 
 the weft may be cut in a hard fabric by the reed having to strike too 
 heavily against it, and in this case striking on a crossed shed might 
 prevent the cutting, by the weft going on easier. 
 
 In hand-loom linen damask the shot is struck up when the shed is 
 about half closed ; the warp is held so firm in the loom that there is 
 no spring in it, and the weft does not rebound. A cleaner surface 
 is thus made on the cloth than if the weft Avas struck up in a closed 
 or cross shed. 
 
 In a single-acting machine the faults in the cloth are more readily 
 seen than with a double-acting one, as, in case of a hook missing the 
 knife, in a single machine it would show in a short time, whereas in 
 
64 
 
 JACQUARD WEAVING AND DESIGNING 
 
 a double-lift machine one hook of the pair might be missing the knife 
 and the other taking it, so that it might be some time before it would 
 be observed. One of the tail cords breaking might have a similar 
 effect. 
 
 The foregoing gives a general description of working the jacquard ; 
 but no hard-and-fast lines can be laid down— a little variation may 
 be necessary at any time, to suit circumstances and the class of work. 
 
 JACQUAED STOP MOTION 
 
 E = 
 
 When working with two cyhnders, one may happen to be turned at a 
 time when it should not, and thus put the cards out of rotation. Many 
 attempts have been made to overcome this difficulty by stopping the 
 loom when the cards get out of the proper order, but none of the 
 methods adopted have ever gained much favour. Eecently a new 
 motion has been patented, and is being applied to machines by Messrs. 
 
 Devoge & Co., of Manchester. 
 It is called the ' Devoge 
 jacquard stop motion.' 
 
 Fig. 44 shows how it may 
 be apphed to a machine. 
 The hooks a and b and the 
 needles e and f are those 
 here used to work the motion. 
 They may be at either side 
 of the machine, but should 
 be at the side of the belt 
 handle. One hook must be- 
 long tD the front cylinder 
 needles, and the other to the 
 back ones. The hook a re- 
 quires a lingo attached to it to draw it down after being hfted. The 
 hook B is attached to a lever connected to the side of the loom, so that 
 when one end is raised a hammer on the other end pushes off the belt 
 handle (alever and bracket are supplied for the purpose), c is a wire 
 
 Fig. 44 
 
JACQUARD MACHINES 65 
 
 bell-crank lever with a turn or loop on it at d to act as a spring. The 
 fulcrum is at l, on a piece of iron bolted to the edge of tlie machine ; 
 the lower end of this lever passes through an eye in the hook a at c', 
 and the upper end passes through an eye in the needle e. There is a 
 spring on the point of the needle e, between the face-plate and the eye, 
 which the lever goes through, and which holds the needle back as 
 shown. 
 
 Each time the hook a is raised the lever presses forward the 
 needle e, and with it the hook b, which would then be raised by the 
 lower griffe, unless the card pressed the needle back again and pushed 
 it off. Thus, by having a hole cut m the cards for the needle f, and 
 none for the needle e, the hook b would never be raised ; but if a hole 
 is cut for e in a card following one in which a hole was cut for f, 
 the hook b would be raised and the loom stopped. It is, therefore, only 
 necessary to arrange the cutting of the cards to allow the loom to work 
 when they are following each other in rotation ; but as soon as one 
 card gets out of order the loom should be stopped, though, perhaps, 
 not till it has run for a few shots. Thus — 
 
 Number of cards — 
 
 ' I 8 5 7 9 11 
 e T~ ~" 
 
 Cut the large dots for the needle e. 
 
 2 4 G 8 13 12 
 
 • • » ~T~ ~r T'' 
 
 Cut the large dots for the needle f. 
 
 This gives a repeat of twelve cards ; but any nu nber to suit may be 
 used. Thus — 
 
 Number of cards — 
 
 3 5 7 9 11 13 15 
 • • ■ • • • • 
 
 Cut the large dots for the needle b. 
 
 F 
 
66 
 
 JACQUARD WEAVING AND DESIGNING 
 
 Number of cards — ■ 
 
 2 4 6 8 10 12 14 16 
 • • • • 
 
 Cut the large dots for the needle f. 
 
 This gives a repeat of sixteen cards. The even numbers of cards 
 go to the front or top cylinder, and the odd numbers to the low 
 cyhnder, and it may be seen that a hole in an even-numbered card 
 following one in an odd-numbered card will not stop the loom ; but a 
 hole in an odd number following one in an even number will stop the 
 loom, as it is the hook b rising after a that stops it ; therefore any 
 suitable rotation of cutting may be adopted, and the stoppage can take 
 place either at short or long intervals, as desired, the principle being 
 to raise the hook a two or three times, and push the hook b back again 
 by having no hole cut for the needle e. Then leave a down for three 
 or four shots, and cut holes for e, which have no effect unless the cards 
 get out of rotation, and one of those with a hole cut to raise the hook 
 A comes before one with a hole cut for the needle e, when b will be 
 raised and the loom stopped. This is a good arrangement, and works 
 very well. 
 
 Another motion for a similar purpose, invented by the writer, is 
 shown in Fig. 45. It is based on the following principle : Suppose a 
 cord is taken from any two hooks of the jacquard, and passed round a 
 pulley on the ' hound tail ' or long lever of the weft fork motion ; if 
 the cord is left slack, so that raising one of the hooks will just tighten 
 it, then raising both hooks together will lift the lever, and can be made 
 to stop the loom. The difficulty to be got over is that one of the hooks 
 must belong to one griffe, and the other to the other one, in order to 
 make the motion act with the two sets of cards. As the two griffes 
 pass each other at the centre, or at the half-hft, this must be taken as 
 the full lift, the cord must be stopped here, and not drawn any farther; 
 for the remaining portion of the lift the hooks must draw a spring. 
 This can be easily arranged by having loops on the cord passing round 
 wires in the cumber board, or by having the two ends of the cord 
 
JACQUARD MACHINES 
 
 67 
 
 passing through a small hole board, and having knots or beads on them, 
 beneath it. Other methods may also be adopted. 
 
 One of the most desirable arrangements is shown in the figure : 
 A, A are the two hooks ; b, b are two small springs by which the two 
 levers, c, c are attached to the hooks with cords ; d is the frame for 
 holding the levers, and is fastened to the top rail of th s loom, under 
 the jacquard, or in any convenien*; 
 place. It will be observed that thg 
 front bar of the frame passes above 
 the levers, so that it will prevent 
 them rising above the half-draw of the 
 hooks, in which position they are 
 shown. E, E are two cords connected 
 with a jack or tumbler, p, on the end 
 of a bell -crank lever, g h l, having 
 its fulcrum at h, which may be on 
 the same stud as the weft fork lever, 
 or in any convenient place. 
 
 The weight of f and g keeps the 
 cords in tension, and the point l of 
 the lever is set behind the lever on 
 the loom which carries the weft fork, 
 at such a distance from it that when 
 one of the cords e is drawn it does 
 not act on it ; but when both hooks 
 are raised, drawing up the two cords, 
 the point l of the lever presses against 
 the weft fork lever, pushing off the belt handle and stopping the 
 loom. 
 
 The lever g h l may act directly on the belt handle, if desired ; in 
 this case it would be fixed outside the loom framing. The cards are 
 cut on the same principle as for the last motion, but the same holes 
 will do in both sets of cards, as the two needles are acted upon by tlie 
 same number of holes in both back and front sets ; that is, for two 
 hooks coming beside each other. 
 
 r 2 
 
 Fig. 45 
 
68 JACQUAKI» WEAVING AND DESIGNING 
 
 The following order of cutting will answer : — 
 Number of cards — 
 
 13 5 7 2 4 6 8 
 
 • • • • • • • • 
 
 Cut the large dots on the number of cards given, and of course they 
 must be cut to suit the needles connected with the hooks used. 
 
 The above gives a continuous working of the motion, but it would 
 be sufficient for it to work at intervals having 8 or 10 shots between 
 them, as — 
 
 Number of cards — • 
 
 1 3 5 7 9 11 13 15 17 19 2 4 6 8 10 12 14 16 18 20 
 • • •• • • •••• 
 
 This will not allow the loom to run for more than 20 shots after the 
 cards get out of order. 
 
 Some other motions are in use, but these are simpler. 
 
 Before describing twilling machines or any special make of jacquards, 
 it may perhaps be better to explain the mounting of ordinary machines, 
 according to the usual methods adopted in some of the leading 
 districts. 
 
69 
 
 CHAPTEE III 
 FULL-HABNESS MOUNTINGS 
 
 The mountings that jvill be alluded to in this section are all intended 
 for ' full harness ' ; that is, the ordinary method of jacquard weaving 
 when applied to such fabrics as damask, dress goods, and, in many 
 cases, to double cloths, handkerchiefs, &c. 
 
 Full harness, or, as it is termed in some hand-loom districts, shot 
 and draft, to distinguish it from the ' pressure harness ' system, holds 
 the first place amongst mountings, as by it can be done what cannot 
 be done by any other method, and everything can be done by it that 
 can be done by any harness, or combination of harness or heddles ; 
 though it does not follow that it would be desirable to adopt it in every 
 case. In a full harness each thread in any part of the tie can be lifted 
 independently of the others ; in wide fabrics, or in order to reduce ex- 
 pense in narrow ones, recourse is had to gathering or repeating the tie, 
 and like threads in each repeat must be lifted together ; but in a single 
 tie any one thread can be lifted independently of any other. In full 
 harness there is one thread of warp drawn into each mail or eye of the 
 harness, and one shot is given to each change of card. Other descrip- 
 tions of harnesses are known as * half harness,' ' split harness,' 
 ' pressure harness,' ' gauze harness,' double-cloth and quilt harnesses, 
 &c. 
 
 Half harness is the term applied to that description of harness in 
 which the half of the warp (every alternate thread) is drawn into the 
 harness, and the other half passes through it loosely. This is mostly to 
 be found in the manufacture of gauze or leno curtains, and is wrought 
 with a shaft mounting in front of the harness. 
 
 Split harness is applied when two threads are governed by each 
 
70 JACQUARD WEAVING AND DESIGNING 
 
 Look of the jacquard, and the groiuid of the cloth is wrought hy some 
 other means, as shafts through the harness. This is to be found in 
 the silk trade. 
 
 Pressure harness is Avhen several threads of warp are drawn into 
 each mail, and when the harness is drawn it remains stationary for 
 several shots of ground texture, for which the sheds are sprung or 
 pressed open by h eddies. 
 
 Gauze harness is a harness fitted up with doups for weaving leno 
 and gauze, and is mostly full harness. 
 
 Douhle-cloth and quilt harnesses are for weaving these fabrics. 
 
 Mounting, or gaiting, is a term that may be taken to apply to the 
 building of the harness and the preparing of everything in connection 
 with it. The form of ' tie ' to be adopted wih depend to a great extent 
 .on the nature of the fabric to be made, and to the style of pattern 
 which is to be applied to it. For instance, dress goods may be required, 
 ■and the pattern may consist of small sprigs or objects repeated 
 over the surface of the cloth, forming a simple repeating pattern. 
 .Again, handkerchiefs, napkins, or table-covers may be wanted, 
 which will require a bordered ' tie,' and may have both single and 
 ilouble mounting in them. Sometimes the manufacturer mounts 
 his looms to what he considers a desirable ' tie ' (or arrangement of 
 cords) to admit of having a good variety of patterns wrought on it for 
 whatever class of goods he is likely to make, and then he has the 
 patterns made to suit the tie or mounting. Sometimes patterns are 
 procured which will give the best possible effect on the least possible 
 machinery, or the least number of hooks of the jacquard, and the 
 mounting is then arranged to suit the pattern. On this method often 
 a very considerable saving of machinery can be effected by turnin,t>- 
 over or gathering the harness ; or, by arranging a variety of turns over, 
 or gathers, and repeats, a very diversified effect can be obtained with a 
 small number of hooks, as those accustomed to the larger forms of 
 shaft mountings wih readily understand. Thus, if we take 100 hooks 
 of the jacquard as equal to 100 shafts, it will easily be understood that 
 a large variety of beautiful patterns can be produced with either a 
 straight or zigzag draft, though they will be mostly of a set or con- 
 
FULL-HAKNESS MOUNTINGS 
 
 71 
 
 ventional type. The objection to mounting a loom in this way is, that 
 if a change of pattern to a free or running style is required, it is 
 necessary to cut down the harness and remount it, probably requiring 
 new machinery as well. It may, however, suit to adopt both methods ; 
 that is, to have a few looms for working conventional patterns on small 
 jacquards, say 200 hooks, and others mounted for free patterns 
 requiring, say, 400 or 600 hooks in the machine. Of course this entirely 
 depends on the nature of the orders likely to be received, and manufac- 
 turers must use their own judgment, in which, however, they are more 
 likely to err on the narrow than on the liberal side of the question, the 
 result being cramped and stiff patterns, with a probable loss instead of 
 gain. Two styles of mounting harness are in general use— one, known 
 as the ' London tie,' being used in Spitalfields by the silk weavers ; the 
 other is called the ' Norwich tie,' as it was there adopted in the early 
 days of weavhig. About 1830 the Norwich style was adopted in 
 London, as the weavers' houses were too low to admit of the jacquards 
 being set high enough to suit the London method, which, having a 
 quarter-twist in the harness, requires more height than is necessary 
 for the Norwich system, in which the harness passes direct from the 
 jacquard to the cumber board in flat rows without any twist. 
 
 The Harness— V^^-ien about to mount a loom the first process is 
 to prepare the harness. A harness is built up of several parts, the 
 methods of preparing and building varying in different districts. A 
 few of the best methods will be given. Fig, 4G, Nos. 1, 2, and 3, show 
 a complete cord of the harness in three methods of preparing it— a 
 (Nos. 1 and 2) are the tail or tug cords looped to the hooks of the 
 jacquard ; these cords are only necessary on double-hft machines, and 
 are usually put on by the machine-makers. They are made, of twisted 
 cotton, and are soft and phable. l shows the knot, known as the ' tug 
 knot,' by which the tail cords are looped on the hooks, b, b are two 
 methods of knotting the neck or body of the harness to the tail cords ; 
 that in No. 1 is the usual method, c, c are the hecks, or guide reeds, 
 through which the harness passes, g, g are the lingoes, or leads, 
 formerly made of strips of lead, but now of wire. From the lingo to 
 the mail or eye, f, through which the warp passes, is a double cord 
 
72 
 
 JACQUAED WEAVING AND DESIGNING 
 
 called the bottom piece, or hanger. From the mail, passing through 
 tho cumber board or harness reed b, is another piece of double cord, 
 called the top or mid-piece, or the ' sleeper ' ; to this is looped or tied 
 the neck twine in various ways, two methods of which are shown at 
 
 D d cP (No. 1) and at d (No. 2); No. 3 
 shows levelling below the cumber board, 
 with two methods for tying h and h'. m is 
 the snitch knot, which is much used for 
 fastening cords that require careful adjust- 
 , ing. Sometimes it is a matter of choice to 
 
 adopt any method of mounting, and some- 
 times one plan may suit circumstances better 
 than another. 
 
 Preparing Lingoes.— k prepared lingo 
 is shown at No. 4, Fig. 46, this work being 
 generally done by little boys or girls, or by 
 old women. One of the commonest methods 
 of preparing them is as follows Having 
 prepared the mails, which are small eyelets 
 of brass, copper, or steel of the shape shown 
 at F, sometimes with round holes in the 
 centre and sometimes with elHptical or long 
 shaped ones, they are put into a dish or 
 pan ; a boy takes a piece of wire and strings 
 a number of them on it. The wire is then 
 fastened on a rack, or in any convenient 
 place, by both ends, in a horizontal position. 
 A bunch of small pieces of twine is tied up 
 in a convenient place ; these are to form the 
 Fig. 4G hangers, or to connect the hngoes with 
 
 the mails. Having the lingoes conveni- 
 ently placed, and being provided with a pair of shears, the boy sets 
 to work. Taking a piece of twine, and puUing it through an end hole 
 of a mail, he doubles it evenly, and, lifting a lingo, puts both ends 
 through the eye in it, and casts on a knot, as shown at n (No. 4). 
 
FUIL-HABNESS MOUJs TINGS 
 
 73 
 
 The loop on the twme there shown requires to be pushed up over the 
 lop of the hngo, then drawn tight, and the ends dipped off. This mail 
 is then pushed along the wire, and the others proceeded with. The 
 pieces of twine for forming the hangers, as well as the sleepers, are 
 prepared by warping them off spools round two pins, and then cutting 
 them across. Of course the pins must be set apart at such a distance 
 as will suit the length of the sleepers and hangers required. The 
 usual length of the hanger (when doubled) is 7 or 8 in., and that of 
 the sleeper or mid-piece Avhen it passes through the cumber board, as 
 in Nos. 1 and 2, Fig. 46, and as shown at No. 4, is 15 or 10 in. When 
 a quantity of lingoes are hung on the mails, the top cords or sleepers 
 may be put through the top holes in the mails, and tied with a weaver's 
 knot, the ends being neatly clipped off. 
 
 A quicker method of preparing hngoes is as follows : — Two upright 
 pieces of iron, as a, a. Fig. 47, are fastened on a board, or on a bench or 
 
 Fig. 47 
 
 table. A cut is made in each of these, so as to hold a piece of flat wire 
 such as is used for coarse reeds. This wire is pointed at one end, so 
 that by taking a handful of mails they can easily be gathered up on it. 
 It is then placed in position, as shown at b ; the mails, d, are shown on 
 it, and c is a spool containing tAvine for the hangers. By rubbing the 
 end of this twine with wax, so as to stiffen it, and gathering all the 
 mails on the wire evenly together, the end of the twine may be run 
 through the holes in all of them at once. This end is fastened, and with 
 a hook, as shown at f, the twine can be drawn through the mails, begin- 
 ning at the one farthest away from the spool, and passing from one to 
 the other in succession, looping the twine round the pin e, which 
 should be at such a distance from the mails as is required to make the 
 hangers the proper length. If many mails are to be threaded at once 
 
74 
 
 JACQUAED WEAVING AND DESIGNING 
 
 there sliould be two or three pins as e, so as to avoid too much slope 
 from them to the mails, which would increase the length of the 
 hangers. The twine can be cut Avhen the mails on the wire are com- 
 pleted, and the other ends of the mails turned round and treated 
 similarly for the sleepers ; but the pegs will require to be shifted, so as 
 to get the required length of twine. When finished, these can be cu-y 
 also, and the wire tied up in a convenient place, so that the lingoes 
 may be hung on, as before described. The sleepers can then be 
 knotted, if required to be. 
 
 After the lingoes are thus prepared the twine is frequently var- 
 nished, and sometimes twisted so as to prevent that of the hangers 
 from rising up through the hole of the mail and getting in between 
 the two halves of the yarn when the shed is crossing. This frequently 
 happens if anything prevents the lingo from dropping. A common 
 method of twisting them is for a boy to give them a coat of flour- 
 paste or a light coat of varnish, then, having them hung on a rod 
 which passes through the loops of the sleepers, he takes a handful of 
 the lingoes, and, placing them on his knee, rolls them round wdth his 
 hand till they are sufficiently twisted, then lets them hang down, and 
 proceeds with another handful. 
 
 When the paste or varnish on these is set they can be well var- 
 nished. About two inches at the top of the sleepers must be left 
 without varnish, to leave it soft and pliable for tying the neck to ; the 
 knots on all the sleepers must be brought up to about the point before 
 they are twisted or varnished. When the lingoes are thus prepared 
 and dry they can be tied in bunches, to be used as required. 
 
 Some do not varnish the twines till the harness is all mounted, and 
 then varnish it all over. Others do not varnish at all. In this case 
 the hangers are not twisted, and for light open sets of harness they 
 need not be twisted at any time. 
 
 LINGOES OB LEADS 
 
 For pressure harness work the weights for drawing down the 
 harness were originally made of lead, about the length and thickness 
 of a thin pencil, but tapering to the lower end. The weight varied 
 
FULL-HARNESS MOUNTINGS 
 
 75 
 
 with the number of ends to the mail, the strength of the yarn, and the 
 weight of the cloth to be made, ranging from 10 to 18 per lb., or 
 lighter if for fine hand-loom work. For a linen damask as formerly 
 made, with 6 or 8 threads in the mail, a very heavy lead was required, 
 even in the hand loom, whilst a fine cotton two-thread harness would 
 do with a comparatively light lingo. Strips of lead cut from sheets 
 were used for lighter weights ; these Avere then reduced to the proper 
 size for drawing them through holes in steel plates. Now, lingoes for 
 power looms are made of wire, and for ordinary damask or full harness 
 work should range from 25 to 40 to the lb. ; for heavier work, such as 
 linen towels, worsteds, &c., IG or 18 per lb., according to the weight of 
 the fabric, are reqiiired. Lighter ones answer for hand looms : Murphy 
 mentions as light as 110 per lb. for the centres of shawls, but 35 to GO 
 per lb. will be more frequently found. 25's to 80's are a good size 
 for power looms ; 12 in. long for 25's or 30's, 14 in. for IG's or 18's, 
 and IG in. for lO's or 12's are good lengths. 
 
 When there is a great slope in the border twines of a harness, it is 
 often necessary to ^Dut heavier lingoes on it than on the centre, to keep 
 the warp down. Of course, the less w^eight that has to be lifted is 
 always a saving of power, and easier on the harness ; therefore it is 
 better to have two sizes of lingoes than to have them all weighty 
 enough for the borders. 
 
 HABNESS TWINE 
 
 The size of harness twine used varies greatly ; some prefer a fine, 
 and others a heavy, twine. For the sleepers and hangers, 4 ply of 22's 
 or 5 ply of 30's linen yarn is a very good medium size, and 4 ply of 
 14's or 5 ply of 18's or 20's is a very good size for the neck or body of 
 the harness. 
 
 Sometimes, for heavy damask, cable cord is used for the body of the 
 harness, and is a good wearing cord ; it is especially suited when the 
 neck cords are fastened to the sleepers below the cumber board. This 
 cord is made of good flax yarn ; 5 ply of 30's are twisted together, and 
 three of these cords are then twisted together, or 3 ply of 18's after- 
 wards made 3 ply. A better size for medium work is 5 ply of 85 's 
 
76 
 
 JACQUARD WEAVING AND DESIGNING 
 
 made 3 ply, or 3 ply of 20's or 22's made 3 ply. Heavy harness twine 
 requires to have heavier lingoes, particularly on those parts of the 
 harness that are much slanted, in order to have the same effect on 
 them that they would have on light twine. Some go to the opposite 
 extreme, and use very light twine, such as 4 ply of 80's, which is only 
 fit for very hght work in a narrow loom, where there will be but httle 
 friction on the cumber board, and where no heck is required. Lighter 
 twine will suit better for a hand loom than for a poAver loom ; 4 ply of 
 30's for the harness of a hand loom, with lingoes of 50 or 60 to the lb., 
 would do very well for a light cotton warp. 
 
 SETTING THE JACQUABD 
 
 The proper position for the jacquard, when only one is required on 
 the loom, is so that the centre hook in it will be above the centre 
 hole of the cumber board. This can easily be found by tying a plumb 
 line to the centre hook of the machine and moving it, if necessary, till 
 the plummet rests over the centre of the cumber board. In case the 
 cumber board is not fixed in position, that of the jacquard may be 
 found by having the plumb line to pass about half an inch more than 
 the half breadth of the harness at the cumber board behind the top 
 rail of the lay when it is full back, and it should also be at equal 
 distances from each side of the loom. When more than one jacquard 
 is required, they should be arranged evenly over the cumber board, and 
 as close together as possible. 
 
 Sometimes the jacquard may be set farther forward or back to 
 suit circumstances, such as getting card space, the only disadvantage 
 being that there will be more slanting of the cords at one side than 
 the other, and more friction on them in the cumber board, also more 
 drag on the hooks on this side if no heck is used, and if a heck is used 
 the cords will have to bear the friction on it. The more direct the 
 cords of the harness can be, the better, and the above setting of the 
 jacquard should be adhered to when possible, but it is not absolutely 
 necessary for working to have it so. 
 
 It is always well to have the jacquards so arranged that they can 
 
FULL-HARNESS MOUNTINGS 
 
 77 
 
 be raised or lowered a little by having them resting on bars, which 
 can be raised or lowered with screAvs. This is in case the harness is 
 levelled higher or lower than might afterwards be desired ; but if the 
 breast beam of the loom, with the lay and back rail, can be raised or 
 lowered, it will suit the same purpose, and it is better not to move the 
 machine once it is fixed and the harness tied up. 
 
 The height the jacquard is to be above the loom must in many cases 
 be regulated by circumstances ; for instance, the height of the roof, 
 or if the beams of the roof interfere with the working of it ; sometimes 
 the machines rest on the framing of the loom — that is, if the loom is 
 made for a jacquard — and sometimes plain looms are used, and the 
 machines rest on beams supported from columns, or from the roof of 
 the house. This latter is the best plan, as it keeps the jacquard free 
 from the shaking of the loom, which is particularly useful in the case 
 of looms fitted with the knock-off motion. A good height for a jacquard, 
 independent of circumstances, is to have 8 ft. or 8 ft. 6 in. from the mails 
 to the bottoms of the hooks for a 10/4 loom — that is, one ^nth about 
 100 in, reed space ; 7 ft. to 7 ft. 6 in. for an 8/4 (82 m. reed space), 
 and 5 ft. 6 in. to 6 ft. for a 4/4 (40 in. or 42 in. reed space), are very 
 good heights. 5 ft. 6 in. is about right for a narrow harness, say 20 in. 
 to 27 in. wide ; 6 ft. would do for 80 in. wide, and 7 ft. or 7 ft. Gin. for 
 90 in. wide, if necessary. 
 
 HECKS OE GUIDE EEEDS 
 
 A heck is a frame of hard wood with wires across it, a wire for each 
 row of hooks in the machine, from back to front. It should be made 
 to suit the machine, so that when the harness passes from the hooks 
 between the Avires, it will go vertically down, and have no slant in it. 
 In narrow hecks, there is usually one cross-stay to support the wires, 
 but for broader machines there should be at least two. The wire should 
 be iron, as brass soon cuts with the friction of the cords, and then in 
 turn cuts the cords. For a single-acting machine the wires should be 
 loose, so that they can roll with the cords ; but for a double-acting 
 machine this would be of no advantage, as a portion of the cords are 
 falling when the remainder are rising. If the machine is very wide, 
 
78 
 
 JACQUARD WEAVING AND DESIGNING 
 
 or has to be set forward or back on the loom, there should be cross 
 rollers of hard wood above the wires, at right angles to them, to prevent 
 the bottoms of the hooks from being drawn either backwards or for- 
 wards, which might push their heads on or off the griffe knives. 
 
 Sometimes glass rollers are used in the silk trade for this purpose, 
 with mountings of the London tie, and while they are very smooth and 
 pohsh the twines, they get too hot if used in warm power-loom factories 
 working at a high speed. Hecks are not required for very narrow 
 harnesses, as the cords do not diverge much from the vertical, and the 
 friction on the heck being saved, the cords wear much longer. 
 
 In a wide harness it is impossible to draw an even shed without a 
 heck, although in some districts they are hardly known, and the more 
 
 any portion of the harness diverges 
 from the vertical, the more irregular 
 will the shed be. 
 
 Suppose we take an extreme 
 case of a loom having three or four 
 jacquards on it, the harness to be 
 06 in. wide, and the pattern to be 
 for a table-cover ; then, if we deduct 
 2 ft. from the width of the harness, 
 it is possible some of the border 
 twines may have to slant across 6 ft., or 72 in. Now make a triangle 
 as No. 1, Fig. 48. Let the base, a b, be 72 in., and take it as the 
 level of the cumber board. Take the vertical side, a c, as the 
 height of the harness to the heck, viz., 84 in. Now calculate the 
 length of the hypotenuse b c by squaring 84 and 72 and finding 
 the square root of the sum, and if will be found to be 110'63 in. 
 Again : Make another triangle, as No. 2, with base 72 in. ; vertical 
 side 3^ in. longer than that of the former triangles, viz., 87-5 in. 
 (this 3i in. is to represent the draw or lift of the harness). Calculate 
 the length of the hypotenuse as before, and it Avill be found to be 
 118-31 in. From this deduct 110-63 in., the length of b c in No. 1, 
 and the remainder, 2-68 in., equals the height that the cord b c has 
 been raised, while the cord a c, which is vertical, has been raised 3}j 
 
FULL-HARNESS MOUNTINGS 
 
 79 
 
 in. ; and if we talte into consideration that the side draw of the sloping 
 cords, as b c, will pull the tail cord a little to one side and rise the 
 vertical cords a little higher, while the sloping ones remain propor- 
 tionately lower, 1 in. may be safely taken as the difference of the height 
 that the two cords, b c and a c, would be raised by the jacquard, and 
 all the other cords in the harness would vary, being less than this in 
 proportion to their divergence from the straight or vertical line. It 
 can thus be seen how the shed would require to be opened to let the 
 shuttle through, and the irregular strain that would be on the yarn ; 
 and for any cloth that requires a fine surface, any irregularity of strain 
 on the warp has a deleterious effect, very well known by experienced 
 overlookers. 
 
 f 
 
 Some consider that the London style of harness is more suitable 
 for working without a heck than the Norwich style, and adopt it to 
 avoid using one, as it is severe on the harness twines. Some raise the 
 machines very high to avoid using them, but for particular work with 
 border ties they must be used to give a proper working harness. With 
 the London mounting rollers should be, and are, used when there is 
 no heck. These rollers are set as a coarse heck in a frame under the 
 machine, and lie lengthways under it, just as they would do when used 
 above a heck. The heck should be about 3 in. below the knots which 
 fasten the tail cords to the neck twines. Some have the tugs, or tail 
 cords, coming down through the heck ; in this case the heck only takes 
 the strain off' the hooks of the machine, and has no effect on the shed, 
 though sometimes this is mitigated by having more than one tug or 
 tail cord, and the neck twines that slant in different directions are tied 
 to different tail cords. The only point in favour of this is that it saves 
 some trouble in tying broken harness twines when they begin to wear 
 away by their friction on the heck. 
 
 PBEPAEING THE NECK OB THE HAENESS 
 
 The twine for the neck, as well as that for the other portions of 
 the harness, is usually wound on spools, and when the neck is to 
 be prepared it is warped from these spools to the length required, either 
 
80 
 
 JACQUARD WEAVING AND DESIGNING 
 
 on a hand warping mill or round two pins fastened in a wall or on a 
 bench, as far apart as the length of the harness ; three or four spools 
 are put on pins, and the ends from them are taken and wound round the 
 pins fixed for warping them on. When warped the twines may be cut 
 at one end, and can either be tied in a bunch or stretched on a board 
 and tied down on it, so that they may be kept straight and admit of 
 any number of them being pulled out as they are wanted. 
 
 In some methods of mounting the neck twines are first tied to the 
 tail cords ; perhaps this is the plan most commonly adopted with 
 double-acting machines. Sometimes they are tied to the sleepers 
 first, and fastening them to the tail cords is the last process. This is 
 called ' beeting ' the harness. When single-acting machines are made 
 with the hooks resting on a perforated board, they have tugs on the 
 hooks ; but when the wire hooks pass down through a perforated 
 grating, tugs are unnecessary, and the neck twines are fastened to the 
 hooks. When fastened to the hooks, or even when fastened to the tail 
 cords, and a heck is not to be used, the neck twines should be formed 
 into heads, either before they are tied up or afterwards, as may be 
 desired. The reason of this is, that when a number of neck twines are 
 tied to a hook or tail cord, and the hook is raised by the machine when 
 working, the twines will be slanting in dififerent directions, and when 
 coming down again would be liable to catch on the knots of those that 
 were not raised ; and the head is for the purpose of keeping them 
 together, so that they cannot separate for a short way down. One 
 method of doing this is, after the bunch of neck twines is tied to a 
 tail cord or hook, to take one of the twines and knot it round the others 
 about in. below the tail cord, and the same may be done with a 
 second twine, if there are many in the parcel. 
 
 Sometimes the neck twines are all prepared in heads, and the 
 following is a convenient method of doing so: — Fasten four flat pins 
 of wood, as A, B, c, D, Fig, 49, on a board as f, or on the edge of a 
 bench or table, c and d are firmly fastened, but a and b can be 
 turned round to the position shown by the dotted lines when the 
 screws holding them are slackened. The distance from c to d must 
 be the length required for the neck twines, e is the twine coming 
 
FULL-HAENESS MOUNTINGS 
 
 81 
 
 from a spool on a wire. The pin a is pushed round to the position 
 shown by the dotted line, and the twine is warped round c, b, d, 
 passing over b and under c, so as to form a lease. When a sufficient 
 quantity is warped, the crossing of the lease is pushed up towards c, 
 and the pin a turned round into the centre of the twines, taking the 
 place of B, which is turned back. The use of the two pins is to allow 
 room for warping, c and a being too close together. The distance 
 from the outside of c to that of a should be the length the head is 
 required to be (about 3|in. or 4 in.). The twines may now be cut at 
 D, and a piece of cord looped round them and tied to d, so as to hold 
 them steady, but allow them to be drawn out as required. The number 
 of twines for each head can now be drawn out and tied round the two 
 pins c and A, and when a number are done they can be slipped off the 
 pins and put on cords or rods ; the lease keeps the heads in order, and 
 
 Fig. 49 
 
 the bunch can be hung up at the loom, and each head be taken in 
 rotation by the mounter. The number of twines for each head is 
 regulated by the tie of the harness. 
 
 Suppose a doable-acting machine is to be mounted with the harness 
 similar to that shown in No. 1, Fig. 46. The tail cords are usually 
 put on the machine by the makers, but if they are worn out, or if new 
 cords are required, putting them on is the first process. This can be 
 done when the machine is on the ground, and the neck may also be 
 tied to the tail cords before the machine is put on the loom. Some 
 mounters prefer one method, and some the other, and the one which 
 most conveniently suits the circumstances may be used. When the 
 neck is attached to the machine before putting it on the loom, it is 
 usual to turn it on its side on blocks or on a table. If the machine is 
 on the loom, a board is tied up to make a seat for the mounter, and 
 the buQch of neck twines is fixed convenient to his reach ; or he may 
 
 G 
 
82 
 
 JACQUARD WEAVING AND DESIGNING 
 
 have a boy to draw them out for him, and hand him the number he 
 requires. Beginning at the first hook, he takes a pair of tail cords, and 
 having drawn them down straight and stretched them firmly, he loops 
 the neck twines on them in the way shown in Fig. 46, and draws the 
 knot fast. The distance from the bottom of the hooks to the neck 
 twines should be 11 in. or 12 in. The first of these in each row is 
 measured, and the mounter can then regulate the others so as to have 
 all the knots in a line. 
 
 The number of neck twines that are to be tied to each hook is regu- 
 lated by the tie of the harness. For each time that any repeat or 
 portion of a pattern is to be repeated on the cloth there must be a twine 
 attached to those hooks of the machine that are to work this repeat. 
 For instance, if a 400 machine is used, and the pattern consists of a 
 simple repeat on these 400 hooks, and this has to be repeated six 
 times on the cloth, then six neck twines must be tied to each hook of 
 the machine. Again : The pattern might be made for a 400 machine, 
 200 hooks to be repeated six times, 100 four times, and 100 three 
 times ; then six twines would be tied to the first 200 hooks, four to the 
 second set of hooks (100), and three to the third set (100), and any 
 mounting would be regulated in a similar manner. 
 
 Full particulars of ties will be given further on. 
 
 If all tLe hooks in the machine are not required, any number of 
 rows or portions of rows can be left idle at one end, or at both ends if 
 desired, or even at the back or front. 
 
 When all the neck twines are tied up, the next process is to draw 
 them through the heck, which should be fastened firmly 2 in. or 3 in. 
 below the knots connecting the tail cords and neck. 
 
 The jacquardis supposed to have been levelled and set in its proper 
 position on the loom, and firmly fastened there, and the same may 
 now be done with the cumber board. 
 
 CUMBER BOARDS AND HARNESS REED8 
 
 These are both for the same purpose — viz., that of regulating the 
 space which the harness is to occupy—and both answer the purpose 
 
FULL-HARNESS MOUNTINGS 
 
 83 
 
 equally well, generally speaking. The reed being stronger is, perhaps, 
 more suitable for coarse work ; and the cumber board, giving a more 
 evenly distributed harness, is perhaps preferable for fine work. Be 
 that as it may, both suit for any medium work, though some workmen 
 are all against the reeds, and others all against the boards. Harness 
 reeds are strong-made reeds of cane or iron, of the depth and fineness 
 to suit the harness. Bridges are fixed in them about 6 in. apart, with 
 perforations for stiff wire to be run through ; as many wires as are re- 
 quired to suit the number of rows of the harness. A wire should be 
 outside the harness at both sides, to prevent it rubbing against the ribs 
 of the reed. The wires are made straight, drawn tight, and fastened 
 at each end to holes in the yoke of the reed. The reed is set in a 
 frame of wood or iron, so that it can be bolted to brackets on the 
 loom. 
 
 Cumber or comber boards, also called hole boards, are made in 
 various ways. Sometimes they are of wood about J in. thick, and bored 
 in a piece. These boards are strong enough to bolt to brackets on the 
 frame of the loom. Sometimes they are thin, about | in. thick, bored 
 in the same way, and framed. The wood used is beech, sycamore, and 
 sometimes walnut. The objection to these boards, particularly the 
 thin ones, is that if the wood is not very well seasoned they are liable 
 to warp and split. A great many prefer to use what are called ' slips ' 
 — that is, small pieces of wood of the- depth required for the harness, 
 and about li in. long or broad. The length, or long way of a cumber 
 board or harness reed, is frequently called the width or breadth, same 
 as weaver's reeds, as this is the width of the loom. The cross-way, or 
 from back to front, would, in the same way, be the depth. These slips 
 are made of boxwood, beech, or other clean hard wood. Some prefer 
 beech or sycamore to boxwood. The twines cut into them all in time, 
 but the hardness of the boxwood causes a very fine cut to be made in 
 it, which cuts the twine. The others will not cut the twine so readily, 
 and by the time the wood is cut too much the harness would require 
 to be renewed as well as the cumber board. These slips are made 
 about I in. or f\ in. thick, and are set in a grooved frame. The usual 
 way of arranging the holes in a board is shown at A (Fig. 50), which is 
 
 G 2 
 
84 
 
 JACQUARD WEAVING AND DESIGNING 
 
 Fig. 50 
 
 for an 8-row harness. B shows a patent method, devised for the 
 purpose of giving more space between any two holes in each horizontal 
 row. The arrangement of the holes is in 4 -shaft satin order, and gives 
 
 double the space between the 
 holes of each horizontal line 
 that A does, and of course it 
 would take so much longer for 
 the twines to cut through ; but 
 this would only be an advan- 
 tage if the holes were set very 
 close together, as otherwise the 
 harness would be considerably off the level before the twines had cut 
 from one hole into another. In any case, the irregularity of the holes 
 will likely prevent it from ever taking the place of the older method 
 shown at A, though it may be desirable sometimes. 
 
 The cumber board is fastened on two brackets— one at each side of 
 the loom— and should be perfectly level and firm. It should be so far 
 advanced as to allow the harness to pass within half an inch of the 
 handrail of the lay when full back, and should be from 8 in. to 10 in. 
 above the mails, the lower the better, as it keeps them steady ; but the 
 height may have to be regulated by the swords of the lay, as they muzt 
 be clear of it, and in some looms they are higher than in others. When 
 the cumber board is levelled and fastened, it should not be moved 
 after the harness is tied up, as any change in its position must alter 
 the level of some portion of the harness. This cannot in every case 
 be adhered to, as in some cases it may be necessary to move it. In a 
 small harness a good deal of shifting can be made that could not be 
 attempted in a large or intricate one. In many places the harnesses 
 are built in a separate room, or by the machine maker, and sent to the 
 manufacturer ; but practical experience with particular work will teach 
 anyone that it is most desirable to have everything about the harness as 
 level and true as possible, and it takes a good deal of care to effect this, 
 even without any shifting. 
 
FULL-HAKNESS MOUNTINGS 
 
 85 
 
 SLABSTOCKS AND LEVELLING FRAMES 
 
 ' Slabstock ' is a name given to the board used for fastening the 
 mails on before they are levelled. It is about G in. deep and 1 in. thick, 
 and should be as long, or longer, than the loom is broad, according to 
 
 Fig. 51 
 
 the way it is to be fixed in the loom, which is usually by being bolted 
 to brackets fastened on the sides of it. 
 
 There is a groove or rebate in the top edge of it for holding the 
 mails, as shown in Fig. 51 at a and b. Sometimes the grooves are at 
 both sides, as shown at a'. 
 All the mails required for the 
 harness are put on the one 
 slabstock, which is set directly 
 under the cumber board when 
 the harness is being levelled. 
 
 A levelling frame is better 
 than a slabstock ; it is for the 
 same purpose — that of keeping 
 
 the mails firm and level when being tied to the neck twines. It 
 consists of two flat bars of iron, c, c (Fig. 52), which can be bolted 
 together in the form of a frame by the use of two stays, one at each 
 
 Fig. 52 
 
86 
 
 JACQUARD WEAVING AND DESIGNING 
 
 end, and by the same screws be bolted to slotted brackets, a a, b 
 fastened to the frame of the loom. Sometmies two hanghig brackets, 
 as D, are used, fastened from the top or heddle-bearer of the loom. 
 The levelling bars, c, c, rest m these brackets, and can be fixed firm 
 in them with a pin or cotter. If there is any yield or spring in the 
 brackets, they can be stayed from the front of the loom as well, as 
 the frame should be made very firm. The distance between the two 
 bars should be 4 in. or 4j in., which will suit any harness ; if only 
 narrow harnesses, as 8-row, are required, it may be an inch narrower. 
 The length of the frame must suit the breadth of the loom. It should 
 be perfectly straight and level on the upper edges, and should have 
 two rows of holes bored in it, about 2 in. apart, for pins and skewers to 
 ;pass through above and below the wires on which the mails are strung, 
 -so as to keep them firm. 
 
 LEVELLING THE SLABSTOCK OB FEAME 
 
 Levelling a harness, or rather levelling the mails of the harness, is 
 the most important part of the mounting, as, if the mails are not levelled 
 as true as a straight-edge, good work need not be expected from the 
 loom. The position in which they are levelled, in relation to the 
 breast beam and back rail, will depend upon the nature of the cloth to 
 be made, to a certain extent ; but as a general rule, for ordinary work, 
 the eyes of the mails should be half the depth of the shed required to 
 be drawn below the level of the breast beam for hand loom work, and 
 a little more than that for power-loom work. This is to have the top 
 and bottom portions of the shed of an even tension, and to make both 
 sides of the cloth equally good. The position of the back roll can be 
 altered a little afterwards, if it is required to slacken either the top or 
 bottom portions of the shed. Eaising the back roll throws up the weft 
 pattern to the under side of the cloth, and sinking the back roll gives 
 the upper surface of the cloth a finer appearance, by tightening the top 
 portion of the shed. A S^-in. draw of the harness is sufficient for 
 power-loom work, and perhaps less would sometimes be preferable. 
 Levelling the harness mails If in. for light work, and 2 in. for heavy 
 
FULL-HAENESS MOUNTINGS 
 
 87 
 
 work, below the breast beam should be a good average standard for a 
 3^-in. draft of harness. The levelling frame or slabstock is levelled to 
 this height by means of a spirit level and straight-edge, making 
 allowance for whatever spring there may be in the harness after it is 
 tied, and the wires drawn out of the mails. This can only be ascer- 
 tained by experience, and depends principally on the tension the 
 mounter puts on the twines when tying them ; it will also depend upon 
 whether the harness twines have any spring in them or not, but they 
 should be well stretched before being used, to avoid this. A mounter 
 who ties slackly will generally make a more level harness than one 
 who ties tightly. About ^ in. may be allowed for the mails to rise if 
 the cords are slackly tied, and if tightly tied ^ in. may have to be 
 allowed, and sometimes more than this. 
 
 Sometimes the level is taken by placing a straight-edge on the 
 race of the lay, when the cranks are at the back centre ; then the under 
 edge of the straight-edge should give the position for the tops of the 
 mails on the slabstock, when it is fixed in its position in the loom. In 
 levelling by this method the race must first be set at the proper height, 
 and it must also be properly bevelled. From | in. to f in. below the 
 breast beam is a good level at which to have the race, when the cranks 
 are at the top centre, the latter for a low harness. The angle, or bevel, 
 of the race may not at all times suit for levelling in this way. If not, 
 the race should be made correct when possible ; if it cannot be cor- 
 rected, the harness must be levelled a little lower and the back rail 
 kept down for working. A loom with the race bevelled for plain 
 work is not suited for damask ; the angle between the race and reed 
 should, for damask, be about 9B°, whereas for plain 87° would be more 
 suitable. 
 
 TYING UP THE HARNESS 
 
 Having the neck attached to the tail cords and the levelling frame 
 and cumber board fixed in position, the next operation is to get the 
 prepared lingoes placed in the loom, whether on the levelling frame or 
 slabstock. Suppose the levelling frame to be used. According to the 
 number of rows in the harness or cumber board, pieces of reed wire 
 
88 
 
 JACQUAKD WEAVING AND DESIGNING 
 
 £re procured, one for each row, and as many lingoes are strung on each 
 of these as will be required for each row of the harness, by running 
 the wires through the mails. These wires are then placed in the frame 
 and secured by skewers being put through the frame above and beloAv 
 them. The frame is then levelled and firmly bolted to the loom. 
 The sleepers or mid-pieces of the lingoes are next drawn up through 
 the cumber board, one through each hole required to be used, any 
 surplus holes being previously marked out to suit the tie of the harness, 
 which will be afterwards explained. When all are drawn through, the 
 tying of the neck twines to the sleepers may be proceeded with. 
 
 This must be done in accordance with the tie of the harness. Thus, 
 if there are four cords tied on the first hook of the machine, these must 
 be taken down to the lingoes in the proper place in the cumber board, 
 which may be seen by examining the particulars of the mountings, to 
 be given further on. One method of fastening the neck to the sleepers 
 is shown in No. 1, Fig. 4G, at d, cl, cP. The twine is put through the 
 loop of the sleeper at cP (or better to have a snitch on the sleeper, 
 unless the knots are to be varnished afterwards), then a loop is thrown 
 on at d, and the end tied at d, and clipped close. This method suits 
 very well when the harness is liable to be altered, for if the knots are 
 brushed over with paste they hold sufficiently firm, and can be loosed 
 again at any time, if necessary. If varnished, it also answers equally 
 "well for any coarse harness ; but if it is fine and much crossed, espe- 
 cially if the twines are strong or coarse, the knots are liable to catch on 
 each other and raise more warp than should be when the loom is 
 ■working. 
 
 A second plan is shown in No. 2, Fig. 46. In this case there are 
 no sleepers on the lingoes ; they are put on the levelling frame or 
 slabstock without them, the mails and lingoes being connected by the 
 hangers ; the levelling frame is set in the loom as before, and the 
 neck twines must be long enough to go down through the cumber 
 board, through the top hole of the mail, and up again through the 
 cumber board to where they are tied. The mounter, when about to 
 tie them, takes one of the twines and casts a single knot on it, leaving 
 the loop open, then puts the end of it through a hole in the cumber 
 
FULL-HARNESS MOUNTINGS 
 
 89 
 
 board and through a mail, and with a small wire hook draws it up 
 again through the same hole in the cumber board, and through the 
 open knot or loop he made on it, at the same time ; then, turning round 
 the awl or piercer in the other end of the handle of the hook, he puts 
 it through the knot and runs it up about 6 in. above the cumber 
 board, draws it tight, and casts another knot above it with the end of 
 the twine, as shown at d. No. 2, Fig 46. This makes a neat harness, 
 and when a mounter gets accustomed to it he can proceed very expe- 
 ditiously. This method is used in England ; the former is Scotch. 
 The instrument used for drawing the twines through the cumber board 
 consists of a wooden handle, in one end of which is a hook or barbed 
 wire, same as is used for drawing the warp through mails, and in the 
 other end is a round awl or piece of steel wire, tapered to a blunt 
 point, which is used for running up the loop or knots so as to have 
 them all about the same distance above the cumber board. 
 
 Beeting is another Scotch method of mounting. The harness may 
 be beeted either above or below the cumber board ; beeting above it 
 was the old method, and single slabstock was used, as shown in Fig. 
 51 at A. When preparing it for the loom, the lingoes and mails are 
 connected by the hangers in the usual way, and hung on the slabstock 
 with the mails in the groove in it, as shown at b. Fig. 51. A piece of 
 flat wire (reed wire) is run through the eyes of the mails, as many as 
 are required for the whole harness, and is then tied down by cords 
 fastened round it and the slabstock, at short distances apart. The 
 slabstock is now put into a frame, or rack, with a rail as high above it 
 as is required for the length of the sleepers. A spool of twine is fixed 
 on a wire pin at the side of the frame, and with a needle, or otherwise, 
 the end of the twine is run through a number of the mails and fas- 
 tened. With a hook the sleepers can be reeled up to pins in the rail 
 above the slabstock, on the same principle that they are done in Fig. 
 47. When the sleepers are all finished they can be slipped off the pins 
 and cut. 
 
 The slabstock is next fixed in the loom and levelled with the upper 
 edge of the rebate or groove touching the under edge of a straight- 
 edge placed on the race of the lay when it is full back (for power looms). 
 
(90 
 
 JACQUAKD WEAVIXa AND DESIGNING 
 
 The sleepers are then drawn up through the cumher board with- 
 out their ends being knotted ; they should be long enough to reach 
 about 8 in. above it, and say 7 in. below, making 15 in. for their entire 
 length. 
 
 Now, to beet the harness : Say there are two beeters, standing on 
 the ground, with a supply of neck twines convenient to them; they 
 pick up the sleepers from the first set of holes in the cumber board — 
 that is, those tbat are to be connected with the first hook in the 
 machine — and, having tied neck twines to them, hand them to the 
 harness tyer, Avho is up at the machine. He takes the lot of twines 
 and draws them all to an even tension, then, having drawn doAvn the 
 tail cords firmly and evenly, knots the neck twines to them. 
 
 One method of knotting the neck to the tail is to have the tail cords 
 tied together so as to form loops ; then, having straightened both the 
 neck and tail cords, lay the neck against the loop of the tail, and take 
 both firmly between the finger and thumb of the left hand, being care- 
 ful not to let them slip, and casting a knot, as at c or d, Fig. 51, 
 round the tail, with the ends of the neck draw ifc fast. In order to 
 have all the tail cords plumb and the knots of a uniform height, the 
 harness tyer sometimes has a cord tied across the top of the loom 
 frame, at each end of the machine, at the height the knots are to be. 
 On these he lays a straight-edge, marlced as a guide for where the tail 
 cords are to hang, so that he can regulate those of one row and have 
 them plumb, and the knots even ; when one row is finished, he moves 
 the straight-edge to the next, and goes on with it. A newer method of 
 beating is to prepare the lingoes with sleepers and hangers, the sleepers 
 to be about 5^ in. long. The slabstock a', Fig. 61, is used, or the 
 other if preferred. 
 
 The mails are put upon flat wires as before, but instead of all going 
 on one wire, half the number is put on each of two wires, and one of 
 them is placed at each side of the slabstock, where it can be fastened 
 with small staples. To facilitate getting the mails on the wires, when 
 reeling the sleepers on the pin, as in Fig. 47, a lease can be made on 
 the loops by giving them a twist when putting them over the pin. 
 A piece of twine can be fastened in this case, and the loops after- 
 
FULL-HARNESS MOUNTINGS 
 
 91 
 
 wards cut. The mails can then be taken off in order, and run on the 
 wire for the slabstock. When the mails are fixed on the slabstock it 
 may be laid on the ground, or set in a frame, and the neck twines 
 tied to the sleepers ; and when all are tied, they can be drawn through 
 the cumber board or harness reed. Afterwards, all are taken and fixed 
 in the loom. The cumber board must be set so high above the knots 
 on the sleepers that they will not come into contact with it when the 
 shed is opened (that would be 4 in. or 4iin. above it). The neck 
 twines are then tied to the tail cords as before. 
 
 This makes a very good harness, and has the advantage of having 
 no knots on the neck twines above the cumber board, which is very 
 important in an intricate harness with the cords close together, as the 
 knots when varnished are liable to catch on each other, or on twines 
 slanting across them, and lift them as they are being drawn up. 
 When a harness is mounted in this way it is not easy to make any 
 alteration on it, or to re-level any portion of it if necessary. If the 
 sleepers are tied in loops, same as used in No 1, Fig. 4G, they can be 
 connected to the neck twines by having the latter double and putting 
 both ends of the neck through a snitch on the sleeper, or the neck 
 twines may be double and the two ends of the sleeper when untied 
 may be put through a snitch on the looped end of the neck twine and 
 tied ; in this way they could be altered or adjusted afterwards if 
 necessary, but if they had to be varnished the knots would be rather 
 rough. 
 
 The folloAving method of mounting is adopted in the damask hand- 
 loom districts of the North of Ireland, and is used for particular power- 
 loom work as well. It is a slower process than the preceding, but 
 cannot be surpassed for getting a level harness, and the mails can be 
 regulated as desired — that is, to have the back rows getting gradually 
 a little higher than the front ones, which can only be accomplished in 
 the preceding methods by tying them a httle tighter, or by having 
 the frame sloped a little. 
 
 The hngoes may be prepared as before, with the sleepers 5 in. long 
 when tied and clipped. The neck twines are put down through tho 
 cumber board and knotted loosely in bunches underneath. 
 
92 
 
 JACQUARD WEAVING AND DESIGNING 
 
 The levelling frame is set in the loom, the top edge of it being at 
 the level that the eyes of the mails in the front row are to be hung. 
 
 No wires are required. The lingoes are taken in bunches and put 
 astride on the frame as required, and boys fasten them up to the neck 
 twines by throwing on a snitch and running them up to somewhere 
 about the height they will be wanted when level ; in doing so the 
 knots on the sleepers must be kept up as close to the snitch as is con- 
 venient for tying them, as, if left too low, they would interfere with the 
 warp in shedding. When all the hngoes are hung inside the levelling 
 frame— or they may be hung first, and the leveUing frame put up after- 
 wards and levelled— the mounter may begin to level the mails. 
 
 He uses a fine piece of waxed cord with a small weight at each end, 
 which he lays across the levelling frame as a guide, and levels each 
 row from back to front in succession. The front mail may hang with 
 the top of its eye level with the cord, and the others rise a httle higher, 
 till the back one is perhaps, with the bottom hole, level with the level- 
 ling cord, or ^ in. higher than the front one. The levelling can easily 
 be accomplished by sliding the snitch up or down the neck twines ; and 
 when the correct height for the mail is got, the neck twine is tied as 
 at H, No. 8, Fig. 46, when it is to be varnished, or as at h' when it 
 need not be varnished ; in the latter case cable cord is used for the 
 neck, and it is split at the end, when drawn through the snitch, and 
 then knotted. 
 
 VARNISHING A HARNESS 
 
 Varnishing is for the twofold purpose of making the harness twines 
 wear better, and keeping them from being affected by the atmosphere. 
 
 Sometimes the harness is only partly varnished, particularly when 
 it is hable to be changed in a short time, and then it can be loosed 
 down and used again. 
 
 If it is to remain for a length of time — that is, for steady work — it 
 should be varnished all over, but care should be taken to get a good 
 varnish, as some of them destroy the twines, and others come off and 
 are useless. 
 
 The common varnishes are made principally from shellac, beeswax, 
 
FULL-HARNESS MOUNTINGS 
 
 93 
 
 and turpentine, and can be procured at any heddle-maker's. Some- 
 times white wax dissolved in turpentine is used to rub the twine at the 
 cumber board, for fine harnesses for silk and other light work, the 
 remainder being left unvarnished. Sometimes the neck of the harness 
 and the sleepers are varnished, and the knots above the cumber board 
 are brushed with paste, as each row is tied, to keep them from 
 slipping. 
 
 Perhaps the best varnish is boiled oil, which, when well dried, gets 
 very smooth after working for some time, and keeps the twines soft 
 and pliable. It takes some time to dry, and does not suit well for using 
 in a dusty place, but answers very well when the harness is built in a 
 room for the purpose, and is afterwards taken to the loom. 
 
 Sometimes a very small quantity of beeswax or white wax is added 
 to the oil to give it more firmness, and sometimes driers are used to 
 make it dry more quickly ; but it is better to do without driers, as they 
 harden the twines and are injurious. Varnish should not be disturbed 
 till quite dry, as, if the tAvines are separated and the looni started when 
 it is soft, the outer surface will rub up and make a rough harness. 
 The twines are separated by running a wire skewer between each cross- 
 row. French chalk dusted down through the harness assists in 
 smoothing it, and prevents too much friction when it is being started 
 to work. 
 
 TO AEEANGE THE TIE OF A HAKNESS 
 
 What is known as the tie of a harness is the arrangement or 
 manner in which the harness twines are connected to the hooks of the 
 jacquard — i.e. the number of twines that are tied to each hook, and the 
 position they are to occupy in the cumber board. Ties for ordinary 
 damask Avork may be divided into three classes — viz. straight, or 
 single ; lay over, or repeating ; and gathered, or centred. 
 
 Straight or Single Tie. — This tie is only required when there is no 
 repetition of any portion of the pattern, as in silk markers, and occa- 
 sionally in handkerchiefs, d'oyleys, tablecloths, &c. Only one harness 
 twine is tied to each hook of the jacquard, and there must be as many 
 hooks as there are threads of warp. The twines are tied to the jacquard 
 
94 
 
 JACaUAED WEAVING AND DESIGNING 
 
 and taken down through the cumber board in regular order from first 
 to last, and the warp is drawn into the mails in the same order. Any 
 pattern that it is possible to put on the cloth can be wrought with this 
 method of mounting. 
 
 Lay Over or Repeating Tie. — This is, perhaps, the commonest tie, 
 
 and is used for all such 
 patterns as Fig. 53, where 
 one small portion, as that 
 enclosed by the dotted 
 lines, will, when repeated 
 several times, cover the 
 entire surface of the cloth. 
 
 Gathered or Centred 
 Tie. — This tie can be used 
 when both halves of any 
 
 „ ... figure or border, &c., are 
 
 Fig. oB ° ' 
 
 alike when turned over ; it 
 will only require half the number of hooks to work a figure or border, 
 when gathered or centred, that would be required for a single pattern. 
 All other ties are combinations of these. 
 
 Fig. 53 shows a pattern for a lay over, or repeating tie, such as 
 might be used for dress goods, handkerchiefs, &c. The complete 
 extent of the pattern is enclosed by the dotted line ; this is called one 
 * repeat ' of the pattern, because this portion repeated over the cloth 
 makes up the entire figuring on it. To ascertain how this may be 
 woven, or what number of hooks of the jacquard will be required to 
 weave it, the number of threads contained in 1 in., or other given space, 
 of the cloth required must be known. If the pattern is to be on the 
 cloth say 2 in. x 2| in., and there are to be 100 threads of warp and 
 120 threads of weft per inch, then 200 hooks of the jacquard and 240 
 cards would be required to weave it, each hook representing one thread 
 of warp, and each card representing one shot of weft. 
 
 Figs. 54 and 55 show mountings on jacquards with 208 hooks in 
 each, the former tied on the Norwich principle, and the latter in the 
 London style. In both cases only 200 hooks are used, the remaining 
 
FULL-HARNESS MOUNTINGS 
 
 eight hooks being left idle for selvages, if required. These mountings 
 are made for four repeats of the pattern, which would only make 8 in. 
 of cloth ; but there may be any number of repeats, say 13, to make 27 
 in. of cloth or 28i in. of warp in the loom, with, say, 92 threads per 
 inch. There must be a harness twine for each repeat of the pattern 
 tied to each hook of the machine ; when four repeats are used, four 
 twines are tied to each hook, as in Figs. 54 and 55. The harness reed 
 
 Fig. 54 
 
 or cumber board, g, must be of the same set or fineness as the weaver's 
 reed (if finer, it can be used by passing over the surplus holes). It is 
 divided into four portions, leaving 200 holes for each repeat, and the 
 twines are, in Fig. 54, taken straight down from the hooks to the holes 
 m it, as can easily be seen. In this figure the cross-rows of the 
 cumber board at the first of each repeat are shown filled ; but in 
 mounting, the back row, taken from the hooks a to b, would be filled 
 
96 
 
 JACQUAED WEAVING AND DESIGNING 
 
 first. In Fig. 55 the reverse is the case, the cross-rows, as shown, 
 being the first filled ; this is owing to the twist in the harness, as the 
 machine is sitting so that the cards will hang over the sidie of the loom. 
 The letters a, b, c, and d in both figures denote the same corners of 
 the machines, showing that in Fig. 55 there is a quarter twist in the 
 harness. In Fig. 54, the dotted lines from the 200th hook show the 
 
 Fig. 55 
 
 last cord of each repeat ; l is the first cord of the last cross-row% and e 
 and F are the same in Fig. 55. In these figures only the skeleton of 
 the mounting is given ; it must, of course, be filled up as the first rows 
 which are given. 
 
 For this description of mounting the yarn is drawn into the mails 
 ijQ regular order, beginning at No. 1, and proceeding with the numbers 
 
FULL-HARNESS MOUNTINGS 
 
 97 
 
 as given. In this case the back hook to the left-hand corner must be 
 taken as the first hook of the machine, and the cards cut to suit this. 
 Sometimes the first hook to the front left-hand corner is considered 
 the first hook, but if so it must be remembered when cutting the cards. 
 Sometimes the mounting is begun at the right-hand side, but in any 
 case it is only necessary to see that "the draft of the yarn and cutting 
 of the cards correspond with the order of mounting ; the result of the 
 work should be the same in all cases. 
 
 Fig. 56 shows a pattern for a gathered border with a repeating 
 centre, which is a very common style of design. It will be seen that 
 the two halves of the border, 
 A and B, are alike, if taken 
 from the centre outwards ; 
 or if one-half of the border 
 were traced on tracing paper, 
 it would, if turned over, form 
 the other half. For this 
 reason it is also called a ' turn- 
 over ' border. In the same 
 way, if two cords are tied to 
 each hook of the jacquard for 
 the border, and those to the 
 first hook taken down to the 
 cumber board for the two out- 
 side threads of the border 
 (that is, one to the right and the other to the left), then those from 
 the next hook taken to the two next outer holes, and so on, coming from 
 the outsides to the centre, the first half of the pattern would be re- 
 peated by the mounting in exactly the same way as by turning over 
 the tracing paper. 
 
 Fig. 57 shows a mounting for a gathered border and four repeats of 
 the centre. Eighty hooks are taken for the border, which are repeated 
 four times in the cumber board, as at 80a, 80&, 80c, and 80d, and 120 
 hooks are allowed for the centre repeat (see also Fig. 58). This 
 mounting is made up for a 200 machine with 208 hooks, the extra 
 
 H 
 
 Fig. 5G 
 
98 JACQUARD WEAVING AND DESIGNING 
 
 eight hooks being left for working the selvages. Only the front row 
 of the harness is shown, but they are all alike. By following the cords 
 from the hooks to the cumber board, it can be easily seen how they are 
 taken through it. The first eight hooks are left idle, for the selvage 
 to be fixed to if required. The next ten rows = 80 hooks, are for the 
 
 Fig. 57 
 
 border ; these 80 hooks, with one twine on each, taken down through 
 the cumber board at 80ft, would work the first half of the border, as a. 
 The other half of the border, B, can be wrought by the same hooks, 
 with another set of twines tied to them, and taken through the cumber 
 board at 806 ; but the twine from the first hook must be crossed over to 
 the right-hand side of the border, being the 160th twine in the cumber 
 board ; the twine from the second hook is the 159th in the cumber 
 
FULL-HARNESS MOUNTINGS 
 
 99 
 
 HZ 
 
 board, and so on, coming in towards the centre to meet the first set of 
 twines ; hence the name, ' centred tie.' 
 
 The border must also be repeated on the other side, and. two more 
 sets of twines must be tied to the same hooks (four 
 to each hook in all), which are taken down through 
 the cumber board at 80c and 80d, to work the 
 two halves of the border marked g and h, Fig. 58. 
 The next 15 rows of hooks = 120, work the repeat 
 of the centre pattern, c, Figs. 56 and 58 ; and as 
 this is repeated four times, at c, d, e, and f, Fig. 
 58, there must be four twines tied to each of the 
 120 hooks, which are taken down through the 
 four divisions of the cumber board marked 120 ; 
 one twine from each hook being taken through 
 each division, beginning at the left and working 
 to the right side, alike in them all, as this portion 
 is a simple repeating tie. Fig. 58 gives a portion 
 of the pattern in Fig. 56 completed across, as it 
 would be on the cloth by the mounting in Fig. 57 ; 
 the cumber board is laid across the top of the 
 pattern and marked, showing, in conjunction with 
 the mounting. Fig. 57, how the harness repeats 
 the pattern so that a large surface can be figured 
 with a small machine by adopting a suitable tie. 
 
 When drawing the warp into the harness, 
 wherever there is a gather in the tie, or a turn in 
 the harness, there must be a turn in the draft 
 also ; not that there is any real change in the draft, 
 but when the harness is turned in the direction 
 it is drawn through the cumber board, the draft 
 must also be changed to follow the mails in regular 
 order. Fig. 59 shows a draft for a gathered border, 
 with 48 hooks for the border and three repeats of the centre. It will 
 be seen that the first half of both borders A and b and the three repeats 
 of the centre are drawn in the same direction, but that the two turned- 
 
 ME 
 
100 
 
 JACQUARD WEAVING AND DESIGNING 
 
 over portions of the borders c and d are drawn in the reverse direction. 
 The numbers on Figs. 62 and 62a may assist in explaining this, the 
 border a in 62 and b in 62a being taken ; in these it will be seen from 
 
 Fig, 59 
 
 the numbers, which are those of the harness twines, that 1 to 8 in 
 border a (Fig. 62) run in the reverse direction of 1 to 8 in border a 
 (62a), and both are from the same hooks. 
 
 When two borders are to be woven on any piece of cloth, though 
 the pattern for each border may be single in itself, as Fig. 60 (which 
 is single except the two outlying lines, a and c), they will to each other 
 
 Fig, 60 
 
 form a gathered tie, provided they have to be turned in the same way 
 to the centre of the cloth — ^that is, if the inside of one border on one 
 side is to be the inside of the other border on the other side. In such 
 a pattern as Fig, 60 it would not matter much if the inside of one 
 border was the outside of the other, as the border is much alike either 
 way, and if wrought in this way the twill on the cloth would not be 
 reversed, as is always the case in a turned-over border. In many 
 
FULL-HARNESS MOUNTINGS 
 
 101 
 
 patterns this would not do, and it is therefore necessary to gather 
 the tie and turn the twill. Fig. 61 shows how, in the London style of 
 tying, the harness can be turned so that a turn in the draft is not 
 necessary, but this will not alter the 
 
 reverse twill on the cloth. It will 
 be seen that one of each of the two 
 cords tied to the eight hooks goes 
 to one border, and the other to the 
 opposite border, but instead of both 
 going to the same row of the cum 
 ber board, the cord from the first 
 hook goes to the back row in one 
 border, and to the front row in the 
 other. All the cords follow in this 
 way, which has the same effect as 
 turning the draft, as would require to 
 be done in the Norwich mountings, 
 and could also be done on this 
 principle. Fig. 62 shows the draft 
 of the two borders for Fig. 61 
 
 mounting, A and b being a plan of Fig. 61 
 
 the warp passing through the mails. 
 
 The numbers refer to the hooks of the jacquard. c and d are the two 
 innermost threads of the borders, both on the 48th hook of the machine. 
 Fig. 62a shows how the draft would be if the cords were not brought 
 
 Fig. 62 Fig. 62a 
 
 from front to back of the cumber board, as the numbers will show. 
 No. 1 shows where the cords from the first hook pass through the 
 
102 
 
 JACQUARD WEAVING AND DESIGNING 
 
 cumber board. Fig. G2a gives the right-liand border only, the left-hand 
 one remaining the same as in Fig. 62. 
 
 In Fig. 60, the two bars A and c could be wrought from the same 
 hooks, and, unless they might be required to be different from each 
 
 Fig. G3 
 
 other on another pattern to work on the same loom, it would be un- 
 necessary to allow machinery for the two ; either the outer or inner 
 one could be tied up, and the other repeated from it, but the one that 
 is tied up must be painted on the design paper. 
 
 Fig. 63 shows the front view of a mounting for weaving a pattern 
 
FULL-HAENESS MOUNTINGS 
 
 103 
 
 such as that given on Fig. 60, one machine being used for the border, 
 and another for the centre. Usually the border machine would be to 
 the left-hand side, to correspond with the pattern ; but in Fig. 63 it 
 will be observed that No. 1 machine is to the right-hand side, and that 
 it works the borders. It does not matter which machine is used for 
 border or centre ; the mounter can use the one he considers most suit- 
 able for the borders, and the pattern may be painted and the cards cut 
 without any consideration of this, it being only necessary to put the 
 border cards to the border machine, and those for the centre to the centre 
 machine. The only consideration is to avoid any unnecessary slanting 
 of the harness twines, which the present arrangement does ; and it 
 also keeps the turned portion of the harness (that for the right-hand 
 border) separate from the twines of the centre, thus avoiding any 
 unnecessary friction, 
 
 TO MARK OUT A CUMBEE BOARD 
 
 Cumber boards may be either the exact fineness of the harness, or 
 any set finer ; they are better to be a little finer, to allow for any 
 broken rows at the beginning or end of any of the repeats. When 
 the cumber board is finer than the harness, the surplus rows are left 
 idle. A convenient plan of marking off a cumber board is as 
 follows :— Let the pattern be as Fig. 60— that is, with a border at 
 
 Fig. 64 
 
 each side and the centre to be repeated several times to make up the 
 width of the cloth. Let 24 cords be required for the selvage, 172 
 cords for the border, and 128 for a repeat of the centre ; there are 
 to be four repeats of the centre. Now mark off on the cumber board 
 whatever width the harness is to stand, which should be the same or 
 rather wider than the warp occupies in the reed, and let it be so as to 
 have the harness in the centre of the loom. Suppose Fig. 64 to give 
 
101 
 
 JACQUAED WEAVING AND DESIGNING 
 
 the width of cumber board required. The selvages are T^TOught 
 from 6 hooks, and there are 8 hooks in each row of a 400 jacquard ; 
 therefore 4 rows of the cum-ber board will be required for each selvage. 
 Mark these off by drawing the lines a and b on the cumber board. 
 Now find out the width the borders are each to occupy, by calculat- 
 ing how wide the yarn will be in the reed, and mark them off by the 
 lines c and g ; then mark off the width of each repeat by the lines 
 D, E, and F, Counting the number of holes marked off for the margin, 
 it will be found that there are 32 ; but as the selvage is on six hooks, 
 the two back holes of each row of the cumber board are marked out, 
 as shown, not being required. The portion marked off for the borders 
 contains 23 rows on each side, whereas only 21^ are required for 172 
 cords. As the centre repeat is on even rows, and it is usual to leave 
 broken rows to the left-hand side of the painting, the first 4 hooks of 
 the border portion of the machine will be idle ; therefore the 4 back 
 holes of the cumber board for both borders are marked out ; this still 
 leaves a row too much, which may be marked out at any place. For 
 the repeats, 128 cords, 16 rows are required, and the surplus rows are 
 marked out, as shown. This mounting is supposed to be on a 400 
 machine, leaving 100 hooks idle to the left-hand side of the mounting 
 then using 1 row for the selvages, and the remaining 38 rows for the 
 pattern, all but the half of the first row, which is not required. 
 
 In marking out a cumber 
 
 ii . -T"! 1 , . , . ' . ' I board for a lay-over, or repeating 
 
 I vf:.'v!;.;.vK.vl;X*;*.4 pattern— if, say, 108 hooks are 
 
 ^*•^^'•^^i•'.•^^*•^!v'•^*^'^••^'^ required for each repeat, which 
 ;lf!;IvI'>i;X-X;/I\\v!y!v/j makes 13| rows of an 8-row 
 ^^^j^^^^m^^^^X^^^^ machine— if the broken row is 
 
 ^ -p^ left-hand side of the 
 
 IiG. 65 
 
 painting, and the harness 
 mounted from left to right, then the first four holes of the first row 
 of each repeat of the pattern are marked out in the cumber board to be 
 left empty, as shown in Fig. 65. When mounting, no attention would 
 be paid to the cords on the half-row of the machine till the first four 
 rows along the cumber board have been filled, the mounter beginning 
 
FULL-HAENESS MOUNTINGS 
 
 105 
 
 with the back cord on the first full row of the machine, which is the 
 fifth hook of the tie. Three rows for the selvage, which is on four 
 hooks at the front of the harness, are shown at s. Fig. 65. 
 
 The front of a jacquard is generally considered by workmen to be 
 the cylinder side. Of course, when there is a cylinder on each side 
 there is neither front nor back to it. Sometimes it is very confusing 
 talking of the front and back, one considering it to mean the front of 
 the harness, or front of the loom, and another taking it to be the front 
 or cylinder side of the jacquard, which is usually at the back of the 
 loom for Norwich ties. Of course, the front of the loom is where the 
 weaver stands, or where the cloth is made, and the front of the harness 
 is towards the front of the loom. It simplifies matters greatly by not 
 minding the back or front of the machine, but speaking of every part 
 of the harness, &c., towards the front of the loom as the front of it. 
 
 It frequently happens that figured stripes are required, running up 
 plain or fancy textured goods, either forming borders to the outer edges, 
 or merely ornamental stripes, say 3 or 4 inches from the edges 
 of the cloth, as in towels, toilet- 
 covers, &c. For this class of 
 work it is generally most advis- 
 able to work the stripes with a 
 small jacquard, and the plain or 
 fancy texture of the body of the 
 cloth with a shaft mounting. 
 Fig. 66 shows a mounting of this 
 class ; the shafts can be wrought 
 by tappets in the usual way, and 
 small cumber boards, as A, a', 
 are fastened to the top rail of 
 the loom for the harness to pass 
 through. It is usual to keep the Fig- 66 
 
 harness behind the heddles, and 
 
 it is levelled in the usual way. The yarn may or may not be on the 
 same beam for both portions, according to whether the take-up, or 
 shrinkage, will be the same for both portions or not. Sometimes the 
 
106 
 
 JACQUARD WEAA'ING AND DESIGNINa 
 
 shrinkage may be regulated to be alike in both by using different counts 
 of yarn, or drawing it thiclier into the reed; but perhaps in most cases 
 two beams would be desirable, unless the texture is much alike for both 
 the stripes and body of the cloth. 
 
 The lease rods for the yarn in the harness will not, probably, do to 
 be the same as those for the body yarn, as the action of the heddles 
 will be different from that of the harness. If the same rods will not 
 suit, it is easy to have a pair for each warp, those for the harness being 
 farthest back. Stripes of this description are frequently made in towels, 
 glass-cloths, &c., for clubs or hotels, with the name of the company 
 woven into them. A gathered tie is mostly used for these mountings, 
 except when letters are required to be woven, in which case a gathered 
 tie is not suitable. (See Letters and Monograms.) 
 
 TO VARY THE SET OP THE HARNESS 
 
 It may often be that in weaving figured piece-goods it would be an 
 advantage to have a harness that would weave different degrees of 
 fineness, so that the loom could be utilised for one when the other is 
 not required. For weaving small quantities, for samples or special 
 orders, this is often an advantage. 
 
 The usual method of procedure is to draw the warp into a finer 
 or coarser reed if only a slight difference is required, and to pay no 
 attention to the strive in the warp between the harness and reed. 
 The better the quality of the warp, the greater the strive may be, but 
 from 1 in, to 2 in. at each side is as far as it can safely be run when the 
 harness is wider than the yarn in the reed ; and if the reed is coarser 
 than the harness, 1 in, at each side will probably be the maximum limit. 
 
 When changes of this kind are liable to take place, the cumber 
 board should not be too low down, nor should the mails hang too close 
 to the back of the slay ; with the cumber board high and the harness 
 a little back the strive will not tell so severely on the warp. When 
 the cumber board is made of boxwood slips, they can be spread out a 
 little in the frame, but when there is much of a slant in the harness 
 this would take the mails off the level ; though this can sometimes be 
 
F ULL-HA RNESS MOUNTINGS 
 
 107 
 
 counteracted a little by raising the cumber board slightly higher at one 
 end than at the other. 
 
 The best plan when much of a change is required is to pass over the 
 surplus rows of mails in the harness, as in harness work, as well as in 
 shaft mountings, the mounting may be used for any coarser set of 
 warp than it is built for— of course, if the width is suitable. This 
 would necessitate the warp, or at least a part of it, being drawn out 
 of the harness, and also requires a new set of cards for the new pattern, 
 or for the same pattern on a new set of cloth. The surplus mails may 
 be cast out in rows across the loom if many are to be rejected, or in 
 rows across the harness (from back to front) if found more suitable, 
 or when a small number of mails are to be left idle. Suppose for an 
 «-row harness, 400 machine, with G repeats=2400 mails on 30 in., or 
 ;80 threads per inch, and it is required to weave a piece of cloth on this 
 having 74 threads per inch. Drawing the yarn into a coarser reed, and, 
 if only 80 in. wide is required, throwing off the surplus yarn at each side, 
 would probably be the simplest method ; but if the cloth to be woven 
 is to have GO threads per inch, every four throw of mails across the 
 harness, or one-fourth of the harness, might be left idle, or the two 
 back rows of the harness may be left empty. In the latter case the 
 pattern could be painted on G-row design paper as if for a G-row machine, 
 and in the former case the number of designs across the painting would 
 be reduced by one-fourth, the card-cutter taking care that he omitted 
 those rows on the card that have been thrown idle on the machine. 
 
 In order to reduce this trouble and expense to a minimum Messrs. 
 Devoge & Co. have patented an expanding harness which is intended 
 to admit of cloths of different degrees of fineness being woven without 
 any trouble but a little setting of the cumber board and re-reeding the 
 warp. The method of doing so is as follows :— There are two cumber- 
 board frames, one above the other, as shown in the sketch Fig. G7 ; 
 these frames are filled with slips which can be moved along when 
 desired. The harness can be set for two degrees of fineness of warp, 
 as is shown in the sketch. The slips in the upper frame, b, are 
 set midway above the two positions for a slip in the lower frame 
 indicated by the letters a and a'. The black lines show the position of 
 
108 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the cords when weaving the finer set. The only change required to be 
 made is to shift the lower slip, a, to the position a\ and to re-reed the 
 warp ; other changes can be made on the same principle, or by altering 
 both sets of slips in relation to each other. When the slips are moved 
 in the frames, they can be kept in position by interposing blank slips 
 between them. 
 
 The same cards will suit in this case for several sets of cloth, if 
 
 Fig. G7 
 
 required. Of course it is plain that the friction on the harness twines 
 working through the two cumber boards must be greatly increased 
 from that of the ordinary method of working ; but for light work, and 
 when the harness is not required to last long, it may prove very 
 serviceable when frequent changes are required, as it furnishes a ready 
 means of accomplishing the desired object, which cannot be done 
 without cost in some direction. For wide looms or intricate mountings 
 
FULL-HAENESS MOUNTINGS 
 
 109 
 
 it will not be of much service. In the Figure only one hook of the 
 jacquard is given, for simplicity, but the harness would be filled up in 
 the usual manner. If the harness is built with long mails having 
 several eyes in them, the second cumber board is not required ; the 
 slips can be shifted and the warp levelled by drawing it through suit- 
 able holes in the mails. 
 
110 
 
 JACQUARD WEAVING AND DESIGNING 
 
 CHAPTER IV 
 DESIGNING AND DEAUGHTING 
 
 Designing is the composing, drawing, and colouring, if necessary, of 
 the sketches for jacquard patterns, and in some cases planning the 
 texture of the cloth ; and draughting (or drafting) is the term usually 
 applied to the painting of the patterns upon design paper. 
 
 A designer should be a first-class draughtsman, and have a thorough 
 knowledge of the various styles of ornament ; he should also be well 
 practised in drawing floral forms from Nature, without which there is 
 generally a stiffness and want of freedom in his style of work. For 
 coloured work, such as carpets, &c., skilful colouring is the most essen- 
 tial point. No drawing will atone for bad colouring ; at the same time, 
 good colouring should not be wasted on bad drawing. 
 
 A designer may draught his own patterns, and if he is an experienced 
 draughtsman with a good knowledge of weaving, perhaps this is the 
 most successful method of working ; but if the greater portion of his 
 time is to be taken up with draughting, his talent as a designer will be, 
 to a great extent, lost, and he will probably deteriorate ; besides, he will 
 not have the same opportunity for getting up a variety of designs that 
 he would have if he had nothing else to attend to. A designer for any 
 class of work should have a knowledge of the technicalities of the 
 material for which he is designing a pattern ; at the same time, a very 
 slight knowledge is essentially requisite, provided the sketch be given 
 into proper hands to be worked out. It must be remembered, however, 
 that in this case a sketch may often have to be taken only as an idea 
 for a pattern, and not be handed by the manufacturer to the draughts- 
 man with directions to ma,ke a truthful reproduction of it on the cloth. 
 A draughtsman may be a skilful designer as well, or he may be a skilful 
 
DESIGNING AND DRAUGHTING 
 
 111 
 
 aranghtsman and have very little powers of designing. When he 
 is a designer, the most successful method of getting a variety of patterns 
 would be for the manufacturer to purchase sketches for ideas and hand 
 them over to his designer, who will be considered to have a thorough 
 knowledge of the practical work, to prepare them to suit the fabrics for 
 which they are intended, perhaps completely altering them, mak'ng 
 two or three out of one, or combining two or more to make one pattern 
 if necessary— in fact, using them as material to work from. They may 
 then be handed over to the draughtsmen, or be sent to a designing 
 establishment for draughting and cutting. In case the manufacturer 
 has no designer in his place, but only a draughtsman, the sketches 
 must be bought prepared to suit his fabrics, or it would be better to 
 have the complete work done, in many cases, at a designing establish- 
 ment. Of course, in draughting, as in all classes of work, a great deal 
 of the less important portions may be done by junior hands, but a 
 knowledge of drawing is required, if only to guide the eye, by them all, 
 except the twillers. 
 
 Sometimes designers accustomed to selling sketches get them up in 
 a very deceptive manner in order to deceive manufacturers or their 
 agents, who may have very Httle knowledge of the work ; but this can 
 easily be checked by submitting them to a practical designer before 
 purchasing them. 
 
 A design that may be very suitable for one class of cloth may be 
 equally unsuitable for another class, and in many cases fashion 
 regulates the suitability quite independently of its artistic merits. 
 For coloured work, designs should be of such forms as lend themselves 
 to the disposing of colours, no style being more suitable than Persian ; 
 whereas in plain work, as damask, the flow of line or the variation of 
 the forms, assisted by portions of fancy shading or twilhng, must give 
 the complete effect. Again, different degrees of fineness of cloth will 
 suit for different designs ; of course, any pattern that can be put on a 
 coarse cloth can also be put on a fine one, but many patterns are very 
 suitable for fine work that could not be put on a very coarse fabric. 
 When it comes to fine coloured silks, anything that the artist can 
 paint can be fairly represented, as may be seen in the work from the 
 
112 JACQUARD WEAVINa AND DESIGNING 
 
 Coventry silk marker looms, so that any design can be put upon cloth ; 
 
 but the question is, Is the cloth suitable for the design ? 
 
 Fig. 68 shows a piece of 8x9 design or point paper ; 8 x 9 mean- 
 
 ing that each of the large squares, or 
 
 ::iiEri:E:-:i^:::ii:E:E:: designs, contains 72 small checks or 
 
 -------- squares, 8 in breadth and 9 in length, 
 
 i-ri:::::::::::::::::::- the 9 should occupy the same space 
 
 as the 8. Ten by ten appears to have 
 
 i:ii::iii:r:::i:r::::::- been the standard design, as patterns are 
 
 still counted by the 100 designs, each 
 
 I------- containing 100 checks, or 100 checks in 
 
 I I M I M H4r-l4i-l-i-t-l4444-H length and the same in breadth : and in 
 
 „ some places machines are known as so- 
 
 FiG. 68 ^ 
 
 many-design machines ; thus, a 400 
 jacquard is called a 40-design machine. 
 
 When each design contains as many checks in length as it does in 
 breadth, the paper is intended for work that is to have equal quantities 
 of warp and weft threads in it; thus 8x8, 10x10, 12x12 paper 
 would all suit for cloth with, say, 80 threads of warp and 80 picks of 
 weft per inch, the difference being that 8 x8 is intended for a jacquard 
 with 8 needles in the row, and 10 x 10 and 12 x 12 for 10 and 12 row 
 machines respectively. It is not necessary to have different papers to 
 suit, as one could be used for all, and after the pattern is painted it 
 could be ruled in rows to suit the machine, but it is much more 
 convenient to get the correct size of paper. 
 
 If 80 threads of warp required to have 100 picks per inch, then to 
 find the size of the paper state as 80 : 100 : : the number of needles in 
 one row of the machine to the number of cards in each design, giving 
 8 X 10, 10 x 12|, or 12 x 16 ; but 10 x 12, or 12 x 14 would have to be 
 used for the last two, as a half could not be made, and 12 x 15 is an 
 unusual size. Either would do by drawing out the design a little 
 when enlarging it for the point paper. Square paper might also be 
 used by counting off the number of checks required, and drawing an 
 elongated pattern to cover them ; but it is more desirable to have 
 suitable paper for work that is at all particular, and in case of such as 
 
DESIGNING AND DEAUGHTING 
 
 113 
 
 12 X 15 paper, 8 x 10 is the same proportion, and could be used for it, 
 the squares afterwards being ruled in 12's for the card-cutter. 
 
 Each upright space on the design paper, between the lines, 
 represents a thread of warp or one hook of the jacquard, and each 
 space between the horizontal lines represents a pick, or shot, of weft, 
 or one card of the pattern ; so that a painted pattern is a magnified 
 view of the texture of the cloth, in common jacquard work. 
 
 Fig. 69 is a small sketch for a border with spot filling, which is 
 shown on design or point paper in Fig. 70. The paper is 8x8; the 
 first four checks are used for a selvage, and the pattern is on 12^ 
 designs or 100 threads of warp, and 22 designs or 176 cards would be 
 required for the Aveft, the pattern being made about three times the 
 
 Fig. 69 
 
 size on the design paper that it is on the sketch. The design paper 
 has 16 checks per inch, consequently the cloth would have about 48 
 threads to the inch to make the pattern appear as the sketch. If the 
 cloth were finer, say with 72 threads per inch, then 150 checks on the 
 design paper would be required for the pattern, which means that 150 
 hooks of the jacquard would be required for working it. Whatever 
 width the sketch occupies (one repeat of the pattern), multiply this by 
 the number of threads of warp per inch to be in the cloth required, 
 and the product will be the number of hooks required for the jacquard, 
 and the number of checks or spaces required on the design for the 
 warp. The number of cards is found similarly from the weft of the 
 cloth. If, on the other hand, a pattern is to be made for a jacquard, 
 
DESIGNING AND DRAUGHTING 
 
 115 
 
 and it is required to find what size of pattern will work on it, divide 
 the number of hooks in the jacquard by the number of threads per inch 
 in the cloth required, and the quotient will be the size of the pattern 
 warp-ways, in inches. The length or weft-way of the pattern can then 
 be arranged to suit the number of cards, or the pattern can be made 
 any length to suit the style of design. Fig. 71 is a pattern of the 
 same style as Fig. 69, and it might be wanted to use it instead of Fig, 
 69 for cloth of the same make, say 40 to 45 threads per inch. This 
 could not be done, as it could not be put on the design paper, but it 
 would suit very well if intended for cloth with 80 to 100 threads per 
 inch, which would admit of its being sufficiently enlarged (say four 
 
 Fig. 71 
 
 times the size of the sketch) to be correctly represented by the checks. 
 Fig. 69 would be better on cloth having 50 to 60 threads per inch, 
 coarser sets requiring larger forms. 
 
 In preparing a design for point paper, the sketch is usually first 
 made out and selected by competent judges as suitable for the fabric 
 required, as well as for the taste of the market in which the goods are 
 to be sold. When selected it has to be enlarged to suit the size it is to 
 ■cover on the point paper. Sometimes the enlargement is made on 
 another piece of paper, and is then transferred to the point paper ; this 
 is perhaps one of the best methods of proceeding, but it is not so quick 
 as if the enlargement were made upon the point paper direct. It is usual 
 
 1 2 
 
116 
 
 JACQUAED WEAVING AKD DESIGNING 
 
 to rule squares on both the sketch and design paper, which bear ta 
 each other the same proportion that the size of the sketch does to the 
 sixe of the design paper required to be covered. This guides the 
 draughtsman, as everything in the small squares on the sketch should 
 be put into the corresponding large squares on the enlarging paper or 
 point paper. 
 
 A pantagraph is sometimes useful, and proportional compasses are 
 a great assistance if very correct enlargements are required. When a 
 careful outline of the pattern is made upon the design paper, it is then 
 painted. Some painters dot round the outlines, and in large forms 
 leave them to be filled in by a.ssistants ; others paint in soHd as they go 
 along. VermiHon and scarlet and crimson lakes are the paints mostly 
 used. The first is easily washed out, but the lakes are more trans- 
 parent, and admit of the checks on the paper being clearly seen through 
 it, which is a benefit to both twiller and card-cutter. Scarlet lake, with 
 from a half to a quarter its quantity of crimson lake mixed with it, 
 makes a very good paint. The ordinary water-colour cakes are the 
 best paints to use, but powdered colour is sometimes preferred on 
 account of its cheapness. In Fig. 70 the painting is all black, with 
 white twilling on the flowering. 
 
 Simple flat ornamental forms, if of sufficient size, are not difficult 
 to put on the design paper, but more intricate forms and shaded effects 
 require a considerable amount of skill, and are tedious, unless to an ex- 
 perienced hand, the difficulty being to get the checks on the design 
 paper to express the figures in the best possible manner, and frequently 
 it is necessary to slightly alter the forms to make them come nicely on 
 the paper. 
 
 When the sketch has to be enlarged to, say, three or four times its 
 size, a slight inaccuracy in the painting will have but little effect, as it 
 will be reduced on the cloth. At the same time, advantage should not 
 be taken of this to employ inferior hands at the work, as, the more 
 correct the painting, the more correct will be the pattern on the cloth, 
 although it be reduced in size ; and a ragged-edged painting will never 
 have a clear, defined appearance on the cloth. It is in coarse coloured 
 work, such as carpets, that the accuracy of the painting is of the utmost 
 
DESIGNING AND DRAUGHTING 
 
 117 
 
 importance, as the pattern on the cloth is as large as, or may be much 
 larger than, it is on the design paper ; therefore all inaccuracies are 
 magnified, and no forms that do not come satisfactory on the squares 
 of the paper will have a good appearance on the cloth, so that to a 
 great extent the design must be made to suit the paper. When the 
 pattern is all painted on the design paper, both the ground and pattern 
 for ordinary full-harness work have to be dotted over with the texture 
 of the cloth. This is called twilling. In Fig. 70 the texture is a 5 -end 
 satin on both ground and flower. For twilling the ground the same 
 •colour is used as the flower or figured portion is painted with, and for the 
 figured portion black is mostly used, sometimes white. The twilhng dots 
 on the figure mean blanks, as if these checks were left without any 
 •colour on them, or as the ground, and they are passed over by the card- 
 cutter when the cards are being cut. 
 
 In twilling care must be taken not to run the dots up against the 
 «dges of the flowering so as to injure the form of the figures. In some 
 cases, as at any flat portion, such as a horizontal or vertical line, or 
 any portion of one, this cannot be avoided, but the red dots on the 
 ground should here fall in against the black dots on the figure. 
 It is necessary to begin one set of dots against the other set to carry 
 this out as far as possible, and in some cases, when they will not 
 join, the dots are set out of their places to make them come 
 together. The two dots coming together bind the threads and keep 
 the last thread of the ground on one side, and of the figure on the 
 ■opposite side — according as it is the weft or warp that is forming the 
 line — from hanging loose or sliding out from the others. The direc- 
 tion of the twill on the ground or flower may vary so as to suit the 
 twill used, and whether a satin or sateen effect is required. Various 
 kinds of twills are frequently used to give effect, but too great an irre- 
 gularity of texture should be avoided, though a plain ground, with an 
 S- or 10-end satin for the flowering, may be used for handkerchiefs with 
 a good effect ; for heavier work a 5-end satin ground and an 8-end satin 
 figuring may be used, but for firm, strong cloth an 8-end satin for both 
 ground and figure is much better, letting either warp or weft predomi- 
 nate largely in the cloth. 
 
118 
 
 JACQUAED WEAA^ING AND DESIGNING 
 
 Fig. 72 shows how a leaf or any piece of ornament may be shaded ; 
 care should always be taken not to let the texture be too close at any 
 part in the shaded portion so as to make hard pieces in the cloth, as 
 would be the case if a plain texture were used in a firm cloth. 
 
 Fig. 73 shows how a flower and bud should be painted so as to 
 give a natural, or rather semi-natural, representation. The shading 
 should be made to express the form as well as possible ; a variety may 
 also be made in the twilling on the floAver, as may be seen on the front 
 
 Fig. 72 
 
 petal, where a straight twill is used ; this makes the cloth richer and 
 the petal come out fuller. This pattern is rather small on the design 
 paper to come well on the cloth ; it would be better twice as large, as 
 it may be seen that in many cases single lines of the design paper 
 have to be used for divisions, and for full-harness work it is gene- 
 rally better to have at least two lines, representing two threads. 
 
 This painting, omitting the twilling, would suit for a pressure 
 harness, with each line of the design paper representing two or three 
 threads of both warp and weft. No twilling is required on a pressure- 
 
120 
 
 JACQUARD WEAVING AND DESIGNING 
 
 harness pattern, as the texture is wrought by the front mounting ; 
 otherwise the pattern is the same, bearing in mind that as each check 
 represents two or three threads, it will not be reduced on the cloth as 
 a full-harness pattern would. The twilhng of this pattern is the 
 8-leaf satin, which is generally used for fine damask, giving a much 
 richer effect than the 5-leaf satin. 
 
 It will perhaps be well to make some reference as to the desira- 
 bility of using these natural forms for designs, though it would be use- 
 less to enter into the oft-disputed point of whether it is correct or in 
 good taste to attempt to imitate natural forms upon cloth, or whether 
 even shaded or rounded forms should be treated upon a flat surface. 
 To the latter I would answer without hesitation,, by all means do so, 
 but make the appearance satisfactory and keep them in good taste ; and 
 this can be done if the subject treated is duly considered. 
 
 The former, it must be admitted, is rather pandering to the popular 
 taste than following the dictates of decorative art. One thing is certain, 
 that the ' million ' are better satisfied with floral forms than any other 
 class of ornament, and the more loosely treated these are, or the further 
 they are from ornament, the more pleasing they are to those uninitiated 
 in the beauty of line, wanting which no ornamental forms can be pleasing 
 to those educated in art. However, these natural forms suggest Nature, 
 and their admirers have so little idea of Nature's beauties that they 
 do not see the defects in the attempted representations. At the same 
 time, it must not be understood that a pleasing design, or one in good 
 taste, cannot be composed of natural forms — quite the contrary ; for 
 small, simple patterns, principally for light fabrics, they are perhaps 
 more suitable than any other ornament, giving lightness and graceful- 
 ness of appearance, as may frequently be seen from the designs on the 
 better class of dress goods, whether woven or printed ; but the natural 
 treatment must be kept subservient to the flow of the design. Gene- 
 rally, a moderately flat treatment without any strong attempts at light 
 and shade is most successful, the treatment consisting of a graceful 
 arrangement of forms drawn from nature. Everyone knows the beauty 
 and grace of the J apanese designs ; but this is not simply because they 
 are natural forms : it is the arrangement of the forms that gives the 
 
DESIGNING AND DRAUGHTING 
 
 121 
 
 effect. Very effective patterns can be made for dadoes of coloured 
 curtains from natural objects, as here they can have the upright forms 
 suited to them ; but for coloured work, generally speaking, and for 
 carpets in particular, natural forms, unless treated flatly and con- 
 ventionally, are rarely either pleasing or in good taste. With them it 
 is difficult to obtain that intermingling of colours, be they bright or 
 dull, that produces a neutral bloom and a satisfactory result. Another 
 important point in a pattern, and often overlooked, or not understood, 
 is that, unless the pattern, as a whole, is satisfactory, no variety or 
 beauty of detail can make it a good design. The general character or 
 lines of the pattern must first be made satisfactory, after which the 
 detail may be made as interesting as possible, provided it does not 
 injure the general effect, and is not incongruous to the nature of the 
 design. As to whether flat surfaces should be treated with shaded 
 ornament or not is a point that will always be in dispute, but it may 
 be asked why should a designer be hampered with such restrictions ? 
 If he can produce a satisfactory pattern by using either flat or shaded 
 ornament, or both, why not let him do so? The criterion should be 
 whether the result is satisfactory or not. Of course such barbarous work 
 as representing leopards or tigers prowling over carpets or hearthrugs, or 
 even decorating them with the more homely duck or drake nestling, 
 or waddling through water, cannot be too strongly condemned, highly 
 though they were once appreciated, and though they still find favour 
 with many : even shading forms or objects in such a manner as will 
 produce a feeling of weakness, insecurity, or danger, can never be up- 
 held — that is, such a practice as shading ribbons flowing over carpets 
 or hearthrugs like snares, and buttoned down at certain points ; or 
 making the surface of the carpet appear very irregular, which has often 
 been done, and is often seen in coloured tile pavements. Of course 
 these remarks refer more or less to any fabric, but a little relief in a 
 curtain would not be nearly so objectionable as on a carpet, so that 
 almost everything turns upon whether the result produced is satis- 
 factory or not — of course, to those competent to judge, and who are 
 not overcome by biassed prejudices. Natural or semi-natural floral 
 ornament will rarely be injured by a little shading, whether on a white 
 
122 
 
 JACQUAED WEAVING AND DESIGNING 
 
 or coloured fabric, but it should not be overdone— a moderate amount 
 of shading or a half-flat treatment generally giving a more pleasing 
 effect. Conventional floral ornament is, perhaps, best treated flatly^ 
 or with a very little shading on some portions that require a little 
 relief. A richer and purer effect in colour can be got with flat than 
 with shaded colours. 
 
 Fig. 74 is an example of a small floral pattern of a class much 
 used for dress goods, either woven or printed, and gives a very 
 pleasing effect. One repeat of the pattern is bounded by the lines 
 
 Fig. 74 
 
 a b c d, ov the whole might be taken as one repeat, and instead of 
 having a row of pears on a line, have a pear and some other fruit 
 alternately, and the same with the apples. This pattern is a semi- 
 natural floral treatment, and if on a larger scale a little more shading 
 on the fruit and a few turned-over leaves or half-open flowers would 
 not injure it, but would add to its richness. 
 
 Fig. 75 is a sort of floral ornamental, or flatly and symmetrically 
 treated floral pattern, somewhat after the Persian style, and though 
 some would consider it stiff in comparison with the previous one, it 
 
DESIGNING AND DRAUGHTING 
 
 has a very pleasing effect, and could be used the size indicated for 
 dress goods, &c., or if enlarged to two or three times the size it would 
 make a very good curtain pattern. Small sprigs of flowers, grasses, 
 grain, &c., scattered about over the surface of the cloth make generally 
 a favourite style of pattern. 
 
 So far the patterns given are such as would require the designer to- 
 have a good knowledge of 
 drawing and of ornamental 
 and floral forms, and many 
 consider that a designer 
 must be a draughtsman ; 
 but such is not the case. 
 
 Large quantities of pat- 
 terns are made that do not 
 necessarily require the de- 
 signer to have any know- 
 ledge of drawing ; this is 
 called ' small pattern ' or 
 ' texture ' designing. 
 
 A designer of this class 
 should have a thorough 
 knowledge of weaving and of the effect which the patterns on design 
 paper will produce on the cloth. He must, of course, have a taste for 
 the arrangement of forms, and can produce considerable variety by a. 
 judicious arrangement of fancy threads through the cloth, particularly 
 in worsted or woollen goods. The following examples will show how 
 great a variety of patterns can be produced without any knowledge ot 
 drawing. But a knowledge of drawing will be a great assistance, as it 
 trains the eye to correctness of form. Fig. 76 is a pattern for dress 
 goods ; it may be made of cotton only, or with a cotton warp and 
 worsted weft, and a good effect is produced by having the warp a 
 different colour from the weft, say a gold cotton warp and a brown or 
 giraffe worsted weft. Warp 60 to 80 threads per inch, and weft about 
 the same. This is a pattern of the bird-eye class, and a very large 
 range can be made in this style, both bold and effective, or fine and 
 
 Fig. 75 
 
124 
 
 JACQUARD WEAVING AND DESIGNING 
 
 jieat, as may be desired. The smaller patterns may, of course, be 
 woven with shafts, but larger ones require a jacquard. 
 
 Fig. 77 is another pattern, of the flushed stripe class, also suited 
 for dress goods ; this is a silk handkerchief pattern for 1)0 threads and 
 96 picks per inch ; 60/2 China silk for warp, and 60's single China 
 silk for weft. If the small dots on the pattern are cut on the cards, a 
 iiner and closer pattern will be produced than if the black squares 
 
 Fi0. 76 
 
 only are cut, but of course it would be less effective unless on a coarser 
 fabric. 
 
 Fig. 78 is a pattern that would suit for dress goods if woven 
 similarly to Fig. 76 ; and if woven much coarser, say 25 to 80 threads 
 per inch, it is suited for quiltings. Great variety can be made in this 
 style of quilts, particularly when floral and other forms are inter- 
 spersed through the texture, and also when the honeycomb texture is 
 employed, an example of which is given in Fig. 79 in combination 
 with diaper or bird-eye figures ; only a portion of this pattern is given, 
 
DESIGNINa AND DEAUGHTING 
 
 125 
 
 but it shows all that is required. In either pure white, or with a warp 
 of one colour and a weft of another colour, these patterns are very 
 effective when made from good twist yarn and coarsely set in the reed ; 
 the flushing might be over twice as many threads as is shown in the 
 patterns, and then more threads of warp and weft be used. It is 
 perhaps to the woollen and worsted trades we must turn to find the 
 greatest variety of patterns of the description we are now dealing with. 
 True, the greater portion of them can be Avrought on shafts, and 
 
 Fig. 77 
 
 perhaps a greater number of shafts are used in these trades than in 
 any other branch of textile work, as shafts produce a firmer cloth than 
 a harness ; but when large fancy patterns are required, recourse must 
 be had to the jacquard. Fig. 80 is an example of a fancy twill stripe 
 which could be wrought on 48 shafts if desired, but might also be 
 wrought on a small jacquard with greater simplicity, unless very heavy 
 cloth is required. Patterns of this description require considerable 
 skill in designing, and are in some cases more difficult as they increase 
 
126 
 
 JACQUAED WEAVING AND DESIGNING 
 
 in size. It may be seen that the pattern or figure is composed of 
 different textures, and to make a perfect cloth the various textures 
 should all work together at an even tightness, or so that there will be 
 an equal amount of take-up of shrinkage of the warp for each. When 
 •checks or large patterns are to be formed this is most essential, but in 
 smaller patterns it can in a great measure be remedied by letting the 
 
 Fig. 78 
 
 various textures follow each other, so that if one tightens a little 
 another will make a corresponding slackness, and all together will 
 balance each other. Another important point is to join the edges of 
 the various textures together so that there will be no break, or floats 
 of warp and weft greater or less than in the textures themselves. In 
 some cases tight and loose textures are wrought together to give a 
 
DESIGNING AND DEAUGHTING 
 
 127 
 
 special effect, and figures may be formed by the close texture pressing 
 the looser threads together. 
 
 Another class of pattern by which a very good effect can be 
 obtained by very simple means, is the hair line or tricot style. Fig. 81 
 is a dice pattern on this principle. The texture is plain cloth through- 
 out, and the effect of pattern is obtained by using two colours of warp 
 and weft, say black and white, and by arranging the draught and 
 
 Fig. 79 
 
 treading so that the black weft will pass over the black warp and the 
 white weft over the white warp on one dice, and the reverse of this for 
 the next one, a horizontal and vertical lined effect will be produced, 
 giving a subdued pattern. The dark checks on the design paper are 
 the tricot or horizontal line effect ; the grey checks the vertical lines 
 or hair line effect. It will be seen at the edge of each dice how the 
 colours are changed in both warp and weft by the two dots coming 
 
128 
 
 JACQUAED WEAVINCr AND DESIGNINQ 
 
 together. The crosses along the bottom and to the left side of the 
 design show the dark threads and dark picks coming alternately with 
 the white ones. ^ 
 
 Fig. 82 is a small figure pattern arranged in this manner, the 
 reversing of the colours being done by the jacquard, as may be seen 
 
 Fig. 80 
 
 from the dots on the design. Almost any figure may be treated in 
 this manner, but simple patterns, not too irregular or broken in 
 outhne, will perhaps be found most successful. 
 
 These fabrics may be made in either woollen, worsted, or cotton 
 for dress goods. About 36 threads of warp per inch of 2/30's worsted, 
 and 32 threads of weft per inch, is a good setting for them ; and in 
 
DESKxNINa AND DKAUGHTING 
 
 129 
 
 any mild contrasts of yarns, such as two shades of grey, they are very 
 pleasing. 
 
 Coming now a step further towards the damask or figure patterns, 
 we have still great scope for variety, without much, if any, knowledge 
 of drawing being required from the designer. This consists of 
 
 Fig. 81 
 
 spotting small geometrical figures over the cloth, the body or ground 
 of which may be plain, twill, or any texture desired. Fig. 83 is a 
 pattern of this description with a plain ground. The figures are 
 arranged in satinette or 4-end satin order. Of course, the ground 
 might be a twill if desired, and the figures may be of any form that 
 
 K 
 
130 
 
 JACQUARD WEAVING AND DESIGNING 
 
 ingenuity can suggest. They may be solid, and a twilled texture used 
 to bind them if the flushes of warp or weft are too great, and part of 
 the figure might be warp flush and part weft flush ; in fact any variety 
 that the designer can arrange to produce a good effect on the cloth, 
 which, if the warp and weft are of different colours, may be made very 
 effective. Any arrangement for the figures may be used if suited to 
 the size of the figure and the space they have to occupy to suit the 
 repeat of the pattern. The 4-end satin gives two figures on one 
 
 Fig. 82 
 
 diagonal, and two on the other diagonal alternately ; one figure on 
 each"diagonal may be used, and also three figures on each with equally 
 good effect, subject, of course, to some extent to the size and form of 
 the figures. Five and eight-thread satin arrangements are two of the 
 best that can be used if a greater number of figures are required in 
 each repeat of the pattern. To arrange a pattern in satin order, the 
 ■usual way is to rule the repeat into as many squares in length and 
 breadth as there are threads in the satin to be used. Thus, for a 
 
DESIGNINa AND DRAUGHTING 
 
 131 
 
 5-thread satin, rule the repeat into five squares in length and the same 
 in breadth, or twenty-five squares in all, then place one of the figures 
 into each of five of these squares, the order being that of the 5-end 
 satin twill. A draughtsman would either sketch these figures on the 
 design paper, or sketch one of them on a piece of plain paper, trace it, 
 and transfer it to the different positions it would occupy on the design 
 paper, and then paint each of them independently. But a designer, 
 without a knowledge of drawing, would mark out the spaces on the 
 
 1b 2b 3b 4b 
 
 2 3 4 
 
 Fig. 83 
 
 ■design paper for each figure, and, having made one of the figures the 
 required shape on the checks or small squares, would copy the others 
 from this. In Fig. 83 let 2a be the first figure formed, it being 
 started in the second square upwards and first row. Now, the second 
 figure can be similarly begun in 4-thread satin order, which would 
 bring it to square No. 2, and it is begun in the same position in this 
 square that the first one was begun in square No. 2a. The third 
 figure falls to the third square from 3a and 3, but as this figure is 
 turned round for variety, the point for beginning it at figures 1 and 2 
 
 K 2 
 
132 
 
 JACQUARD WEAVING AND DESIGNING 
 
 must be marked, and an imaginary square run round it, and it must 
 be kept in its position in the square, or the centre of the figure may 
 be found by counting the checks in either of the first or second figures 
 and this figure wrought from the centre ; or, again, as the figure is six 
 checks greater in length than in breadth, it must be set three checks 
 to one side, and the top point should rise three checks higher up 
 above the large square of the design paper on which it should be 
 
 1b 2b 3b 4b 5b 
 
 Fig. 81 
 
 started ; but with a plain ground it is sometimes necessary to move the 
 figures one check out of position to allow the plain to fall in regularly 
 all round them. This figure is set one check down. Fig. 4 is copied 
 from fig. 3, and is in the same position. With a twilled ground or 
 irregular figures, it will not matter if the ground does not fall in quite 
 regularly round them. 
 
 If it was required to make a pattern similar to Fig. 83, but with 
 five figures instead of four, and preserve the same density of ground 
 
DESIGNING AND DRAUGHTING 
 
 133 
 
 structure round them, it could be calculated as follows : — Fig. 83 is on 
 44 cliecks broad and 44 long. Now 44 x 44=1936, and on this there 
 are four figures, then 1936-r-4=484. As five figures are required 
 484x5=2420 checks for design. If there are to- be as many checks 
 across the design as up it, find the square root of 2420 for the number 
 of checks, as \/ 2420=50 nearly. If the pattern is not to be square, 
 the proportion may be found for each side by making two calculations, 
 one for the greater number of checks squared, and the other for the 
 lesser number of checks squared, and extracting the square roots for 
 the two sides of the required pattern ; or, suppose the warp to be to 
 the weft in the proportion of 10 to 12, then state, as 12 is to 10, so is 
 50 to 42, the number of checks across the bottom of the pattern ; and 
 as 10 : 12 : : 50 to 60, the number of checks in the length of the 
 pattern, and 42x60=2520, which is nearly the same as 50 squared 
 = 2500 for a square pattern. But if this is for adding extra weft to 
 the cloth, the size of the pattern would be reduced, which might bring 
 the figures too close together and would alter the shape of them ; in 
 this case the addition should be made to the number of checks in 
 length, making the pattern 50 broad and 60 long, or to contain 3000 
 checks, and the length of the figures should be increased in proportion. 
 Of course this will produce a finer cloth. Fig. 84 is a pattern arranged 
 with five figures on it. 
 
 A great variety of patterns may also be formed by arranging dice 
 or squares in various ways, some of which, as may be seen on the 
 Indian fabrics, make very pretty patterns. It will thus be seen that 
 there is plenty of scope for the ingenuity of a textile designer without 
 his being of necessity a draughtsman ; but a knowledge of drawing 
 will generally be of assistance to him. For the more elaborate 
 patterns, the designer does not require to have the same knowledge of 
 manufacturing that is required for these small patterns. 
 
 Tiuilling .—It has already been shown how the patterns are bound 
 or twilled, to form the texture of the cloth for ordinary repeating 
 patterns on a straight over-tie ; but when a turn-over or gathered tie 
 is used, the twilling of one half of the gathered portion will, on the 
 cloth, be the reverse, or run in the reverse direction to that of the other 
 
134 
 
 JACQUARD AVEAVlNCr AND DESIGNING 
 
 portion, and this is often a disadvantage to this description of tie, as 
 one half of the border or pattern, whatever it may he, will look coarses 
 than the other. It frequently happens that to avoid the stiffness of a 
 clean turn-over pattern, which must always have a clear cutting line 
 through the centre of it, so that, if cut up, one half would, if turned over, 
 be exactly the same as the other, a portion of single, or a turning 
 portion, is placed in between the two turned-over portions, which in 
 many cases adds very considerably to the effect of the pattern, though 
 
 it is often almost useless. Fig. 85 is a 
 pattern of the turn- over type, and, but for 
 the interlacing of the bands in the centre, 
 might be wrought with a simple gathered 
 tie. For this pattern the portion marked 
 B would require to be single, and a turned 
 over to c. Perhaps it is in floral patterns 
 that this form of tie is of most service. 
 When a single tie takes up too much 
 machinery, and a double over or gathered 
 tie would make the pattern too stiff, a 
 small portion of single introduced, as at 
 B, is of great service to the designer in 
 making a pleasing pattern. 
 
 When twilling a pattern of this de- 
 scription, the portion marked a would be 
 twilled straight across, and this twilling 
 would be continued to the centre of b, as 
 shown in Fig. 86, which gives the idea, the 
 spots in the centre being taken as the single portion. The portion marked 
 c is repeated from the first part a by the harness, and does not require 
 to be put on the painting ; in the figure it is shown (in different type) as 
 it would fall on the cloth. It may be seen that the twilling dots on the 
 last line of a and the first line of c are alike, and that every pair of 
 lines corresponds, moving from these to the edges of the pattern. Now 
 a turn must be made in the twill in the single portion so as to make it 
 join correctly with c, and this should be done in such a manner as to 
 
DESIGNING AND DRAUGHTING 
 
 135 
 
 prevent it from showing plainly on the cloth, or having too long floats 
 on some of the threads while others are too closely bound. This must 
 be done by setting the dots out of their places on a few hnes in the 
 
 centre, so as to make the join produce as even a texture as possible. 
 Advantage should always be taken of any portions of the pattern that 
 come on this part, such as the spots in Fig. 86, to turn the twill round 
 
136 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the edges of them; By following the dots on the design paper, it will 
 be seen how they are brought in at the join. Any twill may be broken 
 similarly, but a different number of threads in the single will alter the 
 arranging of the dots to join the two twills together ; however, when 
 the principle is understood, it can easily be worked out. 
 
 LETTERS, MOTTOES, ETC. 
 
 A turned-over mounting or gathered tie will reverse any ornament, 
 but while for borders it makes the ornament come correctly, it prevents 
 letters or words from falling in as they should be read. Thus, if the word 
 CLUB were woven at one side of a cloth, as at a, 
 and the harness mounted as a gathered repeat so 
 as to turn over a similar border to the other side, 
 the letters would fall as at b, making them read 
 correctly to the under side of the cloth instead 
 of to the upper side. Instead of making a 
 gathered tie, it would be better to make a plain repeating tie for 
 the second border, making the word CLUB on both borders as either 
 A or B, according as they are to read correctly on the under or upper 
 side of the cloth ; but if it is desired to make the letters read correctly 
 from both sides or edges of the cloth, as at c, it is plain that there 
 must be hooks in the jacquard to work each border independently, 
 as one is not a repeat of the other. Of course letters on damask will 
 only read correctly on either the face or back of the cloth, not on 
 both. The same principle holds good when putting names across the 
 cloth, or for coats of arms and mottoes in the centre, as is frequently 
 done in quilts, tablecloths, &c., but in this case it would be the cards 
 that would do the work. Suppose the word HOTEL to be put across 
 a cloth at one end, and it was required to have the same at the opposite 
 end to read similarly from that end of the cloth, it would require to be 
 painted thus, T:3iOH> or the cards might be cut from the painting of 
 the former, turned upside down. Provided it was required to make these 
 words read correctly on the under side of the cloth in the loom instead of 
 
 o 
 
 O 
 
 o m 
 
 l- 
 
 -| 
 
 r □ 
 
 c 
 
 D 
 
 G J 
 
 CD 
 
 U3 
 
 CD o 
 
 A 
 
 B 
 
 
DESIGNING AND DEAUGHTING 
 
 on the upper side, then the first border would be painted and cut as 
 j^-j-Q^ and the second border as HOX EP "^^^^^ 
 will be best understood by printing the letters on tracing paper and 
 turning it round into the position required. In case of a motto or 
 coat of arms wanted for a large cloth 
 with two centres in it, one centre to be 
 correct from one end of the cloth, and 
 the other from the opposite end, as 
 shown by the girdles at A and B, Fig. 
 87, the painting would be as in this 
 figure if the upper side of the cloth is 
 to be the right side, but if the under 
 side is to be the right side, the first 
 centre would require to be painted as 
 shown in Fig. 88, and the second one 
 would be as this turned round, the top 
 where the bottom is, not turned over. 
 It might be thought that the same 
 painting would do for both ; either that 
 cutting the cards from top to bottom, 
 or backwards, or lacing them back- 
 wards, or working them backwards on 
 the loom, would do for the second 
 centre ; but it would not unless the 
 cards were turned over as well — that 
 is, to have the outsides of the cards 
 turned inwards, and the right-hand 
 
 end to the left. This would suit if it could be done, but could only 
 be done when the jacquards are made with an equal number of needles 
 to each side of the machine, as 25 rows, or 200 needles, to each half 
 of the card for a 400 machine, instead of 26 rows to one side and 25 to 
 the other, making 408 needles, as is usually the case. 
 
 In hand-loom districts, where old makes of machines are used, it is 
 common to have 400, 500, or 600 needles to the machine, and the 
 cards can be turned on the cylinders if required, and are also wrought 
 
 Fin. 87 
 
138 JACQUAED WEAVING AND DESIGNING 
 
 backwards or forwards to suit. By cutting the cards from the painting 
 in the reverse order — that is, beginning at the end of the painting and 
 
 reading and fingering backwards — 
 cards from a painting of a first centre 
 could be cut to suit for a second centre, 
 as it has exactly the same effect as 
 turning over the card ; but all the 
 rows of needles must be used except 
 any left at the first, and these and any 
 selvage must be brought to the end ot 
 the painting when cutting the second 
 set of cards, so as to get them to the 
 first end of the card. The cutting 
 begins, as is usual, at the numbered 
 end of the card. Kepainting the centre 
 to suit is the safest way to avoid mistakes. 
 
 When a name is running up the side of the cloth, lacing or working 
 the cards backwards will reverse the reading of the letters from one 
 side to the other, but not when they are running across the cloth. If 
 the loom is mounted with the cards hanging to the front instead of to 
 the back, the letters would also be turned from one side of the cloth to 
 the other, and to be correct they would have to be painted or cut the 
 reverse, unless the machine or mounting was built to suit. 
 
139 
 
 CHAPTEE V 
 CABD-CUTTING AND LACING 
 
 The mountings which have been given are of two descriptions — 
 the Norwich, with the straight harness, and the London or twisted 
 harness, with the cards hanging to either side of the loom, as the 
 machine can be turned either way to suit. For the Norwich ties the 
 cards are supposed to hang to the back of the loom, but it often happens 
 that there is not space between the looms to admit of all the cards 
 being hung at the back, and it is usual for one loom to have the cards 
 to the back and the next one to the front. When the cards hang to 
 the front of the loom the mounting is tied up so that when finished it 
 will be the same as if mounted for the cards to hang at the back ; and 
 afterwards turned round so that the back will be at the front. In case 
 the back left-hand corner twine is the first cord of the harness with 
 the cards at the back, the front right-hand twine would be the first if 
 the cards are at the front, and the drawing in of the yarn must begin 
 at it. If the loom is mounted in this way, and the yarn drawn in from 
 the opposite side, as if the cards were to hang at the back, the result 
 will be a toothed or broken-up appearance round the edges of the pattern. 
 The same cards will do for either mounting, but the pattern and twill 
 will be reversed on the cloth— that is, they will run from left to right on 
 the one, and from right to left on the other. The effect produced on 
 letters was mentioned when speaking of them. 
 
 It was mentioned that jacquards are usually made with 51 rows of 
 hooks or needles, of 8, 10, or 12 in the row, being for 4=°, 5°°, and 6^° 
 machines respectively, which are those most used ; 2°° and 3°° machmes 
 are used for small mountings, but they may be considered as half 4°° 
 and G°° machines. Sometimes the machines are made of any size 
 
140 
 
 JACQUARD WEAVING AND DESIGNING 
 
 required— that is, with any desired number of rows of holes in the 
 needle boards. The objection to this is that the cards cannot be copied 
 on the ordinary repeating machines ; but piano card-cutting machines 
 can be made with the index to suit for c atting any length of card. When 
 using 4°°, 5°°, or 6°° machines, or the double sizes, 8°°, 10°°, or 12°°, 
 and more than one is required for the mounting, a second must be 
 used, such as an 8 and a 4. or a 12 and a 6 ; a 12 and a 5 would not do 
 so well, as the 12 has 12 needles in the row and a 5 has but 10. It 
 would be better to use a 12 and a 6 and leave 100 hooks idle, if only 
 1700 are required. If a 12 and a 5 is to be used it may be done by 
 having the cumber board made 12 in the row, but made finer in the 
 proportion of 12 to 10 ; then, where the 12-row harness is to pass 
 through it, every sixth row of holes can be left empty, and it will be 
 all right for the 10-row harness from the 5°° machine. 
 
 Designs are painted upon the point paper for the purpose of en- 
 abling them to be transferred to the cards, which act on the needles 
 of the jacquard, and cause the proper warp threads to be raised. The 
 pattern is put upon the cards by punching holes in them, one hole 
 being punched for each check on the design paper that is filled in with 
 colour, or it may be the reverse of this, or otherwise, according to cir- 
 cumstances. The common method is to cut the red, and leave the 
 ground or unpainted portion, and the black, which stands for ground. 
 There is a card for each line of the design paper for damask patterns ; 
 the holes in the cards represent the dots on these lines, if each line 
 was cut off and cut into separate designs or larger squares, then these 
 squares set up lengthways and laid together. Take the pattern. Fig. 
 70, and cut the first line from left to right. The card is shown at 
 Fig. 89 at A. Turn the pattern upside down and examine the first 
 line to the right-hand side. The two first checks are empty ; two 
 holes in the card or two punches of the piano machine are passed over ; 
 the next three checks are painted, for these three holes are cut in the 
 card, and the remaining three cheeks in the design being empty are 
 passed over. The next design has the second and seventh checks filled 
 and these are cut on the card, and so on with the others. The two 
 small holes at each end of the card are for the lacing twine, and the 
 
CARD-CUTTING AND LACING 
 
 141 
 
 large one at each end for the peg on the cyclinder of the jacquard. 
 
 The intersections of the fine hnes on the card show where the holes 
 
 fall when required to be cut. 
 
 This card would be for a 200 machine, the empty or unused needles 
 
 being left at the first half of the card ; 
 
 26 rows of 8 needles to the card. 
 
 The card b given in this figure is the 
 
 first of the heavy cutting, No. 17 on 
 
 the pattern. Beading from the pat- 
 tern as before, pass 2, cut 2, pass 
 
 one which is black, cut 3, and 
 
 so on, cutting the red and passing 
 
 the black or twilling dots whether 
 
 they be white, black, blue, yellow, 
 
 or green ; they are only there for 
 
 convenience, to avoid the trouble 
 
 of leaving the spaces empty when ^ £ 
 
 painting the pattern at first, it being -^^^^ 39 
 
 simpler to dot them over afterwards. 
 
 The cards are numbered at the selvage end, which goes to the sneck 
 side of the jacquard when working. The design may be read from 
 left to right, but the usual method is to turn it upside down, and read 
 from right to left, which comes to the same thing, beginning to cut 
 from the numbered end of the card. Some begin to cut at the other 
 end of the card, and read from right to left on the design without 
 turning it, which is still the same. If the loom is mounted or the yarn 
 drawn in, beginning with the front row of the harness instead of with 
 the back row to the left-hand side, the cards should be read the reverse 
 way from the design paper ; or, what would be the same, turn them 
 over after cutting them. This changes the top row of holes in the 
 cards to the bottom, or from the back to the front of the cumber board. 
 In case of the loom being mounted from back to front, and the yarn 
 being drawn into the harness beginning with the front row in the 
 cumber board, the cards, if cut in the ordinary way, would give the 
 pattern a broken or toothed appearance. Turning the cards upside 
 
142 
 
 JACQUARD WEAVING AND DESIGNING 
 
 down would remedy this, but would only answer if each part of the 
 mounting consisted of full rows of needles, for, if any part began or 
 ended on a broken row, turning the card would take the holes in it 
 .for this part row away from the needles : that is, say if the harness 
 was connected with four needles at the top of the row and the card cut 
 for these, the holes would fall on the four needles at the bottom of the 
 row, if the card was turned upside down. The cards should be 
 numbered on the side which is uppermost when they are being cut, 
 and this side should come against the needles if the work is properly 
 carried out. 
 
 The old method of cutting cards was for one to take the pattern 
 and call out the holes to be punched, and they were punched out by a 
 
 Fig. 90 
 
 second person, a perforated plate over the card being sometimes 
 used as a guide to place the holes in their correct positions. A 
 better method was found in the punching plates shown in Fig. 90, 
 A and B are two plates hinged together, b No. 2 shows the full 
 upper plate. The card is placed on the lower plate, and the upper 
 one closed down on it. Punches are then filled by hand into the 
 holes in the upper plate according as the pattern is read from the 
 design; then the plates are passed through a roller press, which 
 pushes the punches through the card. With small machines this 
 suited very well ; but the filling in of the punches was tedious for 
 larger machines, and shortly after the introduction of the jacquard by 
 Mr. S. Wilson, in 1821, he introduced a method for filhng the plate 
 
CARD-CUTTING AND LACING 
 
 143 
 
 with punches to correspond with each hne of the design paper, as 
 follows :— Over, or in front of, the design a set of upright cords is 
 placed, as in reading the patterns on the simple of the draw-loom. On 
 these cords the pattern is picked, and weft threads drawn in, one for. 
 each line of the design paper, for plain damask. When all the design 
 is finished the threads compose one repeat of the pattern in a loosely- 
 woven cloth. The upright cords or leashes pass through eyes in a set 
 of needles, arranged Hke those in a jacquard machine and each weft 
 thread put in, when picking the pattern, shows which of the leashes 
 are to be drawn. As each set of leashes is drawn the needles con- 
 nected with them come into contact with a set of punches arranged in 
 a frame or plate, and push them into a punching plate, which is then 
 placed over the card, as in Fig. 90, and passed through a roller press. 
 This method of picking the pattern for card-cutting is still in use, and 
 an improved method of using the plates and rollers is still found very 
 convenient for many f,,,," 
 purposes, such as copy- J lllllll il 
 
 ing cards and small 
 patterns, &c. (See Copy- 
 ing Machines.) 
 
 Card cutting is now 
 almost entirely done by 
 ' piano machines.' They 
 take the name of piano 
 from the pins or keys 
 which are arranged for 
 the cutter's fingers, and 
 to distinguish them from 
 an older machine, which 
 is similar in make, 
 
 but in it the pins or keys which act as locks on the punches are 
 wrought with cords instead of by the fingers. The cord machine 
 is similar in make to the piano machine ; but the cutter usually sits 
 at one side, and has the board or stand for the pattern facing him. 
 The treadles are also turned sideways ; but the cord is put in at 
 
 Fig. 91 
 
144 
 
 JACQUAED WEAVING AND DESIGNING 
 
 the end, as in the piano machine. Fig. 91 shows how the cords 
 are arranged, aa are the cords, 12 in number, which the cutter 
 draws, bb are another set from the former ones to the keys, passing 
 under pulleys at c. d is the punch-box. The keys have springs on 
 them, which press them in over the heads of the punches ; but at the 
 top of the cords are indiarubber springs, fastened to the crossbar e on 
 the frame which supports the cords, and these springs are strong enough 
 to draw out the keys. When any of the cords aa are drawn down 
 the cords bb connected with them are slackened, and the keys spring 
 in over the punches, locking them, and punching holes when the 
 treadle is pressed down. 
 
 The cords bb can be connected from the right-hand side of aa to 
 the right-hand side of the punch keys, and run from right to left, or 
 they may be the reverse of this, according to the way the cutter reads 
 the pattern. Sometimes piano machines are fitted to work with cords 
 to suit the cutter. In this case there is only one set of cords, as aa, 
 set behind the punch block, and the cutter sits at the end of the 
 machine. Instead of springs,- weighted levers, or tumblers, may be 
 used at the top of the cords on the bar e. When springs are used 
 the bar should be lowered when the cutter is not working, by slack- 
 ening the set screws at gg, so as to relieve the strain on the springs. 
 When working the cord machine the cutter uses only one hand to 
 draw the cords ; but on the piano machine he uses both hands, and 
 can proceed quicker with the cutting. 
 
 Fig. 92 is a view of Devoge's piano cutting xnachine. In these 
 machines one cross row of the card is punched at each tread ; the 
 cutter sits in front of the machine, with the design fastened on the 
 frame before him, as shown in the figure. The straight-edge, or ruler, 
 across the design is for the purpose of guiding the cutter's eye along 
 the line of the design paper that he is cutting from, and he screws it 
 up or down a line, as the case may be, for every card he cuts. He 
 keeps one foot on each treadle and his fingers on the keys in the punch 
 block, the arrangement of which is shown in Fig. 93, and presses in a 
 key to correspond with each dot on the line of the design paper on one 
 design, or large square, for each tramp. 
 
CARD-CUTTING AND LACING 
 
 145 
 
 The numbered end of the card is put into the clip on the index 
 carriage, and the guide for the card set to suit the width of tlie card 
 used, so that the punch will cut the holes in the centre of the card. 
 The lacing and cylinder peg holes are first cut, by pressing in the keys 
 E for the peg hole, and for the lacing 2 and 7 for an 8-row card, 1 and 
 8 for a 10-row, and a and c for a 12-row. Any blank designs, or rows 
 of the card, are now passed over, by running back the index carriage, if 
 
 h's.(i. 'J^ 
 
 the design does not occupy the full length of the card, it being the 
 usual custom to leave all empty rows to the selvage or numbered end 
 of the card, though it may in some cases be advisable to be otherwise. 
 The selvage, if any, is usually cut first, and then the pattern. 
 
 Pressing down the right foot treadle, when any of the keys are 
 pushed in, punches holes in the card with the punches locked, and the 
 
 L 
 
146 JACQUAED WEAVING AND DESIGNING 
 
 left foot treadle, which works alternately with the other, is for moving 
 the index carriage, which shifts the card from one row of holes that 
 have been punched to the next one, so as to place it in position for the 
 punches. In Fig. 93 the black dots represent the heads of the punches, 
 12 in number. The keys 1 to 8 are used for cutting an 8-row card ; 
 when any key is pressed in it passes over the head of its corresponding 
 punch, and locks it, so that when the cutter presses down the treadle 
 and the punch block is brought down on the card, the locked punch is 
 pressed through it, while those not locked rise up. The keys a and c 
 added to the 8 suit for cutting 10-row cards, and h and d added to 
 these suit for 12-row cards. The four keys a h and c cl can be pressed 
 in with the two thumbs, e is the key for the peg hole. 
 
 A good cutter can cut from 100 to 150 cards per hour, but this is 
 
 Fig. 93 
 
 laborious for constant work. Sometimes the cutting machines are 
 driven by power, but as yet (1894) this is not general. 
 
 Messrs. Devoge & Co. can attach an arrangement to their machines 
 so that they can be driven wdth a belt. The punch block is wrought 
 by a lever driven by an eccentric, and is kept constantly rising and 
 falling ; the cutter fingers the pins so as to keep time with the punch 
 block, and should he wish to stop, or should anything go wrong, he 
 can stop the card at once by raising one treadle and pressing down the 
 other, which throws the motion for shiftin;j the index carriage out of 
 gear, and the card stands stationary, and although the punch block 
 continues to work it takes no effect when the punches are not locked by 
 the keys. The machine works very smoothly, with very little noise, 
 and with a little practice any boy or girl accustomed to card cutting can 
 
CARD-CUTTINa AND LACIN& 
 
 147 
 
 easily become acquainted with working it. The index of the piano 
 machine is generally made for 51 rows of holes in the cards, 400, 500, 
 and 600 machines being those generally employed : 51 rows of 8=408 
 needles ; 51 rows of 10 = 510 needles ; and 51 rows of 12 = 612 needles, 
 which, with a few odd needles on the 25-row side, represent the number 
 of needles in a 4°°, 5°°, and 6°° machiae. If larger machines with 
 longer cords are required, the index o" the cutting machine musi be 
 altered to suit them. 
 
 Card paper should be of such a quality as will not be easily affested 
 by the atmosphere. When cards are for small machines, and are only 
 required to work for a short time, an inferior paper will do for them, 
 and save expense ; but for large patterns which are intended to work for 
 years it will come cheaper in the end to get a good quality of paper — 
 in fact, the best that can be made. Specially prepared oil -saturated 
 paper is made for the purpose of preventing the atmosphere taking to 3 
 much effect on it. For hand looms, sometimes the cards are painted 
 with red lead, and sometimes with shellac varnish, or shellac (best red] 
 dissolved in methylated spirits. 
 
 Cards are made of different weights of paper ; some prefer them 
 thin, and others thick. A moderately thin, tough paper is the best. 
 About 16 to 18 cards to 1 lb., for 400 cards, is a good medium weight. 
 
 After the cards are cut they have to be laced into a chain to revolve 
 round the jacquard cylinder on the loom. The usual method of lacing 
 is to have a frame with pegs or studs set in it at a distance apart to 
 suit the size of the jacquard cylinder. The cards are spread on this 
 frame as shown at A, Fig. 94, and laced with a steel needle, thicker in 
 the centre than at the ends ; it is about 2| in. long, and has an eye in the 
 centre, through which a piece of fine twine is tied in a loop, and the 
 lacing tape can easily be drawn through this. The cards at A are 
 numbered 1, 3, 6, but all the numbers would follow in rotation if the 
 jacquard had only one cylinder ; if a double-cylinder machine, half the 
 cards would be laced forward, as at A, and the other half (the even 
 numbers) backward, as at B. The odd numbers usually go to the back 
 of the loom, and the even ones to the front. 
 
 Several kinds of cord and tape are used for lacing cards, but two 
 
148 
 
 JACQUARD AVEAVING AND DESIGNING 
 
 plies of round cotton cord, well soaped or waxed, is usually the most 
 satisfactory for wear. 
 
 When lacing cards, the lacings should be crossed over, each one 
 passing from left to right of the other in turn, at each hole and between 
 the cards. This is important, to keep the cards straight. 
 
 The cards should be tightly laced, as the lacing is almost certain to 
 stretch a little ; so that they are better for being rather tight for the 
 cylinder at first, otherwise they are liable to become too slack after a 
 little wear, and if such is the case they will not fall properly on the 
 cylinder pegs. This and other causes — such as irregular expansion or 
 contraction of the cards, badly cut cards, and a long draw on the cards 
 — occasion considerable wear on the peg holes, and now eyelets are 
 being tried in them to avoid the brealdng-tip of the holes ; but it is 
 
 
 J 
 
 
 
 Q 
 
 o 
 
 
 
 
 m 
 
 Fig. 94 
 
 probable that good paper and careful work wall prove a more suitable 
 remedy. The card should not be deeper than the face of the cyhnder ; 
 better a trifle less,. to allow for the lacing to pass between them, and 
 then if laced as tightly as possible they will still be pliable and work 
 freely. Cards are usually numbered with pen and ink, but the 
 numbers may be stamped on with an indiarubber stamping machine 
 similar to that used for paging books. 
 
 Lacing Machines.— The Singer Sewing Machine Company brought 
 out a machine some years ago for lacing cards, and it performs its 
 work very well, though many object to it, as it stitches a lacing tape 
 along the cards, instead of lacing them in the usual way. The machine 
 is a 3- or 4-head sewing machine, according as three or four rows of 
 lacing are to be used on the cards. The lacing is a tape ; one tape is 
 
CARD-CUTTING AND LACING 
 
 149 
 
 laid below the cards at each row of lacing, and another above, and both 
 are stitched together through the cards. 
 
 Another machine was invented by Count Sparre more recently 
 which laced or sewed the cards through the ordinary lacing holes, much 
 in the same manner as hand lacing, except that the lacings are looped 
 on each other through the holes instead of passing up and down through 
 alternate holes. 
 
 A still later one, by Messrs. Eeid & Fisher, of Dunfermline, and 
 Mr. Parkinson, of Bradford, has further improvements ; this machine 
 is now working very satisfactorily. Other machines have since followed. 
 
 Copying or Repeating Machines. — There are several varieties of 
 machines for copymg or repeating a set of cards after they have been 
 cut by the piano machine, and it often happens that this is required 
 in case of several looms being put on the same pattern ; or it may be 
 that a set of cards for one loom is made up of two or three parts 
 repeated several times. 
 
 One of the simplest of the repeaters is a small treadle machine in 
 which the card is repeated by rows, the holes of the cut card acting upon 
 needles that push in the pins above the punches, which are similar to 
 those in the piano machine ; and each row is punched by depressing a 
 treadle. This is a slow method of repeating, but suits for small fac- 
 tories where it is not worth while having a more expensive machine. 
 Any boy or girl can repeat the cards, instead of requiring a card-cutter 
 to read them. 
 
 A more useful machine is the railway press repeater ; it is taken 
 from the old method of cutting described on page 142. The cards to be 
 repeated are placed on a cylinder the same as that used in the jacquard, 
 and pass down over the ends of long needles similar to the jacquard 
 needles, but arranged in a box, and with long helical springs on them. 
 In a thick plate, or box, in front of the needles is a set of punches, and 
 the stamping plate rests in front of the punch box, close up against it. 
 By means of a treadle the needle box can be drawn forward, and where 
 there are holes in the card to be copied the needles pass through them, 
 and, pressing on the punches, push them from the box into the stamping 
 plate. The punches have heads on them that will not pass through 
 
150 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the stamping plate, but wnli go into the holes in the box or frame, and 
 when they are pushed into the plate it can be drawn away and turned 
 over so as to prevent them from falling out. The plate is then placed 
 on a box-plate made to hold the card to be cut, and somewhat similar 
 to that shown in Fig 90. The box or hinged plates are set on a slide 
 frame with rollers to travel on, and at the end of the frame is a strong 
 roller press. The plates can easily be run forward to the press, and 
 the card punched by running them under the roller ; it may then be 
 taken out, and as many impressions from the plate cut as are required. 
 When finished, the stamping plate is taken back to the punch box and 
 placed against it as before ; then, with a comb, or block of wood, set 
 
 witli pins, all the needles are pushed out of the plate into the punch 
 box. Another card can be brought before the needles, and the plate 
 filled as before. 
 
 This machine is very useful for copying damaged cards, even when 
 a repeater as those about to be described is at hand. A damaged card 
 can be held between the needles and punches, and the plate filled, 
 same as when copying a set. 
 
 Figs. 95, 97, and 98 show the principle of working three of the 
 best-known repeating machines, which will copy a set of cards at the 
 rate of from 40 to 60 per minute. Fig. 95 shows the arrangement of 
 the punches in Nuttall's patent repeater. The punches are shown at 
 
 c 
 
 Fig. 95 
 
CAED-CUTTINa AND LACING 
 
 151 
 
 A, and the stoppers or keys at b ; the cards to be punched pass in be- 
 tween the blocks c and d. shows the shape of one of the stoppers 
 which, when over a punch, locks it, and causes a hole to be cut in the 
 card. The stoppers all stand over the punches when at rest ; the cards 
 to be copied are hung on a cylinder, and act on a set of horizontal 
 needles, g (Fig. 96) ; these 
 needles have upright 
 wires, m, n, passing 
 through eyes in them, and 
 also through eyes in the 
 stoppers b. The upright 
 wires act as levers, work- 
 ing on centres, m ; and 
 when one of the horizontal 
 needles g is pushed back 
 
 by the card to be copied, 
 
 the corresponding stopper 
 
 b is drawn from above the 
 
 punch a, which allows it to 
 
 rise when the card to be 
 
 cut is raised up against it 
 
 by the block d (Fig. 95), 
 
 between which and the 
 
 punch block c the cards to 
 
 be cut pass, so that no hole 
 
 is punched in the card; 
 
 but where there are holes 
 
 in the card to be copied, 
 
 the needles g are not 
 
 pressed back, and the 
 
 stoppers are allowed to remain over the punches, locking them, and 
 .causing holes to be cut in the card pressed up against them. 
 
 This machine has been superseded by one in which upright rods 
 act as stays on the punches. These rods stand on the punches, which 
 have concave tops on them ; the upper ends of the rods rest under the 
 
 Fig. 97 
 
152 
 
 JACQUAED WEAVING AXD DESIGNING 
 
 bars of a grid, or rebated plate, shown in section at p (Fig. 95). When 
 in this position the punches are all locked. A set of needles are con- 
 nected with these rods, and when the card to be copied presses on them, 
 those that are pushed back move the top of the rods connected with 
 them from under the bars to the spaces between them, which allows 
 
 Fig. 98 
 
 the rods to rise up with the punches when the card to be cut is pressed 
 up. 
 
 The principle of a repeating machine made by Mr. McMurdo, of 
 Manchester, is shown in Fig. 97. The cards to be copied hang on the 
 card frame of a jacquaj-d, as shown at c. From the hooks of the jac- 
 quard to the punches a are wires in the form of a single harness. The 
 blank cards d pass in over the block b, which is stationary. Enlarged 
 front and side views of a punch are given at g and h. At 1, 2, and 3 
 
CARD-CUTTING AND LACING 
 
 153 
 
 are slaown the notches cut in the punch, through which the slide bars 
 E and F pass. These slides are also shown at and f'. The bar b 
 is stationary, acting as a stay for keeping the punches in the box, and 
 the notches in them, at 1, are long enough to let them slide up and 
 down on the bar. The shde f is drawn out before the jacquard is drawn, 
 and pushed in again afterwards ; if any of the punches are raised by 
 the jacquard, the notch 3 will be raised to the position of the notch 2, 
 and the slide bar will pass through the lower notch, thus holding the 
 punch up, and when the punch block is pressed down, holes will be cut 
 in the card where the punches are locked in the upper notch. When 
 the punch block is being sunk to punch the cards, it is necessary to 
 have a spring in the wires that connect the punches to the jacquard 
 hooks, and this is effected by having the wires made with a sliding 
 joint and a small spiral spring on them, as shown at L. 
 
 The principle of Devoge's repeater is shown in Fig. 98. This is 
 one of the oldest machines in the market, and there are various opinions 
 as to whether it is excelled by any of the others, or not. It is somewhat 
 on the principle of the French repeating machines, being wrought by 
 a jacquard and harness, e, to which a second harness or set of cards, f, 
 is attached, and passes over pulleys to the punches a. When the har- 
 ness E is drawn by the jacquard, the cords f are slackened, allowing 
 the punches to drop, and they are locked in the punch box by the slide 
 bar, H. The cards to be copied are shown at d, and those to be cut 
 pass through at c. The punch block is stationary, and the block b 
 rises against the punches with the card on it. 
 
 The blank cards require to be laced to make them ready for the 
 repeaters, and also to have the peg holes cut in them ; blocks are pro- 
 vided for the purpose of cutting the lace and peg holes. An enlarged 
 view of a punch is shown at p. 
 
 WIRING CAllDS 
 
 After the cards are laced, if intended to be wrought on power looms 
 in the usual way, they require to be * wired '—that is, to have pieces of 
 straight stiff wire, about 2 in. longer than the cards, tied across them 
 
154 
 
 JACQUARD WEAVING AND DESIGNING 
 
 to the lacing, so that they may be hung on the racks or frames pre- 
 pared for them on the looms. The wires should project 1 in., or rather 
 more, at each end of the cards ; they should be tied to the under side 
 of the cards, so as not to come against the jacquard cylinder, and it 
 also bears them better, being under the lacing. A piece of waxed twine 
 is mostly used for tying them on. 
 
 The distance between the wires depends upon the number of cards, 
 and the height they are when on the loom. For a small set, a wire 
 to every fourteen or sixteen cards is a very good distance apart, but for 
 a large set a wire to every twenty or twenty-four cards will be sufficient 
 in order to give a longer drop and take up less lateral space. 
 
155 
 
 CHAPTEE VI 
 SPECIAL JACQUABDS AND HARNESSES 
 
 CROSS-BORDER JACQUAEDS 
 
 A DIFFICULTY has always existed in working cross borders on hand- 
 kerchiefs, cloths, &c., so as to avoid having to shift or change the cards, 
 and also to do without the expense of getting a complete set of cards 
 cut for the whole cloth. It may be also that different patterns are 
 required on the cloth, such as cross bands of small figures, and if, say, 
 twenty cards would make a repeat of one figure, and it was required to 
 weave, say, 100 repeats of this, and then change to, say, fifty repeats of 
 some other figure, the same difficulty would arise as with cross borders. 
 When there is only a short distance between the changes of pattern, it 
 will generally be found more profitable, all things considered, to have 
 the complete set of cards cut, so as to require no changing, particularly 
 if the pattern will run for a length of time ; but when the patterns or 
 cloths are long, the cards become very expensive, and even if it would 
 be desirable to get a complete set for the full cloth, it may be that there 
 would not be space on the looms to hold them, over 15,000 cards being 
 sometimes required to weave a complete tablecloth. 
 
 Many methods have been adopted to remedy the inconvenience 
 and to save expense. A few of them will be given, but it must be 
 left to manufacturers to judge whether they would prove an advantage 
 to them or not. 
 
 For weaving cloths or curtains it is a common practice to have the 
 cross-border cards and one repeat of the centre pattern cut. The card 
 rack is made as in No. 2 (Fig. 99). 
 
 When either the border or centre cards are working, they are put 
 
156 
 
 JACQUARD WEAVING AND DESIGNING 
 
 into the hollow part of the rack or card frame, as at f, and the other 
 set is hung on the flat rest of the frame, at either d or e. When a 
 change is to be made, a card- shifter has to go up and change from one 
 set to the other, lifting the set that had been working out of the hollow 
 of the frame, and putting it back or forward on the rest d or e, and 
 bringing the set which is to work down into the place of those removed. 
 This, of course, is expensive, gives a great deal of trouble, and is 
 severe on the cards ; at the same time, in many cases it is found to 
 answer as well as any method yet adopted, particularly where space is 
 a consideration, and when two or more sets of cards are used, in case of 
 two or more machines. 
 
 A better plan is to have a sliding-card frame, as shown in No. 1 of 
 
 Fig. 99 
 
 the same figure, a is the frame for the rollers over which the cards 
 travel, b, b are two bars on which the card frame c, with the roller 
 frame a attached, travels. The card frame is only shown in end view. 
 Two of these must be for each set of cards, and the whole frame must 
 be fastened together complete for all the cards required, so that it will 
 all slide on the bars b, b. Suppose there are two machines working 
 there must be four card racks ; on two of these the centre cards are 
 hung, and on the other two the border cards. Either set can be placed 
 opposite the cylinders of the jacquard, and wrought as long as is required ; 
 then they must be taken off the cyhnders, the card frame shifted till 
 the other set of cards comes into their place, when they can be put on 
 the cylinders and wrought over. This is a very good plan for working 
 
SPECIAL JACQUAKDS AND HARNESSES 
 
 157 
 
 long cloths, but takes up a good deal of space, aild for more than, two 
 machines might in many cases be unsuitable. 
 
 Another method is to have two sets of card irons, one above the 
 other ; the border cards are hung on the lower frame, and the centre 
 cards on the upper one. The centre cards will work in the usual way, 
 and when the border is to be wrought the cards for it are taken round 
 the centre set, which, of course, are taken off the cylinder. The rollers 
 must be made to shift so as to direct the cards properly into their 
 respective frames ; the top frame is smaller than the bottom one, and 
 farther out from the machine. If hooks and eyes are sewn on the first 
 and last cards of these sets, the weaver can hook them together when 
 a fresh pattern is required, so that the one set will carry the other 
 round the cylinder. Then, by drawing a cord, the rollers should 
 
 Fig. 100 
 
 change position so as to direct the falling cards into the proper frame. 
 The card irons are of the usual shape, and the distance between the 
 upper and lower ones may be regulated by circumstances. 
 
 Another simple method is to have the card frame made with a 
 double curve in it, as shown in Fig. 100. One set of cards hang in each 
 of these curves, as at a and b. The set in the curve a can be wrought 
 over as long as required ; then these cards can be taken off the cylinder 
 and the set at B put over it. One thing must be observed : that the 
 frame and rollers be so placed that the cards can be guided into the 
 receptacle b, and to do this there must be a considerable fall for 
 the cards, so that for a loom with a low framing this might not be 
 feasible. Otherwise, it is a simple method of arranging two small lots 
 of cards, and if one lot is much larger than the other, let a be a narrow 
 
158 
 
 JACQUARD WEAVING AND DESIGNING 
 
 curve, and the small lot of cards hang in it, which will lessen the slant 
 of the cards falling to b. 
 
 Although such arrangements as the foregoing are required where 
 there is much machinery used, it is evident that for frequent changes 
 they would take up quite too much time. Several machines have been 
 made for the purpose of changing from one set of cards to another 
 without having to move the cards. The principle of these machines is 
 to have two cylinders, one at each side ; one set of cards is placed on one 
 cylinder, and the other set on the other cylinder, so that by working 
 one or other cylinder, as required, either border or centre may be woven. 
 No. 1 (Fig 101) shows a plan that was tried some time ago, but did 
 not work satisfactorily. The needles passed through a needle board at 
 each side of the machine, as at a and b, and had small spiral springs 
 fastened on them inside the needle boards. The border cards could be 
 put on the cylinder at a, and the centre cards on that at b. The cylin- 
 der at A could be wrought as a single-acting machine till a change of 
 pattern was required; then the cylinder at b could be brought into action, 
 and that at a remain stationary and clear of the needles. The heads 
 of the hooks were made heart-shape, as shown, and the blades of the 
 griffe could revolve into the position shown by the dotted lines, so as to 
 suit the working of the cylinder at b ; this was effected by the weaver 
 pulling a cord. This machine was given up, as it was difficult to keep 
 it in order. 
 
 Another method is shown at No. 2 (Fig. 101), where there are two 
 griffes — one at f, and the other at g ; one cylinder works at e, and the 
 other at d. Only one set of springs is required on the needles — behind 
 the needle board e — as the spring of the hooks is sufficient to act in 
 the opposite direction. When the cylinder d is working the lower 
 griffe is stationary, and when the cylinder b is working the upper griffe 
 is stationary. The cylinders and griffes are brought into action as re- 
 quired by suitable mechanism. This machine has not been considered 
 sufficiently successful to make it worthy of being persevered with. 
 
 The principle of Davenport & Crassley's border jacquard is shown 
 in Fig. 102. The upright hooks are as in an ordinary machines 
 Four of the needles are shown at h, and are made in the ordinary way, 
 
SPECIAL JACQUAEDS AND HAENESSES 
 
 159 
 
 with the exception of the eyes in them for the small upright needles d 
 to pass through. These needles cl are connected with a set of horizontal 
 
 Fig. 101 
 
 ones, as shown at a, and act as levers between them and the needles h, 
 the bars behind them serving as fulcrums ; so that when the needles a 
 
 are pressed back by the cards, the needles h are also drawn back through 
 the medium of the uprights d. The cards least in action are put on 
 
160 JACQUARD WEAVIXa AND DESIGNING 
 
 the cylinder for the needles a, and the others act on the needles 5. The 
 cylinders can be brought in or out of action by the motion shown at 
 A, B, c, D, E, F, G. A and B are the cylinders, working on swing motions ; 
 c A, D B, are connecting-rods for giving motion to the cylinders ; either 
 of these can be brought into action as required. G is a rocking lever 
 carrying a stud on each end, which work in the slots c and D ; these 
 slots are shown at d', where the notch at one side of them will be clearly 
 seen. When the stud on the bar g gets into this notch, the cylinder 
 will be driven out and in, but when not in the notch the stud can slide 
 along the slot, allowing the cylinder to remain stationary. By pulling 
 the cord h either cylinder can be wrought as required through the connec- 
 tions shown, one of the connecting-rods being raised and the other 
 loAvered. f, e are the levers for driving the rocking bar g. This 
 machine works very well, though the principle of its construction is 
 not all that could be desired, and it requires a considerable space. It 
 can be made a double-lift machine by having two hooks to each needle 
 and two griffes as in the ordinary double-lift, single -cylinder machine. 
 The principle of Devoge's border jacquardis shown in Fig. 103. c c 
 
 is the rocking bar, for driving the 
 cylinders, working on the centre 
 D. It is driven by the levers f, 
 G, and the connecting-rod e. 
 The notches a and B fall over 
 the studs on the cylinder frame, 
 and can either be let down or 
 raised, as required, by the cords 
 K, L and the levers H, i. The 
 machine is an ordinary double- 
 cylinder one, and either griffe can 
 be Avrought to suit the cylinder 
 Fig. 103 that is in action. This machine 
 
 can be used as an ordinary double- 
 acting one, as a single-acting one raising both griffes together and 
 bringing in both cylinders together, or as a border machine working 
 one griffe and one cylinder at the same time. 
 
SPECIAL JACQUARDS AXD HARNESSES 
 
 161 
 
 Another method, shnilar to the above, is to have a double-cyhnder 
 machine with the cyhnders wrought by the griffes, then have a stud 
 on the crank -shaft wheel for raising one griffe, as for an ordinary 
 single-aciing jacquard, and the two connecting-rods from thegriffes made 
 so that either will work on it. A hook or catch can be put in any con- 
 venient place, so that when one connecting-rod is on the stud the other 
 can be hooked out of the way. The rods can be made to slide on to 
 the stud easily, and be fastened with a pin, so that tbe weaver can readily 
 change from one to the other. 
 
 OPEN-SHED JACQUAKDS 
 
 To obviate the vibration of the harness as much as possible, as 
 well as to economise the wear and tear of it and to minimise the fric- 
 tion on the warp threads, especially in weaving patterns requiring 
 heavy lifts, such as warp-faced patterns, Messrs. Priestley & Co., of 
 Bradford, patented an open-shed jacquard, the principle of which is 
 shown in Fig. 104. It did not, however, prove successful, as the 
 tacklers found some difficulty in working it. 
 
 The machine is an ordinary double-lift jacquard with one cylinder, 
 and works in the ordinary way. The hooks are made as in Fig. 104, 
 where it may be observed there is a turn or catch on the lower portion 
 of the hook, at a. Above these catches is a set of bars, b, like a sta- 
 tionary griffe, and when the hooks are raised by the upper griffe, in the 
 ordinary way, they spring over these lower bars and rest on them when 
 the griffe begins to fall*. All the hooks raised would thus remain up, 
 were it not that the cyhnder, pressing in for the second griffe (the 
 machine being double-acting), which begins to rise as the upper one 
 begins to fall, presses back those hooks that are not to be laised for the 
 following shot, and as they are held by the griffe above, they spring 
 back at the bottom, and, clearing the bars b, come down with the falling 
 griffe. In this way the hooks, when once raised, remain up till pressed 
 off by the card, so that in the case of working a warp stripe with an 8- 
 leaf satin binding the hooks would only fall for every seventh pick. 
 
 Another machine has since been tried, but did not work satisfactorily. 
 
 M 
 
162 
 
 JACQUAED WEAVING AND DESIGNING 
 
 In this machine the hfting hooks are formed with loops or hooks, in 
 addition to the top hooks. The hooks are lifted in the ordinary way by 
 the griffes ; and upper knives, made to reciprocate horizontally, catch 
 the raised hooks and support them. By suitably timing the motions of 
 the card cylinder the hooks may be kept up as long as required by being 
 transferred from one set of knives to the other. The shape of the hooks 
 and needles is shown in Fig. 105. The needles may be as at h or 
 This machine acts as an ordinary double-hft jacquard, but has only 
 
 Fig. 104 
 
 / \ / \/\ 
 
 / 
 
 \ / 
 
 \/ 
 
 \ 
 
 \J 
 
 Fig, 105 
 
 one set of needles, which pass through needle boards at each side of 
 the machine, and are acted upon by two card cylinders. No springs 
 are required, the hooks acting as springs to keep the needles in position. 
 The cylinders are driven by a tappet, and can be held against the 
 needles as long as required ; one cylinder must press on them when 
 the griffes are passing, so as to prevent those hooks which are descend- 
 ing from being taken up by the ascending griffe. There are two griffes ; 
 three of the knives of the one are shown at 1, 8, 5, and three of the 
 other at 2, 4, G. When these knives lift the hooks by the lower loops 
 
SPECIAL JACQUARDS AND HARNESSES 
 
 163 
 
 or hooks on them, they deposit them on to a set of knives, a, a, a, a, in 
 an upper grid or grating, which has a lateral or horizontal motion. 
 
 The lower knives raise the tops of the hooks slightly above these 
 upper knives, so as to clear them, and the upper grid is then moved 
 sideways, taking the knives from unrler one set of heads of the hooks 
 and placing them under another set. Each time the griffe rises all the 
 hooks not acted upon by the cards will be deposited on the upper grating, 
 and will be transferred from one knife to another at each lift, till the 
 card acting upon the needles keeps them clear of the upper grating and 
 allows them to fall with the descending grifle. In this machine the 
 tugs or tail cords, as used with double-lift machines, are not requii'ed, 
 the double hooks serving for two single ones. Other efforts have been 
 made in this direction, but the plan of using small pulleys on the tail 
 cords, between the pairs of hooks, to which the neck twines are hung, 
 is the only one worth mention. The same principle will be found for 
 working the shafts in Fig. 115, and is more suitable for a few shafts than 
 for 400 to GOO hooks, or pairs of hooks. 
 
 THE VERD6L JACQUARD 
 
 Everyone accustomed to work large patterns on jacquards, especially 
 on power looms, must have found the inconvenience resulting from a 
 large set of cards. The space taken up, the time and trouble required 
 for changing them, to say nothing of the cost, have been sufficiently 
 felt, but have hitherto had to be borne with as a matter of necessity. 
 
 For working line tablecloths with from 150 to 180 picks per inch, 
 or for curtains where from 3 to 6 cards are required for each weft line 
 of the design, and when from 2 to 4 jacquards are used, the incon- 
 venience and cost of a set of cards ranging from 10,000 to 50,000 are 
 very considerable. The small jacquards described at Fig. 30 make a 
 great saving in the space taken up b} the cards, as well as in the quantity 
 of card paper used ; but it has been thought that a still greater saving 
 could be effected. 
 
 M. "Verdol, of Paris, has for a length of time been endeavouring to 
 perfect a system of substituting a continuous roll of perforated paper 
 
 w 2 
 
164 
 
 JACQUARD WEAVING AND DESIGNING 
 
 for the cards, and has succeeded in doing so, though it is doubtful if 
 he will be so far successful as to supersede our present method of 
 working. These machines were taken up by Benson's Patent Jacquard 
 Company, of Belfast, in the year 1876, but did not then give satisfaction, 
 the greatest obstacle in the way being the effect of the atmosphere on 
 the p iper ; and as the needles are very closely set together, it was found 
 impracticable to keep the paper set so as to act correctly on them. 
 This difificulty is now claimed to be overcome by having procured paper 
 which is said to be less liable to be affected by the atmosphere than the 
 brass plates of the machine. Several of these machines have been 
 tried in Scotland, but it will take some time to prove them thoroughly 
 and get the workmen accustomed to them, as they are much finer than 
 the jacquards in general use. 
 
 The Verdol machine consists of a small jacquard, the ordinary 
 French make of machine, which is usually made with 440 and 880 
 hooks for the single and double machines respectively. In addition 
 there is a frame or box attached to the front of the machine, against 
 the needle board, containing another set of horizontal and vertical 
 needles or wires, which act upon the ordinary needles of the jacquard, 
 according as they are acted upon by the perforated paper. Fig. 106, 
 Nos. 1, 2, and 3, shows the principle of the machine, b, b show the 
 needles, and d, d the uprights or hooks of the ordinary jacquard ; only 
 four of each are given, but sixteen are used, n is the face-plate or 
 needle board, and o is the clap-board used for bringing back the needles, 
 which have no springs on them ; but the hooks are turned up double, 
 and the back or turned-up portion of them, coming against horizontal 
 wires or bars, shown in section above the needles, acts as a spring to 
 keep them steady. This portion of the machine is a complete jacquard 
 of tlie ordinary French make. In addition to this there is the apparatus 
 on which the perforated paper acts,- and which communicates this 
 action to the jacquard. It consists of a box or frame containing two 
 sets of wires — one set horizontal, as a a, about 6 in. long, and termi- 
 n ited at one end by a small head, as shown separately at a^, which are 
 called hitting wires. The other set is vertical, as c c, of fine wire, 
 having a loop on one end, by which they are suspended in a frame, and 
 
SPECIAL JACQUAEDS AND HAENESSES 
 
 165 
 
 a loop in the centre, which passes round the horizontal wires. These 
 are called the vertical needles or feelers ; one of them is shown sepa- 
 rately at c'. The points or lower ends of these needles pass through a 
 horizontal brass plate, g, called a guide-bar. The hitting wires pass 
 through a guide-plate, m, placed so that their heads will come exactly 
 against the points of the needles in the jacquard, as shown in the figure. 
 The other ends of the hitting wires lie loosely in the loops of the ver- 
 tical needles, c. Underneath the guide-bar g is the curved brass 
 
 Fig. ICG 
 
 plate I, which is in lieu of a cyhnder. Between the cylinder and the 
 guide-bar g the perforated roll of paper i i passes ; there is just suf- 
 ficient room between them for it to pass freely through, as it is moved 
 forward by the stud wheel k. The paper may pass from one cylinder 
 or reel to another, or may hang in folds in the same way as cards 
 usually hang. At the points of the hitting wires is a grid or pushing 
 frame, h, with an iron angle-bar across above each roAV of wires, as 
 shown in section in No. 1 at h. There is a clap-board above the small 
 vertical needles, which is shown raised at e in No. 1, and down in No. 
 
16G 
 
 JACQUARD WEAVING AND DESIGNING 
 
 2 ; this is raised and lowered with these needles, and serves to bring 
 them all down when raised, e' shows the way in which these needles 
 are hung in the frame that supports them. When the machine is 
 working the frame h has a horizontal traverse coming against the ends 
 of the hitting wires when they are pressed up by the card on the 
 cylinder, and, pressing them against the needles of the jacquard, push 
 them back as an ordinary card cyhnder would. It may be seen in No. 
 1 that two of the feelers are down and tAvo'are pressed up, as they 
 would be if two holes were cut in the paper and two uncut ; the two 
 that are up raise the hitting wires connected with them, and it will be 
 observed that this raises the points of the hitting Avires so as to come 
 against the angle-iron of the grid h when it is coming forward ; whereas 
 the two hitting wires that are not raised will pass through, and not be 
 pushed back. This enables the card paper to act on the needles of the 
 jacquard in the same way as if coming directly on them, as cards do. 
 The cylinder has a slight vertical motion, rising about | in. The 
 needles, Avhen the cylinder is down, do not pass through the plate G ; 
 it is perforated through and raised by the cylinder ascending. When 
 the frame h is pressed forward the clap-board o is pressed back. 
 
 The card paper is of a special make, thin and tough, and is streng- 
 thened along both sides and in the centre by strips of paper pasted 
 along it where the stud holes fall. No. 3 shows the motion by which 
 the clap board e is raised and lowered by the sliding of the cranked bar 
 F between the two studs 2. No. 4 shows the size and pitch of the 
 holes in the hard paper. These are traced from the paper, and lie 
 diagonally, two rows of 8 making one row of IG hooks in the 
 jacquard. 
 
 These machines are working in large numbers in France, and appear 
 to give more satisfaction there than here, partly because they are 
 better known, and the French workmen are better adapted to handle 
 the small parts belonging to them. A coarser machine is more suited 
 for the ordinary workmen to be found in the factories of this country. 
 ])ut it is strange if a machine of a pitch about half-way between the 
 French jacquards and ours would not be better than either ; not taking 
 up so much room as ours, and not so minute as the French. However, 
 
SPECIAL JACO.UARDS AND HARNESSES 167 
 
 in many cases the machines we have in use are none too large to give 
 sufficient latitude for the errors often found cropping up in vs^ork, none 
 of which should occur, of course, though they often do, through care- 
 lessness or otherwise. For instance, the card cyhnder may be a little 
 off the pitch, and the cards may be affected by damp, or may not be 
 correctly cut to suit the cylinder ; the points of the needles may be 
 a little bent by the cylinder, or by the carelessness of the v^^eaver when 
 turning back her cards, and the 
 cylinder may not be set quite fair 
 for the needles. Mr. McMurdo, of 
 Manchester, has made a very nice 
 machine of the same pitch as the 
 French ones, with 1,296 hooks, 16 
 roAV cards. It works as a double- 
 acting machine with two cylinders 
 and two griffes, but only one set of 
 needles acting on the two sets of 
 hooks. Two of the hooks are shown 
 in Fig. 107 ; each needle clasps two 
 books and passes through a needle 
 board at each side of the machine. 
 There is no spring on the needle, 
 the hooks forming the spring, the 
 tops of the hooks coming against 
 
 the cross-rods at a a. Otherwise, 
 
 • . , , Fig. 107 
 
 this machine works m the usual 
 
 way, and is very compact where a large number of hooks are required 
 in a small space. 
 
 The card-cutting machine used for the French system of work is a 
 very elaborate contrivance, being more Hke a jacquard loom than any 
 of our card-cutting machines, at least in so far as the harness is con- 
 cerned. The principle of it is seen in Fig. 108. a shows the set of 
 cords by which the punches are wrought. The method of preparing 
 the pattern to attach to these cords has been referred to before, but 
 will be repeated again further on. These cords pass over the pulleys 
 
 / 
 
 \ 
 
16B" JACQUARD WEAVING AND DESIGNING' 
 
 B and down through a reed to the Hngoes c, which keep them in ten- 
 sion. Another set of cords pass from these over the pulleys d and 
 down to the punches r. When any of the cords at A are drawn the 
 punches connected with them are dropped, as raising the lingoes lets 
 the cords pass over the pulleys d. When a punch is let fall, it is 
 caught by one of the angle-irons of the grid g, which is pressed for- 
 wards when a card is to be cut. The card paper is on the roller h, 
 and passes down in front of the punches at i, which, when pressed 
 
 Fig. 108 
 
 forward, punch the paper between them and the block k. Any punches 
 that are held up pass through the grid over the angle-iron bars. Only 
 four punches are given, but sixteen are used in the machine ; they are 
 here drawn out of scale to show them more clearly. This portion con- 
 stitutes the cutting machine ; it is worked by two persons, one behind, 
 to draw the cords, and another in front, to punch the paper by depressing 
 a treadle each time a draw is made. In addition to cutting from the 
 pattern the paper can be cut from other sets of cards, as in a repeating 
 
SPECIAL JACQUARDS AND HAENES3ES 169 
 
 machine— cut either on the EngHsh or French system, n is the 
 French machine, and a set of cards can he put on it and copied, the 
 cords o acting on the punches ; Enghsh-cut cards can he put on the 
 machine at l and copied, the cords m acting on the punches. Of 
 course, when one portion of the machine is working, the other parts 
 remain idle, and it might be better to have them separate if much work 
 is wanted. 
 
 The pattern is prepared for this machine by hand, working one 
 repeat of it as follows :— The design, painted on point paper, is placed 
 on a frame in an upright position, and over each line on it is stretched a 
 vertical cord, which is taken as warp. The picker then takes a bobbin 
 of weft and inserts it under every cord that passes over a painted dot 
 on the first' weft hne of the pattern, keeping it in frant of all the cords 
 that pass over blank spaces, just in the same order as a shuttle would 
 pass through if the shed were to be opened by a jacquard. When this 
 is done the next line of the design paper is picked similarly, and so on, 
 till a complete repeat of the design is loosely woven with cords, which 
 are made of well-twisted harness twine. This process is somewhat 
 similar to reading the pattern for the draw loom, ivhich see. For 
 coloured work a shot would require to be worked in for each colour on 
 any weft Hne, the same as it is to be woven. When this is prepared, 
 it is taken to the cutting machine and the warp tied to the cords a, 
 the weft showing the warp ends to be drawn for each card. 
 
 HALF HABNESS A2^D MUSON HAllNESSES 
 
 So far we have been speaking entirely of 'full-harness' work. 
 Though the principle of mounting is much the same in all classes of 
 harnesses, there are certain deviations pecuhar to each. 
 
 One drawback to the full harness is the amount of machinery 
 required to give a large extent of pattern, an upright hook and a needle 
 being required for each thread in one repeat of the pattern. In a half 
 harness only half the amount of machinery is required on the same 
 fineness of cloth to give an equal extent of pattern ; but it is only for 
 a few classes of goods that this method of working is suitable, leno' 
 
170 
 
 JACQUARD WEAVINa AND DESIGNING 
 
 curtains and muslins being the principal. Leno curtains will be 
 mentioned under gauzework, as they are wrought with a gauze 
 mounting, but on the half-harness principle. Figured muslin curtains, 
 with a plain ground and coloured flowering, are called ' cretes,' or 
 ' Crete curtains ' ; these are now generally wrought in a full harness. 
 Figured muslins are much of the same class of cloth, but are not 
 figured with colour and tint for the half harness, known as the 
 ' common spotting harness,' or ' book harness.' For working them the 
 harness is mounted in the ordinary manner, but only half as many 
 cords are required for it as there are threads of warp. Only half of 
 the warp is drawn into the harness, the other half— every alternate 
 end-passing through it, and being drawn into a plain leaf of heddles, 
 which is hung close in front of the harness. In fine work two leaves 
 of heddles may be used as one, to prevent crowding. 
 
 The ground of the cloth is a plain texture, and was formerly 
 wrought by having two leaves of long -eyed heddles in front of the 
 harness, into which all the warp was drawn, this probably being more 
 convenient for the hand-loom weaver ; and besides, a more even plain 
 ground can be made with the heddles than with the harness and one 
 leaf of heddles. Two shots of ground, or fine weft, are given to one 
 shot of figuring, or coarse weft, usually cotton rove ; but to avoid 
 using a pick-and-pick loom when working by power, the coarse shot 
 may be made by throwing two finer ones into the same shed. In 
 power looms the ground is wrought by raising the plain leaf of heddles 
 and all the harness alternately, and the figuring shed is formed by 
 drawing the harness with a card acting on the machine. The pattern 
 is painted solid, without any twilling or binding on either ground or 
 flower, so that the figuring shot will be in a plain shed for the flower, 
 but will be loose or unbound over the ground, and is afterwards cut off 
 in a cropping machine. 
 
 The plain shed, into which the thick weft is thrown, must also 
 contain the shot of thin weft thrown in either before or after it, 
 according as the figuring shed follows the plain shed made by raising 
 the harness or the heddles ; for supposing the heddle shaft to be raised 
 and a ground shot thrown in, then the shed reversed by raising the 
 
SPECIAL JACQUAEDS AND HAENESSES 171 
 
 harness and another ground shot thrown in, then the figure shed 
 formed by raising 50 or 100 hooks of the harness, this opens portion 
 of the last shed, and the figure weft will be thrown in along with the 
 last shot of ground. When both wefts are white this is of but little 
 consequence, but when using coloured wefts for the figure the ground 
 weft would be liable to show along with them and injure the pattern. 
 This was originally overcome by adopting the ' paper harness ' from 
 the shaft mounting for weaving paper spots. In this mounting two 
 sets of shafts and two harnesses are used, one behind the other. Half 
 of the w^arp— all the odd numbers of threads— was drawn on the back 
 
 Fig. 109 
 
 harness, and the other half— all the even numbers- on the front 
 harness ; this would be sufficient to make the cloth, but a pair of leaves 
 of long-eyed heddles were used for working the ground, acting as 
 pressers. On this method of working, a ground and a figuring shot are 
 thrown in alternately, as either half of the warp can be raised by the 
 harness for the figuring shed, and a richer spot is thus given ; but still, 
 the rove or figuring shot would fall into the same shed as the ground 
 shot, which may be seen by examining the two spots given in Fig. 109, 
 A being wrought on the common spot or half-harness mounting, and 
 B on the paper- spot mounting. The grey shots are the ground, and 
 the black ones the figure. However, in the paper-spot mounting it is 
 
172 
 
 JACQUARD WEAVING AND DESIGNING 
 
 not necessary to throw the rove into a plain shed ; any suitable twill 
 may be used for binding the figure, and will give a much richer effect 
 on one side of the cloth than plain, and tie down the ground shot, which 
 will go into a plain shed. 
 
 This principle of mounting is now done away with, as it has no 
 advantage over the ordinary full-harness mounting, which can also 
 have a pair of presser leaves of heddles in front for working the ground, 
 if desired ; but they are unnecessary in a power loom, except when a 
 very level ground is required. 
 
 A twilled or flushed figure may be formed with the common half 
 harness, but only having half the warp for binding causes it to be 
 loose and ragged round the edges. 
 
 To work a large pattern, perhaps the most economical way, at least 
 in the hand loom, is to use a pressure harness with two threads in the 
 mail, and with four presser heddle leaves in front. The number of 
 leaves regulates the twill on the figure. The cloth may be woven 
 pick-and-pick, ground and figure, or 2 picks ground to 1 of figure. 
 When the harness is drawn for the figure all the heddles must be sunk 
 but one leaf, and sinking the two front and two back leaves alternately, 
 raising the back ones when the front ones are sunk, and vice versa, will 
 form plain cloth with the draft 1, 2, 3, and 4 over the leaves. A 4-leaf 
 twilled figure can be made with this mounting, but still it will not 
 have the advantage of the full harness, in which the figure can be 
 varied in twill, and bound round the edges. 
 
 SPLIT HARNESS 
 
 The term ' spHt harness ' is sometimes apphed to the pressure 
 harness when wrought with two threads in the mail, this constituting 
 a spHtful of warp, so that each cord of the harness controls a splitfal 
 of warp ; but this is only the finest description of pressure harness. 
 
 The split harness, or 'shaft monture,' was invented in the silk 
 district of Bethnal Green, shortly after the introduction of the jacquard, 
 for weaving rich silks which have about 400 threads of warp per incb, 
 but much less weft— perhaps about one-fifth of that number of threads. 
 
SPECIAL JACQUARDS AND HARNESSES 
 
 173 
 
 The harness is wrought with the ordinary jacquard, but there are two 
 mails and lingoes attached to each neck cord, as shown in Fig. 110. 
 A, A are the neck twines, b is the cumber board, and d the mails. If 
 this mounting were wrought with the jacquard only, it would produce 
 the same effect upon the cloth as if two threads 
 were drawn into each mail of an ordinary harness. 
 This would, of course, take away the fine appear- 
 ance of the cloth. To avoid this a set of shafts, c, 
 c, are passed through loops in the twine above the 
 mails, and are attached to a set of hooks in front 
 of the jacquard, or at each side of it, or may be 
 wrought by a separate dobby. Twenty-four shafts 
 are mostly used, and are usually flat enamelled 
 iron bars. These shafts are for working the ground 
 of the cloth, and can raise each row of mails sepa- 
 rately, as shown at No. 1 leash, thus splitting the 
 pairs of threads that are connected with each hook 
 of the jacquard. One or more of these shafts, 
 according to the texture required for the ground, 
 are raised at the same time that the jacquard draws 
 the figuring shed. No ground texture is put on 
 the pattern for the cards, but the figure must be 
 twilled, or have the binding marks cut on the cards 
 for it. The binding of the figure will be in pairs 
 of threads — that is, two threads of warp must 
 sink together under a weft shot, though on the 
 design these two threads will appear as one, as 
 they are wrought by the same hook of the machine. 
 On account of the number of warp threads, rising 
 and sinking in pairs will not much affect the ap- -pia. 110 
 
 pearance of the figure ; though it must be coarser 
 than if the threads were bound separately, and will also have a rougher 
 or more ragged outline ; but to get a large figure with so much warp 
 would necessitate a great amount of machinery if the threads were 
 drawn into separate mails with one to each cord of the harness. 
 
174 
 
 JACQUAED WEAVING AND DESIGNINCr 
 
 This method of working is surpassed by the twilling machines now 
 in use (see Twilling Jacquards), though they are more intricate, and 
 would not suit well for a hand loom, as they are heavy to draw. 
 
 PEESSUEE HAENESS 
 
 This is the old draw-loom system of working, and, old as it is, is 
 still in use on our modern hand and power looms on the finest descrip- 
 tion of damasks, and is not likely to be surpassed for making a good 
 piece of cloth. Much firmer than a harness, and producing the largest 
 possible pattern with the least possible cards, mounting, and machinery 
 it took up its position in the days of the drawboy, and has held itsown, 
 with the aid of the jacquard, against all the inventions of modern times. 
 The principal advantage of this system of working is that a much 
 larger pattern can be produced with the same quantity of cards, mount- 
 ing, and machinery, than by any other means; but the pattern wrought 
 by a pressure harness will not compare with one wrought by a full 
 harness for fineness of outline or detail. When weaving large table- 
 cloths with 100 or 120 threads of warp per inch, and from 50 to 72, or 
 even 90 in. in the single pattern — that is, when the pattern is all, or 
 nearly all, single — the amount of machinery that would be required 
 to work it on a full harness could not be crowded on a loom, the French 
 system being the only one by which it might be attempted ; and even 
 then the difficulty of keeping the machinery and cards in perfect work- 
 ing order would be very great, not to mention the cost of mounting, 
 patterns, cards, &c. The quantity of harness and machinery is reduced 
 in a pressure harness by drawing two or more warp threads into each 
 mail in the harness. Suppose we take GO in. of cloth with 100 threads 
 per inch =6,000 threads, and allow 3 threads to each mail in the harness, 
 or each hook of the jacquard, 2,000 hooks, or four 500 jacquards, would 
 be required to work the pattern. As many as six 600 jacquards are 
 sometimes required on this description of work when very fine ; but 
 three or four 500 or 600 machines are more commonly used on either 
 hand or power looms. To work one of these finest patterns in a full 
 harness 10,800 hooks would be required — say, six COO machines with 
 
SPECIAL JACQUAEDS AND HARNESSES 
 
 175 
 
 3 threads to each mail= 10,890 ; and ahuost double this number of 
 cards, even with worlting them backwards and forwards, would be 
 necessary. 
 
 In early times, when the drawboy took the place of the jacquard, 
 6, 8, or 10 threads were put to each mail, or went to what would now 
 be one hook of the jacquard ; and patterns were not usually so extensive 
 as they are now, so that the cords of the harness were greatly reduced 
 ia number, but with a proportionately coarser effect of pattern. The 
 difference between a pattern wrought with a full harness and one 
 wrought with the pressure or any of the twilling harnesses, is that the 
 outline is clear and defined in the full harness, and the detail and points 
 of the figures can be turned on a single thread, whereas in the others 
 the edges of the figures will be jagged or in steps, and the points must 
 turn on whatever number of threads are lifted together. The pattern 
 on the cloth must therefore have somewhat of the rough, square effect 
 of the design on point paper, though, of course, reduced in size, but 
 will be worse in this respect — viz. that whereas the edges of the figure 
 on the point paper are clear and well defined, on the cloth they are not 
 so, the rough edges to some extent blending the figure into the ground, 
 and not giving the clean, sharp effect of a full-harness pattern. Shaded 
 effects are also coarse on a pressure harness, but can be made effective 
 if broadly treated. Cloth with 100 or 120 threads per inch does very 
 well to have three threads to the mail, and from 80 to 100 threads per 
 inch suits very well for two to the mail. Any coarser set than 80 
 threads per inch requires to be woven in a full harness to produce good 
 work, and for superior work nothing less than 100 threads per inch 
 should have two threads to the mail, though 80 per inch does very 
 well. 
 
 When several threads are put to the mail, it is also usual to put 
 several picks to each card. The fewer picks, the finer will be the 
 pattern ; but a good method of regulating this is to make the checks 
 formed on the cloth square, a little more or less according to the fine- 
 ness of the pattern required. Thus, if the cloth is wefted square, or a 
 little over that — say, 100 warp by 100 to 110 weft threads per inch — 
 paint the design on, say, 8 x 8 or 8 x 9 paper, and give as many shots 
 
176 
 
 JACQUARD WEAVING AND DESIGNING 
 
 to the cards as there are threads in the mail. If the cloth is to be 
 wefted one-half over square (100 x 150) the same pattern will still do, 
 but with half as many more shots to the card than there are threads in 
 the mail. If there are two threads in the mail there will be three 
 picks to the card, but if there are three threads to the mail there must 
 be four picks to one card and five to the next one. This would be for 
 a pattern on 8 x 8, or square paper. If painted on 8 x 9 paper, 
 which would give an extra card to every eight, and if the weft must not 
 be increased, then four or five picks must be taken off the number given 
 to the eight cards and put to the ninth one, for four cards with four 
 picks to each and four with five picks to each = 36 picks, and thirty- 
 six picks put to nine cards would allow four picks to each. This would 
 make the edges of the pattern a little finer ; and if the design was 
 painted on 8 x 10 paper it would be finer still, as there would be more 
 cards to a given number of picks. 
 
 In this way any alteration required can be made on the number of 
 picks per inch given to cloth woven on a pressure or twilling harness, 
 without distorting the pattern by varying the number of picks given to 
 each card to suit the shotting. Neither is it necessary to have the 
 same number of threads in each mail ; the warp might be mailed 2's 
 and 3's or 3's and 4's, but the more regular they are, the better. If the 
 fineness of the cloth requires to be altered, it may be woven in the same 
 harness without any alteration by varying the number of threads in 
 the mails. For instance, a warp of ninety threads per inch mailed 3's 
 and one with 120 threads per inch mailed 4's would work in the same 
 harness. Similarly, the same set of cards would suit for making 
 different widths of cloth by making the harness narrower in the cumber 
 board and altering the mailing so as to keep the cloth the same set, or 
 it may be macle a finer set and not alter the mailing. In either case 
 the pattern would be reduced in size. 
 
 Fig. Ill shows a portion of a pressure-harness mounting which is 
 similar to that of the draw loom. It is mounted in the same manner 
 as described for full harness, only that the warp must be divided by the 
 number of threads to be drawn into each mail in order to find the 
 quantity of harness required. The kinds of mails used are shown at a 
 
SPECIAL .TACaUARDS AND HARNESSES 
 
 177 
 
 and B, Fig. Ill ; it does not do to have more than two threads drawn 
 into each eye of the mail, as they are Uable to twist round each other ; 
 two will separate easily, but a greater number will not. Ordinary full- 
 harness mails answer very well for a two-thread harness. The mails 
 are levelled in the same position as for full-harness work, viz. about 
 1^ in. below the level of the back and front beams for hand-loom work, 
 and a little lower for power looms. The lingoes are heavier than those 
 required for a full harness ; the weight depends upon the strength of 
 
 Fig. Ill 
 
 the yarn and the number of threads in the mail ; 10 to 12 to 1 lb. are 
 used in power looms for linen damask with two threads in the mail, 
 having about eighty to one hundred threads of warp per inch. For 
 hand looms they are usually made of lead, thicker and shorter than 
 the wire lingoes, and called ' leads ' ; 11 to 15 per lb. suits for three- or 
 four-thread harnesses. Light cotton work, such as muslin curtains, 
 only requires lingoes of about sixty or seventy to 1 lb. for hand looms, 
 but from twenty-five to thirty per lb. are used in power looms for two- 
 thread harnessep. 
 
 The principle of working the pressure harness is best explained by 
 
 N 
 
178 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the diaper mounting shown in Fig. 2, where a back set of heddles takes 
 the place of the harness, and a set of ground leaves of long- eyed 
 heddles stands in front of the back ones. After the yarn is drawn into 
 the harness or back mounting in the usual way, it must be drawn into 
 the front or presser heddles, using, generally, a straight draught for a 
 satin ground. If Figs. 2 and 111 are examined, it will be seen that 
 when the shed is opened by the harness or back mounting, the heddles 
 in front sink part of the raised warp and raise part of the sunk warp. 
 The mounting raises all the warp of the figuring portion on each card 
 or line of the design paper, and leaves down all the ground warp, so 
 that it is necessary to have the heddles in front to bind the warp 
 and weft, or form the texture of the cloth. For an 8-leaf satin eight 
 shafts are required ; one of these must be raised and another sunk for 
 each shot, so as to raise the binding threads of the sunk warp and sink 
 those of the raised warp, the harness forming the outline of the 
 pattern, or raising the warp of it in a mass. The other six leaves of 
 heddles stand in a middle position, and the long eyes allow the warp 
 drawn by the harness to rise. When the machine is drawn it is held 
 up till as many shots as are to be given to the card are thrown in, but 
 the shed formed by the heddles must be changed for each shot. In 
 working bars up the cloth one card would be sufficient, and when the 
 machine is drawn it would be held so, and the cloth wrought with the 
 heddles ; of course, no machine would be required in this case, one leaf 
 of heddles with the stripes of warp drawn into it would be sufficient 
 for the back mounting. For dices two leaves of heddles would be 
 sufficient for the back mounting, the warp of one dice to be drawn on 
 one leaf, and that of the other on the other leaf; then one leaf would be 
 raised and held up tiU one dice was wrought, when it would be lowered, 
 and the other one raised and held up for the other dice. For fancy 
 dices and diapers the plan of mounting in Fig. 2 is very suitable and 
 simple, but for a variety of figuring or flowering the jacquard is necessary. 
 
 It Avill be seen that the presser heddles have three positions, viz. 
 a sunk, a raised, and a middle position. The length of the eyes is to 
 allow the harness to open the shed when the heddles are stationary, or 
 in their middle position. They must be a little longer than is required 
 
SPECIAL JACQUAEDS AND HARNESSES 
 
 17^9 
 
 to open the shed at the back leaf of the heddles ; for a 2-in. shed a 
 2;^ -in. to 2|-in. eye is used. When the heddles are stationary the lower 
 loop of the eye should be fully ^ in. under the sunk warp, and there 
 should be the same clearance at the top when the shed is drawn ; some 
 allow more. The shed for a pressure harness is usually very small in 
 front of the reed, and requires a very small shuttle to be used, from ^ in. 
 to 1 in. deep being the usual sizes. The depth of the shed that can 
 be made depends principally on the elasticity of the yarn. With a 
 linen warp a very small shed can be made, as the yarn has but little 
 elasticity, and if overstrained will hang slack. For it the distance 
 between the harness and the back shaft of the front mounting should 
 be 10 in. to 12 in., and there should be a stretch of 27 in. to 34 in. 
 behind the harness. The draw of the harness may then be 3 in. to 3.j in., 
 and the shed at the back shaft will be ] | in. to 2 in. ; this will allow 
 a shuttle of f in. to | in. deep to be used. For hand looms the shed 
 is about 1^ in. at the back shaft, and a shuttle of | in. deep is employed. 
 The shed must be made very clear and regular, and the smaller it can 
 be kept, the better. With a good cotton warp 7 in. is a sufficient 
 distance to have between the harness and heddles, and will admit of a 
 larger shed being formed ; but it is not desirable to have too large a 
 shed, as there is a considerable strain on the yarn, and a small, clear 
 shed is more satisfactory. This would be assisted by bringing the 
 harness as close as possible to the heddles. 
 
 One drawback to this method of working is the distance which 
 separates the harness from the fell of the cloth, or even from the reed ; 
 and if there is any obstruction to the warp rising or falling, such as 
 roughness in the heddles or reed, or lumps on the yarn, it will not, 
 unless very tight, fall into its proper place, and the shuttle may pass 
 over or under it when it should not do so, giving a picked or darned 
 effect to ihe cloth ; slack threads may cause the same. 
 
 The warp must be kept as tight as possible, and all the threads 
 should be at a uniform tension, the heddles straining each thread alike ; 
 the harness should be as close to the heddles as the yarn will permit 
 it to be. The space occupied by the harness, heddles, and traverse of 
 lay should be no greater than is necessary ; then, with a small but clear 
 
 ^ 2 
 
1^0 
 
 J.ICQUAED WEAVING AND DESIGNING- 
 
 shed satisfactory work can be produced. "When drawing a warp into 
 the harness, a boy or girl sits behind, and hands the threads to the 
 drawer-in, who takes them into the mails with a wire hook, and then 
 either hands them to a second drawer-in sitting in front of the heddles, 
 to be drawn into them, or passes them over and mider a pair of rods 
 tied across the harness so as to form a lease as she draws them in ; 
 and when she has all drawn into the harness, she begins to draw 
 them into the heddles, a straight draught being mostly used for a twill 
 •or satin. 
 
 Fig. 112 
 
 The front mounting of a damask hand loom is shown in Fig. 112. 
 A, A are the shafts, four in num1)er, but eight are generally used for an 
 *S-leaf satin ; b, b are the jacks ; c the lams, which require to be 
 one more in number than the leaves of heddles ; d the treadles ; e, e' 
 the upper marches or jacks ; p, f' two sets of coupers or levers, with 
 their f ulcrums at /, and loaded at the outer ends with the weights g. 
 Under the ends of these levers is a bar n, to Avhich the weights draw 
 them, and keep the heddles up to their middle position. The cords i 
 are not fastened to the heddles, but pass down through them to the 
 
SPECIAL JACQUARDS AND HARNESSES 
 
 181 
 
 lams c. The cords l connect the coupers with the heddle shafts. 
 Each lam has two cords tied to it, except the two outer ones— i.e. the 
 first and last one — which together act as one, to avoid crossing the 
 cords. One of the cords i is tied to each lam, and also one from the 
 jacks B ; but the first and last lams have only one cord tied to each of 
 them, one having the cord i, and the other that from b. Both these 
 lams are connected with one treadle, and the others are each connected 
 with a treadle. Of course, the cording is made in the usual way, agree- 
 ably to the pattern, two methods of twilHng being shown in Fig. 118- 
 When the weaver presses down a treadle, one leaf of heddles is raised 
 by the cord i connected from one of the levers e, e' to one of the 
 marches or lams c, and one leaf is at the same time sunk by the 
 cord connected from one of the jack&B to the lam connected to the 
 treadle. The other treadles act similarly when corded for a twill or 
 satin. 
 
 The cording generally used for an 8-shaft satin is s-hown at A, Fig. 
 113. Sometimes the twill iS' run in 
 the reverse direction. In either case 
 it will be observed that the twill on 
 both ground and figure run in the 
 same direction, which makes one a 
 
 sateen, or coarse twill, and the other i , ^ j 4 ^ ^ ,7.^*0.- 
 a satin, or fine twill. In order to 
 have both twills alike they require 
 
 to be rim in the opposite direction on the cloth, as shown at B, which 
 will give a fine twill on both ground and figure, on both sides of the 
 cloth, with single yarn. This does not hold good with every twill. 
 When weaving, the weaver presses down the treadle which is connected 
 with the jacquard (another treadle being required for this purpose) with 
 his left foot, then works over the twilling treadles with his right foot, 
 holding down the machine treadle till he gives as many shots to the 
 cards as are required. When the card is to be changed the weaver lets 
 down the machine and draws another shed, striking up the weft again 
 without throwing in a shot or taking his right foot off the treadle. 
 This clears up the shed, and makes the yarn steady before he springs 
 
182 JACQUARD WEAVINa AND DESIGNING 
 
 another shed with the presser leaves, givmg a regularity and firmness 
 to the work which it is impossible to get othenvise, but which has to 
 be done without in the power loom. The weft is struck up on the 
 open shot, or before the heddles have closed the shed. Sometimes a 
 sort of dobby is used below the lams, which enables the weaver to work 
 the heddles with one treadle. In power looms a similar principle of 
 front mounting is sometimes adopted, substituting a wyper tappet for 
 the weaver's foot ; but a better plan, as it avoids having the cords 
 passing through the yarn and heddles, is to have a box tappet, on the 
 Woodcroft style, made with sohd plates, and struck to give the rising 
 and falling motion. The connections from the tappet to the heddle 
 shafts are made in the same way as the ordinary Woodcroft tappet. 
 The jacquard may either be a single or double-hft one. Some prefer 
 the one, some the other. The single-lift is more easily fitted up, 
 especially if the number of shots to the card varies. When the shots 
 on each card are ahke, perhaps the steadiest method of lifting the 
 machine is to have a box tappet struck one up and three down, or one 
 up and tAvo down, according to the number of shots on the card. This 
 tappet acts on a bowl on a treadle, to which the rod for raising the 
 machine is connected. For a double-acting machine there must be two 
 treadles and tappets acting alternately. The cylinder can be driven 
 from the rising and falling of the machine with a swan-neck or lever 
 motion, or may be driven from an eccentric on the loom with a pinion 
 on the crank shaft turning it one to three or four shots, as may be 
 desired. When the shotting to the card is irregular there are several 
 methods adopted for hfting the machine griffes, one of the best of 
 which is shown in Fig. 114 for a single-lift machine. 
 
 A is the treadle to which the connecting-rod from the machine is 
 fastened by a bolt through the slot at h, or the slot may be in any 
 desirable place, b is a rack in which the end of the lever works, 
 which keeps the treadle bowl steady to the tappet, e is the tappet on 
 the tappet shaft of the loom, and is made so as to act at every shot. 
 D is the fulcrum of the lever, and c is the stand, which is bolted to the 
 ground and fastened to the side of the loom. This portion of the 
 motion working alone would raise the griflfe for every shot, the same as 
 
SPECIAL JACQUAEDS AND HARNESSES 
 
 188 
 
 would be required for a full-harness, single-acting jacquard ; but when 
 the griffe is raised by the tappet e, it can be held up as long as is 
 desired by letting the bell-crank catch F fall in over it as shown. 
 When the treadle A is in this position the tappet merely touches the 
 bowl, depressing it about | in., so as to clear it off the catch ; this is to 
 allow the catch to be easily pushed off when it is required to let the 
 treadle up, or to drop the griffe. The catch is moved by the cam or 
 tappet Q acting on the bell-crank f. This tappet can be driven by a 
 pinion on the crank shaft or by a catch on the slay. It may be a 
 tappet struck to suit, or a barrel with a set of lags or pins on it, so 
 that the machine griffe may be raised and lowered in any order that is 
 desiredi 
 
 Fig. 114 
 
 An ingenious method of working the heddles of a pressure harness 
 by the jacquard was invented in Bethnal Green shortly after the intro- 
 duction of the original machine. It was used for weaving the richest 
 silk damask, which had 400 threads of warp per inch and about one- 
 fifth that number of weft shots, so that five threads of warp might be 
 drawn into each mail without making the pattern appear any coarser 
 in the warp than in the weft. A sketch of this mounting is given in 
 Fig 115. A shows the hooks for working the heddles, and b those for 
 working the harness. Eight hooks are given for working four leaves 
 of heddles. It will be seen that a cord from two hooks passes round 
 one of the pulleys c, and each of the heddle shafts is attached to one 
 of these pulleys. These hooks may be raised by the griffe of the 
 jacquard, which would require to rise and fall for every shot, or the 
 
1^* JACQUAED WEAV^JNG AND DESIGNING 
 
 griffe may be held up for the number of shots to the card, and the 
 hooks for working the shafts may be wrought by a small dobby. 
 When one of each pair of the hooks a is raised, the heddle shaft con- 
 nected with it is raised to the middle position, as shown by the pulleys 
 
 Fig. 115 
 
 1 and 2, and the leaves connected with them. If neither of the hooks 
 is raised for any shaft, it will remain sunk, as shown in No. 3 ; and if 
 both the hooks are raised, the leaf will be raised to its top position, as 
 No. 4. The leaves are drawn down by weights or springs. 
 
SPECIAL JACQUAEDS AND HARNESSES 
 
 185 
 
 TWILLING JACQUARDS 
 
 As has been stated before, one of the drawbacks to a pressure 
 harness is the strain which the warp has to undergo when forming the 
 shed. This necessitates having a good warp, which adds to the cost 
 of the cloth, and in low-class goods this consideration may hinder the 
 sale. Many methods have been adopted for working the ground of 
 the cloth without using a pressure mounting. Some of these are 
 explained under ' half harness ' and ' split harness,' but none of these 
 methods would produce cloth Hke the pressure harness. A twilling 
 jacquard to act similar to the pressure harness, but without using the 
 front mounting, or by dispensing with the leaves of heddles, was 
 patented by Mr. Shields, of Perth, ui 1859. This machine underwent 
 several improvements, and now there are two varieties of it in use, 
 one known as the Irish or Bessbrook machine, bemg patented by 
 Mr. Barcroft, of the Bessbrook Spinning Company Limited, county 
 Armagh ; the other as the Scotch machine, the improvements being 
 made by Mr. Shields and others. The principal difference between 
 the two machines is that the blades or knives of the griffe have a 
 horizontal or sliding motion in the Scotch machine to enable them to 
 get clear of the heads of the hooks, whereas in the Bessbrook machine 
 they turn out of the way or partly revolve. A full description of the 
 Bessbrook machine is here given. Fig. 116 is a view of the framing 
 of the machine, k is the cylinder, which may be wrought by the 
 swan-neck motion, as shown, but it is better to be wrought by a 
 separate motion from the loom, d is a cord attached to the handle of 
 the shears for reversing the cylinder ; e is a brass bushing through 
 which a shaft passes for raising the griffe. The shedding of this 
 machine is exactly the same as that of an ordinary single-acting 
 jacquard. The griffe rises and falls for every shot; the cylinder 
 travels out and in, but does not turn till two or three or whatever 
 number of impressions required are given by each card. To prevent 
 the cyhnder turning it is only necessary to raise the shears so that 
 they will not catch it. This is done by means of the tappet a, shown 
 
186 
 
 JACQUAED WEAVING AND DESIGNING 
 
 in Figs. 116 and 117. The roller h on the shears rests on the tappet, 
 which is turned by means of the rack wheel, which is fast on it, 
 and the lever l, which is loose on the stud. This lever is pushed 
 backwards and drawn forwards by the rod i, which is connected to 
 an arm, either on the shaft for raising the griffe, or on one for working 
 the cylinder, and the catch on the lever takes a tooth of the ratchet 
 wheel at each draw, so that with four divisions on the tappet, and 
 12 teeth in the ratchet, three shots would be given to each card. If 
 it is required to work the cylinder the reverse way, it is only necessary 
 to tie the cord d on the end of the shears to a spiral spring made 
 
 Fig. 116 
 
 fast to any convenient part of the loom, then the roller c will be acted 
 upon by the underside of the tappet, and the under hook of the 
 shears will turn the cylinder when required, b is a spring acting 
 as a pawl to keep the ratchet from moving backwards, and there is 
 also a spring shown over the catch which moves it forward ; both 
 these springs serve to keep the tappet steady. There are two sets of 
 hooks and needles in this machine— the ordinary set for working the 
 harness, as shown at a (Fig. 118), and a set of twilling hooks, one row 
 at each side of the machine, which are much stronger than the others. 
 The ends of the twilling hooks are hooked round bars, which pass 
 
SPECIAL JACQUAEDS AND HARNESSES 
 
 187 
 
 through the loops at the lower ends of the ordinary hooks, as shown 
 at c (Fig. 118). These bars are kept in their places by a grid d, 
 which is between the ordinary hooks and the twilling hooks. Each of 
 the needles of the jacquard is connected with two or more of the 
 ordinary hooks, as shown at A, The twilling hooks have also needles 
 on them, but they are only for the purpose of keeping them in their 
 places, and are not acted upon by the cards. The springs of these 
 needles are on the ends next the cards, or at the back of the faceplate 
 or needle, as shown at e. The centre support for the knives of the 
 griffe is shown at f, with an end view of two knives qq. The ends of 
 the knives enter the griffe frame at each side, so as to allow them to 
 oscillate or partly revolve. 
 This motion is given to them 
 by a set of bars or flat needles, 
 as shown at A (Fig. 119). A 
 single needle is given at a^ 
 These needles have each the 
 notch in them over the top 
 edge of two or more of the 
 knives, and are acted upon 
 by a barrel c with studs in it, 
 
 set to the twill. This barrel Pio. ny 
 
 rises and falls with the griffe, 
 
 and is turned from one row of pegs or studs to the next one each 
 time the griffe falls by the head or lantern on it coming down on a 
 finger, as shown at A (Fig 120). b in the same figure is a strong 
 spring to keep the barrel steady and make it turn the correct distance. 
 
 The number of knives in the griffe must be regulated to suit the 
 twill to be put on the cloth ; they must be a multiple of the twill, and 
 this to some extent regulates the number of needles that must be in 
 each upright row. For example, an 8-leaf twill may have 16 or 24 
 knives, which would be twice or three times over the twill. If there 
 are 8 rows of needles to 10 knives, or 16 rows of hooks, that would be 
 
 2 hooks to each needle, or if there are 24 rows of hooks there must be 
 
 3 hooks to the needle ; but if only 2 hooks to the needle are required, 
 
188 
 
 JACQUARD AVEAVING AND DESIGNING 
 
 there must be 12 rows of needles to 24 rows of hooks. The same 
 principle holds good for a 5-leaf, or any twill. Eight or 12 rows of 
 needles would not be suitable for a 5-leaf twill, neither would 10 rows 
 of needles be suitable for an 8-leaf twill, if the same number of hooks 
 have to be connected with each needle ; but 10 rows of needles with 
 20 rows of hooks or 20 knives will answer for a 5-leaf twill with 2 
 hooks to the needle, or would answer for an 8-leaf twill with 24 rows 
 
 Fig. 118 
 
 of hooks, 4 of the needles to have 3 hooks to each, and 6 of them to 
 have 2 hooks to each.. 
 
 Each of the twilling needles, a. Fig. 119, must be connected with 
 as many of the knives as there are repeats of the twill ; thus, for 24 
 with an 8-leaf twill, the 1st, 9th, and 17th knives would be acted upon 
 by the one needle, and so on with the others. 
 
 Now as to the action of the machine. When the pattern card 
 presses upon the needles the griffe begins to rise, and when rising it 
 must lift all the hooks required for the pattern except ^th part of them 
 
SPECIAL JACQUARDS AND HARNESSES 
 
 189 
 
 which must be left down (in an 8-leaf twill) to form the binding or 
 texture of the cloth. In addition to this, |th part of the ground warp 
 must be raised for the weft to pass under it and form the ground 
 texture. This is all accomplished by the one rising of the griffe. 
 When the griffe is down, one of the twilling needles, a. Fig. 119, is 
 pressed back by a peg or stud in the barrel, which causes the knives 
 
 Fig. 119 
 
 connected with this needle to turn out of the way of the heads of the 
 hooks, so that when the griffe ia rising these knives will pass clear of 
 them, leaving every eighth row of hooks down to form the binding of 
 
 Fia. 120 
 
 the raised or pattern warp. In the Scotch machines the knives slide 
 back instead of revolving. As shown at h. Fig. 118, there are pro- 
 jecting pieces of brass fastened on the knives between the twilling 
 hooks. These hooks stand clear of the knives, but when the latter 
 revolve the projections on them push the hooks forward to the next 
 knife, which lifts them when the griffe is rising. The hooks draw up 
 the bars to which their lower ends are looped, and raise the rows of 
 
190 
 
 JACQUAED WEAVING AND DESIGNING 
 
 ordinary hooks through which the bars pass, thus forming the twill on 
 the ground in the same way, but in the reverse direction, that the 
 knives passing clear of the adjoining rows of hooks form the twill on 
 the figure. 
 
 The working of the texture requires the griffe to fall for every shot, 
 which would be otherwise unnecessary, and the card must come in 
 against the needles each time to push off the hooks that are not to be 
 raised. This causes wear and tear, which cannot be avoided with this 
 machine, but they work very well, though they are not by any means 
 perfect. There is a good deal of friction on the needles, which causes 
 them to wear quickly ; but being so much easier on the warp than the 
 pressure harness, and more easily managed, they are extensively used 
 for large patterns in the fine linen damask trade. They will not make 
 so firm a cloth as the pressure harness, and have the objection that all 
 twills formed with the harness have when there is a gathered tie— viz. 
 that a portion of the cloth will have the twill running in one direction 
 and a portion in the reverse direction. 
 
 Like all single-acting jacquards, these machines have no counter- 
 poise in themselves, and being very heavy require one added to assist 
 the loom to raise them. Sometimes this is accomplished by means of 
 a carriage spring placed on a beam or on the top rail of the loom frame ; 
 and an arm from the shaft, which raises the griffe resting on the spring, 
 will form a sufficient counterpoise, the spring being made as strong as 
 is required for the purpose. Unless the springs, which are made similar 
 to those used for carriages, are nicely tempered, and the different pieces 
 made so as to slide freely on each other, they are liable to snap when 
 the loom is running quickly. The griffe is generally driven from the 
 fly-wheel on the crankshaft in the same manner as for ordinary single- 
 acting jacquards. It is, however, a better plan to drive it from a crank 
 on a stud wheel gearing into the tappet-shaft wheel. This does away 
 with the necessity for a counterpoise unless the machinery is very heavy, 
 in which case a few strong spiral springs will suffice. The horizontal 
 shaft for raising the griffe, or griffes if two or more machines are used, 
 must be very strong, so as not to twist with the tortuous strain, which 
 is very great. Three of these machines, with 500 or GOO needles to each, 
 
SPECIAL .TACQUARDS AND HARNESSES 191 
 
 are required for tablecloth mountings when tied up for centred patterns 
 — one machine to work the border, one the centre, and one the portion 
 between the border and the centre ; or two machines to work the double 
 
 N°2 Maichine N° I Machine t^' 3 Machine 
 
192 
 
 JACQUAED WEAVING AND DESIGNING 
 
 portion, and one the single portion. Fig. 121 gives a view of a mount- 
 ing tied up in this way, Nos. 1 and 2 machines being double mounting 
 and No. 3 single. 
 
 Tlie Karl Wein Jacqtiard. — This machine is a twilling jacquard on 
 the same principle as that last described, but performs its work in a 
 more scientific manner. It was patented by Messrs. J. Tschorner 
 and K. Wein, Kesmark, Hungary, and was first introduced into this 
 country at the Glasgow Exhibition of 1888. 
 
 The following is a description of the machine exhibited there : The 
 principal feature of this machine is perhaps that each knife acts inde- 
 pendently in a grid, and is wrought by a tappet at the side of the loom, 
 
 so that any row of hooks can be raised or 
 lowered at pleasure, and this without any 
 change of card. Fig. 122 gives an end 
 view of the framing, showing the upper 
 and lower grids in which the knives or 
 lifters slide. An end view of four of the 
 lifters is given at a, 1 and 3 belonging to 
 the top set, which work in the upper grid, 
 and 2 and 4 to the bottom set, which work 
 in the lower grid. 
 
 A perspective view of eight of these 
 lifters is given at b c, Fig. 123, with up- 
 right slide bars D attached to them, which 
 slide in the rack or frame e. These bars are for the purpose of making 
 the lifters rise steadily and horizontally, as (which may be seen) they 
 are not all lifted at their centre. Only one connection is fair in the 
 centre, which would no doubt be an objection with a heavy harness to 
 lift ; but this arrangement is made to suit for the machine sitting across 
 the loom, for a London tie, and some method of making vertical con- 
 nections from the levers to the lifters is necessary. The above does 
 very well for a narrow harness if light. 
 
 If the machine was fixed on the loom for a Norwich tie, or with 
 the cards to hang over the back, then the connections from the levers 
 might all be at the centres of the lifters and the bars d would only be 
 
 Fig. 122 
 
SPECIAL JACQUARDS AND HARNESSES 193 
 
 retjuired to steady them. The levers for raising the lifters are shown 
 at F, with their falcrum at i. G is a spring, one of which is attached 
 to each lever to keep it down, as the tappet has not a positive rising 
 and sinking motion, only raising the levers and allowing their own 
 weight and the draw of the springs to recover them. One of the con- 
 necting rods from the lever to the tappet is shown at i. Fig. 124 gives 
 the principle of this tappet, a is the lever or treadle with its fulcrum 
 at A ; the connecting rod b connects the point of it to one of the top 
 levers f (Fig. 12.!), and c is a bowl at the other end of it which travels 
 
 Fig. 123 
 
 on the tappet plate d. The tappet is made up of 17 plates struck 
 to suit; IG of these are for working the lifters and 1 for the cylinder ; 
 it sits at the side of the loom like a Woodcroft tappet. For an 8-end 
 satin twill IG levers are ' required, 8 for the bottom set of lifters and 
 8 for the top set. Fig. 123 a shows two lifters b ' and c • with hooks 
 and needles. A hook and a need]e on a larger scale are shown in 
 Fig. 125. The hooks are flat pieces of iron cut to the shape shown, 
 with small projecting pieces, as a, riveted to them, by which they can 
 rest on the bottom lifting knives, as at c ' (Fig. 123 a), so that when 
 
 o 
 
194 
 
 JACQUAED WEAVING AND DESIGNING 
 
 any of these knives are lifted a row of hooks will be raised by them. 
 As before explained in reference to the Bessbrook machine, it is neces- 
 sary when the pattern card presses on the needles for all the knives 
 
 except one to act, and also for one of the 
 bottom lifters to rise to form the texture 
 ^ S ' cloth ; the same must be in this 
 
 machine, and can easily be regulated by 
 the tappet, which should hold up the warp 
 required for the pattern and work the 
 , ground texture as well. This is done in 
 the following manner : Suppose there are 
 Fig. 124 16 lifters, 8 top and 8 bottom ones. When 
 
 the card presses on the needles, 7 of the 
 top and 1 of the bottom lifters should be raised by the tappet, and the 
 top lifter, which is left doAvn, should be raised so far as to catch the 
 heads of those hooks in the row belonging to it that are not pushed 
 back by the card. For the next shot this lifter is raised and another 
 one let down, but it is not let down far enough for the hooks to get 
 off it, stopping at the same height that the first one was raised to, 
 which is easily regulated by the tappet. If there are 3 shots to the 
 card, another similar change takes place ; then for the fourth shot all 
 the lifters are dropped, the cylinder presses in, and all but one of the 
 top lifters and one of the lower ones are again raised, and the twill 
 proceeded with as before. It will thus be seen that the shedding for 
 the twill acts as in a double-acting jacquard, but the lift at the change 
 of card is similar to that of a single-acting jacquard. Of course the 
 tappet must be struck to change the lifters according to the twill re- 
 quired on the cloth. In the Bessbrook machine there could be IG, 24, 
 or 32 rows of hooks to 8 rows of needles by having 2, 3, or 4 hooks 
 to each needle, or the number of hooks to each needle might vary 
 and any number of needles might be used. There must be a knife 
 for each row of hooks, but all the knives belong to the one griffe. In 
 the Karl Wein machine there must be 2 lifters for each row of hooks, 
 and 16 of them are enough to have for convenience. In the machine 
 exhibited, 16 hooks, or 2 rows of 8, were attached to 6 needles, 4 
 
SPECIAL JACQUAEDS AND HARNESSES 
 
 195 
 
 needles having 3 hooks to each and 2 needles 2 hooks to each, as shown 
 at B (Fig. 125), the thick vertical lines representing 1 row of hooks, 
 and the thin lines the next row. There were 6 rows of needles in the 
 needle board, and the point of each needle was cranked as shown at 
 c ; each row of holes for the needles in the needle board, or face-plate, 
 stood between 2 rows of 
 hooks : the first 3 needles 
 were connected with 1 row 
 of hooks and the second 
 
 3 with the next row, the 
 cranks of the first and 
 second set of needles being 
 
 turned in the opposite ^ 
 
 direction so as to enable ^ 
 them to fall in with the 
 rows of hooks. Of course 
 there might as well have 
 been 8 rows of needles 
 with 2 hooks to each, or 
 
 4 needles to each row of 
 hooks. 
 
 If necessary to use 
 more than one machine, 
 some arrangement would 
 require to be made for 
 
 lifting them. It might be done by using a double set of levers with 
 connecting rods similar to those used for twilling looms. 
 
 The twilling, of the ground might be wrought by a griffe and hooks, 
 as in the Bessbrook machine, thus doing away with seven treadles and 
 seven tappet plates, but this would make the twilling a single-acting 
 shedding motion. 
 
 Since this was "written the machine has been altered so as to make 
 it more suitable to the requirements of the work in this country, but 
 does not appear to gain favour, and this class of weaving is not very 
 extensively used. 
 
 Fig. 125 
 
196 
 
 JACQUAllD WEAVING AND DESIGNING 
 
 CHAPTER VII 
 
 GAUZE 
 
 The principle of weaving gauze with shafts and healds appHes 
 equally to making it with a harness, though perhaps the latter is simpler, 
 as there is not the same trouble in the arranging of drafts ; and, in in- 
 tricate work, the number of doup leaves required for shaft mountings 
 adds considerably to the trouble of the weaver and tackier. 
 
 The simplest, or in any case the most ready, method of weaving 
 gauze in a harness, is to use an ordinary harness, and form the gauze 
 by means of one or more doups and standards in front of it. Suppose 
 we have a 400 machine with the harness tied up in simple repeats of 
 400 ; any desired pattern can be put upon the cloth to the extent of 
 400 hooks of the jacquard as in ordinary harness work, but it cannot 
 be made of any texture desired — it must be made to suit the working 
 of the doups in front of the harness. If the open Avork is to be a plain 
 gauze with one shot into each shed, then the pattern must be plain 
 cloth, as the doup standard must be raised and sunk alternately for each 
 shot ; but any desired form or figure can be made in plain texture on 
 the 400 hooks, and the cloth will consist of a plain figure on a gauze 
 ground ; or it might as well be a gauze figure on a plain ground. 
 
 Those not acquainted with figured gauze work, have considerable 
 difficulty in understanding how to make plain or gauze as required on 
 the cloth. 
 
 It is easy to understand that working the harness without the 
 doups can make plain cloth, and also that working the doups and 
 standards, and portion of the harness, for alternate shots, can make 
 gauze ; but the difficulty is to thoroughly comprehend how, when 
 working gauze, to neutralise the crossing of that portion of the warp 
 
GAUZE 
 
 197 
 
 that is to form the plain figure. There are two ways of neutralising 
 the crossing effect of the doups on any thread or number of threads that 
 may be required for the figure : first, by not raising the mail or mails 
 carrying the crossing threads, or threads in the doups, but forming the 
 plain by raising the mails carrying the threads not in the doups, alter- 
 nately with the doup standard ; and, secondly, if the threads not in the 
 doups are raised along with the doup standard, no crossing can take 
 place ; but this would not suit for working plain cloth, as these mails 
 must be down when the doup standard is up in order to form plain cloth. 
 
 If a different gauze is required, say one with 2 shots into each 
 shed, or between the crossings, i I I I I I 
 
 then the solid texture might be JjJj JJ J_) _L|x|_L|-L|_ 
 a rib or mat ; or if it suited the " ^^3~^~r^T"^~r^ 1 
 pattern, as in the case of dice ^ l^ET^.^.^ ' 1—1— I -! — 
 work, two doups could be em- 
 ployed, so that one could rest 
 when the other is working the 
 gauze. Fig. 126 is a plain gauze -U^Xp- [-i-te-p^ "r^ 
 
 and plain texture, common dice | { j | D H ^ 3 
 
 pattern, which could be wrought — |-T~|-7-|-j-|-j [|zrE{r'[{ir[}r — 
 with shafts, but shows the prin- Zj-LpLpTpi [HL [Jzi"^^ ~" 
 ciple of working with the harness j" |~y j~y |~y 1"]^"]^"]^ |~| 
 
 as well. This could be wrought ^ _^ 
 
 with one doup in front of the yiq. 126 
 
 harness. To work the dice A the 
 
 mails carrying the threads not in the doups would be raised alternately 
 with the doup standard, and thus form plain cloth ; and at the same time, 
 to make the dice b a gauze, the mails carrying the threads in the doups 
 would be wrought alternately with the doup standard. For the dices c 
 and D, this would be reversed. In case of the gauze having to be made 
 with, say, 3 shots into each shed, and 2 threads twisting round 2 to 
 give openness of texture, it will ba seen that it could only be wrought 
 with one doup, provided 3 shots went to each shed of the solid dice, 
 as the doup would require to be up for 3 shots in succession, and 
 down for the same. If plain cloth were required it would be necessary 
 
193 JACQUARD WEAYINa AND DESIGNING 
 
 to have a doup and standard for each dice, so that one could remain 
 down when the other is raised for gauzing ; this would alloAv the 
 harness to work any texture on the solid dice, the doup of which is not 
 gauzing. If it were required to work a diagonal stripe of plain and 
 gauze, as shown in Fig. 127, with 2 Aveft shots coming in between 
 each crossing of the gauze, G doups would be required in front of the 
 harness, whereas if only one shot came between the crossings only one 
 doup would be required. It will be seen that there are 6 splitfuls of 
 
 warp to one repeat of the 
 pattern, and that the change 
 from the plain to the gauze 
 is at a difierent time for 
 each ; therefore, on account 
 of the doup standards hav- 
 ing to be raised for 2 shots 
 in succession when a portion 
 of the cloth is plain texture, 
 it is necessary for each split- 
 ful of warp to have its own 
 donp so that it can be crossed 
 without interfering with the 
 plain texture in the other 
 portion of the cloth. 
 
 This pattern would be 
 better suited for a shaft 
 mounting than for a harness 
 with doups in front, but could be wrought with a gauze harness 
 more easily than with either. The advantage of using a harness with 
 doups in front, in this case, over a shaft mounting, would be that the 
 plain stripe could be figured if desired, and the gauze stripe might go 
 in steps of two or three splitfuls alike, which would give much bolder 
 stripes. 
 
 When more than one or two sets of doups would be required to be 
 used in front of a harness, it is advisable to adopt a true gauze harness, 
 as the doup shafts come in the way of the weaver. A gauze harness 
 
 _li|_Li|_Li|LM IJ 
 
 zfTrcrfrimjifi-nh 
 
 rbrJipj 
 iLi-tii 
 
 4i~ 
 
 5): 
 
 t- 
 
 it 
 
 1p 
 
 iT 
 
 ■\- 
 
 Fig. 127 
 
GAUZE 
 
 199 
 
 has the doups in the harness, so that they can be Ufted independently, 
 which admits of indiscriminate figuring on either the gauze or solid 
 portion of the cloth. 
 
 When using doups in front of the harness it is not necessary that 
 the plain or solid cloth should be all a plain or unfigured texture ; any 
 suitable warp figure may be formed on the plain by the harness, but 
 weft figures cannot be made on the upper side of the cloth, because, 
 though the harness can be raised for any number of shots in succes- 
 sion to form a figure by the warp, having it sunk would not in the 
 same way form a weft figure, as in crossing the gauze a portion of the 
 yarn would be raised by the doup standard, which cannot be prevented, 
 unless by having more doups than one. A harness with doups in 
 front is better suited for working stripes than any other class of work, 
 and it is in this class of work that gauze can be made most effective. 
 
 When figuring with gauze, unless several shots are thrown into 
 each shed, or between the crossings of the gauze threads, and 3 or 
 more warp threads are twisted together, the openness of the texture is 
 not sufficient to make a good contrast between the plain and gauze 
 unless the fabric is very light ; and even with 2 threads round 2, 
 and throwing 4 to G shots into each twist, the contrast is not so 
 great as might be desired when the cloth is heavy. A portion of the 
 weft, say every second or third shot, might be made to pass either over 
 or under the gauzed texture and interwoven only with the solid portion 
 of the cloth, the flushed or loose weft to be cropped off afterwards. In 
 stripes, not only can this be done, but the warp may be set much 
 thinner or wider in the reed for the gauze : say every second or third 
 spht may be left empty ; or it may be of a different description of yarn 
 —a fancy twist if desired, or in threads of different colours. A fancy 
 stripe with three threads to the spht in a reed, set 30 splits per inch, 
 and every second split of the gauze portion left empty, makes a very 
 effective pattern for fine work, with say 80 picks per inch ; or 120 
 picks might be used, and every third or fourth one not wrought into 
 the gauze, but flushed over to be cut off afterwards. There might be 
 2 thick threads or 4 finer ones to each split of the gauze, and 4 to 6 
 shots into each crossing, this, of course, to be regulated to suit cir- 
 
200 
 
 JACQUARD WEAVING AND DESIGNINCt 
 
 cumstances and taste ; one thing must, however, be remembered— viz. 
 that when made too bold or open the warp ribs are liable to slide on 
 the weft, and this is the chief defect in gauze when made open, 
 especially when a smooth, clean yarn, as linen, is used. 
 
 When working stripes, any pattern, or any texture or style of cloth, 
 whether single, double, or pile work, may be used for the solid stripes, 
 
 Fig. 128 Fig. 129 
 
 or the whole cloth may consist of stripes made of combinations of 
 gauze and solid textures. One set of stripes may be wrought quite in- 
 dependently of the other by having the yarn on separate beams, and 
 when only one set of stripes is gauzed, the othei-s are not drawn into 
 
 Fig. 130 
 
 the doup heddles, so are quite independent of them. The doup heddles 
 may be spaced or otherwise as desired. When working with doups in 
 front of the harness, there must be a slackener for the crossing threads 
 for each doup standard, same as for heddle work. Figs. 128, 129, and 
 130 show some of the methods of slackening in use. In Figs. 128 and 
 129, A is the yarn beam, b the back rail, c and d the vibrating bars 
 or slackeners, c acts as a fulcrum ; and in Fig. 128 the bar d presses 
 
GAUZE 
 
 201 
 
 the crossing yarn down and is raised by the tappet e, which may be 
 either above or below a lever on the end of the bar c, a spring on the 
 lever regulating it, to hold it against the tappet. In Fig. 129 the bar 
 D is sunk to relieve the crossing yarn, by drawing up the cord q, which 
 is attached to the jacquard or dobby, the spring h holding the lever e 
 down when it is relieved. Fig. 130 is similar to Fig. 129, but for tAvo 
 doups ; it is shown both in perspective and in end view, and will be 
 clearly understood, c and d must be set at such a distance above 
 each other as will permit of the traverse of d without c being moved. 
 Two or more shafts of heddles might also be used which could hold 
 the crossing yarn either up or down, same as the bars, till they are 
 acted on by the jacquard or by a tappet. 
 
 Designing. -AN hen designing a pattern for gauze, with doups in 
 front of the harness, it is only necessary to set off a few hooks of the 
 jacquard to work the doups and slackener, and design the fancy portion 
 on the remaining hooks ; or if the gauze and slackener are wrought 
 with tappets the full jacquard will be available for the figured portion, 
 the same as if no gauze were being made. If the doups and slackener 
 are to be wrought by the jacquard the pattern can be painted on the 
 remaining hooks, and the dots for working these can be added after- 
 wards, agreeably to the texture of the gauze required. The doup standard 
 and slackener should act together, and the doup or half leaf should 
 rise when the harness carrying the crossing threads rises. If the doup 
 standard is to be raised every second shot, as is required when plain 
 cloth has to be wrought with one doup, it might be wrought by a 
 tappet, and the doup or loose heald might be raised by the machine 
 for every shot, as it must rise with its standard as well as when the 
 harness raises any of the yarn drawn into the doup. The doup shaft 
 is best held down by a light spring. Indiarubber about or J in. in 
 diameter suits very well. One spring at each side of either one or two 
 ply of this should be sufficient. If the number of rows in the harness 
 is such that it will correspond with the number of threads to be twisted 
 together, or be a multiple of them, it will be all the more convenient, 
 though it is not necessary for it to be so. For instance, if 1 thread 
 is twisted round 1, =2, an 8-row harness would give 4 repeats of this 
 
202 
 
 JACQUARD WEAVING AXD DESIGNINa 
 
 in each row ; but if 1 thread were twisted round 2, =3, then 1 row of the 
 harness would give 2 repeats, or hold 2 splitfuls of warp and 2 threads 
 over, so that another thread would have to be taken from the back of 
 the next row. For this a G-row harness would be more convenient, 
 which could be got by leaving 2 rows of the machine idle, and design- 
 ing the pattern on 6-row paper, or ruhng 8-row paper to 6-row after 
 the design is painted. To work fancy textures with gauze by means 
 of a harness with doups in front, both must be arranged to suit each 
 other, unless a large number of doups be employed. For instance, a 
 2-and-2 twill could be wrought with 1 doupleaf in front of the harness 
 by making 1 thread of the gauze twist round 3, 8,nd throwing 2 shots 
 
 Fig. 131 Fig. 132 
 
 into each crossing, as shown in Fig. 131. If 1 thread were to be twisted 
 round 1 with a 2-and-2 twill, and 2 shots to the gauze crossing, 2 doup 
 leaves would be required, as shown in Fig. 132. A 4-thread fancy twill 
 can be wrought with 1 doup, as shown in Fig. 133, 1 thread twisting 
 round 3 and 4 shots into each crossing of the gauze. Satins or 
 regular twills are more difficult to work, unless by making an irregular 
 gauze. Take a 5-end satin, which has the threads over 4 and under 1. 
 The gauze might have 4 shots and 1 shot into each crossing alternately, 
 and be easily wrought with 1 doup ; but if 2 or 3 shots had to go to each 
 crossing it would be different, as the doup would require to sink for 
 1 shot out of 5, in order to let the threads drawai into it bind in the 
 
GAUZE 
 
 203 
 
 twilled portion of the cloth, or otherwise the binding would have to 
 take place on these threads when the doup is down, which it could 
 do if it suited otherwise. But it must be remembered that when 
 solid cloth and gauze are 
 
 mi- 
 
 -4 
 
 working together, the former 
 is made by raising the doup 
 standard and those mails 
 which carry the threads that 
 are not drawn into the doup, 
 leaving stationary the mails 
 carrying the crossing threads, 
 except where gauze is being 
 made ; therefore, in working 
 a 5-end satin, if the doup 
 held up any of the threads 
 for, say, 3 shots, and then 
 sank for 3, there would be no 
 w^ay of holding up these 
 
 threads in the twill portion to make them pass over 4 shots, as a 5-end 
 satin must do, for if the harness twines carrying these threads are 
 raised, they will cause a cross to be made instead of completing the 
 twill. Patterns of this description should all be wrought in a gauze 
 harness. In the figures given the gauze crossings are represented by 
 dotted lines where they are raised by the harness, for sake of dis- 
 tinction. 
 
 Fig. 133 
 
 HAND-LOOM GAUZE HARNESS. 
 
 A large quantity of goods are still being made in the hand loom 
 on the gauze principle. ' These are mostly for curtains known as 
 Cretes or IVTadras musHns, and for antimacassars or chair backs. 
 They are chiefly w^oven in and about Glasgow, and in Newtownards in 
 tlie North of Ireland. These goods are made on the half-harness 
 principle— that is, half the warp is drawn into the harness and the 
 other half passes through the harness and is drawn into a set of hed- 
 dles in front. This mounting is shown in Fig. 134. It will be seen 
 
204 
 
 JACQUAED WEAVING AND DESIGNINa 
 
 that every alternate thread is drawn into one of the harness mails and 
 all the threads are drawn through a pair of clasped leaves of heddles 
 A B ; those that are drawn into the mails are drawn through the 
 under clasp of the leaf a, and those that are not in the mails through 
 the upper clasp of the leaf b. The threads are next drawn through the 
 doups as shown, those in the mails being in the back set, or upper 
 doups. These doups are made different from those generally used, 
 the doup or half-heald being connected with two standards ; this is 
 for the purpose of throwing less strain on the yarn. When the 
 harness is drawn the shaft a is also raised, b being sunk, as well as 
 
 A. 
 
 Fig. 134 Fig. 134 a 
 
 the front set of doups. As the yarn in the harness is also drawn 
 through the back set of doups, it follows that they must be reHeved to 
 allow the harness to raise the yarn. This might be done, and some- 
 times is done, by sinking the ordinary doup shaft and letting the 
 yarn draw the doup through its standard ; but in this case the standard 
 c is raised, which allows the thread to rise in the doup, as shown at 
 Fig. 134a, without having to draw it up, and at the same time all the 
 doups are kept firm in their places by the standard d, thus preventing 
 any entanglement in a fine set of doups. The distance between the 
 Jiarness and back leaves is 4 in., and between the back leaves and gauze 
 
GAUZE 
 
 205 
 
 mounting 3 in. The cloth is a plain gauze, and the figure is formed 
 by throwing one or more shots of rove weft, either white or coloured, 
 into the shed formed by the harness flushing over the ground and 
 chpped off afterwards. To form the figure shed, draw the harness, 
 raise the leaf a and the standard c, and sink the other leaves, making 
 a rising and falling shed, or centre shedding. To form the gauze, for 
 the open shed raise b c d and f, and to form tlie cross shed raise e 
 and F, in both cases sinking the others. For these sheds fine or ground 
 weft is thrown in, the flowering shots coming between them. The 
 shafts A and b are for the purpose of keeping a clear shed, but might 
 be done without. These goods are now largely made by power looms, 
 principally with gauze reeds, which see. 
 
 GAUZE HAENESS 
 
 In a true gauze harness the doups are connected with the mails or 
 leashes of the harness, the harness tAvines, or leashes, acting as stand- 
 ards for the doups, so that any splitful of warp may be crossed or 
 twisted differently from the others, and any kind of texture can be 
 wrought along Avith the gauze without having to consider the one in 
 connection Avith the other, as in the previous harness. Figs. 185 and 
 130 show hoAV these harnesses are tied up ; the letters refer to the 
 same parts in both figures. The harness is shown Avith four cords in 
 the row, for the back harness and the doup mail in front, and this 
 could be repeated tAvice for an eight-roAV harness. It is better to have 
 the rows of the harness regulated in this way to suit the gauze to be 
 made, and have the doup leashes in one or tAvo rows at the front, but 
 it is not necessary for it to be so, as the doups could come on any of 
 the mails through the harness, if desired, in case of a harness being 
 tied up, and it being wanted to add the doup leashes for gauzing ; but 
 this is rather confusing. In any case, this method of Avorking is now 
 superseded. 
 
 A is the doup or dead leash, b the doup standard, or what answers 
 to the doup standard in heald work, c and d are the leashes carrying 
 the plain or lying threads, and e the leash carrying the crossing 
 
206 
 
 JACQUAED AVEAVING AND DESIGNING 
 
 thread, the crossing in this case being one thread round two. f is the 
 doup. Fig. 136 shows the harness drawn for the open shed, and it 
 will be observed that the dead leash a is connected with the back 
 harness e, so that when this leash is raised to form the shed it draws 
 up the dead leash, also relieving the doup. There was one trouble 
 with these dead leashes — namely, that they were liable to twist round 
 the standards when close to them in the cumber board, sometimes be- 
 ing put through the same hole or the next one ; but by having them 
 
 Fig. 135 Fig. 136 
 
 in front and a little distance off this could be avoided. Wires or cords 
 were sometimes stretched across between the lingoes to prevent the 
 twisting. Fig. 135 shows the harness drawn for the cross shed, the 
 doup standard being drawn up, drawing the doup up with it. The 
 doup was fastened into the mails as shown at No. 1, Fig. 185 ; but a 
 better plan is to have double-eyed mails, and fasten the doup as at 
 No. 2. This form of harness is now superseded by one having all the 
 doups on a shaft in front of the harness, which consists of two parts 
 
GAUZE 
 
 207 
 
 —namely, the back harness and the douping harness (which is about 
 I in. to 1^ in. in front of the former) ; the doups are connected with 
 this latter harness, and all the doups may be on one shaft, whether 
 for one, two, or more rows of standards in the front harness. The 
 doups on the shaft are known as a ' slip heald ' or ' slip,' This is a much 
 simpler and more convenient method of working than the preceding. 
 
 Fig. 137 shows a simple and effective gauze mounting for a 4°° 
 jacquard, the cords being carried up to the machine in the usual way. 
 A is the breast beam of the loom, b the reed, c the back rail, and n 
 the yarn beam, d is the slip heald, or doup, which is simply a half- 
 leaf of ordinary clasped 
 heddles, made of cotton 
 or worsted, fine or coarse, 
 as may be desired for the 
 quality of work to be 
 wrought. E is the front 
 or doup mounting, con^' 
 nected with the two front 
 rows of the machine, and 
 passing through a small 
 cumber board in front of 
 that for the body of the 
 harness ; it is bolted so 
 that it can be shifted to 
 regulate the distance between the doup harness and that of the figuring. 
 The distance between the two harnesses may range from | in. to 1| in., 
 or whatever is found most suitable to ease the strain on the yarn and 
 make a clear shed. G is the cumber board, and f the body of the 
 harness for working the figure. 
 
 The method of slackening the threads that are drawn into the doups 
 is perhaps the principal feature of thig mounting. When one or more 
 slackening bars are used it is plain that all the threads that pass over 
 the bar that is oscillated will be slackened at once, though for figured 
 work it may be that only a very few of these threads should be slackened, 
 and if the remainder or any portion of them are raised by the back 
 
 Fig. 1H7 
 
208 
 
 .TACQUARD WEAVING AND DESIGNING 
 
 leashes they should be kept tight at the back so as to enable them to 
 draw up the slack doups. It follows, therefore, thort .for givmg good 
 work and keeping the threads at a regular tension, every thread in the 
 doups should have its own independent slackener. It is not absolutely 
 necessary that this should be so ; strong twist cotton or worsted yarn 
 will work very well in a harness with one slackening bar vibrating for 
 each shot, though it must throw an irregular strain on the yarn, and it 
 requires to be tightly paced. 
 
 In Fig. 137 the slackening arrangement consists of a small back 
 harness, as shown at I, through which all the whip threads are drawn ; 
 these threads then pass over one lease rod and under the next one, as 
 shown, and then on to the harness to be drawn in according to the 
 draught of the gauze. The harness consists of small mails attached 
 to lingoes with twines in the same way as the lower portion of the 
 ordinary harness is prepared, but the mails are rounded off above the 
 eye or centre hole without having the top hole for threading the upper 
 portion of the harness to. The cumber board of this harness must be 
 nicely set, so that the lingoes will hang on the yarn without drawing 
 the mails quite close on the cumber board, which soon would cut the 
 twines. To regulate this the cumber board and back rail must be 
 set in relation to each other and the mails of the harness so as to pro- 
 duce the desired efl'ect. A medium position for Avorking may be taken 
 as follows : — Cumber board 12 in. behind harness and 6 in. in front of 
 back rail. Back rail 2 in. above the level of the mails in the main har- 
 ness, and cumber board of small back harness 3 in. below the level of 
 the mails, or 5 in. lower than the top of the back rail. The back lease 
 rod might then come in about 8 in. behind the harness. The weight 
 of the lingoes on the back harness must be regulated to suit the strength 
 of warp to be wrought ; about 30 to 40 per lb. for, say, from 40/2 to 
 80/2 cotton would suit. The mails for the body of the harness maybe 
 25's or 30's, or the same as for ordinary work, and those for the doup 
 standards heavier, say 18's or 20's. In addition to this harness for 
 slackening, or rather for keeping a yielding tension on the whip, there 
 is a slackening bar supported by a lever k l m at both sides of the 
 loom. This lever has its fulcrum at l, and is attached to the swords 
 
GAUZE 
 
 209 
 
 of the lay at m, and therefore vibrates at every beat up. The slackener 
 acts as a positive motion, and keeps the threads from tightening up or 
 being drawn forward by the twisting ; it acts on the body of the threads, 
 and the harness acts on them individually. 
 
 This, when properly set, is an easy motion, and produces a good 
 firm gauze. It is a Bradford patent. Now, in reference to the working 
 of the gauze : The harness is levelled much in the same way as for 
 ordinary work, the mails being 1^ in. or 1| in. below the level of the 
 breast beam. The doup mails should be a little lower than those for 
 the harness, say ^g- in. or ^ in. 
 
 The shed should be closed, and begin to open again when the reed 
 is at the fell of the cloth. Too large a shed should not be made with 
 the doups, on account of the strain on the yarn : a small clear shed 
 gives much more satisfactory work. The front cumber board, containing 
 the doup leashes, may be shifted a little forward or back if thought 
 desirable, so as to get the cross shed to spring as easily as possible, the 
 amount of elasticity in the warp varying this considerably. The slip 
 heald is raised for every shot by cording it to the brander or griffe of 
 the jacquard, which for gauze work is generally a single-acting one. 
 Springs are used for holding down the slip — a light wire spring, or, 
 better, a piece of round indiarubber about in, in diameter, doubled 
 if necessary. Bridles should be attached from the shaft of the slip 
 heald at each end and fastened to the cumber board so as to bear the 
 draw of the springs when the harness is down ; the cords connected 
 with the jacquard for raising this shaft may then be left slack, and the 
 size of shed may be regulated or made less than the draw of the 
 machine, if required. 
 
 It is very important to have the doups nicely adjusted ; on this 
 depends their lasting capacity, and sometimes a very short time is suffi- 
 cient to cut them to pieces if badly set. But if correctly done they will 
 generally last for a length of time, particularly if occasionally turned 
 on the shaft, which is more essential in working with a linen than with 
 a cotton warp. 
 
 One of the doup standard mails with a doup through it is shown at 
 No. 1 (Fig. 138), where it may be seen that the doup is simply drawn 
 
 p 
 
210 
 
 JACQUARD WEAVma AND DESIGNINQ 
 
 through the eye of the mail, and not connected with it in any way. It 
 is only held in this position by the warp thread passing through it, and 
 whenever the thread breaks the doup falls out of the mail. This is a 
 trouble to the weaver, at least till she gets accustomed to it, and mails, 
 as shown at No. 2, have been made to hold up the doup. The remedy 
 here is often worse than the evil. The mails wear the doups, particu- 
 larly if the springs draw them tight down on the eyes of the mails ; and 
 besides, they have the disadvantage that the slip heald has to be built 
 in them after the harness is mounted, whereas with the open mails the 
 slips can be procured anywhere quite independent of the harness. The 
 slip heald must be set so that when the harness is down the yarn will 
 not be drawn through the eyes of the mails by the doup sinking too low. 
 This may be guarded against by adjusting the bridles at each side, 
 between the slip shaft and the cumber board. The loops of the doups 
 should pass about ^ in. through the eyes of the mails when at the 
 lowest or bottom position, and the front mails being about ^ in. lower 
 than the others allows the loops of the doups to be just bearing lightly 
 on the warp, all being held up straight. The slackening bar must be 
 arranged to work in time with the doup standards, and should not 
 slacken the yarn too much nor too little, just keeping it at a uniform 
 tension. The great point with tender or weak yarn is to reduce all fric- 
 tion to a minimum, no matter by what it is caused, and if this is done the 
 yarn and doups, if they are of a fair quality to begin with, should both 
 work well ; but a very slight difference in setting the doup may make 
 a great deal of difference in the working of it. A doup that may be 
 cut to pieces in working 20 yards of cloth might work 400 or 500 yards 
 with so little alteration as not to be noticeable to those not accustomed 
 to the work. The slackening bar must not rise so high as to raise the 
 yarn that is above it, nor must it sink so low as to press the whip down 
 on the back harness board, and it must be so regulated that within 
 these limits it will give the proper amount of slackening, and prevent 
 the whip warp from getting tight and drawing up the small back 
 harness. 
 
 Worsted makes the best weaving doups for strong work, but for 
 lighter work cotton is mostly used, being finer and cheaper. Some- 
 
GAUZE 
 
 211 
 
212 
 
 JACQUAED "WEAVING AND DESIGNING 
 
 times polished linen yarn is used and makes a very smooth doup, but 
 does not give the wear. 
 
 Small metallic rings are sometimes used on the loops of the doups, 
 and the warp drawn through these rings ; this suits for yarn with much 
 fibre on it, as it keeps the fibre from getting twisted into the doups, but 
 the rings cut the doups faster than ordinary yarn working in them 
 would. 
 
 Instead of a slip heald in front, doups with a lingo on each have 
 been used, with the mails for the standards as shown at No. 2, Fig. 
 138, so that the doups cannot fall out of them, and the yarn when 
 drawn up by the back harness in shedding raises the doups and lingoes 
 up with it. The weight of the lingoes must be such as will suit the 
 strength of the warp to be used — not too heavy for it to lift nor too 
 light, so that in the cross shed the doups would be drawn through the 
 mails. These doups being separate, are easily built in the harness and 
 very easily repaired by the weaver when they break, but they break too 
 frequently. It is, of course, only for a strong warp that this method 
 of working is suitable, and even for it, although it works very well, the 
 principle is not good. 
 
 The gauze harness which will probably be most frequently met 
 with, at least in the cotton trade, is shown in Fig. 138. It is an older 
 harness than that described, having been patented in Macclesfield in 
 1876 in a somewhat different form. The difference between this and 
 the preceding chiefly consists in the method adopted for slackening 
 the yarn, and the jacquard may also be specially built to suit for this. 
 In setting this loom the harness and mails are tied up and levelled as 
 before, but when working the back rail is kept down, as it usually is 
 for gauze work, say about h in. lower than the eyes of the mails. Each 
 whip thread has its own slackener, the slackening apparatus consisting 
 of a harness wrought either by the samejacquard that works the figure, 
 or by an extra one, when much pattern is required. 
 
 The connections of the needles with the hooks are shovm at a, the 
 tv70 bottom needles being connected with the two front and two back 
 hooks, the former for working the gauze and the latter for working the 
 slackeners. This harness is intended for a 1 -round 3-gauze, and is 
 
GAUZE 
 
 213 
 
 mounted on a 10-row machine with an 8-row cyHnder on it. It is not 
 necessary that the back harness for slackening should be raised so high 
 as the figuring harness is, and for this reason, as well as that it makes 
 the harness more direct and avoids friction, it is tied to two sets of 
 levers as shown at g and g' ; they are made of brass and are fastened 
 on two rods, one about 4 in. above the other, so as not to come into con- 
 tact with each other when rising or falling. The points of the levers 
 are fastened to the two back rows of hooks as shown, and the harness 
 is tied to wire hooks on these levers ; f is the neck of the harness, d 
 the cumber board, and n the lingoes, which are much heavier than 
 those used for the figuring harness, from 6 to 10 per pound being the 
 Aveights frequently used, according to the class or weight of the work. 
 
 The mails used on the back harness are similar to those used for 
 the doups— that is, such as are shown at No. 1 (Fig. 138) ; but if these 
 cut with the warp sawing through them, glass mails should be used. 
 L l' are two rods or bars which support the warp that is drawn down 
 between them by the slackening harness. The closer these bars are 
 set together the greater will be the amount of slackening given to the 
 warp when the harness is drawn ; therefore these bars should be made 
 to slide either way so that the desired slackness is obtained by setting 
 them. About 3 in. to 4 in. apart is a good working width ; the tops 
 of the bars should be about 1 in. lower than the mails in the figuring 
 harness, and the tops of the eyes of the mails in the back harness should 
 be 1 in. or 1^ in. lower than the rods. 
 
 Another method of arranging the needles in a jacquard for a gauze 
 mounting is shown in Fig. 139, which is, perhaps, more convenient 
 for the designer, as will afterwards be seen. In this harness there are 
 10 rows of hooks, the same as before — 6 for the figuring harness 
 and 2 for the doup standards. The .doup standards are here on the 
 hooks connected with the fourth and eighth needles, and come after 
 the threads that the whip in them twists round, and fall in this posi- 
 tion on the design paper, instead of both being at the end of a design 
 — that is, on the seventh and eighth checks. For any order of twist- 
 ing, the arrangement of the hooks and needles might be made to suit 
 on the same principle. 
 
214 
 
 JACQUARD WEAVING AND DESIGNING 
 
 lo f » r (• -r^J 2 
 Fig. 139 
 
 It will be seen that in the leno jacquard, shown in Fig. 138, a 
 number of levers and attachments are required to work the slackening 
 harness. In order to simplify this, Messrs. Devoge & Co. have brought 
 
 out a leno jacquard with which none 
 of these levers, &c., are required, the 
 slackening harness being tied to the 
 two back rows of hooks in the machine. 
 These two rows of hooks are lifted by 
 a separate griffe, the lift of which is 
 much less than that for working the 
 body hooks of the machine, and which 
 can be varied to suit the amount of 
 slackening required. This machine 
 is shown in Fig. 140, a view of the 
 motion for raising the griffes of both 
 back and body harness being given in 
 Fig. 140 A. c cl (Fig. 140 a) is the link connection between the bar of 
 the griffe a a and the top lever l (Fig. 140), somewhat similar to 
 what is used for an ordinary jacquard. To raise the small griffe at 
 the back, it will be seen that there is a cross lever e from the Hnks 
 d, c to its fulcrum h on a bracket g attached to the top of the 
 machine. The small or back griffe b is connected to this lever by 
 the link /. The amount of lift given to the small griffe in proportion 
 to that given to the large one will be as the length of the lever from 
 the stud in h to that in / is to its length from the stud in h to that 
 in d. The farther the fulcrum is pushed back in the slot in which it 
 is fastened, the more the back griffe will be raised, the link / being 
 always vertical. The back griffe is arranged to commence lifting 
 slightly in advance of the front one, in order to lessen the strain on 
 the doups. The needles are connected with the back and front hooks 
 in this machine similarly to those in Fig. 138. 
 
 The draft of a gauze in the harness is just the same as regards the 
 doups as for shaft work ; the crossing may be made from left to right, 
 or the reverse, but the pattern must be made to suit. Some mount 
 the harnesses and paint the patterns from right to left. About Brad- 
 
GAUZE 
 
 215 
 
 ford this appears to be the usual method, and it does not matter pro- 
 vided the mounting, drawing and designing be kept in accord ; but 
 here we shall keep to the same principle as is recognised all through — 
 viz. mounting and designing from left to right, which is the correct 
 method so far as drawing is concerned, and equally convenient in other 
 respects. 
 
 To design a pattern for gauze : if it is to be a simple geometrical 
 
 Fig. 140 
 
 pattern it may be put direct on the design paper ; but if to be a 
 figured pattern, a sketch should be prepared for it in the same manner 
 as for ordinary figured patterns, whether for dress goods, curtains, or 
 any other material. Any desired figuring can be made, providing 
 sufficient space be left between the figures to admit of the open work 
 being made. The figuring should be treated as the ornamentation of 
 a plain or short twill ground figure, which is woven on a gauze ground; 
 
216 JACQUARD WEAVING AND DESIGNING 
 
 the figure may be entirely plain or twill upon a gauze ground, in which 
 case it must be sufficiently plain and solid to be effective, or it may be 
 treated as damask figuring on ornamental patches of plain or twill on 
 a gauze ground ; or, again, the gauze may form the figure and the 
 ground be plain or twill. Any variety may be made that ingenuity 
 can suggest, and figuring with extra warp or weft may also be adopted 
 if desired. When about to put the pattern on design paper, it may be 
 observed that out of the 8 rows of needles in the machine only G 
 
 Fig. 140 a 
 
 are used for figuring, the other 2 being employed for gauzing ; 
 therefore, some means must be devised for getting the pattern on the 
 paper so as to suit this. The simplest plan is that adopted in America 
 —viz. instead of using two rows of hooks along the jacquard for the 
 doup standards, to leave as many hooks at the first of the machine as 
 will correspond with the number of doup standards required for one 
 repeat of the pattern. Suppose for the same ties as those given— 100 
 hooks for the doups and 300 for the figure— then the cords from the 
 first or last 100 hooks would be taken down through the two front 
 
GAUZE 
 
 217 
 
 rows of the cumber board, and those from the 300 hooks would make 
 up the body of the harness. When mounting in this way, the 
 jacquard would be better turned with the cards hanging over the 
 side of the loom, as for the ' London tie.' This method of mounting 
 enables the pattern to be designed for 300 hooks and painted on 
 the design paper independently of the gauze, which can be filled in 
 afterwards. 
 
 Fig. 141 is an example of designing in this manner, using 6 rows 
 of hooks, to suit the gauze. The pattern is put on the rows of 
 designs numbered 4, 5, 6, 7, and 8. No. 3 is for the selvage, and the 
 working of the doups is on Nos. 1 and 2. This is for a 1 round 2 
 
 and for these 10 checks are used of designs Nos. 1 and 2. The rising 
 of the back leash of the harness to form the crossing is shown by the 
 dots marked on the design, and as gauze is formed by raising this leash 
 and the doup alternately, it is only necessary to take each line of the 
 design paper for the doups, and, following up the markings for the 
 back leashes, fill in for the doups to rise when the back leash is sunk 
 for the gauze, taking care to keep clear of the figuring. In making 
 gauze the doup should always rise immediately after the figuring ends, 
 to form the first crossing, and it should also be up immediately before 
 
218 
 
 JACQUABD WEAVING AND DESIGNING 
 
 the next portion of the figuring begins, so that in an irregular figured 
 pattern the gauze might frequently require to be broken to effect this, 
 as may be seen in Fig. 141. Take the first upright line of the pattern, 
 design No. 4 : the back leash is raised for three, then the doup for 
 three, and the figure follows. Passing on to the tenth line it Avill be 
 seen that the doup rises for three after the figure, and is also up for 
 three before the next figure begins ; but, passing on to designs 7 and 
 8, it will be seen that the risings of the doup and back leash would not 
 fall in regularly in threes against the figure, as it would be better if 
 they did, and therefore the gauze is broken so as to fall in ; but in small 
 patterns of this description, when it is of importance to keep the out- 
 
 FiG. 142 
 
 line of the figure as regular as possible, this can and should be 
 remedied ; instead of the outhne of the figure running diagonally on 
 the design paper in steps of one check, it should go in steps of as 
 many checks as there are threads to the twist of the gauze in the 
 warp and shots in each twist in the weft. This is shown in Fig. 142, 
 where all -the twisting falls in regularly with the figure. This may to 
 a great extent be carried out with irregular figures by the designer 
 exercising a little judgment, and when filling in the gauze make up 
 the plain edging of the figuring to fall in with it— that is, only to 
 break the gauze where there is room to do it effectively, and where 
 there is not, a few dots can be added to the plain. If Figs. 141 and 
 
GAUZE 
 
 219 
 
 142 be compared, it may be seen how this could be done : examining 
 designs 4 and 8 above the figures, the latter below as well; but Fig. 142 
 shows the proper method of treating these small geometrical figures. 
 Another point to be observed is whether all the doup leashes are to be 
 raised together to form the gauze, or whether it is to be formed by 
 raising every alternate doup leash and every alternate back leash, as is 
 done in these figures. The latter method is preferable for working, as 
 it makes an even tension on every shed, whereas if one shed is a full 
 cross shed formed by the doups, and the reverse of this an open shed 
 with no crossing, the cross shed will be the tighter, and produce a 
 certain amount of plucking, with a tendency to shire in some 
 patterns ; but in case of working dices or any pattern where the 
 top and bottom of the figure extend some distance straight across 
 the design paper, it would be impossible for the first shed of the gauze 
 to be formed by the doup if only every alternate doup leash was raised. 
 Some judgment must therefore be exercised in these matters, and the 
 best effect obtained that will suit circumstances. 
 
 Now to put the patterns on design paper to suit the harness when 
 the two front rows of the jacquard are used to work the doups, as in 
 Fig. 138, also when any other rows are used, as in Fig. 139 : the 
 simplest way to do this-at least, for those not well accustomed to the 
 work -is to design them on G-row paper, as Fig. 142, and afterwards 
 transfer them to 8-row paper, leaving the lines for the doups empty, 
 the doup Imes being afterwards filled in, as in Figs. 143 and 144. Fig. 
 144 has the advantage that each splitful of gauze stands alone, where- 
 as when filling in the markings for the doups in Fig. 144, two spHtfuls 
 stand together ; but a little practice makes one method as simple as 
 the other. The dots represent the markings for the doups, and the 
 shaded squares those for raising the back leashes to form the open 
 shed of the gauze. The transferring of the designs from one sheet of 
 design paper to another is, of course, a matter of trouble and expense, 
 and may be avoided if an experienced card-cutter is to cut the cards. 
 The des"ign need not be transferred, but have the marks for raising the 
 doups put on the same lines of the design paper as those for raising 
 the back leashes for the open shed. This is shown in Fig. 145, the 
 
220 JACQUAED WEAVING AND DESIGNING 
 
 shaded squares being the same as in Figs. 143 and 144 ; but the dots, 
 instead of being put on lines left for them, as in these figures, are put 
 
 1 2 3 4 5 
 
 Fig. 144 
 
 be the same colour as the figure, as they are to be cut for the lines 
 they are on, but the dots should be of a different colour, to be cut for 
 
GAUZE 
 
 a different line of the card from that on which they are placed on the 
 design -the dot on the first check of a design being the seventh holp. 
 in a row of the card, and that on the third check of a design being the 
 last hole of a row on the card. 
 
 Fig. 146 shows a portion of an ornamental pattern as it would be 
 designed for a gauze ground of two threads of warp twisting round 
 two = 4 in the split and 4 picks 
 into each crossing of the gauze. 
 This would require a 10 - row 
 machine, eight rows for the figuring 
 harness and two rows for the doup 
 standards. When two threads are 
 twisting round two, it is not neces- 
 sary to have a doup for each, though 
 it may be desirable ; but it suits very 
 well to have both threads drawn 
 through the same doup. It will be , / a j 
 necessary to have a stronger doup yio. 145 
 
 in this case, but if the warp is very 
 
 light it would have so much more to do in drawing up the heavy 
 doup than if each thread was drawn through a very light doup that 
 the latter had better be adopted ; otherwise a stronger doup, with both 
 threads through one, is simpler. On the pattern, the doups are raised 
 by the dots, which must be cut on the proper line of the card, as before ; 
 both lines are dotted as if each thread had its own doup, but only the 
 front dots of each pair are necessary. The shaded squares are for raising 
 the crossing threads with the leashes for the open shed of the gauze. In 
 this pattern it is necessary that the outline of the figure should go in 
 steps of four warp ways, as there are four threads to the twist ; but it 
 is not necessary that it should go in steps of four weft ways. A better 
 outline can be given to the figure by not adhering to this, though the 
 perforations in the gauze will be to some extent sacrificed by being 
 irregular ; but this would be so in any case in order to raise the doup 
 standard after the figure when the doups and leashes are gauzing alter- 
 nately ; they might be regularly started at one side of the figure, but 
 
222 
 
 JACQUARD WEAV^ING AND DESIGNING 
 
 this would probably make them more irregular at the other side. By 
 following round the edges of this figure it will be seen .that by a little 
 care no blemish of any consequence need be left, though it will not be 
 so perfect as when calculated to fall in as Fig. 145. 
 
 Fig. 146 
 
 Any variety of simple gauze texture may be used, as well as the 
 plain and honeycomb gauze, but unless there is plenty of space and the 
 figures are plain and large, no very intricate crossings should be 
 attempted, unless for stripes, as they would probably mar the outline 
 of the figure ; but if not, they may be used where suitable. 
 
GAUZE 
 
 223 
 
 Another important point in designing for gauze is that if the 
 texture of the sohd cloth is loose and that of the gauze pretty firmly 
 twisted, the take-up of the warp may be very different when weaving. 
 To avoid this the gauze and figure should be well intermixed, and not 
 be in too great quantities in any one part— in fact, the gauze and 
 plain should be constantly interchanging, and when the pattern is such 
 that this cannot be, the textures must be regulated so that there will 
 be about an equal quantity of warp taken up for each. A little practice 
 will soon show this. 
 
 Nothing has been said about the description of jacquard used for 
 working gauze, but the same principle holds good as for working with 
 shafts. A gauze shed is taken to be a plain jacquard lift— that is, the 
 shed formed by the single-lift jacquard raises the yarn and lets it down 
 again before beginning to raise the following shed. This enables the doup 
 and doup yarn to fall into their places before being drawn away to form 
 a following shed. At the same time, we are not limited to a single-lift 
 jacquard. If you have a double-lift jacquard, and want to work a small 
 piece of gauze, do so ; but do it correctly, or, in other words, take means 
 to make a good job of it. Before explaining how to do this, it will be 
 well to show where the difficulty exists. In a double-acting machine 
 one griffe is rising when the other is falling, and in plain gauze the 
 doup standard and leash carrying the crossing thread are raised alter- 
 nately, one shot being thrown into the shed formed by each. Therefore, 
 the same thread is up for every shot, and the thread round which it twists 
 is always down. Now, when one griffe has raised the doup standard 
 and the next one raises the leashes carrying the same threads, both 
 will pass in the centre of the shed, and, as shown in Fig. 147, the 
 crossing thread will be dragging up the lying thread from the position 
 shown by the under dotted Hne, thereby causing considerable friction 
 on the yarn, which must be detrimental to a fine or weak warp, and is 
 inclined to drag the doup through the eyes of their standards ; but as 
 the harness in coming to the centre slackens the warp threads, and 
 also as the slackener begins to act when the harness begins to rise, the 
 threads will be further slackened in those sheds where the doups follow 
 the back leashes, and this reduces the friction. It may, however, be 
 
224 
 
 JACQUAED WEAVING AND DESIGNING 
 
 entirely avoided by raising the lying threads to the mid position to meet 
 the descending griffe, and then let down with it. A simple method of 
 doing this is to have the leashes carrying the lying threads through a 
 separate slip of cumber board at the back, and knots on them above it, 
 so that when it is raised all the lying threads will be drawn up with it. 
 
 The cumber board can be raised by a cam, or in any other suitable 
 way. (See Journal Weaving for Scotch Carpets.) 
 
 These leashes might also be raised by means of a shaft throu^^h 
 
 2 5 
 
 Fig. 147 
 
 loops in them, or with bars under the jacquard hooks, in the same way 
 as is done in twilhng harnesses (which see), but with a special motion to 
 raise and lower them. In Fig. 147, the dotted line A, B' shows the 
 middle position or centre of the traverse of the yarn in shedding. 
 
 Although this is the proper means to adopt to work gauze satisfac- 
 torily with a double-acting jacquard, or with any double-acting shed- 
 ding motion, it may be that small portions of gauze, such as a few 
 stripes up a web, are wanted without the trouble of making any special 
 
GAUZE 
 
 225 
 
 arrangements for it. Good strong twist cotton yarn will "work very 
 well, if nicely tempered, in a double-acting machine. The slackeners 
 can be arranged by leaving a few books apart to work them with, and 
 cords tied to these hooks and let down at the back, in the same manner 
 as in the gauze harness (Fig. 138), which will do very well. When three 
 or more shots are thrown into each shed of the gauze— that is, between 
 the crossings — there will be much less friction than when the crossing 
 takes place at each shot, as it is only at the crossing the friction takes 
 place. 
 
 One source of annoyance in w^orking gauze is the wear on the doups, 
 which requires them to be changed frequently and adds cost to the 
 production. It has often been attempted to work the gauze by other 
 means, and for some classes of work this has proved successful. One 
 of the best arrangements, and one that is largely used, is the gauze 
 reed, which is almost entirely adopted about Glasgow for weaving leno 
 curtains in the power loom ; it is also employed for other classes of 
 work, but is Hmited in its use. It will not supply the place of a gauze 
 harness. 
 
 THE GAUZE REED. 
 
 This is principally used for working leno curtains or Madras muslins 
 in power looms. The texture of these fabrics is a plain gauze ground, the 
 figure being formed by one or more colours of thick soft weft, thrown 
 in and bound for the figure, but flushed or floated over the ground, to 
 be cut off afterwards. The reed is wrought in conjunction with a 
 harness, the reed forming the ground of the fabric and the harness 
 the figuring. The harness is mounted in the same way as a half- 
 harness, or for half the warp, and the reed does the work of the doups. 
 The gauze reed will suit for gauze up to 55 threads per inch in the 
 reed, but is more used for fabrics ranging from 30 to 50 threads per 
 inch. A portion of the reed is given in Fig. 148, in w^hich it will be 
 seen that it consists of the usual dents set in ribs, and a set of half- 
 dants, perforated at the points which are set into the lower rib of the 
 reed behind the others, and lie about half-way through the splits in a 
 
 Q 
 
226 
 
 JACQUARD WEAVING AND DESIGNING 
 
 slightly slanting position. The gauze reed works behind the slay and 
 in front of the harness. It should be about ^ in. behind the slay when 
 the cranks are at the back centre, so as to leave sufficient room for 
 clearance between them. 
 
 A good method of working the reed is shown in Fig. 149, which 
 is a back view, a is a rocking shaft supported by brackets, as a, on 
 the top rail of the loom ; b is a lever projecting towards the front of 
 the loom, and the rod h from it supports one end of the reed ; c is 
 another lever on the shaft a, projecting backwards, and the rod d con- 
 nects it with the tappet treadles, so that when the treadle is pressed 
 down the reed rises ; about 3L in. is the usual height for it to rise, f 
 is the upper rib of the gauze reed, and the lower one. g is the 
 yoke of the reed. On the yoke is fastened a bar p p, connected with 
 the strap which passes round the top rib of the reed. 1 1 are two pro- 
 jections on the bar p p, through which the slide rod e e ' passes and 
 is fastened at the top to a bracket c on the top of the loom, and at the 
 bottom it fits into a socket or stand n fixed to the ground ; the reed 
 slides up and down on this rod. h is a tube round the slide rod 
 between the projections i i, and is about \ in. shorter than the distance 
 between them ; to the bottom of this tube is fixed the support h' for 
 the dipping rod k, which, when the yarn under it is very tight, can 
 yield \ in., along with the tube h. The reed is not positive in falling, 
 but when raised by the tappet it falls by its own weight and that of 
 the weight-box l, which slides on the rod e e'. The weight-box is 
 fastened by a rod m to the crank on the bar which supports the dip- 
 ping rod, and weights it as well as the reed. Small weights, as e, 
 about I lb. weight, can be placed in the weight-box till as much weight 
 as is required is put on. Fig. 151 gives a view of the gauze reed 
 mounting, with the gauze or cross-shed open. Every alternate thread 
 of the warp is drawn into one of the gauze dents, and every other one 
 into the harness, as shown. The harness is levelled 2 in. or 2^ in. 
 below the level of the breast beam ; or, having the slay levelled with 
 the race | in. below the breast beam when the cranks are at the top 
 centre, push back the slay till the cranks are at the back centre, and 
 place a straight-edge across the race, and the under edge of the 
 
GAUZE 
 
 227 
 
 Fig 149 
 
 q2 
 
•22-8 JACQUAKD WEAVING AND DESIGNING 
 
 straight-edge where it passes the front row of the harness will give the 
 height for the eyes of the mails. The back shell e should be set ^in. 
 below the level of the breast beam, and should be made to vibrate with 
 a tappet, which should lower it when the gauze shed is opened, and 
 keep it raised for the figuring shots, a shows the position of the 
 weaver's reed, b is the gauze reed, c the dipping rod, d the heck or 
 ravel which is on the harness under the harness reed or cumber board 
 F ; the ravel should be about 6 in. above the yarn and 3 in. below the 
 cumber board, making the latter 9 in. or 10 in. above the yarn. The 
 ravel is like a small harness reed with only one rib on it, which is 
 
 Fig. 150 
 
 placed behind the harness, being covered with an iron tube to 
 strengthen it ; in front a flat iron rod is fastened above the ends of the 
 dents and serves as the second rib. Three wires are stretched along 
 the ravel to keep the harness steady, in the same way that they are 
 stretched along a harness reed, but three are sufficient, instead of having 
 one for each row of harness. The ravel is shown in full in Fig. 150 ; 
 it is about 1{> in. deep (or across it), and the cumber board 3 in. deep ; it 
 is for the purpose of drawing the yarn in the harness to either side, so 
 that when the gauze reed is rising the half dents may pass to the right 
 and left of the threads in the harness alternately ; it is this which gives 
 the gauze twist, Two bars a a' (Fig. 150) extend from the ends of the 
 
GAUZE 
 
 229 
 
 frame of the heck ; these sHde in brackets c fastened to the sides of 
 the loom. The lateral motion is given to it by a lever b with its 
 fulcrum at B ^ ; this lever has a bowl d on its lower end, which is acted 
 on by a wheel e driven at the proper speed to suit the shedding, 
 is a face view of this wheel, which has a projection on it for shifting 
 the lever. 
 
 Sometimes the motion is imparted to the lever so as to shift the 
 ravel just when it is required— that is, before the gauze reed has risen 
 to form the shed ; and sometimes the ravel is shifted a part of the way 
 at each shot of figuring, and has completed its traverse before the 
 gauze reed has risen ; this latter makes a more gradual pressure on the 
 harness, and avoids any sudden plucking. When the wheel e acts 
 upon the lever the ravel is drawn to the right, and when released the 
 spring F, fastened from the side of the loom to the end of the ravel, 
 draws it back again. The traverse of the ravel should be about f in. 
 c'^ is a separate view of the brackets c and c'. 
 
 Sometimes the heck is on the yarn between the reed and the 
 harness, instead of being on the harness ; in this case there must be 
 about 8 in. between the reed and the harness, and the heck or ravel 
 rests about half-way between them. The harness is wrought with a 
 double-hft machine and three tappets. One tappet which is much 
 like a plain wyper tappet, but with less dwell on it, acts on one of the 
 treadles, which is connected by a rod and lever to one of the griffes : 
 this raises the flowering shed, the lift being about 3^ in., and the flower- 
 ing shot is thrown in as in ordinary work, the sheds being close when 
 the cranks are at the top centre or a little over it. As soon as this 
 shot is thrown in, when the cranks are a little over the back centre, 
 the second griffe is raised by another tappet. As this takes place 
 before the cylinder is in against the needles, all the yarn in the harness 
 is raised ; the reason for raising it is to get all the harness yarn clear 
 of the half dents of the reed, so that it can be shifted over them by 
 the ravel. The gauze reed is raised by the third tappet ; it begins to 
 rise shortly after the second griffe, or when the cranks are a little past 
 the top centre during the same revolution. The yarn raised by the 
 first griffe begins to fall at the same time that the reed begins to rise ; 
 
■230 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the second griffe raises the bottom yarn till it meets the top yarn of 
 the first shed descending, at which time the ravel should be fully shifted, 
 and the points of the half dents rising should be | in, below the harness 
 yarn. As the harness falls and the reed rises, the yarn in the former will 
 pass down at the opposite sides of the half-dents to which it was before 
 being raised ; a ground shot is then thrown in (this is the second 
 ground shot), and the reed descends, taking the yarn in it down level 
 with that in the harness. The harness is again raised as before for 
 the next flowering shot. 
 
 When the reed is raised to form the shed for the ground shot no 
 card is required to pass over the cylinder of the jacquard, and to pre- 
 vent one passing the sneck or shears is raised for this shot, so that the 
 cylinder is not turned. The reed must be raised in time to have the 
 shed open for the passage of the shuttle, but keeping it a little late 
 requires less lift to be given to the second shed which is being raised 
 to get the bottom yarn clear of the half dents of the reed. The above 
 description is intended for weaving fabrics with one cover, or one 
 colour of flowering shot, as when the pattern is in white or a single 
 colour, as it often is ; but when two or more colours of figuring weft 
 are used, the flowering sheds might be opened with one griffe working 
 the machine single-acting, and constructing and timing the tappets to 
 suit. One tappet would then open two or more sheds for the flower- 
 ing ; the second and third tappets would act on the bottom yarn and 
 reed as before. It is, however, usual to work the machine double-act- 
 ing, and to construct the tappets to raise the griffes alternately for two 
 covers. No. 1 tappet would raise one griffe, No, 2 tappet would raise 
 the other griffe ; then a small wing on No, 1 tappet would lift the 
 bottom yarn, and No. 3 tappet would raise the reed, the sneck being 
 lifted at the last beat of the cylinder to prevent it from turning. For 
 three or more covers the tappets would require to be arranged to 
 suit in a similar manner. Fig. 151 a is a front view of the position of 
 the yarn in the reed when the flowering shed is drawn. Only a portion 
 of the harness would be raised for each shot, as, say, the threads 1,1, 
 the remainder 2, 2, being sunk. After the flowering shots are thrown 
 in, the bottom yarn in the harness 2, 2 has to be shifted to the other 
 
GAUZE 
 
 231 
 
 side of the half dents for the gauze shed. It is therefore raised up to 
 meet the threads 1, 1 coming down. All are then shifted together, 
 and when the reed is raised the position of the harness yarn is shown 
 at the crosses ; 0000 shows the position it was in at the previous 
 
 ground shot. The dots on the half dents show the position of the 
 yarn in them in relation to that in the harness 2, 2 when the reed is at 
 rest, the yarn in both reed and harness being on a level. The reed 
 could be wrought turned upside down with a harness, but all the loose 
 
232 
 
 JACQUARD WEAVING AND DESIGNING- 
 
 flowering weft would require to be below. In this case there is no 
 necessity for getting the under shed clear of the gauze dents for 
 changing it with the ravel to form the ground shed ; but this is an 
 objectionable method of working, particularly with a light pattern, on 
 account of the heavy shed that has to be raised. If the flushed yarn 
 was thrown to the top and the reed turned upside down, the only way 
 to work the heck would be on the harness below the mails, which would 
 require it to be as deep as a reed or cumber board, in order to let the 
 lingoes fall, and this would not answer very well. 
 
233 
 
 CHAPTEK VIII 
 DOUBLE CLOTH 
 
 DOUBLE CLOTH AND QUILTING HARNESSES 
 
 A VEEY ffreat variety of cloths come under the heading of double cloth ; 
 in fact, almost every description of coloured cloth figured in the loom, 
 excepting coloured damasks and the commoner descriptions of dress 
 goods, as well as many uncoloured fabrics, are generally woven more 
 or less on this principle. Quiltings are mostly made on the double- 
 cloth principle, and have nothing to specially distinguish them, 
 except that some makes of cloth appear to be more suitable for goods 
 of this description, though frequently other fabrics of a much more 
 costly nature are woven in the same way ; as, for instance, matelasses 
 may be made in the richest silk and worsted for jackets, as well as in 
 coarse cotton for quilts. One of the largest sections of double cloth 
 is carpetings, but these will be described in a separate section. 
 
 For figuring double cloths the same principles of the structure of 
 the cloth, &c., hold good as when weaving them plain, or in fancy tex- 
 ture. Any suitable pattern can be put upon any description of double 
 cloth with a full harness mounting mounted in the ordinary manner ; 
 but the pattern must be spread over the design paper to suit the de- 
 scription of cloth to be made, which often necessitates its being in a 
 very distorted form, unless it can be arranged in different colours so 
 that the card-cutter can cut several cards from each line of the design 
 paper. For instance, if three colours are required to form one com- 
 plete weft line, then three lines of the design paper would be taken up 
 with these, unless the colours could be arranged that the three cards 
 could be cut from the one line, as frequently can be done ; and the 
 
234 
 
 JACQUAED WEAVING AND DESIGNINa 
 
 same for the warp when there is a face and back warp, or several 
 colours to he brought up for one warp line. When there are two warp 
 threads, one for the face and one for the back, two hooks of the jacquard 
 are required to weave them, and two lines on the design paper are also 
 required, unless two colours are painted on one line to guide the card- 
 cutter in cutting the cards. 
 
 It is a great saving of work to the designer when the pattern has 
 not to be spread over the paper so as to give each line separately, as 
 doing so generally puts the pattern so much out of shape that it 
 requires first to be designed square, or of the proper dimensions, on 
 suitable design paper, and afterwards transferred to the working design 
 for the card -cutter. When goods are being largely made this can 
 often be avoided by special mechanism or mounting, to act instead 
 of the cards, it being then worth the trouble of having a specially pre- 
 pared mounting, and it is in these cases where double-cloth mountings 
 are used. Perhaps the simplest class of the double-cloth range, though 
 not really a double cloth, is figuring with extra weft. The figuring 
 weft may be thrown in as a spotting intermittently, or may be every 
 alternate shot, a ground shot following each figure shot. 
 
 Suppose the cloth to be a plain ground and a twill figure, and that 500 
 cards would be required to weave the figure if it were plain damask ; 
 it is then evident that 1,000 cards would be required if every alternate 
 shot is ground, and the others for figure, and that the 500 plain cards for 
 the ground would be two cards repeated 250 times. Now, instead of this, 
 if we use a double-cylinder jacquard, and put the figuring cards on one side 
 and four plain cards on the other side, we can save 496 cards, as the four 
 cards on the cylinder will work the plain at every alternate shot. Or 
 suppose a single-cylinder machine to be used, then shafts might be put 
 through loops in the harness ; or the cumber board might be made in 
 sections, with knots on the harness twines above it, so that in either 
 case the harness could be raised in rows to form plain cloth. 
 
 The plain shed could be formed with a tappet and levers, as in 
 journal weaving, and the griffe w^ould only be raised for every figuring 
 shot. Plain cloth might also be wrought with a twilling motion on the 
 machine, such as is used on twilling jacquards. A pair of pressure 
 
DOUBLE CLOTH 
 
 235 
 
 heddles in front of the harness is a common method of accomplishing 
 this in the hand loom. The harness is drawn for one shot, then let 
 down, and one of the pressure heddles sunk and the other raised for 
 the second shot. For the third shot the harness is again drawn, and 
 for the fourth shot the plain shed is crossed with the heddles. A twill 
 or any figure may be used, as well as a plain ground. 
 
 The next step in double cloth is perhaps double-weffc-faced cloth— 
 that is, when the surface of the cloth on both sides is formed by weft, 
 the warp lying in the centre, and merely acting as binders to bind the 
 two wefts together. The warp may occasionally be brought to the sur- 
 face to give additional effect, or to add a third colour ; or the body of 
 the weft may be kept on one side, the warp forming the ground on the 
 other side, with a weft figure on it, producing a one-sided cloth. 
 
 This class of work is best wrought in a pick-and-pick loom ; but 
 a check loom— that is, one with extra boxes at one side only— can 
 frequently be used, and gives much less trouble. For a check loom 
 two fine shots may be used as one, having each pair of cards alike, 
 except at the selvage, and throwing two shots into each shed. Of course 
 this takes twice the number of picks and cards (unless two picks be 
 given to each card), but in some cases, as for borders, this may be an 
 advantage in comparison with working pick-and-pick. Often two 
 succeeding cards of the pattern for the same colour are made to follow 
 each other, as may be found in tapestries, &c., and the weft knocks up 
 into its place without showing any defect ; but in a heavy cloth, with 
 a thick or stiff warp, the weft could not be knocked close together on 
 this principle. With a fine binding, warp of cotton and a thicker weft 
 of woollen or worsted, there is no difficulty in this working. 
 
 For double-weft-faced patterns the simplest method of designing is 
 to paint the pattern as if for plain damask, and then cut two cards for 
 each line of the design paper, one card being cut exactly the reverse of 
 the other ; that is, the cutter cuts the paiated squares for one card and 
 the ground squares for the next card. In lacing these two cards are 
 kept together, a ground and a flowering card coming alternately. There 
 is, however, an objection to this method of binding the texture of the 
 cloth, though in many cases it works very well. The objection is that 
 
233 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the warp has to be brought from the face of one side through to the 
 face of the other side for the succeeding shot to form the binding, 
 instead of being brought from the centre only to the face as it should be. 
 
 Fig. 152 shows a portion 
 of a stripe pattern designed 
 to produce 8 -end twilled 
 stripes. If a black and a 
 white weft are used pick-and- 
 pick, the white pick coming 
 -^^^ ' first, A would be a solid 
 
 black stripe and b a solid white stripe, or the appearance would 
 be as on the design paper, but much reduced in size. On the under 
 side of the cloth the colours would be reversed. 
 
 The first card would be cut as the painting, cutting black, and the 
 
 second card would be exactly 
 the reverse of this, cutting 
 the white or ground squares 
 on the same line of the de- 
 sign paper. The texture 
 formed on the cloth by these 
 ^'''^ cards is shown in Fig. 153, 
 
 each line of the design paper representing one card. 
 
 The correct method of binding is shown in Fig. 154, where it will 
 be observed that the binding of two succeeding weft shots does not fall 
 
 on the same warp thread, 
 and that the binding dot 
 will be covered by the floats 
 of the preceding and suc- 
 ceeding weft shots when the 
 weft is knocked up close. 
 There are other squares on 
 which the binding dots 
 might be placed as well as those in Fig. 154, one check to the left of 
 where they are being frequently used. A stripe pattern, as Fig. 152, 
 can be put upon design paper with each line representing two 
 
 ■■■■■ ■ ■ 
 
 »:»..»:» »..:.. "S"" 
 
 ■■■■■■■ ■■■■ 
 
 >-».;■. »»s :.■!■■" ■ 
 
 .».:.. ■■■■r «■■■■■ "s"" 
 * ■■■■■■■ ■■■■■■■i* 
 
 Fig. 154 
 
DOUBLE CLOTH 
 
 237 
 
 cards, and be twilled to give the texture in Fig. 154, as is shown in 
 Fig. 155. 
 
 When cutting this the cutter cuts the shaded squares and black 
 dots for the first card, and for the second card he cuts white and 
 crossed squares on the stripe b, and the solid black squares on the 
 stripe A, which it will be seen is exactly the same as cutting the black 
 for the first two lines of Fig. 154. 
 
 When painting the design the shaded squares maybe red, the black 
 ones black, the black dots yellow or white, and the crosses green ; or 
 any other convenient colours may be adopted. It will be observed that 
 in Figs. 152 and 155, where the raised and sunk twills come together 
 at the junction of the two stripes, there are no binding dots on the two 
 threads lying beside each other. It is not necessary to have any bind- 
 
 FiG. 155 
 
 ing for these threads, as the two wefts crossing bind them sufficiently. 
 Any desired figure may be woven on cloth on this principle, which is a 
 very convenient one, as the colours can be so readily changed, and 
 three or more colours may be used as well as two ; but in this case 
 there is generally a right and a wrong side to the cloth, the body of the 
 wefts being at the back and each colour brought through to the face to 
 form the figure. Instead of the body of the weft, or that portion not 
 required for the figure, being at the back of the cloth, it may be in the 
 centre of the warp, and an equally good face made on both sides of the 
 cloth ; but this requires more wefting, makes a thicker and harder cloth, 
 and is more expensive and more troublesome to weave. 
 
 Warp figuring may be done in exactly the same way as described 
 for weft figuring, and the pattern turned sideways shows how it would 
 
238 
 
 JACQUARD WEAVING AND DESIGNING 
 
 be for warp ; the only difference in the work all through is to treat the 
 warp as explained for weft. Of course, in the designing and card-cut- 
 ting, cutting two cards, one the reverse of the other, from a design 
 painted as if for a damask, would not fall in, but the designs that are 
 wrought fully out on the design paper would be all right. A contrac- 
 
 l|| il I 'I 
 
 Fig. 15G 
 
 tion of the work similar to cutting two cards from one line of the design 
 paper would have to be sought for in the mounting in the first place, 
 and in the card-cutting, to suit it. 
 
 Suppose the design to be as in Figs. 152 and 155, and to be 
 painted for a 200-jacquard, then to allow for double the quantity of 
 
DOUBLE CLOTH 
 
 239 
 
 warp a 400-jacquard would be required, the machinery being increased 
 instead of the number of cards. Kow, to mount a loom for this class 
 of work the simplest plan is to divide the machine and cumber board 
 into two divisions, one half being used for one warp, which may be 
 called the face warp, and the other half for the other warp, which w^e 
 may call the back warp. A mounting of this description is shown in 
 Fig. 156, in which the machine is divided into two portions, 1 and 2, 
 with 200 hooks in each ; the cumber board is also divided into two 
 sections, marked A and B. Here only four rows of needles are given, 
 but any number can be used. The cords from the hooks 1 to 200 are 
 taken through the back cumber board a, and those from the hooks 201 
 to 400 through the front cumber board b. 
 
 When entering the yarn, one thread is taken from the back warp 
 and drawn into the first mail of the back harness, and the next thread 
 is taken from the face warp and drawn through the first mail of the 
 front mounting. Now, in reference to the card-cutting : instead of cut- 
 ting two cards one the reverse of the other, one half of the card must 
 be cut the reverse of the other half, the card-cutter cutting the coloured 
 squares of the design (200 checks) on the first half of the card, and 
 going back again and cutting the blank squares on the second half of 
 the card ; or, when there is any variation in the twill, the pattern for 
 the face may be painted on 200 checks, and that for the back on 200 
 checks, and when cut on the card the threads of the warp will be raised 
 in proper order by the mounting. 
 
 Fig. 157 shows this principle of mounting with a straight or Nor- 
 wich tie, for which it is not so suitable as for the London tie (Fig. 156) 
 on account of the crossing over of the harness, though it is not very 
 objectionable if a narrow cumber board be used. Instead of having two 
 separate cumber boards with four or eight rows in each, one broad board 
 with eight or sixteen rows is better for the Norwich tie ; then let the 
 first row of the back harness pass down through the back row of the 
 cumber board, and the first row of the front harness pass through the 
 second row of the cumber board, and so on, the back harness filling the 
 odd rows and the front the even rows ; and when drawing in the yarn, 
 taking an end from the back and face warps alternately and drawing 
 
240 
 
 JACQUARD WEAVING AND DESIGNING 
 
 them regularly over the harness causes them to fall correctly on their 
 respective mountings. Instead of dividing the card in this way and 
 reducing the machine to half its figuring capacity, a double-cylinder 
 machine might be used, the hooks from one set of needles being used 
 for one mounting, and those from the other set of needles for the other 
 
 1 2 
 
 Fig. 157 
 
 mounting ; then cutting the face pattern on one set of cards and hang- 
 ing them on one cylinder, and using a second set of cards containing 
 the back pattern for the other cyhnder, should attain the same results, 
 and give double the extent of pattern on the same size of machine, both 
 griffes being raised and sunk together, and both cylinders being also 
 brought in and out together. 
 
 A modification of cutting the back and face pattern on its own half 
 of the card is to be found in the double-cloth quilting mounting 
 
DOUBLE CLOTH 
 
 common about Paisley. These quilts are generally of a plain texture, 
 and the figuring is formed by passing one cloth up and down through 
 the other. The machine generally used is an improvement on the old 
 French draw loom, and is shown in Fig. 158 as it is made, principally 
 of wood, for hand looms. In this sketch the needles and cords in lieu 
 of hooks are not shown, but one row of them is shown in Fig. 159 with 
 only four hooks to each section instead of eight, h and k are the two 
 lifting levers for raising the griffes or trap-boards a and a' (Fig. 
 159). Nos. 1, 2, 3, and 4, and la, 2a, 3a, and 4a are the cords in lieu 
 of hooks to which the harness is connected, a and a^ are two per- 
 
 FiG. 158 
 
 f orated boards with the slotted holes through which the cords pass, 
 turned in the reverse direction in one from what they are in the other. 
 Each needle is connected to two of these cords — one through each hole- 
 board —and the knots on the cords above the holes stand over the slots 
 or saw-cuts of the holes in the board a and over the round or open 
 portion of the holes in the board a', clearly shown at f (Fig. 159), so 
 that if the lever h (Fig. 158) were pressed down and the board a 
 raised without any card acting upon the needles, all the harness tied to 
 this portion of the machine would be lifted, and if the board a^ were 
 raised by the lever k, none of the harness tied to this portion of the 
 machine would be lifted. Now, if a blank card were placed on the 
 
 B 
 
242 
 
 JACQUAED WEAVING AND DESIGNING 
 
 cylinder, the reverse of this would be the case, and anything between 
 these two extremes can be got by cutting the cards. 
 
 The cylinder is connected with the back griffe only, and remains in 
 for two shots. The griffe a is first raised, and a shot thrown in ; it is 
 then lowered, and the griffe a' raised, which presses out the cylinder 
 and changes the card; a second shot is thrown in, and so on. e and 
 F (Fig. 158) are two slide rods or spindles to steady the grififes or trap- 
 boards when rising : G and are bottom hole-boards to steady the 
 cords ; L is a clap-board for pressing back the needles instead of springs 
 
 Fig. 159 
 
 (it is fastened on springs i i, which hold it out a little from the needles, 
 and these springs are fastened from the top by cords to the cylinder 
 frame, which slides out with the cylinder, and draws in the clap-board, 
 pressing forward all the needles). Now to mount this machine for double 
 cloth. Suppose each frame to have 400 cords, and that there are 400 
 needles, the same as an ordinary 400-machine. Let the texture of the 
 cloth be plain, and to work this 80 needles may be set off, leaving 
 820 for figuring. These 80 needles will be connected to 80 upright 
 cords in the trap-board a, and the same in a'. The harness for 
 
DOUBLE CLOTH 
 
 243 
 
 the face clotli is tied to the remaining 320 cords in the trap-board a, and 
 that for the back cloth to the 320 cords in the trap-board a', and this 
 portion of the harness works the figuring only without the texture. 
 The texture is wrought by the 80 cords in each board connected 
 to the first 80 needles. To each of these upright cords a number of 
 harness twines are tied, one of which is fastened to each twine of the 
 harness from the 320 cords, just above the cumber board ; but in doing 
 so the twines from the 80 hooks on the cords in the trap-board a 
 must be connected with the twines of the harness from the trap-board 
 a', and the reverse for the other set. In this way all the back harness 
 could be raised with either griffe, and the same with the front harness. 
 Either griffe could raise one v/arp with the plain harness, and the other 
 with the figuring harness. When cutting the cards plain texture is cu t 
 on each card for the first 80 needles, and the figuring portion with- 
 out any texture is cut on the remainder of the card. The 80 cords 
 open the texture or plain shed, and the 320 cords keep the two warps 
 in their proper places, raising what should be above the weft, and leav- 
 ing down what should be below it for each shot according to the 
 pattern. In these mountings the cards hang over the side of the 
 loom. 
 
 The same method of working can be applied to a jacquard with up- 
 right hooks, by having the heads of the hooks for each machine or set 
 turned in opposite directions, as shown in Fig. IGO, One set of hooks 
 stand with their heads over the knives in the usual way, as at a, and 
 the others require to be pushed back by the card to bring them over 
 the knives, as shown at b, so that pushing any needle back pushes the 
 front hook connected with it off the knife and the back one over the 
 knife. The mounting may be made up as before, or a twill or any 
 smaller texture may be used instead of plain ; or a different texture 
 may be made on face and back cloths. 
 
 This description of cloth is much used for other makes of goods as 
 well as quilts. Kidderminster or Scotch carpets are woven on the 
 same principle, and curtains, cotton vestings, &c., are frequently woven 
 with the same texture. It can always be woven with a full harness 
 mounting by preparing the design to suit it. Fig. IGl is a pattern for 
 
 R 2 
 
244 
 
 JACQUAED WEAVING AND DESIGNING 
 
 a diagonal figure in plain texture for this class of work. The black 
 squares represent the face warp raised to the face of the cloth, and the 
 shaded squares represent the back warp raised to the face also. The 
 blank squares represent weft on the face of the cloth. This would give 
 
 / / 
 
 Fig. 161 
 
 Fig. IGO 
 
 a magnified view of the face of the cloth if it were woven with a 
 black face warp, a grey back warp, and a white or hght-coloured weft. 
 If each warp had a weft of its own colour the effect would be as shown 
 in Fig. 102, which Avould be the way the pattern would be painted on 
 the design paper if intended for weaving on looms 
 specially mounted, or with special machines as 
 described; but if a full harness is to be used, 
 then the pattern must be spread over the design 
 paper so as to give a line of the paper for each 
 thread of warp and pick of weft. Fig. 163 is the 
 same pattern arranged in this way. The black 
 and grey squares represent the face and back warp 
 raised for the pattern. The crosses show where the back warp is raised 
 for the texture of the back cloth at the back of the face cloth, and the 
 dots represent the face warp raised for the texture where the face cloth 
 
 •■■■■■■■■■■■■Ml 
 
 ■■■■■■■■■■■■a 
 ■■■■■■■ nn 
 
 Fig. 1G2 
 
DOUBLE CLOTH 
 
 245 
 
 goes behind the back cloth, or where the back cloth comes to the face. 
 Of course, on a cloth of this kind the warps are alike, face and back. 
 
 Fig. 163 
 
 It will be understood that, when the threads of the back cloth are 
 being raised to form a shed, all the face threads of the corresponding 
 portions must also be raised to clear 
 them out of the way of the shuttle, 
 and the raising marks for these are 
 the short dashes on the painting. 
 Fig. 164 is the same pattern ar- 
 ranged for two threads face to one 
 of back, which admits of a heavy 
 backing with a fine face, and is 
 suitable for quilts, &c. The mark- 
 ings are similar to those in Fig. 
 163, but the number of threads is 
 not such as to admit of the plain 
 texture repeating on the back cloth. It is therefore broken round 
 the edges of the figure where it would least show. 
 
 Instead of having the extra harness for working the plain texture 
 
 
 
 
 
 
 
 L.. 
 • * 
 
 I- 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -1 
 
 
 l' 
 
 
 i" 
 
 
 
 
 X- 
 
 
 
 
 • ■ 
 
 
 '4 
 
 • - 
 
 
 1=1 
 
 i" 
 
 
 1 
 
 
 
 • - 
 
 • • 
 
 
 
 
 
 • - 
 
 ! 
 
 
 i 
 
 
 
 ■1 
 
 i' 
 
 ► _ ■ 
 
 
 
 - 
 
 • • 
 
 w 1 
 
 % 
 
 » - 
 
 - • 
 
 
 ► 
 
 
 
 1 
 
 
 
 
 - « 
 
 » ■ 
 
 - • 
 
 
 -,-r. 
 
 
 
 
 
 
 
 
 
 • 
 
 
 
 
 
 I 
 
 < 
 
 
 
 
 
 1 
 
 1 
 
 
 • 
 
 1 ■ 
 
 • • 
 
 
 k ■ 
 
 
 
 » - 
 
 r 
 
 
 t 
 
 
 
 li 
 
 
 
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 -r 
 
 
 
 
 
 - • 
 
 
 
 
 
 
 
 
 
 
 • 
 
 \- 
 
 
 
 
 
 
 
 
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 1 
 
 
 
 
 
 
 
 
 
 
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 i" 
 
 -i' 
 
 
 
 .1. 
 
 i 
 
 .= 
 
 
 i' 
 
 ■i 
 
 i" 
 
 
 
 Fig. 164 
 
246 
 
 JACQUAED WEAVING AND DESIGNING 
 
 as explained in connection with the quilt harness, Fig. 159, it might be 
 done with four leaves of long-eyed heddles in front of the harness, or 
 by having shafts through loops in the harness to act as heddles, or by 
 having the cumber board divided into strips for each row of the harness, 
 and knots on the harness twines above them, so that raising any strip 
 will raise a row of the harness, or the machine may act as a twilling 
 machine to work the texture. 
 
 A Marseilles quilt is a double cloth with a fine face and a coarse 
 back, both stitched together round the edges of the pattern, and a 
 wadding shot thrown in between them, which causes the pattern to be 
 embossed or to rise up full and rich. The face is usually a plain tex- 
 ture, and the back the same ; but the face has double the number of 
 threads in it that the back has, and the yarn for the face is proportion- 
 ately finer than that for the back. Two picks of fine and two of coarse 
 weft are thrown in alternately — one pick of the fine goes into the face 
 cloth only, and the other, also a face pick, stitches the face to the back. 
 One of the coarse picks is thrown in between the two fabrics, and is 
 called the wadding, and the other pick goes into the back cloth. In 
 these fabrics a very fine effect can be produced by covering the ground 
 with a small bird-eye pattern, stitching the back and front closely 
 together, then having a bold floral pattern for the figuring, which, being 
 only bound round the edges of the pattern and along veins, &c., is 
 comparatively loose and produces a rich embossed efi'ect. These fabrics 
 may be woven with a twilled as well as a plain ground. 
 
 Matelasses are a similar description of fabric, but usually more 
 ornamented, the face fabric being any fancy texture. When used for 
 ladies' jackets or mantles they are made of fine w^orsted or silk for 
 the face, with perhaps a woollen back and a woollen or cotton wadding. 
 The binding of the face and back cloths together takes place round the 
 edges of the figure, and in any other portion, such as veins of leaves, 
 &c., that may be thought desirable. The binding may be effected 
 either by leaving down a portion of the face warp when the back pick 
 is being thrown in, or by raising a portion of the back warp when the 
 face pick is being thrown in, this depending upon the pattern and the 
 counts of yarn used. The finer threads should be used for stitching. 
 
DOUBLE CLOTH 
 
 247 
 
 so as not to injure the face by bringing any coarse threads through 
 to it. If the face of the cloth is a warp pattern it will be best 
 to stitch by raising a back thread over a face pick, but if the face is 
 a weft pattern then sinking the face warp for the back picks will 
 probably be more satisfactory. If the cloth is made, as is frequently 
 done, with a mohair or lustre worsted warp face with a cotton weft, 
 and a cotton warp back with a woollen weft, and a woollen wadding, 
 then the binding would be effected by raising some of the back warp 
 thread over the face picks. One pick (woollen) for wadding would be 
 thrown into a shed formed by raising all the face warp ; the next 
 pick "would be for the back, thrown into a shed formed by raising all 
 the face warp and that portion of the back warp required to form the 
 texture of the back cloth ; the third pick would be for the face, thrown 
 into a shed formed by raising the portion of face warp required for the 
 pattern, as well as those ends of the back warp that are to form the 
 stitchings. 
 
 Quiltings. — A great variety of the cheaper description of quilt- 
 ings, toilet covers, &c., consist of a face cloth with an additional 
 thick weft. This thick weft is woven into the ground, which may be 
 a twill, mat, &c., but Hushed loosely at the back of the figure, which 
 is a plain texture. Sometimes there is a small quantity of thin warp 
 for binding the thick weft loosely at the back of the figure, making a 
 double cloth in this portion, but all working together for the ground, 
 making it a solid cloth. 
 
 Of more recent origin are the satin quilts made by Messrs. Barlow 
 and Jones, of Bolton, and some other firms. They consist of two 
 plain cloths, intimately bound together ; one cloth has a fine warp and 
 a very coarse weft, and the other has a fine weft and a coarser warp. 
 "When binding, the fine warp is made to catch on the fine weft, and the 
 thick warp and weft cover the bindings. Suppose the fine warp to be 
 white and the thicker warp to be blue, and let the warping be two 
 threads blue and one white. Let the white warp be wefted with a 
 thick twist weft — say four times as thick as the warp — and this coarse 
 weft will form the figure. Let the blue warp be wefted with a blue 
 weft perhaps double the count of its warp, and in binding this weft 
 
248 
 
 JACQUAKD WEAVING AND DESIGNING 
 
 catches on the fine white warp. The thick white weft, which is fully 
 double the thickness of the thick warp, effectually covers the tie, and 
 when the yarns are properly proportioned the pattern stands out, 
 producing a clear stamped or embossed effect. These cloths may 
 be made with a twilled ground, and either all white or white and 
 coloured. They are a good firm fabric and wear well, but are liable 
 to have a coarser appearance after being washed. (See also Terry- 
 Pile Quilts.) 
 
 Woollens and Wo7'steds. — Weaving woollen and worsted cloths in 
 the jacquard loom is merely an extension of the patterns produced with 
 shaft mountings, or sometimes the same patterns are woven on small 
 jacquards by those who prefer the jacquard to working a larger 
 number of healds when the cloth is not so heavy as to require the 
 latter to be used, healds as a rule making a firmer and heavier 
 cloth than a jacquard will. Light worsted goods for dress fabrics, 
 &c., are figured like damask, or as double weft or double warp-faced 
 cloths, or may be as double cloths. 
 
 Curtains and Tapestries. — These, though sometimes of damask, 
 are usually made on some principle of double cloth, as indeed all 
 cloths must be when a rich brilliant effect of colours is required. 
 One of the simplest methods of making these fabrics, and which pro- 
 duces a very good effect, is to employ a fine binding warp of twist 
 cotton and produce the pattern on it with two, three, or more coloured 
 wefts of worsted, mohair, or silk— say a spun silk ground weft and a 
 mohair or fine worsted figure. A small portion of a diamond pattern, 
 greatly reduced for want of space, is given in Fig. 165. It is intended 
 for three colours of weft — one for the ground and two for the figure. 
 The ground weft might be black or gold, and the figure wefts olive 
 green and dull red, or claret, the warp to be black or a deep navy blue. 
 
 For this pattern three cards must be cut from each line of the 
 design paper — one for the ground weft and one for each colour of 
 the figure. The design is painted in various colours, which are 
 here represented by different markings on the squares. Let the black 
 squares represent the olive and the dotted squares the red of the 
 figure. The white squares represent the ground weft, and the shaded 
 
DOri^LE CLOTH 
 
 249 
 
 squares on it are for binding the face weft down, while the crosses 
 are for binding up the weft at the back. The cutting of the cards is 
 as follows : — For the ground shuttle cut all the shaded, black, and 
 dotted squares — that is, the shaded squares on the ground and all the 
 figure. For the first figure shuttle (olive) cut all the ground except 
 the crosses (that is, the white and shaded squares) and the dotted 
 squares of the figure. For the second figure shuttle (red) cut all the 
 
 Tig. 1(j5 
 
 ground except the crosses, as before, and the black squares of the 
 figure. 
 
 In this example the figure is so small as not to require binding 
 dots over it, but for a large figure the ground weft threads would 
 require to be bound up at the back of the figure in the same way that 
 the figure threads are bound up at the back of the ground in the design 
 given. The figure wefts might also require to be bound at both face 
 and back. On the design these binding marks would be dotted over 
 the figure in the same way as they are dotted over the ground on. 
 the design given, using any suitable texture that may be desired. 
 
250 
 
 JACQUARD WEAA^ING AND DESIGNING 
 
 To make the cutting clear, five lines of the pattern (Fig. 165) 
 are put upon design paper in Fig. 165 a, as they would be cut on the 
 cards, beginning with the ground weft, olive and red following, in all 
 making 15 lines or 15 cards. This cutting would make the upper 
 side of the cloth in the loom the right side or face ; but it may, in some 
 cases, be desirable to weave the cloth with the face down to avoid heavy 
 lifts in the harness. This pattern would suit for a warp of about 50 
 threads of warp per inch, and say 60 to 80 shots per inch of each colour. 
 
 For the convenience of the designer and card-cutter, a much better 
 plan of working this class of fabric is to have an additional binding 
 warp, which may be in heddles or in a front row of the harness. This 
 warp can work plain twill or satin as required, and, being light and 
 openly set, can bind the back weft up and the face weft down, or the 
 
 Fig. a 
 
 face may be bound by the warp in the harness and the back bound by 
 the binding weft ; but in this case there should be a fine thread of weft 
 thrown in every fourth pick, which should pass over the warp in the 
 harness, or a portion of it, and under that in the heddles, so as to bind 
 both warps together. In this case the twilling dots on the design are 
 omitted, which simplifies the cutting and designing of the pattern. If 
 the face is to be twilled with the harness warp, the dots for binding 
 must, of course, be put on the design, or the figure only may be twilled 
 on the design, and let the ground be bound by the binders. Shafts 
 mounted in this way maybe wrought from tappets if the loom is mounted 
 with them, or may be wrought by strong hooks at each side of the 
 jacquard and sunk with springs. The principle of working fabrics of 
 this description has been given in detail, as from it many other 
 
DOUBLE CLOTH 
 
 251 
 
 varieties can be wrought out, and any number of shuttles used to suit 
 the colours wanted. 
 
 Figuring with two warps and one weft is a common method of 
 working, and gives three colours on the face of the cloth. An extra 
 warp of fine yarn may be used for binding the wefts, admitting of the 
 coloured weft being more used for figuring. Extra warps cannot be 
 used to so great an extent as extra wefts, as they crowd up the reed 
 and prevent proper shedding, particularly when soft or hairy yarns are 
 used ; but when properly suited to the reed they make a firmer and 
 more regular cloth than a weft cloth, and on account of less picking 
 the weaver gets over the work much faster. Two warps, each having 
 its own weft, are a good method of figuring, but unless for goods with 
 a large number of threads and picks per inch, so that fine yarn can 
 be used, it makes a heavy cloth. Two warps and two wefts, all of 
 different colours, with a fine binding warp in addition, to admit of the 
 colours of the wefts being kept comparatively pure, gives a still richer 
 effect. In this case the binding warp may be of fine black cotton, the 
 two figure warps of thicker cotton, and tAvo threads drawn into each 
 mail ; the colours may be, say, dark blue and dark citrine, or clear 
 sage. The wefts are soft wool or worsted, say light gold and deep dull 
 red. In this method of weaving, pure red and pure gold can be got 
 from the wefts, as the black binders show but little. Pure blue and 
 pure citrine can be got in small quantities by floating the warps, and 
 an admixture of the Avarps and wefts can be got in any place desired. 
 
 A very handsome curtain fabric can be made as follows : — There 
 are 120 to 140 threads of warp per inch ; every second or every fourth 
 thread of the warp is used for binding the ground, which may be a 
 plain texture or a three-shaft twill. The binders may be an extra 
 warp, wrought with heddles, forming plain all over the cloth, or may 
 be in the harness and be portion of the ordinary warp working plain 
 for the ground, but rising to assist in forming the figure, which may 
 be bound as desired, say 8- or 10-end satin. The warp is of fine silk 
 yarn loosely twisted, and may be one or more ply, of a rich olive-green or 
 deep scarlet colour. There are two wefts, one a rich silk, say a golden 
 colour, of twist yarn ; the other is a backing weft of the same colour 
 
252 
 
 JACQUAED WEAVING AND DESIGNINa 
 
 as the warp, and of cotton yarn, about the same thickness as the silk 
 weft. There are from 50 to 60 threads of weft per inch of each colour. 
 The gold weft forms the ground of the pattern, and the warp the 
 figure, which is bound with an 8-end satin binding. The cotton weft 
 goes to the back when the silk weft is on the face, forming the ground 
 of the pattern, the warp lying between them ; but when the warp is on 
 the face for figuring, the gold weft goes to the back and the cotton 
 weft hes under the warp face, binding it and giving an embossed effect 
 to the figure. The gold weft is bound up by sinking a portion of the 
 warp. The ground may be formed with the warp, and the figure with 
 the weft, if desired, producing a sunk figure on a raised ground ; but 
 this is just a reversal of the process, or making the ground in this case 
 as the figure in the previous case. This makes a light, close, and very 
 rich fabric. 
 
 Figured Poplins are among the richest description of curtain 
 fabrics ; they may be made of all silk, or silk and fine wool, the latter 
 forming the weft. The ground is a clean, sharp cord running across 
 the cloth, and the figure is formed by flushing the warp over the cords, 
 binding it with a long twill or satin binding. The weft may also be 
 used for figuring ; but in this case it should be a silk weft put in for 
 the purpose of figuring. 
 
 Two portions of patterns of good makes of figured poplins or repps 
 are given in Figs. 166 and 167. Fig. 166 is warped two threads of rich 
 crimson silk and one thread of rich golden yellow silk, 180 threads per 
 inch. The weft is pick-and-pick, 50 picks per inch, one thread a 
 round, firm cord of firmly twisted worsted of the same colour as the 
 warp, and the other yellow silk, the same as the warp. This thread 
 passes over the crimson warp and under the yellow, the crimson cord re- 
 versing this, thus producing a very fine yellow line between each pair 
 of cords. The method of forming the figure can easily be seen from 
 the pattern. Instead of a thick cord being put in for the weft to form 
 the rib, several fine shots could be thrown in as one, as in repp figur- 
 ing, and these threads could be brought out for figuring as well as 
 the warp ; but they would in this case require to be of silk, which 
 would make the cloth very expensive. 
 
DOUBLE CLOTH 
 
 253 
 
 Fig. 167 makes a very rich and handsome fabric. It is warped all 
 a rich purplish-brown silk, 180 threads per inch. There are four weft 
 picks in the pattern. The first is a clear olive-green silk about double 
 the thickness of the warp silk, the second shot is a round, firmly 
 twisted worsted cord of the same colour as the warp, the third is the 
 same as the first, and the fourth is silk of the same colour as the warp. 
 There are 100 picks per inch, but the two green silks go along with the 
 cord to form the complete cord or ridge. These silk picks can be 
 brought out to the surface for figuring, as shown by the shaded squares 
 in the pattern, which are not cut on the cards. The black squares are 
 
 ■ -.•.'■33. 
 :<■■'•■• 
 
 p mm 
 
 Fig. 166 
 
 mnr.m-y/'/ ziy/iv, '/'///■/.'/'/,'/.* cnancanr 
 an:: ancannaa L-acnaaca Scaonaar 
 
 :I:BB aa -'aa-:-* i>:'Ba-.'BB::' ha7<aB:2!* 
 
 ac:r. innaanac r^annac:;]! c:Da3aaar 
 
 ar^acna-/, '//if, mrxi* ^naonacr 
 
 ■a-i'MB'.* a'r'gM'.'iaa':' ■■'.■■a'/aa 
 cnansan nannaana sair nay/ : 
 ::c:ao:^aa !:asaa33a Dcaccaar: 
 
 nnanaa:: c^aana-^na -ina ^,55 / 
 nnB-:i3ar ^aaaacnB laanra^r 
 -lani'anrjB ^D■//y ////'.■ 
 aa :<■■-: h ■ .'■■■-I'Ba Ba'.aaoaB 
 ama3 r^mrrmnr^* ///.'/.''//.y//,' 
 
 : aa : • b -. mM -M-: bb.vbb -.'BB 
 a'i^Br' -janrjacaBiDanriBar. 
 
 BB ■'.'•aa'.BBvaa'i'BB-'.-aa 
 aaaaa:: 3ib '//■mnamx. 
 
 B3-3a3r:a- -acnanaB nnansBfir: 
 
 ii5?i3gi;!5iS;^;5%5gA55'BSg 
 
 aacagca^ raar.pnaB ^aBanB::c 
 Br:r!Brr5B2 rM'/^M/w.% anaaranr 
 
 Fig. I(i7 
 
 the warp figuring, the dots the warp raised for the ground, and the 
 crosses the warp of the binding threads raised. These binding threads 
 rise over the brown silk pick, and are similar to the yellow warp in the 
 previous pattern. 
 
 For richer fabrics than these we must go to pile work, which is, 
 perhaps, the most exquisite production of the loom. Curtains or 
 hangings can be made extremely rich by figuring a rich corded silk 
 ground with a pile of different lengths and colours. The long pile can 
 be cut to form a plush or velvet pile, and the shorter pile may be left 
 uncut to form a looped or terry pile. By a judicious arrangement of 
 colours and length of pile, fabrics of extreme beauty can be made (see 
 
254 
 
 JACQUAED WEAVING AND DESIGNING 
 
 Pile Work). For curtains of a heavy description chenille is much used, 
 and makes a very rich, warm-looking fabric ; but it is too heavy and 
 of too coarse a nature for small rooms unless they are very well lighted. 
 It is very suitable for screens, or curtains dividing two portions of a 
 room (see Chenille). 
 
255 
 
 CHAPTER IX 
 TAPESTBY AND PILE WOBK 
 
 Tapestry. — What are generally known in trade as tapestries, ar& 
 figured fabrics for curtains, hangings, &c., not damask, which is 
 distinct, being woven with only one warp and weft. Real tapestry is 
 a hand-made fabric of very ancient origin, being in use since the days 
 of the ancient Egyptians, who wove or worked it in a manner very 
 similar to that employed at the present time. It does not belong to 
 ' jacquard weaving,' but being the first in point of the excellence of its 
 patterns amongst figured fabrics, a short description of it may not be 
 out of place. Henry VIII. tried to establish tapestry weaving in this 
 country, but failed, but James I. had a flourishing factory at Mortlake. 
 Tapestry weaving appears to have been introduced into France about 
 the ninth century. The Flemish were celebrated for it from the 
 twelfth century. Arras work surpassed all the others, and tapestry 
 was commonly known as arras work. The sixteenth century gave a 
 new impulse to the trade in France. Francis I. founded the manu- 
 factory of Fontainebleau, and Henry IV. re-established tapestry making 
 in Paris in the years 1595 to 1606. About the year 1666 Louis XIV. 
 bought the Gobelins Works (which take their name from the original 
 owners, a rich family of wool dyers), and established the Royal Gobelins 
 Tapestry Manufactory, which is now one of the sights of Paris. 
 
 There were two methods of working tapestries — one known as 
 ' basse lisse,' or low warp, the threads of wavp being placed in a 
 horizontal position in the loom ; the other' was called ' haute lisse,' or 
 high warp, as the threads of warp were placed in an upright or vertical 
 position. It is the latter method of working that is now adopted. 
 
 The loom consists of an upright frame of wood of a size to suit the 
 
256 
 
 JACQUARD WEAVING AND DESIGNING 
 
 cloth to be made. There is a strong roller at the top, which acts as a 
 warp beam, and another at the bottom for the cloth beam. Both these 
 rollers have ratchet wheels on one end, and are held with pawls or 
 catches so as to allow the warp to be wound off and the cloth to be 
 wound up when required, and then hold the stretch of warp steady to 
 be woven. The warp is coarse, but a clean, regular thread of twist, 
 cotton, or linen, about 12 to 18 threads per inch (more or less, as 
 desired,) and of such a thickness that the spaces between the threads 
 are somewhat less than the diameter of the threads. The weft is 
 usually of fine wool but a fairly thick thread, say 4's or 6's worsted. 
 This is generally used alone, of whatever shade of colour is required, 
 and there is no end to the shades used ; but in some places, to give 
 brilliancy and richness of effect, silk is used along with the wool, and 
 sometimes tinsel or gold cord. These are put in separate threads along 
 with the woollen or worsted weft. The silk is much finer than the 
 worsted, say about equal to 12's or 16's cotton, and, of course, can be 
 regulated to give the effect required. The gold is sufficient to give 
 sparkle to the portion it is employed in. 
 
 After leaving the warp beam the warp is divided by two thick glass 
 lease rods. Then every alternate thread, those to the front of the 
 frame, is drawn through a doup of a half-leaf of heddles which is fixed 
 in a horizontal position above the weaver's head. This enables a plain 
 shed to be formed, as the thick lease rod divides the threads and forms 
 one shed. Then, when the weaver, sitting at the back of the loom, 
 draws back the half-leaf of heddles, all the front threads or any portion 
 of them cSiii be drawn back past the back set, and form a cross shed. 
 As the doups of the heddles are long and strong, the weaver can take 
 any number of them he requires and draw the front warp back ; then 
 putting his fingers into the shed thus formed, clear it down to the fell 
 of the cloth and insert his bobbin. 
 
 The pattern is painted on design paper, shaded in the way it is to 
 appear on the cloth, and the weaver must have a bobbin of weft to suit 
 each tint or shade of colour on the design. The outline of the pattern 
 is traced on the warp to guide the weaver, and the painted pattern is 
 fastened up either before him or to one side of him, so as to be con- 
 
TAPESTRY AND PILE WORK 
 
 257 
 
 venient to read the stitches off it. When ready for work he looks 
 at the pattern and finds perhaps 20 stitches of blue ; then he selects 
 a bobbin of the correct shade and passes it through the open shed of 
 the warp round 10 threads ; then he draws the 10 doups of the 
 heddles that are round the 10 threads intermediate with and in front 
 ■of these, pulling them back through the others and forming a cross 
 shed. The same bobbin is now passed through this shed, and the 
 weft pressed down with a pin or comb, both of which articles the 
 weaver uses for straightening and beating up the weft. This covers 
 20 threads of warp with blue weft. The texture of the cloth is 
 plain throughout, the weft being bent round the warp and pressed 
 <3lose together, forming a rib. Now, instead of completing this 
 Aveft line all along the cloth, as is usual in coloured weaving, the 
 weaver goes on working with the bobbin he has taken up, following 
 the colouring on the pattern, and may change his bobbin when required 
 for a new shade or colour, and go on working this portion for some 
 •distance upwards, and then begin an adjoining portion and work it up 
 in the same way. This will come all right when the outlines of the 
 portion he is working run obhquely ; but if they should run upright 
 for any distance in the same direc- 
 tion as the warp, it is plain there 
 would be two selvages coming to- 
 gether without any connection 
 between these portions of the cloth, 
 as shown in Fig. 168. When the 
 pattern runs in a diagonal direction, 
 the weft threads passing across from 
 one Avarp thread to the next one 
 make a sufficient binding or con- 
 necting link between the two colours, 
 as may be seen at the upper por- 
 tion of this figure, which would be 
 quite sufficiently connected when it is considered that the weft threads 
 are pressed so closely together as to entirely cover the warp. To 
 remedy the objection of a slit or division between the two portions of 
 
258 
 
 JACQUAED WEAVING AND DESIGNING 
 
 a pattern in the case of a vertical line, it is customary to tack the 
 bobbin of one colour of weft round the first warp thread of the adjoin- 
 ing colour, at intervals of, say fV in. This produces a toothed appear- 
 ance, but is not very remarkable. The only other remedy would be to 
 Hnk the two wefts on each other occasionally. In many of the old 
 tapestries it may be seen that this was neglected, even when the 
 distance was as much as 3 in. or 4 in. Sometimes they were stitched, 
 afterwards in these places with a needle and thread. When there are 
 many long straight linos running in one direction, as in architectural 
 
 Fig. 169 
 
 subjects, it is best to work the pattern so that these will run in the 
 direction of the weft, to avoid any joining being required. Patterns 
 can be wrought sideways or upright on the cloth as desired to suit the 
 size, subject, &c. 
 
 As the weaver sits at the back of his frame or loom when working, 
 he has to come round occasionally to examine the face of his work. 
 Sometimes he keeps a looking-glass in front to show him how he i& 
 getting on. He has also a rough pattern on the back of the cloth 
 similo-r to that on the front, as the nature of the weave must give him 
 the same on both sides were it not for the loose ends at each change 
 
TAPESTEY AND PILE WOKK 
 
 259 
 
 of bobbin, which have to be tacked up at the back. Tapestry weaving 
 is a very tedious process of working, but in skilful hands very beautiful, 
 and artistic results can be produced. 
 
 Figured Pile Fabrics. — When we come to pile work we have a 
 great scope for the ornamentation of fabrics,, but the nature of the 
 work is such that it is only suited to heavy or moderately heavy 
 cloth, and a large number of either threads or picks per inch are 
 required. 
 
 Forming stripes of plain or figured pile alternately with twilled or 
 figured stripes can easily be accomplished with either a weft or warp 
 pile, but when we come to figure indiscriminately over the cloth there 
 is more trouble. For a length of time there was a difficulty in cutting 
 weft-pile figured fabrics, as the knife or cutter would not always enter 
 the proper * race ' round the edges of the figure, and the floats were 
 cut irregularly. This has now been overcome by arranging the design 
 to suit. Fig. 169 is a common velveteen designed for a weft 
 pile figure. Only a portion of the pattern is given, but enough to 
 show the method of arranging the design. It will be seen that the 
 figuring is produced by flushing the weft on one side of the cloth, and 
 for the ground it passes to the other side. The edges of the pattern 
 are moved across the design paper in steps of two, and no flush or 
 float is less than over four threads. In addition to this the figure 
 should be turned in tbe centre on an odd number of ends, which in 
 cutting keeps the race end on the inside of the step into which the 
 knife enters. The knife is run up on all the odd numbers of ends 
 moving across in steps of two, and, leaving no flushes of less than four, 
 gives it a better chance of entering in the proper place along the edges 
 of the pattern. 
 
 Fig. 170 is another make of velvet for a heavier fabric, with 60' 
 threads of warp per inch, and from 350 to 400 picks. It makes a good 
 firm cloth, suitable for curtains or furniture coverings. The principle 
 of designing is the same as for Fig. 169. Both these patterns are 
 portions of a diamond figure. 
 
 When the figure is prodaced with a warp pile, it is only necessary 
 to raise the proper warp threads with the jacquard for the insertion 
 
 S 2 
 
260 
 
 JACQUARD AVEAYINO AND DESIGNING 
 
 of each wire, but the difficulty to contend with is that there will be an 
 irregular take-up of the Avarp pile threads, and this can only be 
 remedied by having a number of small warp beams. In some cases 
 a separate spool for each warp thread may be required, which, of 
 course, for a fine velvet means a very intricate arrangement, though 
 it suits very well for pile carpets. Different heights of pile can be 
 formed through a pattern in this way— say, a short pile to be left 
 looped, and a longer pile to be cut, which, in suitable colours of 
 pile and ground, forms a very beautiful though costly fabric. 
 
 Another method of warp pile weaving, more easily accomplished, 
 is'^that known as terry, or Turkish towel weaving. It is largely 
 used for quilts, toilet covers, towels, &c., and any bold figure can be 
 woven on it with almost as much ease as on ordinary damask work. 
 
 There are two methods of forming figures on the cloth in this style 
 of weaving, one by having two colours of pile warp and changing 
 them from one side to the other to form the figure or ground — that is, 
 supposing the one pile warp to be red and the other white — pile would 
 be thrown up on both sides of the cloth at the same time ; on one side 
 the figure would be formed by the red pile and the ground by the white 
 
TAPESTRY AND PILE WOEK 
 
 261 
 
 pile, and the other side "svould be the reverse of this. Fig. 171 is a 
 portion of a pattern of this style. The black stjuares represent, say, 
 the red warp-forming loops on the face of the cloth, and the shaded 
 squares the same for the white warp. The crosses are the ground or 
 binding threads ; and the dots represent the pile threads of the colours 
 
 Fig. 171 
 
 they are on, raised to bind with the weft, when these threads are form- 
 ing pile on the underside of the cloth. 
 
 The other method is to have only one colour of pile warp — in fact, 
 to have only one pile warp, it might be said, instead of two, as in the 
 previous case. The cloth consists of a pile figure and a plain or sohd 
 ground on one side, and the reverse of this on the other side. The 
 pile and ground may be of the same colour, or of different tints if 
 desired — say a rich cream ground and a white pile. This style of 
 
262 
 
 JACQU.VED AVEAVIXG AND DESIGNING 
 
 working is very suitable for quiltings, toilet covers, &c. Fig. 172 is a 
 portion of a pattern for weaving in this way. The black squares repre- 
 sent the pile- warp raised to form loops, and the round dots are also 
 pile-warp raised, but only for binding when the loops are being formed 
 at the other side of the cloth. The shaded squares show the ground 
 warp raised to form the body texture. This cloth has about 60 threads 
 of warp per inch, and the same or a little more weft. 
 
 Figs. 173 and 174 are two examples of six-shot pile cloth for quilts ; 
 it is made with 50 to 60 threads of warp per inch, and double that 
 quantity of weft. The same method of marking the design paper is 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i. 
 
 
 
 
 
 
 
 1 
 
 T 
 
 
 i 
 
 
 
 
 
 
 
 
 
 *nf* 
 
 
 Si _ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 --\ 
 
 
 * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 • _ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -i- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 % 
 
 
 
 
 
 
 
 
 
 
 • I 
 
 
 
 f 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1": 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^ in 
 
 
 
 
 
 Fm. 172 
 
 used as that for 172 pattern. It will be seen that in Fig. 173 the 
 loops or flushes of pile are over five and under one, and in Fig. 174 
 they are over two, under one, over one, and under one, thus making a 
 fast pile fabric, whereas the floats of Ave in Fig. 173 would be rather 
 loose unless the cloth is over-wefted. Both these piles may be used in 
 the one cloth, one for the face and the other for the back, as is given 
 in the figures ; the light portion of Fig. 173 being of the same texture 
 as the dark portion of Fig. 174. One pattern may be taken as the face 
 of the cloth and the other as the back. Of course they may also be 
 used separately if desired. Any full-harness mounting that will suit 
 
TAPESTRY AND PILE WORK 
 
 •263 
 
 ilie pattern will answer for these fabrics, the loops being thrown up in 
 the usual way, by leaving a few shots standing out from the fell and 
 then knocking all up, drawing forward the pile warp, which is slackened 
 at this beat, but sliding on the ground warp, which is held firm. 
 
 Fig. 173 
 
 Another method of forming figure pile is to weave a plain pile, and 
 when cut press or stamp a pattern on it with heated blocks cut to the 
 pattern ; the standing pile is then shorn off, and afterwards that which 
 was pressed down is brushed up again, forming a full-pile figure on a 
 shorn-pile ground. 
 
264 
 
 JACQUARD WEAVING AND DESIGNING 
 
 CHAPTER X 
 
 CABPETS 
 
 The manufacture of carpets has been in existence since the days 
 of the ancient Egyptians, who made rugs and carpets of various 
 kinds and ornamented them with animals and various devices. 
 The manufacture passed on to the East, and we find India, Turkey 
 and Persia celebrated for the richness of their carpets in early times. 
 The Moors of Spain introduced the Oriental floor coverings into 
 Western Europe, and the Belgians and French took up the manufacture 
 and produced excellent imitations of them. Even in the Middle Ages 
 carpets were only used as a luxury by the rich. Queen Elizabeth had 
 a carpet spread upon rushes, while Queen Mary had rushes only. These 
 rushes were the Acorus Calamus (sweet reed of Norfolk), which Avere 
 the usual floor coverings down to about this time. 
 
 Tapestry weaving was started in this country in the beginning of 
 the seventeenth century, but the first we hear of carpet manufacturing 
 in England was at Kidderminster about 1785, the carpets then made 
 being, no doubt, the Kidderminster or Scotch carpet. The making of 
 Brussels carpet was introduced about 1750 ; they were first made in 
 this country at Wilton, near Salisbury. 
 
 The Axminster carpets take their name from being first made in 
 the town of Axminster about 1755. They rivalled the work of the 
 Eastern looms for beauty, durability, and colour ; but owing to the cost 
 of their manufacture, and the introduction of the cheaper Brussels and 
 patent tapestry carpets, the demand became very small, and the work 
 was removed to Wilton in 1835. The patent Axminster or chenille 
 carpet was brought out by Messrs. Templeton, of Glasgow, in 1889. 
 
CARPETS 
 
 265 
 
 In the early ages carpets or rugs were used for spreading on the 
 floor or grass to lounge upon. It is recorded that in Babylon the guests 
 of despotic sovereigns lounged on rich carpets, and walked over priceless 
 works of textile art ; also how figured carpets made of the finest wool 
 were strewed under golden couches, and rugs richly embroidered with 
 figures were spread over dais, stool, and table. 
 
 The Egyptian carpets may have been tapestries and embroidered 
 fabrics. They also had a method of making tufted carpets by drawing 
 a portion of the weft threads out of a piece of coarse linen and sewing 
 tufts of coloured worsted to the warp threads, enough of the weft being 
 left in to bind the warp threads together. 
 
 Persian and Indian carpets were made of wool ; the latter were 
 occasionally made of silk, and sometimes an inferior description of 
 carpet was made of cotton. These, as well as Turkey carpets, are 
 made on a very simple loom consisting of two posts fitted at a suitable 
 distance apart to form a vertical frame. There is a roller at the top 
 and another at the bottom between which the warp threads are stretched, 
 much in the same manner as in tapestry weaving. The weaver sits 
 in front of the loom with a design before him, and is provided with a 
 quantity of bobbins of the colours required for the pattern ; he looks to 
 the design for the colour, and, taking a bobbin of the colour required, 
 forms a loop round two of the warp threads with the weft, cutting it off 
 as shown in Fig. 175. After having com- 
 pleted a row along the cloth forming one 
 weft line of the design, he opens a shed 
 and inserts a ground shot all across the 
 web, each ground shot going into a shed the 
 reverse of the preceding one, forming a plain 
 texture ground with a row of tufts between 
 the ground shots. The ground shots are beaten down with a comb. 
 Instead of going across in even rows of tufts, where there is a 
 patch of colour several rows of tufts may be put in at this place 
 with a ground thread between the rows, leaving the ends of these 
 threads projecting so that they can be carried across when the remain- 
 ing portions of the rows are completed. The ends of the tufts are cut 
 
.266 
 
 JACQUARD WEAVING AND DESIGNING 
 
 "Off roughly at first, and afterwards shorn level with a pair of shears. 
 .Persian carpets are sometimes very costly, a small-sized carpet, when 
 made of fine cashmere wool, costing 500Z. or 600Z. 
 : Axminster carpets are made on the same principle, and other art 
 carpets are being made similarly. There are about sixteen or twenty 
 warp threads per inch of strong cotton or linen thread ; the weft is of 
 fine wool, three or four ply being put into each tuft ; the ground weft 
 .is soft hemp or flax, eight ply of yarn going to each shot. This makes 
 ■a full soft cloth. These carpets are about three-quarters of an inch 
 thick, and, like tapestries, there is no end to the variety of pattern or 
 colour that can be introduced. 
 
 Kidderminster or Scotch Carpet. — This carpet, also called ingrain 
 •carpet, is the oldest machine-made carpet in this country ; it was 
 ■originally made at Kidderminster, but the chief centre now is Scotland. 
 Originally it was a two-ply cloth, the pattern being formed by passing 
 ;the two cloths, which were of different colours, through each other. 
 Mr. Morton, of Kilmarnock, improved on this by making it a three-ply 
 cloth, which enabled it to be made a thicker cloth with a richer pattern. 
 It is now made both two- and three-ply, and when made of all-wool is 
 a rich and durable article, taking a position between the jute and felt 
 carpets and the tapestry and Brussels ; it is, however, sometimes made 
 with cotton warps and woollen wefts, and is in this case an inferior 
 article. 
 
 Both two- and three-ply carpets may be woven with only one colour 
 of weft, in which case the pattern is formed by the warp threads, which 
 must be much thicker so as to close in over the weft and hide it as much 
 as possible ; on the other hand, there may be two warps and four 
 colours of weft, two of which are the same colours as the warp, and in 
 this case the weft is much thicker than the warp. The best of these 
 carpets are made with as many colours of weft as warp, as, in order to 
 get a pure efi^ect, it is necessary to have wefts traversing warps of their 
 own colour ; but a variety of effects can be produced by using additional 
 colours in both warp and weft. 
 
 One advantage in this style of carpet is that it is reversible ; for 
 when one cloth rises to the face the other passes to the back, making 
 
CARPETS . ( 
 
 267 
 
 the pattern on both back and face alike, but of different colours. This' 
 is the case when the carpet is two-ply cloth woven in the ordinary way, 
 but sometimes the back has to a certain extent to be sacrificed to give 
 more ornamentation to the face, at least in the ordinary method of 
 weaving. Whether woven two- or three-ply, the principle of working 
 is the same. Take a two-ply carpet. The fabric is a double or two- 
 ply plain cloth, figured in the usual way by passing the two cloths 
 through each other, there being no binding between the cloths except 
 what is formed by the one passing through. 
 
 The warps are of different colours— as, say, scarlet and black, green 
 and black, &c. — and each warp should have a weft of its own colour if 
 pure effects in the cloth are required. Usually four sets of warp threads 
 are employed instead of two — that is, two colours, end-and-end, for each 
 warp — and each colour of warp has its own colour of weft. Say we 
 take red and black for the face or figuring warp, and white and olive for 
 the back or ground warp. Various effects can be produced from this ar- 
 rangement — viz. the effect of the figuring cloth, formed by weaving the 
 red and black warps and wefts together, which in plain texture with 
 one weft will produce a rich brown effect ; the ground cloth produced by 
 the white and olive warps and the weft will be of a light olive colour ; 
 then lined, or what are known as ' shot-about ' effects can be produced 
 by throwing in a light and a dark shot alternately — as white and black, 
 ohve and red— and binding them on the face by warps of the same 
 colour. All the weft on the face of the cloth should be bound by warp 
 of its own colour in order to give pure effects. When a thread of one 
 cloth is raised, the corresponding thread of the other cloth goes to the 
 back (white and red and olive and black correspond in this case), but 
 the red weft will be bound with black warp on the under side of the 
 cloth, and the black weft will be bound with red warp, and the same 
 with the others, as in the system of working the harness with journals 
 to form the texture, all the black warp is controlled by one of the 
 journals and must all rise with it. Therefore' when the black shot is 
 being thrown in, the black warp must be raised to make the pattern 
 correct on the face of the cloth, and this will also cause it to be raised 
 for that portion of the cloth that goes to the back, and when the black 
 
268 
 
 JACQUARD WEAVING AND DESIGNING 
 
 is up the red is down ; therefore the black weft must be bound by red 
 Avarp on the under side of the cloth, and the same with the other 
 colours. It is easy to understand that if an end-and-end warp— black and 
 red— be wrought plain on two shafts or leaves of heddles, and shot pick 
 and pick of the same colours, when the black weft is bound with the 
 black warp on one side it must be bound with red (which is the other 
 half of the warp) on the other side, and if the red is bound with red on 
 one side it must also be bound with black on the reverse side. To 
 apply this to the double cloth or carpet weave it is only necessary to 
 consider this piece of cloth as passing up and down through another 
 one of a different colour. Had we the power of raising any portion of 
 the black or red warps required, we could bind a portion of the black 
 weft with black on one side, and any other portion of it with black on 
 the other side ; to do this we require a full or thread harness. 
 
 Fig. 170 
 
 A section through the weft of a piece of two-ply carpeting is given 
 in Fig. 176, showing the position of the threads when arranged to give 
 the different effects of face cloth up as at a, back cloth up as at b, shot- 
 about effect of red and ohve on the face as at c, and shot-about effect 
 of white and black on face as at d. The warp threads are marked v/, 
 o, E, B, the initial letters of the colours ; and the numbers 1 to 32 give 
 the order of picking. The shot-about effect is here produced with the 
 opposite threads— that is, the first thread of one warp and the second 
 thread of the other warp— as white and black ; but it might be preferred 
 to produce the effect the corresponding or mate threads (white and red, 
 or olive and black) would give. In working with journals, two picks 
 face and two picks back would be required to obtain this, and the 
 needles of the jacquards would require to be acted upon by the cards 
 for each shot, thus requiring double the number of cards. With a full 
 
CAEPETS 
 
 269 
 
 harness any effect desired can be produced. Extra colours of weft may 
 also be used (as drab) in addition to the white and olive — to work, say, 
 white, olive, drab, olive, &c. ; and dark green or blue in addition to the 
 red and black, which would come in as red, green, black, green, &c., 
 a shot of the light and one of the dark colours following each other in 
 succession. Stripes of a bright colour may be introduced into the 
 warp or weft and kept in the back cloth, only being brought to the face 
 in small portions, at intervals, to sparkle up the centres of flowers, &c. 
 
 Ingrain carpets are made 36 in. wide, and with, say, 832 or 1088 
 threads of warp, according to quality. The former can be woven on a 
 200 jacquard (say 208=416), as the machine is double ; and as there 
 are two repeats of the pattern in the width of the cloth, 416 x 2=832 
 threads of warp. For the latter 272 needles are required = 544 x 2 
 = 1088 hooks. 
 
 When woven with journals, the jacquards used for figuring these 
 carpets are similar to those explained under ' Quilt Weaving '• — that is, 
 double machines with trapboards and knot cords ; and when the card 
 is pressed against the needles it is held in for two shots, one trapboard 
 raising the harness for the first shot, and the other reversing the shed 
 tor the second shot. The journals are four sections of the cumber 
 board, as shown in Fig. 177 ; each section contains two rows of the 
 Iiarness and one colovir of warp. No. 1 journal controls the white 
 warp, No. 2 the olive. No. 3 the red, and No. 4 the black ; the draft is 
 shown by the numbers 1 to 8 alongside the harness cords. These eight 
 cords only represent half a row from each machine, as there are eight 
 rows of hooks to the machine. One row of the two machines fills two 
 rows across the journals, or 16 holes, a represents the trapboard of 
 the machine for the ground or dark warp, and b that of the machine 
 for the figuring or light warp. 
 
 The harness twines are furnished with large knots above the 
 cumber board or journals, so that when one of the journals is raised 
 the harness will be lifted with it. The journals may be raised by 
 strong cords or wires from the machine, or by a tappet or shedding 
 motion working either above or below them. If the machine is divided 
 into two parts, four hooks in succession going to each colour of warp 
 
270 
 
 JACQUAED WEAVING AND DESIGNING 
 
 for each cloth, the cords from these four hooks makmg two rows of 
 the journal, there will be no crossing of the harness in a straight or 
 Norwich tie. 
 
 The order of working for the section Fig. 176 would be as follows: — 
 For the first pick, which is white, raise the trapboard b and the first 
 journal ; for the second pick, which is red, raise the trapboard a and 
 the third journal ; for the third pick, raise the trapboard b and the 
 second journal ; for the fourth pick, raise the trapboard a and the 
 fourth journal. This is the general order of lifting for a pattern ; but 
 
 Fig. 177 
 
 a simple lined effect across the cloth as the section could be wrought 
 with the journals without the machine, using them as heddle shafts. 
 It could also be wrought by the machine without the journals. The 
 use of the journals in conjunction with the machine is to pass the cloths 
 through each other and make a pattern. For figure work, when a card 
 is pressed in against the needles, all the warp for the figure on the 
 design paper is raised by the trapboard b, which clears this portion of 
 the red and black warps out of the way of the ground shed ; and as the 
 first pick of the ground is white, the white journal is raised to bind the 
 white pick, leavmg the olive warp down to bind it at the back. For 
 
CARPETS 
 
 271 
 
 the next shot the same card acts, and the trapboard a is raised, which > 
 lifts all the white and olive warp corresponding with the portion of the 
 red and black that was left down at the last shot, so as to clear this 
 portion out of the way of the face shed. As a red pick follows white,, 
 the red journal (No. 3) is raised to bind the red on the face, leaving the 
 black warp down to bind it on the back. The other picks follow 
 similarly. This shows the defective binding common to journal weav- 
 ing, the white being bound with olive and the red with black at the 
 under side of the cloth. To have pure binding, instead of all the Avhite 
 or red being raised by a journal as above, only as much of either should 
 be raised as is required to bind its own colour of weft on the face of 
 the cloth. The olive or black in respective cases should be raised for 
 the remainder of the shed, leaving the white and red down to bind their 
 own wefts Avhere these colours come out on the back or under side of 
 the cloth, thus giving pure colours on both sides of the cloth, and letting^ 
 the mixed or impure binding be in the centre between the two cloths. 
 This, however, is beyond the range of journals, and requires a harness. 
 
 Fig. 178 gives a neat pattern on a small scale for a two-ply cloth 
 with, say, a red and a pale olive warp for ground and figure cloths 
 respectively, the shaded squares 
 being red and the ground or 
 white squares olive ; the weft 
 for each cloth to be the same 
 colour as the warp, or sometimes 
 a tint one or two shades lighter 
 and brighter, or deeper and dul- 
 ler, according to the colours or 
 shades of colours used, gives a 
 good effect. A further effect in 
 this can be produced by having 
 the 6th to 10th and 18th to 
 22nd threads black, brown, 
 or dark green, end-and-end with pale olive, for the back warp,, 
 and picking similarly on the 5th to the 9th picks for the ground 
 cloth, , This would, of course, make a striped effect on the under side- 
 
 FiG. 178 
 
^272 JACQUARD WEAVIXa AND DESIGNING 
 
 of the cloth, as where the additional colours do not show ahove they 
 must appear below. A still better effect can be produced by having an 
 additional weft lying between the two cloths which can be flushed on 
 the face in spots as at picks 12, 13, and 14, and of course a three- 
 ply cloth will be a step farther in advance ; lined effects can then 
 be produced anywhere desirable, in portions to suit the nature of 
 the design, to vary and enrich it, at the same time the breadth of effect 
 is maintained by working the greater portion of the pattern in masses 
 •of pure colour, whether they be large or small. For full-harness work 
 the h arness is divided into two sections, four rows for the back cloth 
 .and four rows for the face, cloth, on an 8-row machine; no journals 
 .are used, the machine doing all the work. The harness is tied up in 
 the usual way, the cord from the first hook passing through the first 
 hole of the cumber board, and the cord from the second hook passing 
 through the second hole, and so on. 
 
 The harness is nominally divided into two sections, the front four 
 rows being for the face cloth and the back four for the back cloth ; 
 when drawing the warp into the harness the mails are taken in the 
 following order : 1, 5, 2, G, 3, 7, 4, 8, the back or ground warp coming 
 ■on 1, 2, 3, 4 mails, and the face or figure warp on 5, 0, 7, 8. 
 
 Suppose the pattern to be a dice, as Fig. 179, the warps to be 
 -white and olive, and red and black, with the same colours of weft. 
 Each upright line of the design represents two threads of warp, one 
 of which will be drawn on the front half of the harness and the other 
 on the back half ; and each horizontal line of the design represents 
 two weft shots, for which there must be two cards cut. Let the order 
 of drawing the warp into the harness be as Fig. 180. The white is on 
 the odd and the olive on the even numbers of the four back rows of 
 the harness, and the red is on the odd and the black on the even 
 numbers of the four front rows. 
 
 Now to cut the cards :— Take the first line of the design Fig. 179, 
 cut the odd numbers of holes (that is, the first and third) on the first 
 half, or first foar holes, of the card, and cut the white and olive on 
 the second half of the card. For the second card, from the same line 
 of the design cut red and black on the first half of the card, and the 
 
CAEPETS 
 
 273 
 
 odd numbers of holes on the second half of the card. For the third 
 card, take the second line of the design and cut even numbers of holes 
 on the first half of the card, and white and olive on the second half 
 of the card. For the fourth card, from the second line of the design 
 cut red and black on the first half of the card, and the even numbers 
 
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 1 
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 c- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -I 
 
 
 
 
 
 
 
 
 
 
 
 -5 
 
 (- 
 
 
 1^ 
 
 Fig. 179 
 
 Fig. 180 
 
 of holes on the second half of the card. Of course when there is none 
 of a colour raised, as in the first line there is no black, no notice is 
 taken of it. For the pattern in Fig. 178 the cutting would be the 
 same, except that there are only two colours of warp to be dealt with 
 instead of four. No. 1 card : cut odd numbers of holes on the first 
 
 X 
 
 X 
 
 
 X 
 
 X 
 
 
 X 
 
 X 
 
 • « • 
 
 
 X 
 X 
 
 • 
 
 X 
 
 X 
 
 • ••• 
 
 
 • - 
 
 • 
 
 
 . • 
 
 Fig. 181 
 
 half of the card, and olive on the second half of the card. No. 2 : cut 
 red on the first half of the card, and odd numbers of holes on the 
 second half of the card, &c. 
 
 The cutting of four cards is given is Fig. 181. The crosses indicate 
 the cutting of the odd and even holes in the cards, and the dots are 
 the figure. It will be seen that the crosses in No. 3 card would reverse 
 
 T 
 
274 
 
 JACQUARD WEAVING AND DESIGNING 
 
 the shed formed by those in No. 1 card, thus working plain texture on 
 the back cloth, and the same would take place with Nos. 2 and 4 cards 
 for the face cloth. This is simply the action of the journals included 
 in the harness, which it will be seen requires double the number of 
 needles in the machine, and double the quantity of cards ; but an 
 ordinary machine and mounting will answer, instead of having to get 
 a double machine and journals. 
 
 The above cutting acts the same as journals, and is all right in 
 both cases when one warp with its own weft is used for each cloth ; 
 but it has been pointed out that when each warp is end-and-end of 
 different colours with wefts to match, the under side of the cloth is 
 defective when wrought with journals, and so it would be with the full 
 harness if the cards were cut as above. To get each colour of weft 
 bound with its own colour of warp on both sides of the cloth, the 
 following change must be made :— Take the small piece of pattern 
 given in Fig. 182, and let the warps be as before — white and olive, 
 
 red and black. The card 
 
 Fig. 182 
 
 cutting for this pattern will 
 be as follows, the warp being 
 drawn through the harness 
 as before : 
 
 For the first card, cut 
 odd numbers of red and even 
 numbers of white on the 
 first half, or first four holes, 
 of the card, and white solid 
 on the second half. This will form a shed for the red shot. 
 
 Second card : Cut from same line of the design red solid on the 
 first half of the card, and even numbers of white and odd numbers 
 of red on the second half of the card. This is for the white shot. 
 
 Third card, for black shot : Cut from the second line of the design 
 even numbers of black and odd numbers of olive on the first half of 
 the card, and olive sohd on the second half of the card. 
 
 Fourth card, for ohve shot : From the same line cut black solid on 
 
CARPETS 
 
 275 
 
 •the first half, and odd numbers of ohve and even numbers of black on 
 the second half of the card. 
 
 These four cards are shown in Fig. 182, from which the cutting 
 may be traced. It must not be supposed, however, that cutting odd 
 numbers of red and even numbers of white as on the first card, means 
 that these colours of threads are to be raised ; the colour has no 
 reference to the threads— only to the coloured checks on the design paper. 
 
 For the first card the white checks on the design paper are cut 
 solid on the second half of the card ; this raises the white and olive 
 warp corresponding to the white portion of the design. Then, , to form 
 the plain shed in the other warp, the even numbers of the white checks 
 and the odd numbers of the red checks are cut on the first half of the 
 <;ard, which acts on the other warp. As the black warp is drawn on 
 the even numbers of harness twines it will be raised for that portion 
 of the design that is white, and the red will remain down to bind the 
 red weft ; but passing along the design till the red weft is above, it 
 will be seen that the red warp should here be up to bind it, and the 
 black should therefore be down, so, as the red warp is on the odd 
 numbers of the harness and on the second half of . the, card^ the^ odd 
 numbers must be cut on the card for the red portion of the design. 
 This gives a pure binding on both sides : and the same applies to the 
 •other colours. It will be seen that the first halves of the 1st and 
 Srd cards together work a broken plain texture, and the second 
 lialves of the 2nd and 4th cards do the same. 
 
 In case the card-cutter cannot follow this method of cutting, and if 
 the design is so varied in order of weaving that a gamut or index for 
 ■cutting cannot be arranged, then it will be necessary to paint the full 
 texture of the pattern on the design paper in the same manner as is 
 •done for double cloth. The first row of designs of the pattern given 
 in Fig. 178 is painted out in full in Fig. 183. The shaded lines under- 
 neath represent the back warp, and the white lines the face warp. 
 The black squares are the figure, and the large crosses the gtound, or 
 the white squares in Fig. 178. The dots are the rising marks for the 
 texture of the back cloth, as would be formed by the back warp journals, 
 .and the small crosses are the same for the face warp. 
 
 T 2 
 
276 
 
 JACQUxVED AVEAVINCt AND DESIGNING 
 
 This method of Aveaving is not confined to carpets, but is equally 
 applicable to quilts, curtains, &c., and a plain texture need not be 
 adhered to ; a twill or any simple fancy texture may be used. With 
 80 to a 100 threads per inch, one warp peacock green in satin texture 
 for the figure, and the other warp gold for the ground in a crepe 
 or mottled texture, all shot peacock, a handsome curtain can be made. 
 
 Brussels Garijets. —Bvnssels carpets, with their less expensive allies, 
 the tapestries, are the commonest of the better class of carpets. They 
 are a loop-pile fabric, the pile being formed by the figuring warp, 
 which is wool, the ground warp and weft being hemp or flax. As the 
 pattern is formed by raising the figuring warp threads of the required 
 colours, and as any thread of any colour may require to be raised, it 
 follows that all the threads must be on separate spools or small warp 
 rolls, so that any one thread can be drawn forward without slackening- 
 
 FiCx. 183 
 
 any of the others. Large frames are therefore made to hold the 
 number of spools of each colour, and these are placed one above the 
 other in a slanting position, at the back of the loom, and when filled 
 with spools the whole set of threads are brought forward to the 
 harness as if from a warping creel or bank. According to the number 
 of these frames used the carpet is styled a 3, 4, or 5-frame carpet, the 
 greater the number of frames the richer the carpet both in colour 
 (generally speaking) and in body of warp. Sometimes 6 frames are 
 used ; but 4 or 5 are more frequent, 3 and 4 frame being the lower 
 qualities. 
 
 The texture of a Brussels carpet is shown in Fig. 184, which is a 
 section through the weft, a and b are two of the ground warp 
 threads, a pair of these coming between the rows of pile loops, a. 
 portion of one row being shown in the section. The weft threads are 
 
CAEPETS 
 
 277 
 
 shown in section coming under the loops of the ground warp at the 
 top, and above them below. Both this warp and weft are of coarse 
 hemp, about 3's : the weft is steeped in glue size before being 
 thrown into the cloth, which makes it stiff and firm when dry. The 
 pile warp threads are numbered, 1, 2, 3, 4, and 5 ; they are of soft- 
 spun worsted, about 2/24's, 2 and sometimes 3 threads being drawn 
 in together as one through the mails and reed. These five warp 
 
 Fig. 184 
 
 threads go to form one line of loops, being raised over the wires as is 
 required for the pattern, and lying straight between the weft threads 
 when not raised. By considering this it will easily be understood that 
 each thread must be on a separate bobbin so as to admit of being drawn 
 forward independently of any of the others. In low qualities of these 
 carpets one or two threads of hemp warp are used to each splitful or 
 row of pile threads ; the hemp thread lies in a straight line below the 
 
 
 L 
 
 
 
 
 
 
 B 
 
 
 
 
 
 
 
 
 T 
 
 MM 
 
 
 Fig. 185 
 
 -worsted threads in the same way that No. 5 thread is shown in the 
 section. These stuffing threads add to the weight and thickness when 
 the worsted is reduced in quantity, but make a harsher and stiffer 
 carpet. This warp, when used, is put on a beam or warp roll, as is 
 also the ground warp of the carpet. 
 
 Fig. 185 is the plan of drawing-in and weaving a carpet similar to 
 that shown in section in Fig. 184. The draft is given at a, and the 
 
278 
 
 JACQUARD WEAVING AND DESIGNINfl 
 
 treading and cording for a hand loom at b. A 10-row jacquard should 
 be used for a 5-frarne carpet, as twice over the 5 threads makes one 
 row of the cumber board. Five threads are drawn into the harness, 
 oiie from each frame, then two ground warp threads are brought 
 through and drawn on two leaves of heddles. In weaving, one ground 
 thread is raised and a shot thrown in ; then all the pile warp and the 
 same ground thread are raised for the next shot ; the third tread 
 raises the harness and a wire is inserted to draw up the pile ; the 
 fourth tread crosses the ground warp threads ; the fifth tread raises 
 this thread again, as well as all the pile warp, and the sixth tread 
 raises the harness for the insertion of the second wire ; this completes 
 the order of treading. For the second and fifth treads it will be ob- 
 served that all the warp in the harness must be raised ; this was 
 usually done by having shafts through the harness or by raising the 
 cumber board to act as a journal in the manner explained for Scotch 
 carpet weaving ; but now jacquards are made with bottom boards or 
 gratings that can be raised or lowered to form these sheds. 
 
 The pile wires are now commonly inserted at the time the adjoining 
 pick is being thrown in, a double shed being formed, and both the wire 
 and shuttle passed across at the same time, the former being upper- 
 most ; in power looms the wires are both inserted and withdrawn by 
 machinery ; about twenty-five are inserted before any are drawn 
 out, to prevent the loops from slipping. Jacquard machines are made 
 specially for the purpose of forming this double shed, the grating 
 raising the hooks from the bottom to the centre position, thus raising 
 the worsted or figuring warp above the shuttle, while the griffe carries 
 the figm'ing hooks on to the top, making a second or upper shed for 
 the wire. The old method was to form the lower shed by raising 
 the cumber board, and the upper one by the griffe. Jacquards with 
 cords instead of hooks are frequently used. 
 
 Brussels carpets are made 27 in. wide, with nominally 260 loops or 
 rows of pile in the width ; but 266 rows are commonly used instead of 
 260 for the better classes of goods, and a further reduction of 30 or 40 
 loops is made for lower classes, the reduction going to cheapen the 
 goods or to the credit of the manufacturer. Although only 256 loops 
 
CARPETS 
 
 379 
 
 are on the surface of the cloth, it must be remembered that for a 5- 
 frame carpet there are 5 times this number of threads, and that 1,280 
 cords will be required for the harness, and an equal number of needles 
 in the jacquard when the pattern is single, or not repeated on the 
 cloth ; but the design only covers 256 spaces on the point paper, each 
 space or check across it representing 5 threads. In Scotland a reed with 
 350 spHts on 37 in. is used, one row of pile warp with its ground warp 
 going into each split. A carpet known as Axminster Brussels is made 
 in Scotland. It is similar in structure to the common Brussels, but 
 has in addition a woollen weft, which is thrown in pick-and-pick with 
 the usual hemp weft. The addition of the wool weft adds to the soft- 
 ness and thickness of the carpet, giving more elasticity or spring to it, 
 and making it wear better. 
 
 Designs for Brussels carpets are sketched out and coloured in the 
 usual way ; the method of repeating the patterns is much the same as 
 is adopted for wall papers. Usually there is one repeat in the width of 
 the cloth (27 in.), and the length of the repeat may be shorter or longer 
 to suit the pattern, expense, &c. ; 256 checks, - |ths of a yard, is a 
 common length, and 1| yard for bolder effects. The number of colours 
 must be regulated to suit the frames to be employed in the weaving, 
 unless the frames can be made to suit the pattern. Say five frames 
 are to be used, this would suggest five colours ; but it does not 
 follow that only five colours can be used. A clever designer may work 
 out most patterns so that six or more colours may be used on five 
 frames, by arranging the design so that two colours may be put to one 
 or more of the frames, which process is called ' planting.' But it may 
 be that an extra number of colours will not improve the design, in 
 which case they should not be used. The process of ' planting ' or 
 striping the warp — which is on the same principle as ' chintzing ' by 
 striping the weft in other makes of goods — will be best understood by 
 referring to Fig. 186, which is a Brussels carpet pattern on a small 
 scale for working with five frames. The colours are indicated by dif- 
 ferent markings on the squares of the design-paper, as shown by the 
 index or gamut below the design. On the first line of the gamut there 
 are two varieties of markings, and as this line indicates reds, there are 
 
280 
 
 JACaUAKD WEAVING- AND DESIGNING 
 
 two colours of red used on this frame. Following up the design above 
 these markings, it will be seen that one colour of red is used in one of 
 the sets or rows of octagonal figures, and the other colour on the inter- 
 mediate rows, and that the two colours of red are not required in the 
 same portions of the design, the gamut showing where each is required. 
 
 Fig. 18G 
 
 It is only necessary to arrange the spools on the frame in the loom and 
 draw the threads through the harness, as shown by the gamut, to make 
 this fall in correctly. 
 
 What the designer must guard against is giving the pattern a 
 striped appearance, which would be the case if the planted colours 
 
CARPETS 
 
 281 
 
 were brought to the surface too frequently ; but if they are judiciously 
 brought up at intervals, the effect of a 5-franie can be made almost as 
 good as that of a 6-frame pattern, and this can be carried still further 
 if desired ; every frame may contain two colours, or one frame may con- 
 tain several colours. 
 
 Carpet patterns are sometimes painted on small- sized design paper 
 ^-that is, the ordinary paper with, say, two designs per inch ; but 
 before working it is more satisfactory to have them put on large-sized 
 paper, so as to show the exact effect they will have on the cloth, the 
 design-paper giving the pattern full-cloth size. 
 
 When painting patterusthat are as large or larger on the cloth than 
 they are on the design-paper, much more care and skill are necessary 
 than when the pattern is one that is much larger on the design-paper 
 than it will be on the cloth, as is usually the case ; and in consequence 
 of the large size of the checks required for carpet design-paper, it is 
 evident that representations of any small objects—unless those of a 
 very simple nature— cannot be put on it without being greatly enlarged. 
 After the sketch is made the forms should be carefully adapted to suit 
 the paper, so as to give a satisfactory effect on it, rather than be a 
 rigid adherence to the sketch. Natural floral forms should not be 
 attempted unless to satisfy the demands of trade, and when they must 
 be used they sbould be made on so large a scale as to be fairly repre- 
 sented in a semi-conventional manner. Large wild-floral patterns are 
 frequently to be seen on carpets, but they are rarely, if ever, satisfac- 
 tory. Persian, Indian, and other geometric or conventional forms that 
 lend themselves readily to a harmonious admixture of colours so that 
 the carpet will, when on the floor, present a rich glow of colour instead 
 of obtrusive masses of floral misrepresentations, are much to be pre- 
 ferred. Dull colouring is not essential to good taste— rather the 
 reverse ; but it is less obtrusive and more easily managed, particularly 
 in the hands of an inferior artist. No matter how brilliant the colours 
 lire, if properly blended and broken up into masses in proportion to 
 their intensities in the spectrum scale they need not be in the least 
 offensive ; but it requires skilful hands to do this. 
 
 The pattern given in our last figure (186) is a simple repeating pattern. 
 
282 
 
 JACQUARD WEAVING AND DESIGNING 
 
 SO that two pieces of the carpet laid side by side will join correctly 
 together. Another method of arranging patterns so that they will 
 repeat is shown in Fig. 187. In this figure it will be seen that the 
 two sides will not join as an ordinary repeat, but if two pieces are 
 
 taken the right-hand side of 
 one will, if turned round, join 
 against the left-hand side of 
 the other, and two pieces thus 
 joined will form a repeat. 
 This is objectionable in the 
 case of cut pile, which usually 
 has a slope in one direction ; 
 and when two pieces are 
 joined, one running one way 
 and the other the reverse, the 
 effect will be that of shaded 
 stripes, somewhat similar to 
 that of a grass field when 
 rolled. Another method of 
 forming repeating patterns is 
 by making what is known as 
 a 'drop repeat,' which is 
 shown in Fig, 188 ; though 
 the tM^o sides will not join in 
 against each other, as in an 
 ordinary repeat, if two pieces 
 of the carpet be laid side by 
 side, and one of them drawn 
 a little down, the point A in 
 the figure of one piece will 
 
 Fig. 187 
 
 fall in against b and b' of the other piece, and repeat. 
 
 These show the usual principles on which repeats are based, and 
 of course it is for the ingenuity of the designer to form the best ar- 
 rangements of pattern he can to suit them, or any other method he 
 may think of. 
 
CARPET8 
 
 28B 
 
 When cutting cards for carpet patt?rns the usual method of pickmg 
 out the various colours for each cutting must be adopted by the card- 
 cutter. Kefer to Fig. 18G for the pattern, and to Fig. 185 for the 
 draft. The order of drawing is green, blue, black, yellow, reds, which 
 gives five rows of holes on the card, and this twice over makes the ten 
 rows ; therefore, green Avould be cut on the first and sixth rows ; 
 blue dn the second and seventh ; black on tlie third and eighth ; yellow 
 on the fourth and ninth ; and reds 
 on the fifth and tenth rows. These 
 may be all cut when passing the 
 card once along the cutting 
 
 machine, giving more than one 
 
 tramp, if necessary, to each shift 
 
 of the card index ; or the cutter, 
 
 if not accustomed to this, may 
 
 pass the card along once for each 
 
 colour, working two of the punches 
 
 a;t each passage of the card, and 
 
 of course remembering to select 
 
 the punches which correspond to 
 
 the colour being read. 
 
 It must be remembered that 
 
 tw^o checks on the design-paper 
 
 correspond with a row of ten holes 
 
 on the cards, as each check may 
 
 have any of five colours on it in 
 
 the case of a 5-frame carpet pat- 
 tern, and there must be a space 
 
 for a hole in the card for any of these colours; therefore the designs 
 
 or large squares on the design-paper would consist of two checks each. 
 
 Suppose one of these checks— the first one— to be green, the first hole 
 
 in the card would be cut for it ; if the second check is also green, the 
 
 sixth hole on the card would be cut ; but if it is black, the eighth hole 
 
 in the card would be cut, not the third hole, as it, being the second 
 check, comes on the second half of the card. The first check, , stands 
 
 I'l.t. 188 
 
284 
 
 JACQTTARD WEAVING AND DESIGNING 
 
 against the first five rows of holes in the card, and the second check 
 against the second five rows, each check on the design-paper repre- 
 senting five threads, five mails and five needles, or five spaces on the 
 card ; but only one hole is cut on the card for it, and that must suit the 
 colour the check is painted. 
 
 Wilton Carpets. — These carpets are made much in the same manner 
 as Brussels, but the pile is cut, and they are of a better quaHty of 
 
 Fig. 189 
 
 wool with a longer pile, and altogether a superior article. As the pile 
 is cut, the method of binding it into the ground is somewhat different 
 from that adopted for Brussels, in order to secure a firmer binding. A 
 section of the cloth through the weft is given in Fig. 189, showing two 
 pile loops cut and one uncut, and also the method of binding the 
 pile warp threads Nos. 1, 2, 3, 4, and 5, with the ground warp a and 
 B, and the weft is shown in section, or end view. 
 
 The warp or pile threads are cut similarly to velvet by drawing the 
 
 A „ n 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 X 
 
 
 X 
 
 
 Jl' J 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 
 X 
 
 
 
 X 
 
 nrji 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 X 
 
 
 X 
 
 
 
 
 
 
 
 
 1 / 
 
 J 
 
 / 
 
 / 
 
 J 
 
 <t 
 
 
 Fi«. 190 
 
 wires out of the loops and having each wire furnished at its end with 
 a cutting edge. Fig. 190 shows the draft and treading of a Wilton 
 carpet arranged for a hand loom. The back is the harness, and Nos. 
 1, 2, and 3 the shafts. No 2 shaft is only required when an extra 
 or silent warp is used for the purpose of giving weight and thickening 
 the fabric. This warp, if used, lies straight between the weft, and 
 must be on a separate beam from the ground warp. 
 
CAEPETS 
 
 285 
 
 Tapestry Caijjets.— These carpets, though they do not require a 
 jacquard to weave tliem, are so closely allied to Brussels, and patterns 
 so similar can be produced on them, that it is thought desirable to give 
 a short description of them. Though figured weaving, they are not so 
 in the strict sense of the term, as the pattern is printed on the warp 
 instead of being formed by various coloured warps ; they are simply an 
 imitation of figured weaving in colours. Any pattern that can be put 
 on a Brussels carpet can also be put on a tapestry, and with further 
 variation if desired. The efiect is not so sharp and rich on the tapestry, 
 as the colours, being printed on the warp, run into each other more or 
 less, and produce a slight blurring round the edges of the pattern ; 
 whereas the pattern on the Brussels is so sharp and clear round the 
 edges as to make it harsh if two very contrasting colours come together. 
 
 Fig. 191 
 
 so that in some cases the tapestry patterns are softer and more 
 pleasing. 
 
 Fig. 191 shows the texture of a tapestry carpet., a and b are the 
 ground warp threads which bind the weft, the same as in Brussels ; 
 these threads go on one warp roll. 1, 2, and 3 are the lying or 
 filling warp threads of linen, hemp, or jute, used for giving weight 
 and thickness to the cloth ; these threads go on a second roll, p is the 
 pile, which, it will be observed, is of various colours and looped all along 
 the cloth, or passes over every wire that is inserted, and the pattern is 
 formed entirely by the colours that these threads are printed. The 
 pile goes on a third warp roll. All the pile can go on the one roll, as 
 every thread is looped alike by each wire inserted. A pair of shafts 
 for the ground warp— one for the lying warp and one for the pile— is 
 all that is required for weaving the cloth. The pile consists of two or 
 three ends of two-fold worsted yarn, according to the quaUty of the 
 
■286 
 
 JACQUARD AVEAVINtl AND DESIGNING 
 
 <3arpet. As the fabric is made up to a great extent with the three lying 
 . ends of stiffened hemp or flax to each row of pile loops, the carpet is 
 of a harder and less pHable nature, with less spring in it than a Brussels 
 (which has the five pile worsted threads in it), and it is also less dur- 
 able. The number of pile loops in the width of the cloth is the same' 
 as for a low-class Brussels carpet, say 216 to 225, and the width of the 
 ■cloth is the same - about 27 in. Five threads go to each split of the reed 
 — viz. one pile, two ground warp, and the three lying or filhng ends. 
 
 In these carpets, as well as in Brussels, it will be seen from the 
 sections that one weft thread is above a lower one, with a straight 
 tightly-stretched warp between them. A method of weaving has been 
 adopted on the Continent in which both sheds are formed and both 
 wefts picked at the same time. One shed is raised above the centre 
 warp, and one is sunk below it, and both shuttles are driven through 
 ■simultaneously ; then a pile shed is raised and a wire inserted ; and 
 this repeated, reversing the ground sheds, makes the order of weaving 
 for tapestry carpets. Another method is to have double mails, one 
 mail above the other on the same harness cord or heald ; the wool warp 
 goes to the upper mail, and the lying warp to the lower one. When 
 the mails are raised a double shed is formed, and a pile wire and a pick 
 •can be inserted at the same time. The ground or binding warp is in 
 two additional leaves of healds. To apply the former method to Wilton 
 carpets, two picks are put in below to balance with the two above, in- 
 stead of one pick below, as shown in Fig. 189. 
 
 For tapestry carpets the pattern is prepared in the same way as for 
 Brussels. The repeat of the pattern may be of any length, but 27, 3G, 
 or 54 in. are usual lengths. The pattern, though prepared as if for the 
 jacquard, is only a guide for the printer when printing the colours on 
 the warp. 
 
 The pattern is printed on the warp in an elongated form, the amount 
 of elongation coinciding exactly with the reduction the pile loops make 
 in the length of the warp when it is woven. 
 
 The pattern was originally printed on the woven cloth by means of 
 blocks ; next it was printed on the warp in an elongated form in the 
 ■same manner ; now it is printed by means of small rollers. The yarn 
 
CARPETS 
 
 287 
 
 for each thread of the warp, or of a number of warps, is wound sepa- 
 rately on a large reel or drum, of such a size as will hold a suitable 
 quantity of yarn (about 18| feet in circumference) . Six or eight threads 
 are wound on together, so as to He closely together side by side and 
 not overlap each other, till the drum is full, or the required length is 
 wound on it. This has now to be printed with the pattern in an elon- 
 gated form. 
 
 The right-hand edge of the drum is divided into as many divisions 
 as a length of yarn equal to the circumference of the drum will make 
 loops on the cloth. This is called the index, and 648 is a common 
 number of divisions for it to have, or 864 for a larger size. Of course 
 the number of loops any length of yarn will make depends upon the 
 size of them, and the reduction in length from the yarn to the cloth 
 depends upon the height of the pile and the number of loops in a 
 given space. The number of loops per inch varies with the quality of 
 the cloth ; 7 or 8 is usual for loop pile, and 9 or 10 for cut or velvet 
 pile. The design must contain such a number of checks in length as 
 will divide evenly into the index number, such as 108, 162, 216, 324. 
 When painted the design is cut into strips in the direction of its length, 
 one Hne or row of checks in each strip. When the yarn is wound on 
 the drum, and the printer is ready to begin work, he takes one of these 
 strips and pins it up before him to guide him in the colours he is to 
 print. The printing is done by means of a trough of colour with a 
 roller in it, set on a carriage beneath the drum, so that when passed 
 across the roller will press firmly on the yarn. The printer finds the 
 first colour on the design, and setting the drum to the first tooth of 
 the rack or index, he passes a trough of the proper colour across the 
 drum and back again ; if the second check on the design is the same 
 colour, he turns the drum round a tooth of the index and passes the 
 same colour across ; if the third check is a different colour, this re- 
 quires a second colour trough, and passing another tooth on the index 
 this colour is passed, and so on with the remainder; or, all one 
 colour is printed first, then the drum revolved again with the second 
 colour, and so on. When this is all printed the yarn is taken off 
 the drum and marked No. 1 thread, and the beginning and end of 
 
288 
 
 JACQUAED WEAVING AND DESIGNING 
 
 the thread should be marked in some way as a guide for the setters. 
 A fresh lot of yarn is wound on for the second thread, which is printed 
 according to the second strip of the design. This must be continued 
 for all the threads in the warp. After being printed, the colours are 
 fixed by a steaming process, and afterwards wound on bobbins and 
 marked to their numbers. The design may be cut into strips of two 
 checks each, instead of one check, which will be less liable to get torn. 
 One side of the strip can then be printed first, and the other after. 
 
 The warp is made up by ' setters,' who arrange the threads together 
 in proper order in a frame for the purpose, and set them so that the 
 colours of each thread come together at the proper place to form on 
 the warp a correct elongated copy of the pattern ; when correct it is 
 wound on the beam for the loom. 
 
 In printing and steaming, the colours are liable to run into each 
 other ; some colours are worse in this respect than others, but it is 
 reduced to a minimum by the use of an absorbent in steaming ; and 
 sometimes the designer makes a little allowance on the design-paper 
 for such colours as he knows will be liable to run and injure the pattern. 
 The pile of tapestry carpets is usually left uncut ; but sometimes it is 
 cut, forming a velvet pile. In this case the carpet is made of a better 
 quality, and the pile is longer. 
 
 The present method of preparing tapestry warps w^as invented by 
 Eichard Whytock, of Edinburgh, in 1832, and perfected by Messrs. 
 Crossley, of Halifax. 
 
 Axminster Carpets. — Eeal Axminster carpets, as already said, are 
 made by handjmuch in the same manner as Turkish or Persian carpets, 
 and attempts have also been made to produce them by machinery, 
 several patents having been taken out for the protection of the inven- 
 tions. These carpets, with other art carpets now being made, may be 
 classed with tapestry as works of art. 
 
 The Axminster carpets of commerce are the Eoyal Axminster or 
 Moquette carpets, and the patent Axminster or chenille carpets. 
 
 Eoyal Axminster carpets are made by a peculiar process of weaving 
 and tufting on a loom made specially for the purpose. A number of 
 little funnels carrying from spools threads of the different colours of 
 
CARPETS 
 
 289 
 
 yarn required for the pattern are fixed on the loom above the reed, and 
 these threads, by suitable mechanism, are brought down and bound 
 into the backing cloth by the weft. These threads, which form the 
 pile, are cut off, and afterwards the surface of the carpet is shorn level. 
 
 The texture of Moquette carpets 
 is shown in section in Fig. 192, two 
 varieties of texture being given, one at 
 A, the other at b. In both these tex- 
 tures the pattern shows through on the 
 back of the cloth. 
 
 Another variety is given in Fig. 
 193. A is the section through the 
 weft, B the texture, c d e f shows the 
 interlacing of each of the four warp 
 
 threads in the pattern with the weft, and g shows the pile. Similar 
 numbers in these figures represent the same threads in the cloth. 
 
 Patent Axminstcr Carpets. — These were invented by Mr. Jas. 
 
 / 2- 
 
 
 
 
 
 
 
 
 
 
 ma 1 
 
 
 
 m 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 8l 
 
 11 
 
 o o o o o 
 ^ o o o o o 
 
 O O O O O 
 
 Fig. 193 
 
 Templeton, of Glasgow, about 1839, and are a description of chenille 
 weaving. They do not require to be wrought by a jacquard any more 
 than the other Axminster carpets, but as the figures formed on them 
 are so similar to those produced by the jacquard, and as the method 
 
 u 
 
290 
 
 JACQUARD AVEAVING AND DESIGNING 
 
 of designing the patterns is the same for both them and other classes 
 of chenille as it is for jacquard work, it may not be considered out of 
 place to give a full description of chenille here. 
 
 Chenille is made by a double process of weaving. First the weft 
 or chenille thread is woven, if for a figured pattern in various colours, 
 which corresponds to the printing of the warp in tapestry carpet weav- 
 ing, which gives a warp figure, whereas chenille gives a weft figure. 
 When the weft is woven in a piece it is cut up into strips and twisted, 
 if for curtains or any fabric on which the chenille weft is to show on 
 both sides ; but for carpets, where all the pile is raised to one side, the 
 Aveft is doubled up, bringing all the pile in one direction. Twisting 
 machines are now in use for making the weft for plain chenille fabrics, 
 but for figured ones it is still woven. If twisted for figured work it 
 would afterwards have to be printed somewhat similar to tapestry 
 carpet warps, but without elongating the pattern, and the uneven 
 surface is a difficulty in the way. 
 
 The method of weaving chenille weft is as follows : — A loom fixed 
 for worldng gauze is supplied with a thiiily laid warp, which, according 
 to the class of chenille required, is drawn through the heddles either 
 as plain gauze, two threads working plain with one crossing them, or 
 this doubled, as is shown in Fig. 194. The two, three, or six threads 
 of the draft are drawn into one split of the reed, which is finer or 
 coarser to suit the fabric required. For shawls or curtains there would 
 be six to eight full splits of the reed per inch ; say in a reed of thirty to 
 forty splits per inch, four splits empty to one full. For carpets there 
 would be two or three full sphts per inch ; say in a reed of ten to fif- 
 teen spHts per inch, four empty and one full, coarser or finer to suit the 
 length of pile required. 
 
 For plain work this is tied up and woven as gauze, the warp being 
 cotton of a dark colour, and the weft woollen, noil silk, or other fibre if 
 desired ; but it should consist of several ends and be of such a nature 
 as will divide easily to form a rich pile. If for figured work, the pat- 
 tern must be woven in stripes across the piece, which will be explained 
 after the designing. 
 
 When the piece is woven it will be as shown at a, b, or c (Fig. 194) 
 
CARPETS 
 
 291 
 
 J 111 IIJ 
 
 and must next be cut into strips midway between the ribs. Sometimes 
 this is done in the loom as the cloth is being woven, by having cutting 
 knives arranged to divide it as it passes over the breast beam ; but it 
 is usually taken off in the 
 
 piece and cut afterwards in a ^ U '{ W k 
 
 machine for the purpose. The 
 piece is fed through rollers in 
 the cutting machine over a 
 grooved roller, shown at b 
 (Fig. 195), the grooves being 
 at such a distance apart that 
 the ribs of the piece will fall 
 into them. Above this roller 
 is a set of cutting blades 
 fixed in a spiral form round 
 a roller ; one of these blades 
 is shown at a (Fig. 195), with 
 a section of the roller. The 
 blades are set at such a dis- 
 tance apart that when revolv- 
 ing they fall into the cuts in 
 the roller b, and running at a 
 high speed they sever the piece 
 into strips as it passes through 
 the machine. 
 
 So far the process is alike 
 for all classes of chenille work. 
 
 The weft is now in strips similar to that shown at a (Fig. 196) if for 
 carpets, and much smaller if for curtains or shawls. For ordinary 
 chenille the weft is next twisted so as to make the projecting fibres 
 stand out round the rib or core, and when finished it has the appear- 
 ance shown at b (Fig. 196). If for carpets, the fibres are, turned up so 
 that all will project in one direction, as shown at c and in the cross - 
 section at d. This is done by running the strips over a grooved roller, 
 as c (Fig. 195 ), which is heated with steam, and as the projecting ends 
 
 u 2 
 
292 
 
 JACQUARD WEAVING AND DESIGNING 
 
 are doubled up by the grooves in the roller the heat sets them in this 
 position. The weft is now prepared, and is wound on bobbins and 
 Avoven in large shuttles. 
 
 The texture for chenille is the same as for plain cloth. A fine black 
 warp of cotton is used, with twenty to twenty-five threads per inch 
 (more or less, to suit the fabric required), and twelve to sixteen shots 
 per inch of the chenille weft are used, which must also be varied to 
 suit circumstances and the thickness of the weft used. The fibres or 
 
 Em. 196 
 
 points of the thread of weft project through the warp, and a pile fabric 
 is produced which should entirely conceal the warp on both sides of 
 the cloth. For carpets the pile is, as a rule, only allowed to project on 
 one side, though some rugs are made with a twisted chenille weft, and 
 the" colours on it are shown partly through the backing as the fibres of 
 the thread get mixed up with the ground or backing in weaving, l)ut 
 usually all the pile projects through to the face. 
 
 The texture for patent Axminster carpets is shown at a (Fig. 197), 
 
CARPETS 
 
 293 
 
 and sections of the cloth through the weft are shown at b and c in the 
 same figure, b is a section of the texture a with two picks between 
 the pile or chenille picks, and c is for a coarser description of work 
 with four ground picks between the pile picks. In A only the ground 
 texture is given complete ; the pile weft p lies over the picks / /, and 
 is bound down by a fine black stitching thread c, which passes over it 
 
 bib 4 ' 1 
 
 
 
 m 
 
 
 
 T!T 
 
 
 d d d d d 
 
 I 0 f 
 
 Fig. 197 
 
 and under the picks cj g. The different thicknesses of the threads are 
 represented in the drawing : c are cotton, and the others hemp, flax, or 
 jute. There are about ten thick and ten fine warp threads per inch, 
 and five binding threads, and about seven chenille picks per inch, with 
 two ground picks between these. When there are four ground picks 
 between the pile picks the pile is coarse, and only about four picks per 
 inch are used. The chenille weft is wound on large wooden needles 
 
294 
 
 JACQUARD WEAVING AND DESIGNING 
 
 like huge netting needles, about 4 ft. long, so that it may come off with- 
 out any twist in it, and the weaver pushes these through the shed, lay- 
 ing the weft nicely in and combing it forward so as to get it straight 
 and even and have all the pile standing upright ; he then knocks in two 
 ground picks and puts in another pile thread, as before. 
 
 This is all hand-loom work, but power looms are sometimes used 
 for the purpose. The ground of the fabric can be woven with heddles, 
 as before, but the binding warp threads are through needles, somewhat 
 like gauze dents inverted, and not through the heddles ; and the beam 
 or spools containing them is above the loom in front. The chenille 
 weft is wound on a reel, and is through a guide or carrier. When the 
 chenille weft is to be laid in, the needles carrying the binders are raised 
 and the guide passed along, laying in the weft. The loom stands 
 stationary for a short time to give the weaver time to comb up the pile,, 
 and then moves on and throws in the ground picks. Everything is 
 (lone automatically but the combing up of the pile. 
 
 The foregoing is a description of chenille weaving provided no 
 pattern has to be attended to ; we must now consider the pattern. 
 
 The design paper used is the same as for ordinary work, with a 
 greater number of warp than weft threads, but it is ruled on a large 
 scale so that the pattern will be exactly cloth size. Fig. 198 is a sample 
 of this design-paper for seven picks per inch. The small checks, or 
 what in ordinary weaving would represent the warp threads, have here 
 no reference to them, nor do the warp threads require any consideration 
 when preparing the pattern. The narrow way of the checks is a guide 
 to the weaving of the weft threads. This paper might have been 
 square, seven by seven, and would thus suit for such a pattern as is 
 shown in Fig. 199 — supposing seven shots of chenille weft per inch to 
 be correct ; but there is an advantage in many cases to have it as it is,, 
 or even more off the square, say seven by twenty, which is one of the 
 papers used. This will be most readily understood by folloAving the 
 working out of the pattern. 
 
 The pattern given (Fig. 199) is necessarily very simple for want 
 of space. The different markings on the squares are to indicate 
 different colours. Here nine are used, but there may be any number 
 
CAIM'ETS 
 
 295 
 
 ■ — say from eight to twenty — tlie only restriction on the number of 
 colours employed is that so many shades of yarn are required to match 
 them, and that the weaver has a greater number of shuttles to pass over 
 when weaving the weft. When the pattern is painted it is cut cross- 
 ways into strips, as a, b, two rows of checks in each strip ; one row of 
 checks may be in each strip if desired ; but this is unnecessary, and 
 besides, they are more easily torn. These strips are a guide to the 
 weaving of the weft, just in the same way as the pattern in tapestry 
 carpet work is a guide to the printer. 
 
 The weaver takes a strip of the pattern and puts it through a widened 
 
 Fig. 193 
 
 c 
 
 Fig. 199 
 
 split in the reed and pins one end of it to the cloth ; to the other end 
 he attaches a cord and light weight, which he hangs over the back rail 
 of the loom so that the strip of design will be held steady and move 
 forward as the cloth is drawn up. The strip must be pinned to the 
 cloth so that the first check of the design projects over the fell of the 
 cloth. Suppose the strip to be a. Fig. 199 : c is the first check ; the 
 weaver sees that this is black, and proceeds to weave the gauze with 
 black weft for the length of this check (one-seventh of an inch). The 
 next check, moving along the strip in the loom, or from left to right 
 on the design, is a different colour, say scarlet ; the weaver changes his 
 shuttle and weaves as many checks as there are of this colour, which 
 
296 
 
 JACQUARD WEAVINa AND DESIGNING 
 
 in this case is only one. Another change of shuttle is made, and so on 
 till the end of the strip is reached ; it is then turned, the other end of 
 it heing brought to the fell of the cloth, and the checks on the second 
 line of the design are woven in order as before, only they must run from 
 right to left on the design instead of from left to right, as the first line 
 did, which will be caused by the turning of the strip of paper ; for it 
 must be borne in mind that if the first shot of chenille weft is put into 
 the carpet from left to right, the next one will be put in from the 
 reverse side or from right to left, so that all the odd numbers of lines 
 on the design-paper should be begun by the weft weaver at the left- 
 hand side, and all the even numbers at the right-hand side, provided 
 the weaver works in this way ; in any case one must be the reverse 
 of the other. When all the strips of the pattern are woven, each 
 rib of the piece of weft will be long enough to weave as many shots 
 as are in one repeat of the pattern, and if there be 40 ribs in the 
 piece, it would, when cut up, furnish weft for 40 repeats of the 
 pattern. For weaving this weft large needles are used, somewhat 
 similar to netting needles, which are about 4 ft. long for wide looms ; 
 the chenille is wound on these, free from twist, and muse be put on so 
 that it will come off correctly to suit the pattern. The strips of chenille 
 are marked to show which end is to be put on the needle first. These 
 needles are pushed through the shed by the weaver when weaving the 
 carpet— put in at one side and drawn out at the other. He lays in the 
 weft as correctly as possible, combing it up to the fell of the cloth, and 
 makes the colours fall in nicely together, draAving it tighter or leaving 
 it slacker as is necessary. Now the advantage of using the special 
 design-paper will be more readily understood. It is plain that if 14 
 by 7 design-paper be used, instead of 7 by 7, any of the colours may be 
 changed in j\ in. on the design ; and also in the chenille weaving, when 
 it is desirable to do so, instead of in each i in. when 7 by 7 paper is used. 
 And if 20 by 7 paper were used, the changes might be still more fre- 
 quent ; besides, in flowing patterns the advantage also comes in to 
 assist in getting the forms more correct, in the same way as paper over 
 square in either warp or weft assists in getting the form of the figure 
 in damask designing over that where only the coarser way of the paper 
 
CARPETS 
 
 297 
 
 square is used ; though the effect is not by any means so satisfactory 
 as if the paper were finer both ways, and square. Yet when one way 
 is fixed by circumstances it is in many cases preferable to alter it in 
 the other way than to leave both alike coarse ; but not always so, as, 
 for example, the pattern given in Fig. 199. When these carpets are 
 woven they are passed through a shearing machine, which makes the 
 surface of the pile quite level. They are rich handsome carpets, as 
 well as very durable. 
 
298 
 
 JACQUARD WEAVING AND DESIGNING 
 
 CHAPTER XI 
 LAPPETS AND SWIVELS 
 
 Lappet and Sioivel Weaving. — The only classes of figured weaving" 
 of any importance not already mentioned are lappet and swivel work^ 
 both of which are very limited, but produce good effects. With lappets, 
 figures can be put on light fabrics without requiring any cutting off" of 
 the surplus yarn. It is principally in the muslin trade that they are 
 used, for figuring Indian fabrics with gay colours. The principal seat 
 of the manufacture in this country is about Glasgow. The figure is 
 formed by an extra warp drawn through one or more frames of gauzing 
 needles set in the lay in front of the reed, which can be moved to 
 either side as desired. The pattern is cut on a large wooden wheel or 
 disc, in the face of which a groove is cut to form the pattern, and a 
 traveller working in this groove, and connected with the needle frame, 
 slides the needles to either side and stitches the figuring warp into the 
 cloth, the needles rising and falling as the cloth is being woven. The 
 figure is rather loose and only suited for simple effects. A description 
 of the process of working can be found in Murphy's or Gilroy's works 
 on weaving, and is interesting, though rather out of date. Swivel work 
 is of a much better class, though not so suitable for getting small figures,, 
 as spots short distances apart. But it gives a much better bound figure 
 — in fact, it maybe bound in any Avay — and is very suitable when a few 
 are required on the fabric, such as crests, or any figures in the corners 
 or centres of handkerchiefs, napkins, etc. These are weft figures and 
 usually of a different colour to the ground of the fabric, which may be 
 either plain or figured. These figures could be formed with an ordinary 
 box loom, cutting off the loose weft or binding it up to the ground cloth ; 
 
LAPPETS AND SWIVELS 
 
 299 
 
 hut the latter is useless for light fabrics, and the former leaves the 
 figure unbound round the edges. If the figure is large enough it can 
 be made in an ordinary check or pick-and-pick loom, and bound a& 
 with swivels. The swivels are small shuttles similar to those used for 
 weaving silk book-markers and such like fabrics, and are usually 
 attached to the hand rail of the lay of the loom. The swivel attach- 
 ment is fixed so that when a shed is opened the shuttle falls to pass 
 through it, or a second high shed may be opened for the swivel shuttle. 
 The shuttle is driven by means of a rack and pinion, the former being 
 in the shuttle, and the pinions fixed to revolve in the frame. When 
 the pinions are revolved the shuttle is drawn across. The breadth of 
 the figures must be considerably less than the length of the shuttle, so 
 that for large-sized figures this method of working is not suited. 
 
 CONCLUSION 
 
 Since the foregoing was written up to the present time (Sept. 1894) 
 nothing new worth describing has made its appearance. A few card 
 lacing machines have been brought out and several patents have 
 appeared in print, but most of these disappear shortly after. 
 
 No mention has been made in this work of Count Sparres' patent 
 card-cutting machine, which was to have done away with the necessity 
 of putting patterns on point paper by cutting the cards direct from the 
 sketch embossed on a metallic plate. This was a highly ingenious 
 machine, and under suitable conditions produced very fair work, but 
 so far it has proved rather expensive to the company that took it up. 
 
 Another process to obtain similar results, patented by Messrs. 
 Dawson and Adams of Macclesfield, was described in the ' Textile 
 Manufacturer ' in 1893. In this process a perforated plate is filled with 
 small pins ; a piece of strong paper is laid over this, and over the paper 
 another plate. The pattern is formed by pushing the pins through 
 the paper between the plates. A large portion of this work can be 
 done by mechanical means. When all the pins required for the 
 pattern are pressed through the paper, the top plate with the sheet of 
 paper is turned upside down, the pins sticking in the paper. By run- 
 
300 
 
 JACQUAEU WEAVING AND DESIGNING 
 
 ning a roller over the paper the pins can be pressed out of it and into 
 the plate. This plate is then put into a reading and punching machine, 
 and by suitable mechanism the pins can be brought to act on eitheir a 
 card-punching apparatus or on the harness of a pattern loom ; so the 
 manufacturer can have a sample of the cloth woven without any cards 
 and can have the cards cut for the factory loom afterwards if he re- 
 quires them. The cards can be punched at the rate of 2000 per hoiur. 
 
 By means of a pattern cut out of a plate of wax, and a reading in 
 machine, the filling of the pins into the plate, or the hand reading as 
 it is called, can be dispensed with. 
 
 It has since been stated that this firm are now trying to perfect- a 
 process which was tried thirty years ago, viz. to paint the pattern 
 with electric paint which is to act on needles charged with electricity. 
 
 These are all highly ingenious inventions, and are interesting to 
 those who do not lose too much by them ; but it will require a nice 
 machine to produce all the variations in a pattern that an experienced 
 designer can, though in many patterns this could be dispensed Avith, 
 and suitable mechanical means may yet be devised to take a share 
 of the work. 
 
INDEX 
 
 AxiiiNSTER carpets, 26G, 288 
 
 B.uutEL or cylinder loom, 17 
 Beeting a harness, 89 
 Bessbrook machine, 185 
 Border design, 97, 100, 115, 134 
 — mountings, 105 
 Bouchon's loom, 18 
 Brussels carpets, 27() 
 
 Cakds, 51, 147 
 Card cutting, 139 
 
 — — machines, 143 
 
 (Count Sparres'), 299 
 
 — (French), 167 
 
 — frames, 47, 15() 
 
 — lacing, 139 
 ■ machines, 148 
 
 — repeating machines, 149 
 Carpets, 264 
 
 - chenille, 290 
 
 — Axminster, 266, 288 
 
 — Brussels, 276 
 
 — Indian, 265 
 
 — Ingrain, 269 
 
 — Kidderminster, 266 
 
 — patent Axminster, 289 
 
 — Persian, 265 
 
 — royal Axminster, 288 
 
 — Scotch, 266 
 
 — tapestry, 285 
 
 — Turkish, 265 
 
 — Wilton, 284 
 Centred tie, 97 
 Chenille, 290 
 Comb draw loom, 16 
 Comber boards, 82, 103 
 Cross-border jacquard, 155 
 Cross's counterpoise harness, 14 
 
 Camber boards, 82, 103 
 Curtains and tapestries, 248 
 Cylinder motions (horizontal), 44 
 
 — (self-acting), 36 
 
 — (slide), 43, 57, 61 
 
 — (swing), 33, 56, 58 
 
 — to set a, 40, 43 
 
 Designing and draughting, 110 
 
 — hints on, 120 
 Design paper, 112 
 
 — to prepare a, 115 
 Designs, 94, 97, 100 
 
 — for dress goods, 122 
 
 — for gathered borders, 97 
 
 — for single borders, 100 
 
 — (repeating), 94, 122 
 ^- (texture), 124 
 Double cloth, 233 
 jacquard, 241 
 
 — wai'p faced cloth, 237 
 
 — weft faced cloth, 235 
 Draughting a pattern, 115 
 Draw loom, 3 
 
 French, 24 
 
 Drawing in a warp, 99 
 
 Falcon's loom, 19 
 
 French card, 51 
 
 cutting machine, 167 
 
 — draw loom, 24 
 
 — jacquard, 49 
 Full harness, 69 
 mountings, 69 
 
 Gatheeee tie, 97 
 Gauze, 196 
 
 — to design a pattern, 215 
 
 — harness (hand-loom), 203 
 
 — — (power-loom), 205 
 
302 .TACQUAKD WEAVING AND DESIGNING 
 
 Gauze, jacquarcl, 214, 223 
 
 — patterns, 197, 198, 217 
 
 — reed, 225 
 ■Gritfes, 37, 52 
 
 HAiR-line patterns, 129 
 Half-harness, 69, 169 
 Harness, drawing warp into, 99 
 
 — illustrations of, 96, 98, 102, 191 
 
 — to prepare a, 71 
 
 — to tie up a, 87 
 
 — (double cloth), 233 
 ~ (full), 69 
 
 — (gauze), 203, 205 
 
 — (half), 69, 169 
 
 — (muslin), 169 
 
 — (pressure), 70, 174 
 
 — (quilting), 233 
 
 — reeds, 82 ■ 
 
 — (split), 62, 172 
 • — twine, 75 
 Hecks, 77 
 
 Hole board, 83 
 
 Hooks for jacquard, 38, 39, 52, 59 
 
 — in double-acting jacquard, 55, 59 
 
 Indian carpets, 265 
 Ingrain carpets, 269 
 Introduction, 1 
 
 Jacquard' s machine, 23 
 .Jacquard machines, 27 
 
 — (cross-border), 155 
 
 — (double-acting), 52 
 
 — (double cloth), 241 
 
 — (double-acting with two cylim 
 
 — (French), 49 
 
 — (gauze), 214 
 --- (Karl Weill), 192 
 
 — (leno), 214 
 
 — (open-shed), 161 
 
 — (quilting), 241 
 
 — (twilling), 185 
 
 — (Verdol), 163 
 
 — cards, 50 
 
 — cylinder, to set a, 40, 43 
 
 — hooks, 38, 39, 52, 59 
 
 — interior of, 38 
 
 — needles, 38, 39, 52, 59 
 
 — shedding, 60, 62 
 
 — stop motion, 64 
 
 — to set a, 43, 46, 76 
 
 Karl Wein jacquard, 192 
 Kidderminster carpet, 266 
 
 Lacing cards, 139 
 
 — machine, 148 
 
 — twine, 147 
 Lappet weaving, 298 
 
 • Lashing a pattern, 9 
 Leno jacquard, 214 
 Letters, mottoes, Ac, 136 
 Levelling frames, 85 
 
 j — the mails, 86 
 
 I Lingoes, 72, 74 
 
 I London tie, 96 
 
 Marking off a cumber board, 103 
 j Marseilles quilt, 246 
 j Matelasses, 246 
 
 Mottoes and letters, 136 
 
 Mountings, 69 
 
 Muslin harness, 169 
 
 Neck of harness, 79 
 Needles, 38 
 Norwich tie, 95 
 
 Open-shed jacquard, 161 
 
 Quilting, 247 
 Quilting harness, 233 
 
 Reading a pattern, 9 
 Eepeat of a pattern, 94 
 Repeating machines, 149 
 Reversing motions, 45 
 Royal Axminster carpets, 28' 
 
 Scotch carpets, 266 
 i Set of harness (to vary), 106 
 
 Paints for patterns, 116 
 I Parrot machine, 11 
 j Patent Axminster carpet, 289 
 j Pattern, to draught a, 115 
 
 Patterns (carpet), 280, 282-3 
 : — (gauze), 197, 217 
 i — (hair-line), 129 
 j -- (spot), 130 
 — (texture), 124 
 ders),58 Persian carpets, 265 
 Piano machine, 145 
 Pile work, 259 
 ; Point paper, 112 
 Poplins, 252 
 Pressure harness, 174 
 
INDEX 
 
 303 
 
 ^4etting a jacquaid, 43, 46, 76 
 Bhading lioral forms, 118 
 Shedding of jacquards, 62 
 Simple (draw loom), 3 
 Slabstock, 85 
 Sleepers, 73 
 
 Slips (comber board), 83 
 Split harness, 172 
 Spot patterns, 131 
 Spring hox, 42 
 Stop motion, 64 
 Suggestions on design, 120 
 Swivel weaving, 298 
 
 Tail cords, 54 
 Tapestry (real), 255 
 
 — carpets, 285 
 
 — curtains, 248 
 Terry pile, 260 
 
 Texture patterns, 124 
 Tie of a harness, 93 
 Trap board, 15 
 Turkey carpets, 265 
 Turkish towels, 260 
 Twilling designs, 117, 133 
 — jacquards, 185 
 Twills for damask, 181 
 Tying up a harness, 87 
 
 Varnishing a harness, 92 
 Varying the set of a harness, 106 
 Vaucanson's loom, 22 
 Verdol jacquard, 49, 163 
 
 Wilton carpets, 284 
 Wiring cards, 153 
 Woollens and worsteds, 248 
 
 PKixTEi) isy 
 
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