THOMAS WOOD & CO. I FAIRMODNT MACHINE WORKS, 22d & Wood Sts., PtiiladelphLia, Pa. POWER LOOMS. SHA PATENT Patent Bobbin Winding Machines. Patent Cop Winding Machines. Improved Presser Beaming Machines. Plain Beaming Machines. Improved Reels for Wool, Worsted, Cotton, Linen, etc. Ii I pRflNKLiN Institute LmR/iRT FHIL/lbELrtllA Class (^3 7 ^ Book Accession ./v3 Article V.— The Library shall be divided into two clas.ses ; the first comprisin<; such works as, from their rarity or value, should not be lent out, all unbound periodicals, and such te.xt books as ought to be tound in a library of reference except when required by Committees ot the Institute, or by members or holders of second class stock, who have obtained the sanction of the Committee. The second class shall include those books intended for circulation. Article VI.— The Secretary shall have authority to loan to Members and to holders of second class stock, any work belonging to the skcond CLASS, subject to the following regulations: Section 7. —No individual shall be permitted to have more than two looks out at one time, without a written permission, signed by at least two members of the Library Committe ; nor .shall a book be kept out more than two week.s ; but if no one has applied for it, the former bor- rower may renew the loan. Should any person have applied for it, the latter shall have the preference. i ^ i. Section 2— A fine of ten cents per week shall be exacted tor the detention of a book beyond the limited time ; and if a book be not re- turned within three months it shall be deemed lost, and the borrower shall, in addition to his fines, forfeit its value. Section 5.— Should any book be returned injured, the borrower shall pay for the injury, or replace the book, as the Library Committee may direct ; and if one or more books, belonging to a set or sets, be lost, the borrower shall replace them or make full restitution. Article VII.— Any person removing from the Hall, without permis- sion from the proper authorities, any book, newspaper or other property in charge of the Library Committee, sh ill be reported to the Committee, who may inflict any fine not exceeding twenty-five dollars. Article VIII.— No member or holder of second class stock, whose annual contribution for the current year shall be unpaid or wlio is in arrears for fines, shall be entitled to the privileges ot the Library or Reading Room. . i v, n Article IX.— If any member or holder of second class stock, shall refuse or neglect to comply wiih the foregoing rules, it shall be the duty of the Secretary to report him to tlie Committee on the Library. Article X.— Any Member or holder of second class stock, detected in mutilating the newspapers, pamphlets or books belonging to the Insti- tute shall be deprived of his right of membership, and the name ol the ollender shall be made public. ETC. FLANG/. ■ liUiii!!!!!!! "I MANUFACTURERS OF Single Lift Jacquard Machines, Double Lift Jacquard Machines, Raise and Drop Jacquard Machines, O Witch Motions, Dobby Machines, Heddle Machines, Jacquard Card-Lacing Machines. PIANO STEAM-POWER CAI STAMPING MACHINE. For Jacquard Cards. The speed is comp'etelv at the > of the operator, and wdl punch high as lyosirokes per minute. T capacity is about double that o foot-power machine. Two cards can be stamped at once. urup arc especially aaapte 1 to weaving the finest silk and worsted goods. PIANO FOOT-TREADING ARD-STAMPING MACHINE. I have lately re-constructed this achine, making it more compact by a novel and durable escapement of the rack. The only successful machine ever introduced for this pupose. Far superior to hand lacing for regu- larity and durability. Light-running, simple and durable. Can be operated by a small girl or boy. Will lace 800 to 2000 cards per hour. Thoroughly and satisfactorily tested. Weighs about 500 pounds. Machines now in operation and ready for the inspection of manufacturers. Machines placed on trial with re- sponsible parties. JACQUARD CARD-LACING MACHINE. Nos. 14: to 36 Canal Street, PtilladelpLiia, Pa. {Take red car on Third Street to Frank ford Avenue and Canal Streets.) KNOWLES LOOM WORKS, WORCESTER, MASS. ~-sof LOOMS FOR ALL STYLES OF WEAVING THE ILLUSTRATION ON THIS PAGE REPRESENTS OUR HEAVY WORSTKD LOOlVr. Of Twenty-five or Thirty Harness Capacity 4x4 Box, with Single or Double Beam, /nade from new and heavy patterns and fitted with every device that experience has shown to be practical, while we have striven not to overload it with useless attachments which would be a source of vexation or expense by reason of breakage. The Loom is built with Entire New Driving Gears, Friction pulley if desired, Positive Box Motion, Heavier Upright Shaft and Gears, complete system of Positive and Conditional Take-up Motions, Filling Stop Motion, Equal Driving Gears for crank and bottom shafts, and other new devices which combine to make this the very best loom in the market, and one upon which we guarantee to weave every variety of fabrics from the simplest to the most intricate that can be woven on any loom in the world. This Loom is also arranged with Jacquard for more extensive and intricate patterns in Fancy Worsteds, etc. The Superiority of the Open Shed principle of weaving has been fully established by the success of this loom, and we are more fully persuaded than at the first that it is the true theory. The ver- dict of the numerous manufacturers who have them in successful operation is ;ufiicient guaranty of the merits of the loom. (Send for CircU-lar.) MANUFACTURERS OF Single Lift Jaequard Machines, Double Lift Jaequard Machines, Raise and Drop Jaequard Machines, o AA/itch Motions, Dobby Machines, Heddle Machines, Jaequard Card-Lacing Machines. PIANO STEAM-POWER CARD- STAMPING MACHINE. For Jacquard Cards. The speed is completely at the will of the operator, and will punch as high as lyosvrokes per minute. The capacitj is at out double that of a foot-power machine. Two cards can be stamped at once. JACQUARD MACHINES. Made for weaving figured goods of all kinds, from the light- est to the heaviest, either for silk, cotton or wool. Single lift, double lift or raise and drop machines. Harness tied up and made ready to set on looms of any make. Our raise and drop are especially adapted to weaving the finest silk and worsted goods. PIANO FOOT-TREADING CARD-STAMPING MACHINE. I have lately re-constructed this machine, making it more compact by a novel and durable escapement of the rack. The only successful machine ever introduced for this purpose. Far superior to hand lacing for regu- larity and durability. Light-running, simple and durable. | Can be operated by a small girl or boy. Will lace 800 to 2000 cards per hour. Thoroughly and satisfactorily tested. Weighs about 500 pounds. Machines now in operation and ready for the inspection of manufacturers. Machines placed on trial with re- sponsible parties. JACQUARD CARD-LACING MACHINE. Nos. 14 to 36 Canal Street, PhLiladelphiia, Pa. (Take red car on Third Street to Frankford Avenue and Canal Streets.) KNOWLES LOOM WORKS, WORCESTER, MASS. BUILDERS OF LOOMS FOR ALL STYLES OF WEAVING THE ILLUSTRATION ON THIS PAGE REPRESENTS OUR H EAVY WORSTED LOOM. Of Twenty-five or Thirty Harness Capacity 4x4 Box, with Single or Double Beam, made from new and heavy patterns and fitted with every device that experience has shown to be practical, while we have striven not to overload it with useless attachments which would be a source of vexation or expense by reason of breakage. The Loom is built witli Entire New Driving Gears, Friction pulley if desired. Positive Box Motion, Heavier Upright Shaft and Gears, complete system of Positive and Conditional Take-up Motions, Filling Stop Motion, Equal Driving Gears for crank and bottom shafts, and other new devices which combine to make this the very best loom in the market, and one upon which we guarantee to weave every variety of fabrics from the simplest to the tnost intricate that can be woven on any loom in the world. This Loom is also arranged with Jacquard for more extensive and intricate patterns in Fancy Worsteds, etc. The Superiority of the Open Shed principle of weaving has been fully established by the success of this loom, and we are more fully persuaded than at the first that it is the true theory. The ver- dict of the numerous manuficturers who have them in successful operation is sufficient guaranty of the merits of the loom. (Send, for Circialair.) KNOWLES LOOM WORKS, WORCESTER, MASS. THIS ILLUSTRATION SHOWS OUR VELVKT AND PLUSH LOOM. A Loom designed especially for this class of goods, and made with 12, 20 or 30 harness capacity and with Single Box at each end, or Double Stationary Boxes at each end designed to run two shuttles at each pick, or with two or three pairs of Drop Boxes at each end, arranged to use two shuttles at each pick and call either pair as required by the pattern. THE HARNESS AND BOX MOTION ARE THE SAME AS ON THE FANCY WORSTED OR CASSIMERE LOOM. The goods are cut automatically in the loom. The Take-up Motion is positive and very accu- rate in its operation, and the Let-off for Pile Warp is operated positively from the head motion, and controls the length of the pile on the goods. Many of these looms are in successful operation on this class of goods. We desire most respectfully to call the attention of Textile Manufacturers to the various Looms built by this Company for all kinds of fabrics, including Worsteds, Woolens, Dress Goods, Flannels, Blankets, Jeans, Ginghams, Uphol- stery, Draperies, Shawls, Ingrain Carpets, Silks, Satins, Ribbons, Suspenders, Bindings, Wickings, Webbings, etc., which have within the past years been introduced into most of the mills in the country, and where they have, by superior workmanship and perfect operation, won for themselves the reputation of being the best looms made, and established beyond question the claims made for them on their introduction to the public many years ago. (Correspondence Solicited). ERBEN, SEARCH & CO., PhiiladelphLia., Pa.. FAIRMOUNT WORSTED MILLS. Mills, 2416 Spring Garden Street. TACONY WORSTED MILLS. Mills, Tacony, Philadelphia, Pa. Worsted Yarns — Englisln or Krench Systems; Also Woolen, Mohair, Merino and Genapped Yarns. Delivered on Cops, Shuttle Bobbins, Skeins, Six-inch and Dresser Spools, in Oil or Colors. Technology of Textile Design. Being a Practical Treatise on the Construction and Application of Weaves for all Textile Fabrics, with minute reference to the latest Inventions for Weaving. Containing also A.n Appendix showing the Analysis and giving the Calculations necessary for the Manufacture of the various Textile Fabrics. —BY— E. A. POSSELT, Consulting Expert on Textile Designing and Manufacturing, Professor of the Advanced Study in Textile Designing and Lecturer on the Structure of Fibres and the Manufacture of Yarns and Fabrics at the Textile Department of the Pennsylvania Museum and School of Industrial Art, Phila- delphia ; Author and Pulilisher of "„TiU" Structi;re^of Fibres, Yarns and Fabrics;" "The Jacquard Machine Analysed ^Xnp' Fap^aiije*:) ; T.Je PR'!;pARA''.ioti of Jacquard Cards, and Practical Hints to LEAkNERS of jACQt'nRi) JJpsiGNii^G,'/ Etc. , WITH OVER 1006 il^LUSTkATldNS. FOOHTH EDlTICfl. PHILADELPHIA: E. A. POSSELT, Author and Publisher, 2152 N. i'wenty- first Street. LONDON: Sampson Low, Marston, Searle & Rivington, Limited, St. Dunstaii's House-, Fetter Lane, Fleet Street. 1892. COPYt^IGHTHED, 1888. BY lafe aETTY CENTER . .. LIBRARY PREFACE TO THE FIRST EOITION. An experience of several years as Principal of The Textile Department ot the Pennsylvania Museum and School of Industrial Art, has shown the author of this work the necessity and value of a Text-book on Textile Designing and Weaving. The absence of any such guide to the study has induced him to prepare this work, which he trusts will be useful not only to the student as a Text-book, but also to the manufacturer as a book of reference. The results arrived at by the completion of this work, will be greatly enhanced in their value to practical men, when assured that a life-time of actual service in the mills of this country and Europe has been enjoyed by the author, and that the ripe experience of such practical knowledge has been closely interwoven with the results herein fully set forth. The favor so generously accorded his previous book entitled "The Jacquard Machine Analyzed and Explained ; the Preparation of Jacquard Cards, and Practical Hints to Learners of Jacquard Designing," greatly encouraged him in the prepara- tion of this work, and it is sent forth with the earnest desire that it may likewise win the approval of the public and aid in developing and extending a deeper interest in the subject. While much indebted to his many friends for their kindly hints and suggestions, he more particularly acknowledges the services of Mr. Theodore C. Search, who has been so unremitting in his zeal for the advancement of the work, and through whose generous assistance the author has been enabled to reach a more speedy termination of his labors. Philadelphia, Pa., November, 1888. PREFACE TO THE FOURTH EOITION. The quick sale of the first three editions of this work, in the short time of only three years, clearly demonstrates the favor which "Technology of Textile Design" has found amongst all interested in Textile industries. Philadelphia, December, 1891. / O o S3 CONTKNTS. PAGE. Divisions of Textile Fabrics, According to their Construction, Squared Designing Paper for the Different Textile Fabrics 9 Foundation Weaves, Tlie Plain or Cotton-Weave 13 Fancy Effects Produced with the Plain Weave, 14 Twill Weaves fMethod for their Construction), 16 Combinations of Two or More Colors for Producing Figured Effects upon Fabrics Interlaced on Twills, 22 Satin Weaves (Method for their Construction), 25 Influence of the Twist of the Yarn upon Fabrics Interlaced with Satin Weaves, 29 Arrangement for Commencing the Satin Weaves for Special Fabrics, such as Damask Table Covers, Etc. , 29 "Drawing in the Warp in its Harness" and the Preparation of Dravving-in Drafts. The Harness, 31 Principles of a Drawing-in Draft, 31 Different Divisions of Drawing-in Drafts 32 Sub-Divisions of Fancy Drawing-in Drafts, • 32 A. — Broken Draws, 32 B. — Point Draws, , . . 33 C. — Drawing-in Drafts having a Section Arrangement, 34 D. — Skip Draws, ". 35 Mixed or Cross Draws, 35 Specimen of a Complete Drawing-in Order, 35 Drafting of Drawing-in Drafts from Weaves, 36 Rules for Estimating the Number of Heddles Required on Each Harness, 38 The Reed, and Reed Calculations, 39 Derivative Weaves from the Plain or Cotton Weave. L — Common Rib-Weaves, 41 II. — Common Basket-Weaves, 42 III. — Fancy Rib-Weaves, '. . 43 IV. — Fancy Basket-Weaves, 4=; V. — Figured Rib-Weaves, . 46 Effects Produced by Using Two or More Colors in Warp and Fil ing in Fabrics Interlaced upon Rib and Basket-Weaves 48 VI. — Oblique Rib-Weaves, 50 Combining Common, Rib and Oblique Rib-Weaves, , . 51 CON TENTS. — Continued. Deri VATivE Weaves from the Regular Twills. page. I.— Broken Twills, 52 Using Two or More Colors in Warp and Filling for Producing Eflects in Fabrics Interlaced with Broken Twills 55 II, — oteep Twills or Diagonals, 56 III. — Reclining Twills, 60 IV. — (Curved Twills 62 v.— Skip Twills, 63 VI — Combination Steep Twills, 67 VII.— Corkscrew Twills, 68 VI II. — Entwining Twills, 75 IX. — Twills having Double Twill Effects, 77 X. — Twills Producing Checker-board Effects, 78 XI. — Fancy Twill Weaves, So XII.— Pointed Twills 81 Derivative Weaves from Satins. Double Satins, 84 Granite Weaves 85 Granite Weaves as Constructed by other Methods than having Regular Satins for their Foundaiioii, . 88 Combination of Different Systems of Weaves for One Design, 90 Figured Effects upon Fabrics interlaced with Derivative Weaves Produced by Arrangement of Two or More Colors in the Warp or the Filling, or in Both at the Same Tinu, 93 Single Cloth Weaves for Fabrics of a Special Construction and Peculiar Chvractek. Honeycomb Weaves, 98 Imitation Gauze Weaves, 102 Combination of Weaves for Fabrics Constructed with One Syste.vi of Warp and Two Systems of Filling. Combining Two Systems of Filling with One Kind of Warp for increasing the Bulk in a Fabric, . . 105 Combining Two Systems of Filling with One Kind of Warp for Figuring with Extra Filling upon the Face of the Fabric, 108 Swivel Weaving, 109 Combination of the Swivel Effect with figuring through the Warp, iii Swivel Loom, in Combination of Weaves for Fabrics Constructed with Two Syste.ms ok Warp and One System of Filling. Two Systems of Warp and Ons System of Filling for Producing Double faced Fabrics, . . . 1 14 Using an Extra Warp for B.icking for Heavy-weight Worsted and Woolen Fabrics, . . . • 115 Figuring with an Extra Warp upon the Face of a Fabric Otherwise Interlaced with its own Filling, 117 Lappet Weaving, 123 Tricot Weaves, 126 CO NTENTS.— Continued. Double Cloth. page. Description of the Construction and tlie Purposes for Making Double Cloth Fabrics, .... 129 Rules for Designing Double Cloth Weaves, 130 Double Cloth Weaves having for their Arrangement One End Face to Alternate with One End Back in Warp and Filling, 132 Double Cloth Composed with Different Proportions of Face and Back Threads 134 Double Cloth Weaving without Stitching both Fabrics, . 137 Double Cloth Fabrics in which the Design is Produced by the Stitching Visible upon the Face of the Fabric, 138 Rib Fabrics, 142 Three-Ply Fabrics, 146 Four and Five-Ply Fabrics, > . 147 Pile Fabrics. Pile Fabrics Produced by Filling. Velveteens, Fustians, Corduroys, 149 Chinchillas, Whitneys, 152 Chenille as Used in the Manufacture of Rugs, Curtains, etc., 153 Chenille Cuttmg Machine, 15S Chenille as Produced in the Manufacture of Fringes, 160 Pile Fabrics in Which tlie Pile is Produced by a Separate Warp in Addition to the Ground Warp. Structure of Warp Pile Fabrics, 166 Terry and Velvet Pile, 166 Method of Operation in Producing Warp Pile Fabrics, 167 Velvet and Plush Fabrics, 160 Figured Velvet . 171 Astrakhans, 173 Machines for Curling Warp-tlireads for Astrakhans, 180 Tapestry Carpet 185 Brussels Carpet, 188 Double Faced Pile Carpits, ' 193 Double Pile Fabrics, 194 Terry Pile Fabrics, . 216 Pile Fabrics of a Special Method of Construction, 221 Two-Ply Ingrain Carpet, . 225 Gauze Fabrics. Principle of Their Construction, 228 Combination of Ordinary and Gauze Weaving, 231 Gauze Weaving Mechanism for Open-Shed Looms 237 Jacquard Gauze, 240 Cross Weaving for Chenille Fabrics 244 Cross Weaving as Used for the Manufacture of Filtering Bags, 246 Cross Weaving as Used for Producing Fast Centre Selvages, 247 The Jacquaru Machine, . 250 Modification of the Single-Lift Jacquard Machine, 252 Card Stamping, . . . ' 25^ The Jacquard Harness, 253 The Comber-board and Methods of Figuring for it, 254 Gobelin Tapestry, 256 CONTENTS.— Continued. APPENDIX. Analysis of the Various Textile Fabrics and Calculations Necessary for Their Manufac- ture. I. — Ascertaining the Weight Per Yard of the Finished Fabric, and its Finished Texture, . . 257 II. — Ascertaining the Weave, 259 III. — Ascertaining Raw Materials Used in the Construction of a Fabric, 261 IV. — Ascertaining the Texture for Fabrics as Required in Loom, 263 V. — Ascertaining the Arrangement of Threads in a Sample, According to Their Color and Their Counts, for the Warp and Filling, 264 VI.— Ascertaining the Size of the Yarns (their counts) Found in Sample, and the Amount and Direction of Twist 264 VII. — Ascertaining the Weight of Cloth Per Yard from Loom, 265 VIII. — Ascertaining the Process of Finishing Necessary and the Amount of Shrinkage of the Fabric, . 268 Grading of the Various Yarns Used in the Manufacture of Textile Fabrics According to Counts. I. — Cotton Yarns, 269 n. — Woolen Yarns, " Run System," 270 III. — Woolen Yarns, " Cut System," 271 IV. — Worsted Yarns, 272 v.— Silk 273 Rules for Finding the Equivalent Counts of a Given Thread in Another System. A. — Co: ton, Woolen and Worsted Yarn, 274 B^. — Spun Silk Compared to Cotton, Woolen or Worsted Yarn, 275 B^. — Raw Silk Compared to Spun Silk, Cotton, Woolen or Worsted Yarn, 275 Tables of Relative Lengths Of Cotton Yarn by Numbers and Woolen Yarn by Runs, . . . . ' 276 Of Cotton Yarn by Numbers and Woolen Yarn by Cuts, 276 Of Cotton Yarn by Numbers and Worsted Yarn by Numbers, 276 Of Woolen Yarn by Runs and Cotton Yarn by Numbers, • . . 277 Of Woolen Yam by Runs and Woolen Yarn by Cuts, 278 Of Woolen Yarn by Runs and Worsted Yarn by Numbers, 278 Of Woolen Yarn by Cuts and Cotton Yarn by Numbers, 279 Of Woolen Yarn by Cuts and Woolen Yarn by Runs, . . • 279 Of Woolen Yarn by Cuts and Worsted Yarn by Numbers, • . . 280 Of Worsted Yarn by Numbers and Cotton Yarn by Numbers 281 Of Worsted Yarn by Numbers and Woolen Yarn by Runs 282 Of Worsted Yarn by Numbers and Woolen Yarn by Cuts, 282 Miscellaneous Yarn Calculations, 283 Tables of Relative Measures for Length, Weight and Capacity Between the Metric Denominations and Those Used in the United States, 285 Index and Glossary, 287 Divisions of Textile Fabrics According to Their Construction. Every fabric, commonly classified as "woven," is composed of two distinct systems of threads (warp and filling) which interlace with each other at right angles. The arrangement of this interlacing is technically known as the " weave." All woven fabrics, as to their general principle of construction, can be graded in two great divisions : Fabrics in which one system of parallel threads is interlaced at right angles with a second system of parallel threads. (For illustration see diagram. Fig. I.) Fabrics in which threads of one of the before-mentioned two systems of threads, the warp, in addition to the interlacing, are- twisted with threads of its own .system. (For illustration see diagram, Fig. 2.) Fig. I. Fig. II. The first mentioned system of fabrics is divided into the following sub-divisions : Single cloth, double cloth, and three or more ply cloth, pile fabrics. Before commencing with the construction of the weaves, as required for the various textile fabrics, it is necessary to give an explanation of the purpose and use of the Squared Designing Paper for the Different Textile Fabrics, and its relation for indicating the method of interlacing warp and filling. In this n designing paper each distance between two lines, taken in vertical direction, represents one warp-thread, see Fig. 3; and each distance between two lines, taken in a horizontal direction, represents one filling-thread, see Fig. 4, 1st 2d 3d 4th Warp-thread. 4th Filling. 3d " 2d 1st Fig. 4. Fig. 3. (9) 10 1st 2d 4th Warp-thread. It will readily be seen by the student that the different small rectangles illus- trate the place where a certain warp- thread meets with a certain filling- thread. Thus in our illustration, Fig. 5, the rectangle marked a will indicate the meeting of warp-thread i and filling r. Rectangle marked d will indicate the meeting of warp-thread 2 and filling i. Rectangle marked c will indicate the meeting of warp-thread 3 and filling i. Rectangle marked d will indicate the meeting of warp-thread 4 and filling i. Rectangle marked e will indicate the meeting of warp-thread i and filling 2 1 Fig. 5. n 0 P }' 4th Filling i k I in 3d e f g h 2d a b c d 1st / g h i k I m n 0 P r 3 4 I 2 3 4 I 2 3 4 The classifying of the □ designing paper is done by enclosing a number of small r ectangles, horizontal and vertical, within a certain distance by a heavy line. Such enclosures are known in practice as "squares." In mentioning a certain kind of n designing paper, the warp dimension is indicated first, and a design paper having eight rectangles vertical, with eight horizontal, is variously read and indicated as 8 by 8, 8 x 8 or ^/g; a design paper having eight rectangles vertical, with ten hori- zontal, is read and indicated as 8 by 10, 8 x 10 or ^/lo- Diagrams Fig. 6 represent some styles of n designing paper frequently used. The size of the square may vary in each kind of paper, and must be selected according to the fabric. For example, there are two different styles of 8 X 8 n designing paper illustrated: one forming }4 inch heavy squares and one forming ^ inch heavy squares. These sizes may still be varied. The principle of these two kinds of n designing paper is identical, the size preferred being left to the pleasure of the designer. Certainly it will be understood by any student that in preparing a design or weave with a large number of threads for repeat, it will be advantageous to use a design paper containing the smallest sized rectangles practical to use. Practical Use of the Heavy Square in Designing Paper. The heavy square serves as a unit of measurement, as well as a means of calculation, and shows readily and exactly the size of the weave or design. The eye becomes accustomed to grasping the meaning of this large square, and comprehends at a glance the situation. For instance : 11 6x6 ^x8 6xJ2 6x3 6k7 4x J2 9k jo 6x 9 4x24 J0xJ2 JxJ6 Fig. 6. 12 On 8x8 paper 3 squares mean 3x8, or 24 rectangles each way; on 10 x lo paper 3 squares mean 3 x 10, or 30 rectangles each way, etc. In designing for regular harness work we generally use d designing paper containing the ( same number of rectangles each way; thus even paper, as 8 x 8, 10 x 10, 12x12, etc., withoi • taking into consideration the texture the fabric is constructed by. On the other hand the entire variety as shown are used, and accordingly selected from for the designing of textile fabrics requiring the Jacquard machine for their construction. For such fabrics we give a rule for Selection of Designing Paper. The proper character 01 the designing paper is ascertained by the number of warp and filling threads required per inch in the finished fabric. For example : a fabric with a texture when finished of ^ / no (80 ends warp and 120 picks per inch) will require a designing paper of corres- ponding proportion, or as 80 is to I20,=8 x 12. Diagram Fig. 5, and its previously given explanations, clearly illustrated the object of the small rectangles, /. e., the places of meeting for certain warp and filling threads. Two ways for interlacing of warp and filling in a fabric are possible: either we raise the warp-thread, thus allowing the filling to go under it, or lower the warp-thread and allowing the filling to cover it. In the first case the warp will be visible, prominent on the face of the fabric ; in the other, the filling. Through this exchanging of warp and filling as visible on the face of the fabric, technically known as " Raisers or Sinkers," we form the interlacing of both systems of threads, known as " the Weave." Rule: Indications of any kind in a certain rectangle inside the repeat of the weave upon the designing paper mean " warp up " in its corresponding place in the fabric. Rectangles left empty inside the repeat of the weave upon the designing paper mean "filling up" in its corresponding position in the fabric. Figs. 7, 8 and 9 are designed for illustration of the preceding rule and explanations. A. B. A. B. A. B. Fig. 7. Fig. 8. Fig. 9. Fig. 7 shows under A the enlargement of a warp-thread taken from a regular designing paper, and containing in its repeat 12 picks in rotation. A careful examination of the diagram, and commencing to read from the bottom, illustrates the warp-thread alternately down and up; also at B the reproduction of the warp-thread and necessary picks from a fabric. 13 Fig. 8 illustrates the design and working of a similar warp-thread with the same number of picks in repeat, but with the arrangement : One up two down, four times repeated=twelve picks. Fig. 9 illustrates the design and working of a similar warp-thread as used before with the same number of picks in repeat, but interlacing with the arrangement: Two up two down, three times repeated. The interlacing of both systems of threads, or, in other words, the different weaves are generally divided into 3 distinct main divisions (Foundation weaves) : The Plain, The Twills, The Satins ; forming the foundation of all the other sub-divisions of weaves classified as "derivative weaves." New weaves are also formed b)' the combination of weaves from the various sub-divisions, etc., thus forming a field impossible to cover in detail as respects each particular weave or special fabric ; but we will, however, by means of our future lectures, impart the principles for their construction, thus giving the student sufficient knowledge to master any and every combination required. W. Foundation Weaves. I. THE PLAIN OR COTTON-WEAVE. Fig. 10 represents a fabric constructed with the weave techni- cally known as " the plain'" or " the cotton-weave." In this diagram two distinct sets of threads, crossing each other at right angles and interlacing alternately, are visible. The threads running longitudinally (marked W), or lengthwa}'s in the fabric, are the warp-threads ; the traverse threads are the filling (indicated by Fig. 10. F in diagram.) Fig. II shows the design or pattern, executed correspondingly to fabric sample. Fig. 10. The shaded squares indicating warp up ; the empty squares representing filling up. ^'^^^^^^^^^^^^^^S ^' Fig. 12 is the section-cut of a fabric ^•^^'» Effect. a Diagram for explain- ing figs. 18, 19, 20, 21, ■□■□□□anooannaaa "■L .B a a c. Di. _ These effects are used to a large extent in the manufacture of ginghams, ladies' all-wool dress goods, as well as in the lightest qualities of fancy cassimeres. It will be easily understood by any student that a fancy color arrangement (dressing) of the warp will, in connection with one-color filling, produce corresponding stripes; therefore we will devote the attention at once towards the fancy color arrangement for warp and liUing. Among the simpler effects may be found what is technically known as a " hair-line" effect, and is derived through an alternate arrangement of i end light, I end dark in warp and filling. Each filling must cover its own color. Therefore when the shed of the warp is formed by the dark set of threads up, the light set of threads down, the light-colored filling must be interwoven. Again, if the dark set of threads are down and the light set of threads up, the dark-colored filling has to be thrown through the shed. Arrangement pjg jg iUustratcs the cffcct as produccd by this arrange- ment. If the interweaving of the filling, as explained in fig. i8, is changed to the other pick, we get the stripe effect across the fabric or in the direction of the filling. This effect, known as " imitation tricot," is illustrated in Fig. 19. By combining, alternately for certain spaces, the hair-line effect with the tricot effect, " checkerboard" effects are obtained. It will be readily seen, that the regular arrangement of repeating i light, i dark, will produce either one of the before-mentioned styles. Therefore, by allowing, in a distance of a certain numiber of ends (according to the size of ■ the effect), 2 ends from one color to be used, we will _■ change from one effect to the other. Fig. 20 illustrates one of the many styles possible I to be derived. There are 9 ends of warp and filling ! j::dddai for each effect, therefore 18 ends for the repeat. | Figs. 21, 22, 23 and 24 illustrate a few more of the [ many different effects which may be obtained. The I principle observed in exchanging the two main or foundation effects (hair-line and tricot) is left undisturbed. In Fig. 21 the arrangement of warp and filling is 2 ends light, 1 end dark, forming the broken-up " effect. Fig. 22 is constructed of 2 ends light, 2 ends dark, in the repeat of its color arrangement, and forms a "star" effect. □ :: ia [J, la 22, 23 and 24. Fig. i8. mrmn CM m m m cm m c- D> l: 1 L L' Fig. 19. '7. — '7r7^ "77'".PP ^ !?— J: ia c; ii ""I ^ m :: m :\ I: Z'ZZZZ'Z.'.Z.u Fig. 20. ■ ■ ■ ■ r [ 1 [ una □■a □ '"1. 1 aaa aa :■ ■ : i~ 1 . la ::a3 r-ia 'jaa : i aaa : i i!:ia ;:3 :;aa 1 JL. .53 Fk Fig. 23 is constructed as follows: Arrangement of warp. Fig. 22. 1 end light, 2 ends dark. Fig. 3 ends in the repeat. Arrangement of the filling : i pick light, to alternate with i pick dark, 2 picks in the repeat. 16 Fig. 24 is constructed as follows : Arrangement of the warp, 2 ends light, □HQ- □■■L Fiu. 24. 2 ends dark, 4 ends in the repeat. Arrangement of the filling : i pick light, to alternate with i pick dark. 2 picks in the repeat. Similar effects upon the plain weave, as illustrated in Figs. 18 to 24 inclusive, can also be arranged for 3 to 4, or more colors in warp or filling, or for both systems combined, for producing one effect. II. TWILLS. In twill weaves (or tweel from the French tuaillc) the warp and filling threads do not inter- lace alternately as in the plain weave, but only the third, fourth, fifth, etc., thread is used. The peculiarity of the twill weaves consists in having every successive pick interlace correspond- ingly with its successive warp-thread, thus ; If the first pick ties in the first warp-thread, the second pick must interlace in the second warp-thread, the third pick must interlace in the third warp-thread, etc. Continuing to design in this manner until all the harness required to be used are taken up will give us the " repeatr This manner of interlacing warp and filling will produce a distinct pattern upon the cloth, /. e., lines running in a diagonal direction across it. Comparing the twill weaves with the plain weave in respect to thickness of the cloth to be produced, will show that the twill weaves permit of the introduction of more material into the fabric, thus making it closer in its structure than the plain weave. The reason for it is found in the fact that in twill weaves the warp and filling interlace only at intervals of two, three or more threads, thus permitting the warp and the filling to lie closer together. We mentioned before that the twill weaves form diagonal lines on the cloth. These lines can be arranged to run from the left to the right or from the right towards the left. It will be the clearest visible to the eye in the fabric by using the twill in the weave the same direction of twist the warp-thread has. Twills commence with the 3-harness, and can after this be made on any number of harness. Various methods are in practical use in classifying common twills. The most proper course will be to divide the general system into two divisions : A. Uneven-sided twills, or twill weaves in which more or less warp-up indications appear on the design, compared with filling-up indications, or the amount of indications balance but the general arrangement is different in one compared with the other. For example: ^ 3 ' 1 — f » but differently arranged for each side. (For indicating this division of twills the letter u is used throughout the chapter.) B. Even-sided twills, or twill weaves in which the amount and arrangement of warp up and filling up is completely balanced. (For indicating this division of twills the letter e is used throughout the chapter.) ■■naan ■□■■DM 1 3 Fig. 25. 3-harness twill. n. Warp for face. nannan snnannM lannann 1 3 Fig. 26. 3-harness twill. Filling for face. Commencing the designing of twills on j-harness, we find one twill possible to be made upon it, which is the u twill : i down 2 up or i up 2 down ; also technically represented with warp face 1 filling face 7,, and weaves shown in Fig. 25 and Fig. 26. 17 Fig. 27 illustrates the plan of the fabric obtained with weave Fig. 26. Fig. 28 represents the longitudinal section cut of fabric shown in Fig. 27. Numbers as used on weave, fabric and section cut are selected correspondingly. A in section cut indicates warp-thread No. i in plan. Fig. 28. Fig. 27. ^-Harness Twills. — Examining four, we find 2 kinds of twills possible to be obtained: 1 down 3 up («), or I up 3 down {u), and 2 up 2 down {e), this being the first even-sided twill obtained. ■■■□■■■n 4aaanaaaa aaaaaaaa anaaanaa inaaanaaa 1 4 Fig. 29. 4-harness twill. _3 I Warp for face. 71. nnnannna □nannnan nannnang ananaann 4nnnBnnnB nnannnan □annnann lannnannn 1 4 Fig. 29a. 4-harness twill. I 21. 3 Filling' for face. gnaanaaa Baannaan aaanaann annaanna 4nnaannaa □aannaan aannaana lanaaanna 1 4 Fig. 30. 4-harness twill. 2 Warp and filling equal. Fig. 32. No. 1. Fig. 31 illustrates the fabric obtained with weave Fig. 30. Fig. 32 represents the longitudinal section cut of fabric shown in Fig. 31. A = warp-thread ^-Harness Twills. — In five-harness we find three difierent kinds of twills, as follows : Warp Face. Filling Face. I down 4 up {u), or i up 4 down {u). 3 up 2 down {u), " 3 down 2 up (?/). I down I up, I down 2 up {u), " i up I down, i up 2 down (k). 18 saaaHaaaaan aaanaaaana aanaaaanaa anaaaanaaa inaaaanaaaB 1 5 Fig. 33. 5 -harness twill. 4 u. aannaaanna aDDaaannaa ndaaannaaa □aaannaaan aaannaaann 5BanDaaBDDa annaaBDnaa nnBaanaaaa DaaanDBBan laaannaaaDti 1 5 Fig. 35. 5 -harness twill. 3 anaauBnaan naanaDflBDa aananaaDan anaDBBDana DBnaaDflDBB sanaanaDBfln DaaDBDflBDB aananaanan anaDBBDana iDBnaanaDaa 1 5 Fig. 37. 5-harness twill. I 2 V. I I □mnangnina nnnannnnan nnannnnanS nannnnannH anannaanDD snDnnananDa pnDBnnanaa DDBDnnDBDn naaDDnaann lamnnannnn 1 s Fig. 34. 5-harness twill. I maannDaan naannnBann aannnaannn annoaannna nnnaannDBB smBannnaag □aaannaann aanDDBBDnn anDDaanDDB inanaannnaa 1 5 Fig. 36. 5-harness twill. 2 — 11. 3 namaaanDB aDDBDanDan nDBnanDana naaaDDanan anaDDBDann snannananna anDBDannaa nnanannana nanaanaDan iBnaananann 1 5 Fiq. 38. 5-harness twill. I I ■ u. I 2 6-Harness Tivills. — On six-harness five different twills are found : Filling Face. 1 up 5 down 2 up 4 down («), I up I down, I up 3 down (//), or Warp Face. 1 down 5 up 2 down 4 up («). I down I up, I down 3 up □nnnaannnnna nnnnannnnnan nnnanunDDann nnannnnnanDn nannnnnannnn amanDBDnann ennnnnannnnna nnnnannnnnan nnnannnnnann nnannnnnannn nannnnnannnn lannnnnannnnn 1 6 Fig. 39. Warp and Filling equal. 3 up 3 down {e). 2 up I down, I up 2 down (1?). 6-harness I twill. u. aaaBanaaaBBn aBBBUBBBBBna BBaDBBBBBnaB BBDaBBBBnaaa BnaaBBBaflBBB nBBBaanaBaaa eaaaBaDBBBBan BBBanBaaaana BBBDBBBaBDaa BBUBBBBanaaa anBaBaanaaaa inaaaaanaaBBa Fig. 40. 6-harness twill. I u. Hnnanaannnna nnnDBBnnnnaa nnnaannnDaan nnaannnnaanu naannnnaannn aannnnaannnn eannnnaaonnna nnnnaannnnaa nnnaaannnaan nnaannnnaaun naaannaaanDn laannnnaannnu 1 G Fig. 41. 6-harness twill. 2 ■ — u. naaaannaaaan aaaannaaaann aaannaaaanna aannaaaannaa annaaaaanaaa nnaaaannaaaa eDaaaannaaBBn SBBannaaaann BannaBBaDDB annaaaanDBB BDDaaaanDBBB innaBBBnnaBBB. 1 6 Fig. 42. 6-harness twill. 2 u. nannnanannnH a~r — B-B ! nn: :b- ^b- "t -b- -a uum :■: :■' i DB' :■: i; 1 -Mvm: : 1 BDBLJijnBrjBncn enaunDBDannDB anDDBnannnan nDnananDnana naaDannnanan naaannDBDann lanannnanannn 1 6 Fig. 43. 6-harness twill. I I u. aDaaananaBBd naaaDaDBBBDa aaanaDBBBDan BanBaaBanBDB BDaDBBBDBDaa nanaaananaaa eanaaanBDBBan DBBanBDaaBDB BaananaaBnan aBnaDBBBDaDB BDBDBBBDBnBB mBnaaananaBB 1 fi Fig. 44 6-harness twill. I 3 1 19 ■■nnnBBMannB ■nnnBBBannBB DDaaannnHiBn Baaannnaaann aaaunnaaannn saannnaaannna annnaaannnaa nnnaaaannaaa nnaaanncaaan □aaannnaaaLjn laaannuaaannu Fig. 45. 6-harness twill. 3 ■nannaananna nannaanannaa annaanannaan nnaacannaana Daanannaanan aanannaanann sanannaananna paDnaanannaa Bnnaanannaan nnaa-annaana naanannaanan laauannaanann 1 6 Fig. 46. 6-harness twill. 2 I I 2 y-Harness Twills. — On 7-harness eight dififerent kinds of twills are found, all uneven-sided. Filling Face. Warp Face. I up 6 down or I down 6 up, 2 up 5 down 2 down 5 up, 3 up 4 down u 3 down 4 up, I up I down I up 4 down II I down I up I down 4 up, 2 up I down I up 3 down 11 2 down I up I down 3 up. 2 up 2 down I up 2 down 11 2 down 2 up I down 2 up, I up 3 down I up 2 down 11 I down 3 up I down 2 up, I up I down I up I down I up 2 down << I down I up I down I up I down 2 up Filliyig for Face. nnnnnnannnnnna nnnnnamnnnnan nnnnannnnnnann nnnannnnnnannn nnanannnnannnn aannmnnannnm annnnnnannnnnn Tgnnnncannnnnna Bnnnnannnnnnaa nnnnannnnnnann nnnannnnnnannn nnannnnnnannnn nannnnnnannnnn lannnnncannnnnn 1 7 Fig. 47. nnnnnnaannnnnM nnnnnaannnnnaa nnnnaannnnnaau nnnaannnnnaann nnaannnnnaannn naannnncaacnnn aannnnnaannnnn Tannnnnaannnnna nnnnnaannnnnaa nnnnaannnnnaan nnnaannnnnaann nnaannnnnaannn naannnnnaannnn iBBnnnnnaannnnn 1 7 Fig. 49. aannnnaaannnna ancnraaannnnMB nnnnaaannnnaaa nnnaaanrinnamin nnaaannnnaaann naaa- -nr:: aaannn aaa: " • : aaannnn 7aB: :Baannnna ann::: 'aaa: :nnnaa nnnnaaa: ~Baa nnnaaa: . ' : aaan nnaaa:.:: ^; aaann naaannnraaannn laaannnnaaannnn 1 7 Fig. 51. nannnnanannnnn annnnanannnnan nnnnanannnnana nnnanannnnanan nnanannnnanann nanannnnanannn anannnnana nnn n 7nannnnanannnn» annnnanannnnan nnnnanannnnana nnnanannnnanan nnanannnnanann nanannnnanannn lanannnranannnn 1 7 Fig. 53. 7-harness twill. I 7-harness twill. 7-harness twill. 3 Warp Face. aaaaaanaaaaBan aaaaanaaaaaana aaaanaaaaaanaa aaanaaaaaanaaa aanaaaaaanaaaa anaaaaaanaaaaS naaaaaanaaaaaa raaaaaanaaaaaan aaaaanaaaaaana aaaanaaaaaanaH aaanaaaaaanaaa aanaaaaaanaaaa anaaaaaanaaaaa inaaaaaanaaaaaa I Fig. 48. naaaaannaaaaan aaaaannaaaaann aaaannaaaaanna Saannaaaaannaa annaaaaannaaa annaaaaannaaaa nnaaaaannaaaaa 7naaaaaL:naaaaan Saaaannaaaaann aaannaaaaanna aaannaaaaannaa aannaaaaannaaa annaaaaannaaaa innaaaaannmaaK Fig. 50. nnaaaannnaaaan naaaannnaaaann aaaannnaaaannn aaannnaaaa: :nna aannnaaaannnaa annnaaaannnaaa nnnaaaannnaaaa 7nnBaBBnnnaaaan naBaannnaaaann aaaannnaaaannn aaannnaaaannna aannnaaaannnaa annnaaaannnaaa innnaaaannnaaaa 1 7 Fig. 52. ■naaaananaaaan naaaananaaaana aaaananaaaanan aaananaaaanana aananaaaananaa ananaaaananaaa nanaaaananaaaa lanaaaananaaaan naaaananaaaana aaaananaaaanan aaananaaaanana aananaaaananaa . ananaaaananaaa inanaaaananaaaa Fig. 54. 7-harness twill. 6 7-harness twill. 5 7-harness twill. 4 7-harness twill. I 4 20 ■□■□mBBnannnM nannaBBaBDnnMB ■□□DBMnMnnnMBn DMUCM ■■;iM~n nr:BBLiB: *n: :bb: :Bn nBB:jB::nuBBnBnn iBBnBnnaBB:::Bn:un 1 7 Fig. 55. 7-harness twill. 2 1 I nBDBBBnDBnBBBn BDBBBnnflnBBBnn nBBflnDBDBBflnnB BBBoaBaBBflnnfln BflnnBDBBBnnBDB BDnBnflflflnnBnBfl □□BnflBflanBnflBB TDflDBBBDnBUBBBn BnflBBnDBnflflBnn nBBBnnBnBBBUDB BflBnnflaBflflnDBa BBnnBDBBBnnBnB uni iflDBBBDnflaflB inaflDBflflnnBaflBB 1 Fig. 56. /-harness twill. I 3 MnaBnDBHDnflnnfl OnBnnBBnnBDDBB BBnnBBnnBnnBBn BaaBBnr]Bnr:BBnn ccBBrrziBnnBB' .: ;b rBBnnB-:sBBL!L:Bn um: nnBBH n ■ r_ nu. . ■: riHB rJB :: :■■ nuBB: :ljb: .: / ;b nBBULjBu: b: : iBBnnBunBB~::Bua 1 7 Fig. 57. dBflnBBnnBBnBBQ BBDBBnDBBaBBnn BnBBunBBnBBanB DBBnnBBHBBnnBB 'BBDDBBnBBnDBBn BnnBBUBBnnBBDB □□BBDBBnDBBaBB 7nBBrjBB"nBBnBBn BB'JBB;a: IBBDBBnn BUBBDriBBaBBLnnB DBBnnBB:jBBnnBB BBanBBnBBnnBBD BnnBBDBBanBBnB inuBBnflBnnBBaBB 1 7 Fig. 58. nnnBnnBnnnBnnB nnBnnBanDBDnBn nBnnBnnnBnnBnn BnnBnranBDCBnnn nnBnnnBj:jB:jnnB nBnnnBnnBnnnBa BnnnBDnBDa-jBnn 7nnnBnnBnnnBnnB nnBnnBnnnBnnBn nBnnBnnnBnnBnn BnnBnnnBnnBmn nnBnnnBnnBaanB nBnnnBnaBnnnBn iBnnnBnnBnnnBnn 1 7 Fig. 59. /■harness twill. I I 3 2 BBBHBBnBBBnBBn BBnBBDBBBnBBnB BDBBDBBBnBBnBB nBBaBBBaBBDBBB BBnBBBnBBnBBBU BUBBBaBBUBBBOB DBBBaBBDBBBnBB 7BBBnBBnBBBaBBn BBnBBDBBBnBBDB BnBBDBBBnBBnBB DBBnBBBnBBDBflB BBnBBBZBBaBBBn BnBBBDBBnBBBna IDBBBriBBnBBBnBB 1 7 Fig. 60. 7-harness twill. 3 2 nnnBanBnBDBn-B ijBLi" ;b 'B -b". _B-i "^Br:B::nB: DBDC BnnB noBn nBHB B-B- 7nB- :■ b: ■ ■' '■' ' ■ n; 'fl ■ ■: IBUBUBunBaBC I 7 inn 7-harncss twill. I I I I.I 2 □BaBBaBUBOBBn BHBBaBJBuBB'JB DBBaBaBUBBIiBn BBDBnBnBBnBLjB BrjBnBnBBQBnBU □BaBDBBDBnBDB BnBHBBnBnBDBB aBnBBDBaBDBBn BDBBnBDBUBBnB □BBDBnBnBBnBn BBDBnBDBBnBnB BMBnBDBBDBDBn UB'JBnBBDBnBDB BUBaBBUBOBaBB 7-harness twill. I I 2 I I I Fig 61. Fig. 62. For 8-harness, we find the following tivills. Filling Face. nnnnnnnBnnnnnnnB nnnnnnBnnnnnnnBn nnnnnBnannnnnBnn nnnnBDnnnnnnBnnn nnnBnnnnnnnBonnn nDBnnnnnnnB; jnnnn BBnnannnnBnnnnnn BnnannnnBnnnnnnn snnnnmnBnnnnnncB nnnnunBnnnnrnnBn nnnnnBnannnnnBnn nnnnBnnnnnnnBnnn EnnBnnnnnnnBnnnn nnannnnnnnBnnnnn UBnnnnnnnBnnnnnn iBnnnnnnnBnnnnnnn > 8 Fig. 63. Warp Face. I BBBBBBHBBBBBBBnB BBBBnBBBBBBBnflBB BBBnBBBBBBBnBBBB BBnBBBBBBBnBBBBB BnBBBBBBBnBBBBBB «BB BBBBnBBBBBI ■Bn BBB BHBBBBBBBni IBB BBBnBBBBBBBnBBBB BnBBBBBBBnBBBBBB rZBBBBBBBnBBBBBBB 1 8 Fig. 64. 7 u. Filling Face. ■nnnnnnBBnnnnnnB □nnnnnBBnnnnnnBB nnnnnBBnnnnnnBBn nnnr-BB.:: :n-:T:nBBnn nnrBB- -':rr^ -"Bannn nnBB ,: : BB'jnnn HBB. i.:;^; .. ,\ ■■■;jnnnn BBnnnnu; ;BBnnnnna sBnnnnnnBBnnnnnnB nnnnnnBBnnnnnnBB nnnnnBBnnnnnnBBn nnnnBBnnnnnnBBnn nnnBBnnnnnnBBnnn nnBBnnnnnnBBnnnn HBBnnnnnnBBnnnnn iBBnnnnnnBBnnnnnn 1 Fig. 65. 6 Warp Face. nBflBBBBnnBBBBBfln BBBBBBnnBBBBBBnn BBBBBnnBBBBBBnnB BBBBnnBBBBBBnnBB BBBnnBBBBBBnnBBB BBnnBBBBBBnnBBBB BnnBBBBBBnnBBBBB nnBBBBBBnnBBBBBB snBBBBBBnnBBBBBBn BBBBBBnnBBBBBBnn BBBBBnnBBBBBBnnB BBBBnnBBBBBBnnBB BBBnnBBBBBBnnBBB BBnnBBBBBBnnBBBB BnnBBBBBBnnBBBBB innBBBBBBnnBBBBBfl 1 8 Fig. 66. 6 ~ J(. 21 0«annaaiB«nnnnnB ■□□□□nBBBnnnnnBB nnnnnBBBnnnnnBBB nMBBnnnnnBBunnng ■□□□□□■■■□□nnnBB nnannMBMnnnnnBBB annnMBBnnnnnBBBU nnnBBBnnnnnBBBna iBBBnnnnnBBMnnnnn 1 8 Fig. 67. nMnMnnnMnanananB ■□■□nnBnM'jBnnnHn nnnBDBUBnnnBnBnM nnanBaMnnnMnMnMa uuau iBmnMn«rjBnn MnBnBjnnBPBnMnnn snMaannaMnMnBDnnB ■□■nnnBnBnBnnnBn nMnnDBDBnMnnnBnB jBnBnnnBnBU nnnBnBnBnnnBDBaB 1 8 Fig. 71. I I I I nBnnBnnBnBnnMnnB ■nDBnnBnBnDBnnBn nnBnnBnBnnBnnanB ■□aMnBnnBnnMDBnn snBnnBanMDBnnBnnM ■nn«n«nn»nnMn«nn 1 8 Fig. 75. I I I u. nnBnnnnBnnnnnnnB nannnnMnnBannnBa nnnnMnaMnnnn«nnB HanBnnBnnnnannBn nnannMnnnnMnnMnn BannMnnnnannMnnn snnBnnnnannBnnnnB nnnDBDnMcnnnannB nnBnnBDnnnBDL laun nBnnBnnnDMnnBnnn lannBannnBanBunun 1 8 Fig. 79. innnnBBBBmnnM ■■mnnBBBBnnnnBB ■^□□□■■■■□nnnBBB nnnnBBBBDnnnBBMB □□■■■■□nnoBBBBng BBBBBnnnnBBBBnnn BBBBnnnnBBBBnuLin SBBBnnnnBBBBnnnnB BBnmnBBBBnirjnBB BnnnnBBBBnnunBBB □nnnBBBBnnnnBBBB nnnBBBBnnnnBBBBn nnBBBBnnanBBBBnq DBBBBumaBBBBnad iBBBBannDBBBBPnun 1 8 nnflBBBflnnDBBBBBQ DBBBBBnaDBBBBBUd BBBBBDDDBBBBBnnn BBBBnUUBBBBBanDB BBBaDDBBBBBDnDBB BBnnnBBBBBnDDBBB BnnDBBBBBDnDBBBB □nDBBBBBnnnBBBBB BDDBBBBBnanBBBBBn DBBBBBDODBBBBBna BBBBBnnnBBBBBDnn " innnBBBBBnnnB . innDBBBBBnnnBB BBDmBBBBBanni ~ BnnnBBBBBnnni" innnBBBBBnnnr" 1 8 Fig. 68. 5 u. ■□BDBBBDBnBnflBBn DBnBBBDBaBnBBBDB BnBBBDBDBnBBBDBn nBBBnBDBnBBflDBDB BBBnBnB'JBBBnBnBn BBnBnBnBBBnBnBDB BDBDBnBBBUBnBnBB □BDBDBBBDBDBDBBB 8BnBDBBBnBUBDBBBn nBnBBBnBDBDBBBDB BnBBBDBIJBDBBBaBn nBBBDBDBnBBBDBnB BBBnBnBDBBBnBDBn BBaBDBDBBBnBnanH flaBDBaBBBnBQBDBB IDBDBnBBBnBnBDBBB 1 Fig. 72. I I 3 I I nDBBDflBdflnBflDflflQ DBBDBBDBnBBnBBnfl BBDBBnBnBBnBBnBn BnBflnBDBBDBBnBDB □BflnBaBBDBBDflnBB BB[JBDBBnBBDBnBBn BDBnBBDBBDBDBBDB nBaBBDBBDBDBBDBB SBDBBnBBnBnflBDBBn nBBDBBUBnBBDBBDB BBnBBDBDBBDBBnBa BDBBnBnBBnBBnBDB DBBnBDBBDBBnBDBB BBDBnBBUBBnBnBBn BnBnBBDBBUBUBBDB inBDBBaBBnBDBBnBB 1 8 Fig. 76. I I in flnBBBBDBBDBBBBafl nBBBBnBBDBBBBnBB flBBBaBBDBBBBnBBn BBBnBBDBBBBnBBDB BBnBBDBBBBDBBDBB flnBBDBBBBDBBnBBB nBBnBBBBDBBDBBBB SBBnBBBBDBBDBBBBD BnflBBBnBBDBBBBnB nBBBBDBBnflBBBDBB BBBB-aBBnBBBBGBBD BBBaBBnBBBBnBBDB BBDBBLIBBBBnBBnBB BnBBDBBBBDBBnBBB inflflDBBBBDBBnflBBB 1 Fig. 80. I I u. Fig. 83. BB^B^^^BBB^Bd^^B BDBnanBBBnBnnnBB □BnmBBBnBnmBBB BmnBBBaBnnnBBBn DUTBBBnBnnnBBBDB dnBBBnBnnnBBBDBn nBBBQBnnnBBBnBnn BBBnBDnnBBBnBnan sBBnBUdnBBBHBnnnB B[1B-:Z|-JBBB 'B ' BB nBnDnBBB~'fl[]: r ibbb BnnnBBB""iB' ]■ itnBBBD □mBBB'IB- I' IllBBBnB □□BBBHB' ;' r IBBBOBD dbbbdb: :: i; iBBBnann iBBBnBULi: j-BBBnannn 1 8 Fig. 84. nBDnnnnBaBannnno BnnnnnBnBnnnnnBD nnnnnBnBQDnnnBnB nnnnBnBnnnnnBnBU nnnBnBnnnnnBnBnn □nBnBnnnnnBOBnnu nBnBnnnnDBnBnnon BnBnnnnnBnBLinnnn 8nBnnnnnBUBnnnnnB BnnnnnBnBnannnBn nnnnnBDBnnnnnBnB nnnnBnBnnnuDBnBn nianBnBrjnnrjUBi :Bnn nDBnBDnnni-iBCBnnn nBnBnnnnnBDBnnnn iBnBnnnnnBnBnnnnn 1 8 Fig. 69. I II. BnBonnnBBnBnnnnB DBnnnnBBnBnnnnBB BnnnnBBnBnnnnBBn nnnnBBUBnnnnBBDB nnnBBDBnnnnBBnBn nnBBnBnnnnBBDBnn nBBnBnnnnBBCBnnn BBnBunnnBBnBnnnn 8BnBnnnnBBnBnnnnB nw ;r: ~:bb b: Ji .: ::ibb BnnnnBBnBunnnBBn nnnnBBnBnnnnBBnB nnnBBnBnnnnBBnBn nnBBnBnnnPBBnBnn nBBnBnnnnBBCBnnn iBBnBnnnnBBnBnnnn 1 Fig. 73. u. anBBnBBdnnBBDBBn HBBHBBnnnBBnBBnn BBnBBnnnBBnBBnnn BnBBnnnBBnBBnnnB PBBn: l"'BB' 'BB ~ i BB BBnnnBBnBBuncBBn BnnnBBnBBnnnBBnB nnnBBnBBnnnBBnBB snnBBnBBnnnBBnBBn nBBnBBnnnBBnBBnn BBnBBnnnBBnBBnnn BnBBnnnBBi jbb:jddb nBBnnnBBnBBnncBB BBnnnBBnBBnnnBBn BnnnBBnBBnnnBBnB innnflflnBflnnnBBnBB 1 8 Fig. 77. ■nnnBnnBBnnnBnna □nnBnnBBnnnBnnBB nnBnnBBnnnBnnBBn HBnnBBnnnBnnBBnn BnnBBnnnBnnBBnnn nnBBnnnBnnBBnnnB uBBnnnBnnBBnnnBn BBnnnBnnBBnnnBnn 8BnnnBnnBBnnnBnnB nnnBnnBBnnnBnnBB nnBnnBBnnnBnnBBn nBnnBBnnnannBBnn BnnBBnnnBnnBBnnn nnBBnnnBnnBBnnnB nBBnnnBnnBBnnnBn iBBnnuBnnBBnnnann I 8 Fig. Si. I BnBHBnnBBnBHBnnB HBnBnnBB: iBnBnnBB BHBnnBBnBnBnnBBH nBnnBBnBnBnnBBnB BnnBBnBnBnnBBnBn nnBBt wnBnnBBUBnB HBBnBnBnnBBnBnBu BBnBHBnnBBUBnBnn 8b: iBHBnnBBnBnBnnB nBnBnnBBnBnBnnBB BnBnnBBHBnBnnBBn nBnnBBnBnBnnBBnB BnnBBnBnBnnBBnBn BnBBnBnBnnBBnanB UBBnBnBnnBBnBnBn iBanBnflnnBflnflnBnn 1 8 BnflflBBBnflnflflflBfln nBBBBBnBnBBBBBnB BBBBBnBnBBBBBnBn ■BBBnBnBBBBBnBnB BBBnanBBBBBnBnBB BBnBnBBBBBnBnBBB BnBnBBBBBnBnBBBB nBnBBBBBnBnBBBBB SBnBBBBBnBnBBBBBn nBBBBBnBnBBBBBnB BBBBBnanBBBBBnBn BBBBnBnBBBBBnBnB BBBnBUBBBBBnBnBB BBnBnBBBBBnBnBBB BnBnBBBBBnBnBBBB inBnBBBBBUBnBBBBB 1 Fig. 70. I 5 □BnBBflflnnBnBBBBn BnBBBBnnBnBBBBnn nBBBBnnBnBBBBnnB BBBBnnBnBBBBnnBn BBBnnBnBBBBnnBnB BBnnBnBBBBnnBnBB BnnBnBBBBnnBnBBB nnBnBBBBnnBnBBBB 8nBnBBBBnnBnBBBBn BnBBBBnCBUBBBBnn nBBBBnnBnBBBBnnB BBBBnnBnBBBBnnBn BBBnnBnBBBBnnBnB BBnnBnBBBBnnBnBB BnnBnBBBBnnBnBBB innBnBBBBnnBni" 1 8 Fig. 74. BBnnBnnBBBnnannB BnnBnnBBBnnBnnBB unBnnBBBnnBnnBBB nBnnBBBnnBnnBBBn BnnBBBnnBnnBBBnn nnBBBnnBnnBBBnnfl nBBBnnBnnBBBnnBn BBBnnBnnBBBnnBnn sBBnnBnnBBBnnBnnB BnnBnnBBBnnBnnBB nnBnnBBBnnannBBB nBnnBBBnnBnnBBBn BnnBBBnnBnnBBBnn nnBBBnUBnnBBBnnB nBBBnnBnnBBBnnBn iBBBnnBnnBBBnnBnn . 1 8 Fig. 78. u. nBBBnBBnnBBBnBfln BBBnBBnnBBBnBBnn BBnBBnnBBBnBBnnB BnBBnnBBBnBBnnBB nBBnnBBBnBBnnBBB BBnnBBBnBBnnBBBn BnnBBBi^BBnnBBBnB nnBBBCBBnnBBBnBB SHBBBnBBnnBBBnBBn BBBnBBnnBBBnBBnn BBnBBnnBBBnBBnnB BnBBnnBBBnBBnnBB nBBnnBBBnBBnnBBB BBnnBBBnBBnnBBBn BnnBBBnBBnnBBBHB innBBBnBBnnBBBnBB 1 Fig. 82. I nBBnBnnflnBBnflnnfl BBnBnnBnBBnBnnBn BnB: "BnBBnBnnBnB □B B BB Bi:' b::bb Bni iBi :BBnBnnBnBBn nnBtiBBDBnnBnBBnB nBHBB" IB-; 'BnBB:_Bn BnBBnBnnanBBnBnn 8nBBnBnnBnBBnBnnB BBnBnnBnBBnBnnBn BnBnnBnBBCBncBnB nBnnanBBnBnnBnBB BnnBnBBnBnnBnBBn L inBHBBHBnnBnBBnB nBnBBnBHHBnBBnBn iBnBBnannBnBBnflnn 1 8 Fig. 85. Fig 86. 22 Figs. 83 to 86 inclusive are th^ even-sided twills on 8-harness. The same method observed in designing every common twill possible from 3 to 8 warp- threads in repeat, as shown, is continued for twills of any higher number of harness repeat. The more harness we can use, the larger the variety of twills which may be obtained. Combinations of two or more Colors for Producing different Effects upon Fabrics interlaced on the " Twill " System. In this system of weaves an endless variety of effects are produced by the different arrange- ments of colors. The same are extensively used in the manufacture of ladies' dress goods, fancy cassimeres, fancy worsteds and similar textile fabrics. In Fig. 87 is illustrated the 3-harness twill r applied to 2 ends light I end dark Arrangement Weave of Warp. > J- 0 g Eflfect. 3 Hw !! ''| Lid c: ifl pH ;| Fig. 87. ■■■ ■■ Ct ; a- " ] :; r1 □r-; • m " ! m can " rm □h: □n • □fi' • □he: i: rm •>m :: 'M , a ,m ami 1 IV. If, ^ Fig. Fig. 89. 3 ends in the repeat for the color arrangement of warp and filling. The interlacing of the different color threads is arranged so that each color, in filling, covers its own color in the warp ; hence the dark filling must be interwoven in the shed, which has all the dark warp-threads in the lower part, and all the light warp-threads raised The effect represents what is technically known as " hair line." Weave Fig. 88, illustrating the 4-leaf twill can also be used for producing a " hair-line " effect by using for the color arrangement of the warp and filling 3 ends light, 1 end dark, 4 ends in the repeat. The dark filling has again to cover its own color in the warp to produce the required effect. This weave, (- can also be used in an arrangement ot 2 ends light, 2 ends dark, in the warp and filling, for producing a " line " equally as heavy as the ground in the direction of the warp for effect. Fig. 89 illustrates the effect of 2 ends dark, 2 ends light, 4 ends in repeat of color arrangement for warp and filling, upon a fabric having the 4-harness even-sided twill for weave. The placing of the colors as represented in the latter effect, will prevent the filling from showing more prominently, than the warp. The principle observed is, to place one of the light picks in the shed formed by light color down dark color up ; the other light pick is to be inter- woven when half of the light and half of the dark warp-threads are up, and the remaining one- half of each are down. Fig. 90 illustrates a " zig zag " arrangement for effect, as produced upon a fabric interwoven upon the 4-harness even-sided twill with a color arrangement of I end light, 1 end dark, 2 ends in repeat for the warp and filling. ■■■□□□□□□□□□□□□□a 8r ■■■n o 'r: in %am gg„ .,„;; ..,,><^ □□[: cg:: I □□■■I amn ■nnnnnnnnnnnno Fig. 90. Fig. 91. '23 Fig. 91 represents a " spot effect " obtained upon a fabric interlacing with the 5 -harness twill. Color arrangement for warp and filling to be 2 ends dark, 3 ends light. Fig. 92 illustrates a " zig zag " arrangement for effect, as produced upon a fabric interwoven with the 6-harness j even-sided twill and a color arrange- ment of 2 ends light, I end dark, 3 ends in repeat for the warp and filling. Figs. 93, 94 and 95 illustrate similar effects pro- duced on a warp and filling arrangement of I end light, 1 end dark, 2 ends in the repeat. ■ ■ ■■ ■ ■■ r ■■■ . ■■■ c; il I'j mu-m r nn ■! m ■ ■■ ■a ■ a □ [;:; :■ n Fig. 93. Fig. 92. ■ ■ ■ ■ inn ' ■ ■■ nma r. !□ ■ ■■ ■ ■■ ■ ■ t-«ta_ . l; CUHC3HULGC; □□BBHPDBt, Fig. 93 illustrates the fabric produced with the 5-harness J ' J - twill. Fig. 94 calls for the 7-harness ' ^ ' ^ ^ — j twill, and Fig. 95 for the 9-harness ^ / / / — twill. ■■□ I ■□■ ■ ■ ■ ■ ■ H ■ ■■ ■ ■ ■ ■a ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ □□ □D. □Ci. cu □r ""'■'""a □r' rr ( ■ :: a r.' a a LA CU. □Cl [; a a nnr :: aHarta □□ca aa a a a amama Fig. 94. Fig. 95. In diagrams Figs. 96, 97, 98 and 99, four specimen effects of three-color arrangements in warp and filling are given. Such combinations find extensive use in the manufacture of fanc^ cassimeres and fancy worsted suitings. innBBnr anr "innrinnnnnn- '-13 "innnnnn '■-mr-iammm •BHM asffl ■E3B •■! m 'I'M fssm m >:« >:-L- ^-snm >:•■ .uuaBB.iiaaBBBasBBuaaa i~ _aBBB G: IfflSBB □DBBBBL Fig. 96 illustrates the effect derived from the even-sided 4-harness twill, by the following arrangement of warp and filling : 2 ends light, ^ color No. i. 2 ends medium, > or, " No. 2. I end dark, j " No. 3. 5 ends repeat in color arrangement ; thus, 5 X 4 = 20' threads, repeat of effect. Fig. 96. Fig. 97 illustrates the effect derived from the same weave as used in the foregoing example, with the follow- ing arrangement for warp and filling : 4 ends light, ~] color No. i. 4 ends medium, " No. 2. 4 ends dark, ( " No. 3. 4 ends medium, j " No. 2. 16 ends repeat in color arrangement, and as 16 is a multiple of 4 (repeat of weave), 16 threads are also the repeat of the effect in addition to color arrangement. BB ■nnBDnnoDnnDnanDonnnGnannnanannnDaao -'~mu~n'^^' — nnnnnnan~r~' BB <" -'BasaBBBBSSaB ►laaBBBBBEBaiJ □Dl □■L ■B'/irjBBC'Cn CinWHHiarjrjH--- [ ■ E-ii _ _ _'^i^aBaBBBBa^i)a _ DCBSBB CIiBaBBBBBaBBB • -IBBBBBBI □□BBBB BB BBBBBBBSBBB sBB-iBBBBaHBtitBI CDBBBB BB iBBaBBBBBBBaBBB'mBBSBaBBBBBI D'^aaaa a BBaBBBaaaBaBBB ''waaaaaaaaaai Duaaaa ■B>:->-i:- >;••;• -s-i^'Laaai ¥aaBBH:<>i'aaHBBBBaBB>i'-: >i<^>-iiaffli rr'aaaa V_' BBBB' ccaaaa pCBBBB' DCiBsaa: nCBBBB' [CCBBBffi._ gafflBBS Bv iB BB i^B . BB aaa BB -iBBBM i-oaaaaBBsas I-'l^BB i-a>2a aaai ■aai Fig. 97. 24 ■■□□□■□□onronaaarja ■nnnMannnnnnnnn^ i :. ■■■ - mm sa Fig. 9S Diagram Fig. 98 illustrates the effect derived from the ' j 6-harness even-sided twill, by the following color arrangement : I end light, ^ color No. i. I end medium, > or, " No, 2. I end dark, ) " No. 3. 3 ends repeat in color arrangement, the same repeating twice in one repeat of the weave, also, one repeat of effect in fabric. Fig. 99 illustrates the same weave as used in Fig. 98, arranged for 3 ends light, ^ color No. I. 3 ends medium, V or, " No. 2. I end dark. ) " No. 3. 7 ends repeat in color arrangement, and as this 7 is no multiple of the 6 (repeat of weave) or vice versa, 7 X 6 = 42 threads in warp and filling are required for one repeat of the effect. It ■ ■ □I ■■ cwmu mmm L I I Li roil 0 ■ r;i " 1 &n< [ K'H' [ EBB ^nnmnmnrim" •■jfL-HQB lHfflfflBBB>I<>; IB ' mmmm In diagram Fig. loo, a specimen example is given of 3 colors arranged in warp and filling upon the 4-harness twill for producing a hair-line effect, as used in the manufacture of woolen and worsted trouserings, etc. Fig. 99. ■■::-B ■I'B vB BB BB BB r'Bn< I mm >I'B 'I'B BB BB BB BB BB BB BB W- : BB BB BB BB BB. BB ''BB 'BB .^BB B9 Arrangement of warp and filling : 2 ends light, | I end medium, V or, I end dark, ) color No. No. No. Fig. 100. 4 ends in repeat. In placing the filling in this present sample as well as similar effects, eac/i individual color in filling must cover the^ame color in the warp, according to rules given for producing effects with two colors. It will be seen by the student that these effects, until now produced with two or three colors in each example, can readily be extended to effects with four or more colors in warp, or in filling, or in both systems combined at the same time. The effects shown in Figs. 90, 92, 93, 94, 95, 96,97, 98 and 99 are designed on the basis of equality of texture in warp and filling, as also of similar thickness of thread for both systems ; therefore, any changes in one or the other will have a corresponding influence on the effect. Satin Weaves. Satin weaves, also technically called satins, are without the prominent lines which are identical with the regular twills ; consequently satins are characterized by a smooth face. In twill weaves the points of intersection follow consecutively, but in satin weaves this is not the case ; they being arranged to interlace at intervals of one, two, three, four or more threads. The principles; for the construction of satins are to arrange as much as possible distributed stitching, and to have it done at the same time, as regular as possible. The more scattered we can arrange the inter- lacing of the warp and filling the less these points of intersection will be visible in the fabric. The lowest satin that can be produced is found in the five-harness satin ; after this the same can be made " regular " on any number of harness, with the exception of six. The four-leaf broken- nnannnBn twill is also sometimes classified as a " satin," but against the rules of construction ■"□□■□Bn fo*" these weaves, as on two successive picks the interwoven threads are next to each ^mnSBBnS other (see Fig. loi). The points of intersection of the numerous satins are found by iBDnnannn the foUowmg rule : — Fig. ioi Divide the number of harness for the satin into two parts, which must neither be equal nor the one a multiple of the other; again it must not be possible to divide both parts by a third number. After finding this number (which is technically known as " counter "), add it, commencing to count from one until all threads or harness are taken up. For example : Find satin weave for five-harness (5 equals 2 plus 3) ; commencing to count with one and adding always two points we find : l + 2 = 3 + 2=:5 + 2 = 7 or 2 + 2 = 4 + 2 = 6 or I giving the points for intersection in the weave as i, 3, 5, 2, 4, which means : The first pick intersects with the 1st warp-thread (ist harness up). second third fourth fifth 0"^ 5th 2d 4th (3d (5th (2d (4th This construction is illustrated by Fig. 102, in its principle (arrow S indicating the rotation of picks, arrow O indicating the counting off of warp-threads for each successive pick). Fig. 103 illustrates the same, applied to the regular designing-paper, being filling up or « ^ filling for face. 5th pick. 4th 3d 2d 1st nnnBonnnan nnnnBnnnnM ■nnnnBnnnn snnnMnnnnan nMnnnnBnnn nnMnnnnann lannnnannnn 1 5 Fig. 103. Fig. 104 illustrates the same changed to warp up or warp face, by simply exchanging "sinkers" (down) to ''raisers" (up). O BBnaaaauaa naaaanaaaa oaaanaaaana aaaaaanaaa aaaanaaaan Banaaaanaa inaaaanr 1 5 Fig. 102. Fig. 104. (25) 26 Fig. 105 illu.stratcs (enlarged) a fabric interlaced in the 5 -harness satin, constructed as explained before. The 5-harness satin, as well as other satins produced with any number of harness, can also be obtained by constructing the design lengthwise ; in this case (taking the 5-harness for example) we find The first warp-thread must stitch in the ist filling, " second " " " " 3d " third " " " " 5 th " fourth " " " " 2d " fifth " " " " 4tli This construction of the 5-harness satin is illus- trated by Fig. 106, in its principle (arrow S indicating the .rotation of warp-threads, arrow O indicating the counting off of warp-threads for each successive pick). Fig. 107, the same, applied to the regular designing paper. Fig. 108 is the same satin warp up or warp for face. Z 3. t . 5 & 7. 8 9: 10 Fig. 105. 5th pick. 2 5 I 4lh " I 2 4 3d " 3 I 2 2d " 2 2 I ISt " I I 2 c ISt Warp- thread. •a to -<-«« Fig. 106. Filling for face. ■nnnnBDnnn snn«nnnnBnn nnnn«nnnnB n»nnnD«nnn i«nnnn«nnna 1 5 Fig. 107. flBBDaaaanB naaaanaaaa .5aaDaaaanaB aaaanaaaan BDaaaaaaBB aaanaaaana inaaaaai 1 Fig. 108. A careful examination of Figs. 103 and 107 will show, as the only difference, the "satin twill" (which later on will be more particularly described), but taken in a general technical point of view, for constructing weaves both are identical. The first-mentioned rule, counting off the picks in rotation and the harness (or warp-threads), according to the "counter" obtained, is in general use. Design shown in Fig. 107 would also have been obtained by the first rule in using the other part the 5 is composed of, namely, the 3 for counting off, thus l+3=4+3 = 7 = 2+ 3 = 5-f3 = 8 = 3+ 3 = 6=i, or the stitch as i, 4, 2, 5, 3. 27 For 6-harness (6 warp-threads found, as 6 can only be divided in 2 which numbers are against the rules for constructing satin weaves. Being sometimes compelled to use a satin on 6- harness we must use the next best to a perfect satin as found in l — 3 — 5 — 2 — 6 — 4, illustrated in Fig. 109, filling for face; Fig. no, warp for face. For y-lianicss two regular (perfect) satins are found by dividing 7 into 2 plus 5 and 3 plus 4. Counting off for the first kind we get by using the 2 for counter: 14-2 = 3 + 2 = 5 + 2 == 7+2 = 9 = 2 + 2 = 4 + 2 = 6 + 2 = 8 =1, or I, 3, 5, 7, 2, 4, 6, and illus- trated in Fig. 1 1 1, filling for face ; Fig. 112, warp for face. for repeat), as already mentioned, no regular satin plus 4 or 3 plus 3, IS In the construction of the other satin for 7-harness and using the 3 for counthig off we get 1+3=44-3 = 7 + 3 = 10 =3 + 3 = 6 + 3 = 9= 2 + 3 = 5 + 3 = 8 = I, or I, 4, 7, 3, 6, 2, 5, illustrated in Fig. 113, filling up; Fig. 1 14, warp up. nnnBnnnnn«nn nnnnnBnnnnnB nMnnnnnannnn nnnnBnnnnnBn ■□nnnnannnnn 6nan«nnnnn«nn nnniaB«nnnnn« HBnnnnnBnnnn Bann)BDnnnn«n nn«nnaan«nnn i«annnn«nnnnn 1 6 Fig. 109. nnnrnMnnnnnnan nnnMnnnnnnBnnn nannnnnnmnnnnn nnnnnn«annnnnB nnnnMnnnnrnnBnin nnMnnnnnnannnn ■nnnnnnHnnnnnn TnannnMnnnnnnan nnnaannnnnannn nBognnnnBannnn nnnndH»nnnnnnB nnnnBunnnnn«nn dnMnnnnnnannnn iMmnmnMnnnixin 1 7 Fig. III. nnnnMnnnnnnann nannannnMnnnnn unnDnannnnnnan nnannnnnnannnn namnnBunnnnnB nnuBmnnuDMnnn ■nnnnnnannnnnn 7nnnnMnnannn»nn nBannnnnannnnn DnnnnannnnnnMn noBnnnmnBnnnn nnnnnnannnnnnB lannmnnannnnnn 1 7 ■■■■■DMiann aaaanaaaaana aanaaaaanaaa naaaaanaaaaa fiBaanaaaBBDaa BaBBaDBBBBBn flnaaBBBDaaaa aBBB^BBBBana BanBBBaanBBB IDaBBBBL^BflBBB Fig. 1 10. BflBBflaBflflflflBttB BBBnaBaaaanaaB BnaaBaBanaaaaB BBaBBanaBaaaan flBaBnaaaaaBaafl flflnBaaaaaDBBBfl TnaBaBBanBaaaaa BBaaBnaaaaaana BBBnaBBBBanaafl ■□BBBBBBnBBBBB BBBBBBOBBBBBBD ■BBBDBBBBBBDBfl BBDflBBBBBDBBBfl IDBBflflBBnBBBBflfl 1 Fig. 112. BBflflDflflBflflflnBB BaBBBBBflDBBBBB flBBBBnBBBBBBDfl BflDBflBBBBDBBBB ■BBBBBDBBBBflfln ■BBDflBBBBBDBBB DBBBBBBUBBBBBB 7BBBBnBflBBBBnBfl BDBBBBBBnBBBBB BBBBBDBBBBBBnfl BBDBBBBBBnBBBB ■BBBBBDBBBBBBn ■BBnBBBBBBDBBfl inflflBBBB~flflBBBB 1 Fig. For 8-harness we find only one perfect satin as the 8 can only be divided into 3 plus 5. The count- ing off for the design, always adding 3, will be as follows : 1+ 3=4+ 3= 7+ 3=1 0= 2+ 3= 5+ 3= 8+3=11 =3+3=6+3=9=1. or I, 4, 7, 2, 5, 8, 3, 6, illustrated in Fig^li5, filling for face; Fig. 116, warp for face. 113- gnnonBnnnnnnnBm nBnnnnnnnBnmna nnnnnnQBnnnnnnnB HQnnBnnnnnnnBnnn dBnnnnnnnBnnniann nnnnanBnnnnnunBg nnnBnnnnnnoBpnnn ■nnnnnnnBnnmnnn snnnnnBnnnnnnnBng nnBnnnnnnnBtnnnnd nnnnncnBnmnHgnB nnnnBannnnnnBOnn nBnnnnnnnBnnnnnS nnannnBnnnnnngBa iBnnnnnnnBHnnnnnn 1 8 Fig. 115. Fig. 114. BBflflBnflBBaBBflQBH BBnBBBBBBBDBBBBfl BBBflBBBDBBBBBflfln ■■■■DMHaaanHH MDaaaaBMHnaHaaaa ■■aaaanaaaaaaana aaagaaaaaaanaaaa naaaaaaanaaaaaaa saaaaanaaaaaaanaa aanaaaaaaanaaaaa ■aaaaaanaaaaaaaa aaaanaaaaaaanaaa anaaaaaaanaaaaaa ■BBBBBnaaaaaaana BBBDBaBBBBBaBaBa inaaflBflflBnaaBBBBB 1 8 Fig. 116. Upon g-harjicss, we can design two different satin weaves, for the number 9, in accordance with the rules, can be divided into 2 plus 7 and 4 plus 5. Commencing to count off with 2 for producing the first kind of satin we get: I, 3, 5, 7, 9, 2, 4, 6, 8, which is illustrated in filling for face in Fig. 117. If requiring warp for face read this as well as any of the following designs, illustrated in succession up to 1 6-harness, n for raisers (up), ■ for sinkers (down). Commencing to count off for the second kind of satin weaves on 9-harness, using the 4 for counter, we get: i, 5, 9, 4, 8, 3, 7, 2, 6, which is illustrated in Fig. 118. sannannnan nnnnnannn nnnanmnn nannnmnn SnnnnnnnB Bnnnnnann Bnnnannnn .Opannnnnn iipnnnnnnn Fig. 117. 9nnnnnBtxin Bannanmn nnnnnnann nnannnnnn nnnnnnnan nnnannnnn □nmannna Bnnnaannn lammnnnn 1 9 Fig. 118. For lo-harness one regular satin is derived by dividing 10 into 3 plus 7. Counting off with 3 gives i, 4, 7, 10, 3, 6, 9, 2, 5, 8, as points for intersecting. The design for it is illustrated in Fig. 119. lonnnnnnnann nnnnannnnn nannnnnnnn nannnnnnan nnnnnannnn nnannnnnnn nnnnnannna nnnnnaannn Dnnannnnnn iBunnnnannn 1 10 Fig. 119. 28 jimnnnmBdna nna«nnunnnn 3nnnnn«nnnn 3n«nnnnannn nnnSnnnnnBn nnnnnannnnn nannnnannnn nnnnnnnnBnn nnnnannnonn lannnnnnnnnn 1 11 Fig. I20. For ii-harness four diffenent perfect satins can be designed, by dividing the 1 1 in 2 plus 9, 3 plus 8, 4 plus 7, 5 plus 6. The " counter " most frequently used for the 1 1 harness is 4, giving the points for intersecting as follows : i, 5, 9, 2, 6, 10, 3, 7, 1 1, 4, 8. The design for it is illustrated in Fig. 120. wnnnnnanannnn nDnnnnnnnn«g nnn»anannnai3 nnnnnnnnMonn nannnnnnnnnn nnnmnBnnmn □nnnnnnnnnnM nnnn»nnnnnnn □□nnnnnnnMnn finagnnannnnn nnnnannmnann iBmnnumnnnn 1 12 Fig. 121. isnnnnnnnaMnmn nnnnnnnnnnn«n nnnn- .'□■□nnnnn □■□□nnnnnnnnn nnnnnnnmannn nnnnMnnnnnnnn □nnnnnnnnnncB nnnnnnnannnnD noBnnnnunnnnn nnnnnnnnnuBnn unnnnBonnnnnn iBnnnnnnnnnnnn 1 13 Fig. 122. i4annnnnnnnMnnnn nnnnBjnnnnnnnn nnnnunmnnnnoB nnnnnnnnannnnn nnnBnnmnnnnnn nnnnnnnnnnnnBn nnnnnnnMnnnoDo nnBnnnnnnnnnrrn Dannnnnnnnn«na nnnnnnMonnnnnn nannninannnnnnn nnnnnnnnnnannn nnnnrjBnannnnnn iw nn nannnnnnnnn 1 14 For i2-harness only one perfect satin is found by dividing the 12 into 5 plus 7. Counting off with 7 gives the points for intersecting as follows: I, 8, 3, 10, 5, 12, 7, 2, 9, 4, II, 6. The design for it is illustrated in Fig. 121. For ij-harness we find five different perfect satins by dividing the 13 into 2 plus II, 3 plus 10, 4 plus 9, 8 plus 5, 6 plus 7. Counting off with (the number most frequently used) 5, we find the in- tersecting points to be i, 6, 11, 3, 8, 13, 5, 10, 2, 7, 12, 4, 9. The design for it is shown in Fig. 122. For i^-harness we find two perfect .satins by dividing the 14 into 3 plus 1 1, and 5 plus 9. The design most frequently used for this number of harness, and which is illustrated in Fig. 123, is derived by counting off with 5, as follows: i, 6, II, 2, 7, 12, 3, 8, 13, 4, 9, 14, 5, 10. Fig. 123. isauuuunmnnnBtxin nnnannnBnnnnnnn nnnannnnnnnnnnn □□nnnnnnnnnnnn« nnnmnnnnnannnn nnnnnaMonnnnnnn nnannnnnnnnnnnn nnnmannnnnnn«n nnnnnnnnnMmnnn nnnnnBunnnnnnnn nB^nnnnnnnnnnnn nnnnnnnnnnnnBHc nnnnnnnn Mnnnnnn: nnnn«nnnnnnnnnn i«nnnnnnnnnannnc 1 It Fiv,-. 124. i6dannndnnnannn»na nnnn :nnnnnMnnnnn nnnnnnnmnnnnnnng nnnnannnnnnnnnnn nanonnnnnnnnnnnn nnnnnnnnnnnnnnmn nnnnnnnnnnn»nnnn nnnnnnnnmnnnnnnn nnnnnannnnnnnnnn nn«nnnnnnnnnnnnn nnnnonnnnnnnnnnji nnnnnnnnnnnnannn nnnnnnnnnannnnnn nnnnnaBnnnnnnnnn nnnannnnnnnnnnnn iMUonnnnnnnnnnnnn 1 16 Fig. 125. For lyharncss three different regular satins can be made, as 1 5 can be divided into 2 plus 13, 4 plus 11,7 plus 8. The number most frequently employed for counting off is 4, which gives the points for intersection as i, 5, 9, 13, 2, 6, 10, 14, 3, 7, 11, 15, 4, 8, 12. The design for it is found in Fig. 124. For 16-harness three different satin weaves can be designed by dividing the 16 either in 3 plus 13 or 5 plus 1 1 or 7 plus 9. Using the number most frequently employed for counting off the points for intersecting warp and filling, which is 3, we find i, 4, 7, 10, 13, 16, 3, 6, 9, 12, 15, 2, 5, 8, II, 14, as represented in design Fig. 125. After the method given thus far for finding the different satins from the lowest number of harness (the 5-harness) up to the 16-harness, it will be easy for any student to find the different satins for any number of warp-threads in repeat (harness) that may be required. Those given in our lecture will comprise those most frequently used. 29 Table for finding the Satin Weaves most frequently used. Number op Harness. SUCCESSION OF STITCHES. Number for Counting OFF. 5-harneSS... 3- 5- 2. 4- 1 2. 6 " I. 3- 5- 2. 6. 4- 0. 7 " - I. 3- 5- 7- 2. 4- 6. 2. 1 8 " ^• 4- 7- 2. 5- 8. 3- 6. 3- 9 " I- 3 5 7- 9- 2. 4- 6. 8. 2. 10 " I. 4- 7- 10. 3- 6. 9- 2. 5- 8. 3- II " I. 5- 9- 2. 6 10. 3- 7- II. 4- 8. 4- 12 " I. 8. 3- 10 5- 12 »7 I- 2 9- 4- II. 6. ■ 7- 13 " I- 6. II. 3- 8. 13 5- 10. 2. 7- 12. 4- 9- 5- 14 " ... I. 6. II. 2. 7- 12 3- 8. 13- 4- 9- 14. 5- 10. 5- 15 " I. 5- 9- 13 2. 6. 10. 14. 3- 7- 1 1. 15- 4- 8. 12. 4- 16 ' I. 4- 7- 10. ■ 13- 16. 3- 6. 9- 12. 15- i ^ 5- 8. II. 14. 1 ^' 1 Fig. 126. Influence of the Twist of the Yarn upon Fabrics interlaced with Satin Weaves. To produce certain effects on fabrics interlacing on a satin weave the same may require a certain twist of the warp or the filHng, or in both systems. Fabrics made on a satin weave may for their effect require the satin twill to be more or less visible ; again it may be desired to see none at all. Therefore in all cases, before deciding as to the direction and amount of twist to be put in the yarn for any kind of a fabric to be made with a satin weave, we must consider whether the face is to be formed by the warp or the filling and whether the .satin twill is to be visible or not. For example: Take a fabric to be made with the 5-harness satin. If we have to use warp for face and want the satin-twill effect distinct, we must use the design shown in Fig. 104 with a warp yarn twisted to the left. If we want to produce a fabric requiring a smooth face, as doeskin, kersey, beaver, etc., and have the warp yarn twisted towards the left, we must u.se the design illustrated by Fig. 108. Arrangement for Commencing the Satin Weaves for Special Fabrics, such as Damask Table Covers, Towels, etc. In fabrics where " warp up " and " filling up " satins are figured as in previously mentioned fabrics, we have to change the commencing of the weave from the beginning 30 with one, so as to get a perfect joining, respectively cutting off from the warp effect to the filling effect. In this class of fabrics the weave must commence in the following manner : The last warp and filling thread of one effect must work in an opposite direction to the commencing of the first warp and filling thread of the other effect. Hence the 5-harness satin for such fabrics will be 4, I, 3, 5, 2 (see Fig. 127;. The 8-harness satin will read 3, 8, 5, 2, 7,4, 1,6 (see Fig. 128). The lo-harness satin 7, 10, 3, 6, 9, 2, 5, 8, i, 4 (see Fig. 129), etc., etc. • ■■■■□■■■■naaaa:.a : . -■■■■□■nnanBnnnn«nnnr;BB)i»n«nunn DMBMnaaaanaMiH. : :■ jaaaBanDaannDnHnnncanaaaHnmna ■aanaaaanaaaaaa. .a , Baajanannnnannnnannriaaananannn ■□aaaa.jaaaanaaa : a. .a, .aaannaannnnannnnananaaanDnMn ■BaajaaaBaaaaa..:a._. .BBBanBnannannnnBnnnnBBBanBnnnn ■anaaaanaaaaijaa a .aanaannanLinnaannnannaanaannann □aaaanaaaBijaaaa , . .;.jB ■BBBanDmaDnnnaunnnaDBBBBnnnnB ■fla::iflBBajaaaa:.ia. .a. i. ....aaBL,B:aB:ann:~BnnnnBnnnaBBnBDBnnn l:~.-e.':. .a. . ... .a..a^.aaa ..j.^a a aaBaL;Baaanaaaji:::;aLa_iBBB Haauaaii3j:jBanaLjaaaa_.BaunuBBBBnBaaarjBBBBnBncnnBaBBn naHnnajaanrinamaanaBLiijBnnBanaBBBnaaBBnaBnnannBarjBB nnunaana.:a_aana;:aaaaau; ir.;a:jaBaa\Baaa-:aaaa: :; :naanaaBB nBmnr.a::.: iaanaaaa aaa' 'aaa: :aBaB' :Baaa a. -a: 'r'aaa: la BaBaaajaaaBJBBB. .a. .a .aaa. : . -a .a ;b a: aaa: : .an ■BBBaaaafljaBaana \ .aaaa. .a^^a: : a . . :b : . :aaaB.^a ■BaBBBajBaaaaaa. ; a ;aB..jaa:JLJa: : :' 'b .a..i:jBaLjaaDUBDD naBBBnaaBBuaaaa. ; . .a :aBBB:a'a: :: a a : :BnBBBBnDDnB BBBaBBBBaaBBaaa. .a..i . .aaaQa:n!j' ^a a^ ;nnBBBDanBDnn nnnannnnaaaaaaaa^aaB, :aaBaBflaB: .aaBB,._aaBnnnanaDBBB Bnnaaaanaaaa'jajBBBB. m\:: : iBBBanaBaBDaBaanBnnnDBBBan nnBiinu:]Baa_j-_;ajuaa:_;aB. 1. ;a' :, :aanaBBanBBBBnBBnnBnDaBnBB anj::a:~:najB.ju;.:aB: jaaaa M.^aaBBBBnaaBBnaaBannnDBDaBBB nanL:: : ' " : : :■: iBjauaBanBBBBDBBBBnanannnBBBDB nuaa. . a a a. aaa :uBnBaBBBBLJBBBanaBBnnnBaBcaBB annu^^B . a . , iaaaa ^.BjnnnBBaanaaBBnBBBanBnnnnaBBBn pnB:;::;.j.^a, ._j_j"^a. jaaa...aa.^L]Bai]BBaBBBBnBBBBnBa^'i"B:"T: ;bbdbb □aanaLinJna-j-ja: jBLUBaBBunnnBnBBBanBBBBnBBBa- - - :: -b; ;bbbb nBnannanziaaannuBBanBiaBnnaBBBnBBBBnaBBBr.-a: a :aaBDB DnaBiinnnBaaanBjaaaaa;~:anBaanBBBanBBBBaBBa : :. ■ aaaaa ■□aaaBnaananMnnaaaa a* r ~: ; :aaaanBBBBnBBaai .a a ;^aBBBU paflnaaaBaaaDBaaaa. aa ...a. aa ;aBaBaBBBBr:afl' a . -bbdbb □□□□Baanaaannna: .aaaa. i. . I.. :a :BaaanaaaBnBBaa ! .bdbbbb nflnaaaBaanaannnaaa ^a :a aaa' aaaa: :aaaB a. :a';j:jaBBBaB BaBBBBaaBflanaBB; i. , a ;a:jaaa ..a ■ m a a JBBBmnBn BBBBaaBBBnaflBana ^ .. : mnwm aaa : BaaanBDnna flBaaaaanflBBaaaa: :ria^. :aa. iBB a a a .:.^aanBBnnBnn nBBBaaaaaanBBaanaaaaaaaaa..: a : a i iBaaaaanDDnB BBBnaBBB'jaBBBaaaaaaaaBaaB; a a a anaaanaDannn nnnBuaanannanB^BnBBB;juija'ja..,aaaB. :aaaa. .aaaaanBaBnBBB BaannBaaaaaanaaaBBBaBaaaaBaBBaBBBaaaaaBnBpnnaBBBBn DaBannnBnDaaBaaaBaBaaaBaaaanBBBBnaBBBnBBaiSBnnaBnBB nnnnBnmaBaaanauBBBBaanaBnBBBBnBBBBnBBBBannnanBBBB □BnnanflaaanBanaflBBaBnflnnaBBBnBBBBnBBBBnflaflDDDBBflnB Fig. 130. annnnann ananaaan nnaaaang naanaoBt!] nanaaann nnaaaaaq nnnanaai nnannnan Fig. 128. nanannnnnn ■annaaaann nannanaaaa □aaaaaaaan naaaaaaaaa nanaaanaaa naaaaaaaaa naaanaanaa □nnaaaaana nnnnaaanaa Fig. 129. Fig. 130 is designed to illustrate a fabric figured with the 5-harness warp and filling satin, and Fig. 131 is designed to illustrate the figuring applied to the 8-harness warp and filling satin. . . iBBaBrMBaBBaanaaannnnaaaBan iBBBaBaBBBaaaaaaaaaanBanaaann jiBBaaBBaBBBBaaaaaaaBaaaaanaBnDan SnaaaBaaaaaaaaaaaaaaanananannDBn BBBBBaBBaBaaaaaaBaanaaaDBaaaana ■■■aaaaaaaBaaaaaaaaaHaaaaaanaaan aBBBBBaaaBaaaBaaaaaaanaBanaaaaaB BflBBBaaBBBBBaaBBaaBannaaaaflaDaaa ■BnaaaBBBaaBBBaaaaaanBaaaaaanBaa MBBaaaaaBBaaaaaBaaaaaanBaaaaana ■BBB jaBBaBaaaaaaaaaBaaaaaaaBaaan ■nBBBBBBaaaaaaBaaaaaaaBnaaaaaaBa ■BBBBBaaBaaaaaaaaBaaaaaaaaaannan ■BBaaBBBBBBaaaBBaanaBaaaaanaBaDn nBBBaaBBaaaaBaaaaaaaaaaaaaaaaaaB ■■BBaaaaBaaaaaBBanaaaaaanaaaaaan QaanaBaaaaaaaBaaBaaBBBBBaaaaBBBB BinanaaaaBaaaDaaaBBaaaBaaBBBBBBaa nnnBaaaaaaaBaaaaBBBaaaaBBBBaaaBB HnnnaaaaaaaaanaaaaaBaBaaaaaaaaHB nnnaaaaanBaaaaaaaaaaaaaBBBBBBBaB BanaBaaaaaaaBaaaaBaaBBaBaaariBBBB BnaaanaaaaaaaaaBaaaaaaaaaaaaaaBa naBaaaaaaaBaaaaaBBaBaaaBBaaaaaBB aaaaaBaaaaaaaaaaBBaBBBaaBBaBaaBB ■aaaaaaaBaaaaanaBaBaaBaaBaaaaBaa nnaBaaananaaaaaaaBBaaaBBBBBaaaBB naaaaaBaaaaaaaaaBnBBBBaaBaBaaBBB nBaaaaanaBaaaaaaaBBaBaaBBBBBBBaB aaaaaaaaaaaaaaaaaaaaaBBaaaaaaaaa naaaaaaBaanaaaaBaaBBaaaBaaaaaaBB naBaaaananBaaaaaaBaBaaBBBBBBBaBB Fig. 131. Before proceeding with the construction of weaves (derivative weaves from the previously explained foundation weaves), we will next treat of drawing-in drafts, followed by drafting of weaves and reed calculations. " Drawing in the Warp in its Harness," and the preparation of the drawing-in drafts. Description of the operation— Methods used for making out a proper drawing-in draft- Different systems of drawing in drafts. Drawing the warp-threads in the Heddles (which are adjusted to the different Harness frames) forms the beginning of the practical part in weaving; the making out of the order (or arrangement) in which this has to be done, constitutes one of the first lessons in the theory of weaving and designing. THE HARNESS. The harness, or harness shaft, also termed a shaft, (see Fig. 132) consists of a " Frame (marked A), and the iron rod {B) for holding the heddles {C). Through the eyes {£>) of the heddles the warp-threads are drawn as illustrated hy E. For drawing in a warp in its " set of har- ness," two persons are required. The " drawer- in" inserts his " drawing- in hook " through the eye of the heddle, towards the second person called the " hander-in^ The latter inserts one of the warp-threads in the ''eye of the hook," which in turn is pulled out of the heddle-eye by the first-mentioned person. Two different systems are used for drawing-in : 1st. Indicating the harness nearest to the warp beam as the first, the nearest to it as the second, and so on until all harness are used. This method is tech- nically known as "drawing-in from back to front" and is clearly illustrated by Fig. 1 33. 2d. Indicating the harness nearest the reed as number one, the nearest to it as the second, and so on until all harness are used. This method is technically known as " drawing-in from front to rear," and is illus- trated by Fig. 1 34. (This is the system most gener- ally used in this country). Principles of a Drawing-in Draft. The drawing-in draft must clearly indicate the So -36xrivefsi- WarptfireacU"' Fig. 134. This arrangement Fig. 133. rotation for drawing the warp-threads in the heddles on the different shafts must be made in accordance with one or the other of the following methods : A. — It may be made by using common designing paper and indicating the rotation by marks. In em- ploying this method the rotation of the harness must be shown either by numbering the horizontal rows of squares which indicate the harness on the left side of the draft (see Fig. 135), or by placing the word "Front" on the proper place so as to avoid any misunderstanding (see Fig. 136). (31) 8 nnpnmnmnnnnMnn 7 nnnnnnnnnnnDMnMn 6 nnnnnaunnnaBnnni „„5 nnnnnmnanBnnnSn "^4 nnnBnnnnninnnnnq 3 □DBnMrjnnBnnnnnug 1 Mnnunnnnannnnnnn Fig. 135. □ u u uu «dnaann«n nnMnnnnnannnnS nnnnBnBnnnnBn« nanndnnnnMnnnn ■nnnnnnnnnMnnn Front. Fig. 136. 32 H. V. 3. 3. 3. 3. 3. Z. ^. 1. 1 — Another method is by using the same paper as before for the draft but, in place of the marks, employing numbers indicating the harness to be drawn on (see Fig. 137). C. — A third method is by using horizontally m Fig. 138. Fig. 137. ruled paper for indicating the harness, and drawing vertical lines indicating the warp-threads on the former. The stopping of the vertical lines on one of the different horizontal lines indicates the drawing of the different warp-threads on one of the different harness. The horizontal lines must be numbered (see Fig. 138). Different Divisions of Drawing-in Drafts. Drawing-in drafts are in general governed by the different weaves for which they are used, and are divided into " Straight Drawing-in Drafts " and " Fancy Drawing-in Drafts." Straiglit drawing-in drafts are those in which the heddles of the different number of harness the "set" contains are used in rotation; and after the last is used the first is employed over again until all the warp-threads are taken up. For example, in 4-harncss we commence to draw in : — The first warp-thread on the ist heddle on the ist harness. The second " 1st " " 2d it The third " 1st " " 3d i< The fourth " 1st 4th i< The fifth 1< 2d 1st <( The sixth " 2d " 2d i< The seventh " 2d " 3d X The eighth " H 2d 4th >( The ninth " ii 3d " 1st i( and so on, until every warp-thread the warp contains is taken up. Fig 1 39 illustrates the double repeat of a 4-harness straight drawing-in draft. Fig 140 illustrates the double repeat of a 6-harness .straight drawing-in draft. V.W. □: •Mlji I Pront. enngnn MuiJU DDM snnnnannnanBg nSSnomn Fig. 139. Fig. 140. Fancy draiving-in drafts are generally used for reducing the number of harness necessary (repeat) for producing a certain kind of weave in a fabric. In looms constructed for certain classes of goods (mostly in cotton) and which can be operated only on plain and common twills with regard to their motion for raising the harness, the fancy draws will often become a necessity. The method of making out fancy drawing-in drafts for certain weaves, technically known as "drafting," will be dealt with later on. Sub-Divisions of Fancy Drawing-in Drafts. A. Broken draws. B. Point draws. y C. Section-arrangement draws (ist, plain, 2d, double). D. Skip draws. E. Mixed draws (cross draws). , A.^ — Broken Draws. Drawing-in drafts, graded under this division, have their method of drawing arranged (similar to the principle ofthe satin weaves) as much as possible broken up, scattered, yet regularly 33 distributed over the repeat of the draft. We also classify under the present division of drawing- in drafts such as are necessary for producing broken-twills, t. c, in which we draw for a certain number of threads from front to rear; next arrange the draw to miss one-half the number of harness, and draw a certain number of threads (as required by the design) from rear to front; next miss again one-half the number of harness, and commence again to draw from front to rear. For example: Fig. 141 illustrates a broken draw for 8-harness. Commence to draw harness i to 8 straight through from front to rear twice over, next miss one-half the number of harness = 4_ thus: 8 — 4 = 4; commence on harness 4, to be followed by 3, 2, I, 8, 7,6, 5, 4, 3, 2, i, 8, 7, 6, 5 ; next miss again four harness, giving you harness i for starting, to commence to draw from front to rear over again (repeat in the present example). snnnnnnnBnnnnnnnBnnnnBnnnnnonMnnn The present division of drawing-m drafts finds exten- Bnann-nnnnmn.mnmnnn.nm sive use in the manufacture of fancy worsted, woolen and mSSBmBBHSgBHBBgSBBBBBBgSHBBBHB cotton goods. On looms known as " roller-looms," iSgBBBBBBSSBBBBBBBBSyBBBBBBSSBBBB "cam-looms," this system, of drawing-in drafts forms the ^^i- only means for weaving satins, corkscrews and similar popular weaves. Fig. 142 illustrates a broken draw for 4-harness. 143 144 5 2nBnnnBnn Fig. 142. snndBnuLiLiBU sannnannonB iBDnnnannnn Fig. 143. snnannHnnnnnnnMnn aDBDnnnnnnMnnnnn nnnnnnnannnnDnnB annnannannnnMnnn aannnnnnnannnnnn annnnnBnnnnnDn«3 annannnnnnnannng iBnnnnpnnBDnnnnnn Fig. 144. -Point Draws. harness, and afterwards draw from rear to front and repeat B B In regular point draws, we draw from front to rear once straight through the entire set of For example see Fig. 145. Com- mence to draw in from the first harness straight through to the last, A to B, and back again, B to C. Designs for these draw- ing-in drafts must be arranged so as to repeat forwards and back- wards respectively in the centre. Such a weave will run upwards, at a given angle, to a definite point; then it will return by the same angle in an opposite direction until it reaches the base from which it originally started. In these kinds of drawing-in drafts the " point- harnesses" are only once drawn on, while the other harnesses are used twice in one repeat of the weave. Hence an 8-harness regular point draw will require 14 warp-threads for one repeat; a 12-harness regular point draw will require 22 warp- threads for one repeat, and so on ; always giving the double number of harness less 2 as the number of warp-threads in one repeat. Fig 146 illustrates a double repeat of a regular 8-harness point draw. Warp-threads 1,8, 15, 22 are the point-threads or the warp-threads which are drawn in the heddles on the point harnesses. A change from the regular point draw, but belonging in its principle of construction to it, are drawing-in drafts in which we draw in one or the other direction (front to rear or rear to front) continually for two, three, four or more times before changing to the other direction. snnndnnnBnnnnnnnonnnnnBnnnnnn nnnnnnBnBnnnnnnnnnDnMDBDnnnn nnnnnBnnnMnnnannnnnBU'i'xi«annn □nnnBnnnnn«nnnnnnnBDnnnn«anB 3nnBnnnnnnnBnnnnnBnnDPDan«nn 3DMnHnnnnnnn«nnnBnnnnBnnnnBB lannnnnnnnnmnnMnnnSnnnnnnnnn I 8 15 22 Point Warp-threads. Fig. 146. 34 ennnmHdnnnaHnnmnBnnnnnannnBmnnnHnnnnnHnnnn ^^S- H/ illustrates a specimen of these nnnBaannnBnannnnnnnBnnannHnjunnBoaLannMnnLjann Kina oi araits to oe maae wun o-narness. n«anannBuanan«annnanaMnBannnaBnannnBnannnaaB An examination will snow us a drawinsr iBannnn«nnuunBnnnannmn«nnnnnBnananBnannnnnnn , , . ^ ^ f Fig. 147. straight three times from front to rear with an additional from rear to front (two repeats shown in draft). A second sub-division of the point draws are point draws containing the effect of a zigzag which are used to a great extent in weaves for fabrics imitating Jacquard work. Fig. 148 illustrates such a specimen drawing-in on 12-harness. □nannnnnaanannnnBnBnnannnnnnapnnnnnnnnnnnnaxinmnnnnnnnnnnnnnnBnBannnnnanacnnnnn DnannnnnnnamnnBannBaandnnnnannnnnnnnnannmmDnnnnnnunnnnnnnnBnnnBn-nnnannnnunnn nnaaaanannanaaBaaaaaBaaaaannaauaaaaanaanaaanananaaaaaaanananBnnaanBrjaaaaaannanaa nnaananBaananBaanaaauBaaanaBaaaannaaaanannanaananaaaaBnnannBaaaaaanBaaaapBaaanan nnnanaBaBannBaaaaaQnnaBanaBaBannaaaaaaaaaanaananananBnBaaaBannnnaaanBaanBaBanaan nnanaBannBnBaannnnnaoaaBnBannBaannannnanaaaaaaaannaBaaaBaBaaannaaaaanBCBanaBanan BaaaBananaBannananannaaaBaaaunBnanaaaaaaaaaaaaaaaaBaanaaBaaaanaaaaanaaBaaaaaBaan nnBaanaaaannaaanaannanaaaaanmBaanaaBaannaBnamnBaananannnnannaannnanna:::aannBna gnBaaanaananaaaaanaaanaaaaaaannnBnnaBaBaauBaBnanBnnnnaaannnaaaananannnaaannnaaBn BnnanaanaaaaaaaannaaaaaaaanaanaaBaBaaaBaBanaBnBnanaamnnaaannnnaaaaaaanmaaaanB nnnnnnnnnnnnannnmnnnnnaanannnnaaBnnnnaBaaanaBPananncnanijnnnn nnnm naannDncinnnan Fig. 148. C. — Drawing-in Drafts having a Section Arrangement. 1ST. — Plain Draw. r I2namnantidaannndmuuumu®i3nnnniaannda0dnannnnnann:nnnnnnaannanis)nnaaa0nannn® I dadBdnddndaaadandandnD®ddada©nddad0aaddBaaaDaaaaaadaaaDaaa@Lidandt:yuaand®B 2d set J BnnannanaddUdddaaadda®addad®aaaaafc(aannaaaanuanndnaddnanLjatyaaana&aLjaan©nn za sei. < 3nnnanadaadaaaaaaaaa0aaaan@ndnan©naaaaanaanaaaaDdanBaLidd©acudD&addad©dnQ i nddadauBaanaaaaaaaa0ndaaa©aaddd@dadaaddanadnadadadanndnfc)aaaaa©aadaa©ana3 V. 7nddddddaaaaaaaaada©aaadD©naada©ndnadannDanaadaddadddaa©aaaud©adaad©adddn ( eannddBnaaaaBaadanBaaadndndnDdaannaaadddndBddadnBdadnnBnndaaaaaddnanddddn I ddaaBadadaBdddaaBaadndnddndnnndnaaaaaaadBdDdndBadadaBaaaaadndaddddndnddD 1st spt J ndnBaaaaaBaaaaaBaaaaanaaanaaaaaanaduaadBdndadBdnudaBaaddaaaaaannndddadnn isi set. < ndBaddadBanadaBaddaddanddddddaBnaddaaaBaaadaBdadaaBaananaaadaDi3aaaandadQ J nBddddaBaaaddBddaaaaadddaddddddndnddDBanadnBnnnadBandaandnadadaaaadadnan V iBPddanBnannaBddpnaannanppnndPPnnnnpPBnnnnaBapaapBapapapaaaaaddPPDddaDddd Fig. 149. These drawing-in drafts are used to a great extent in the manufacture of damask table cloth, towels, fancy cassimeres, worsteds, etc. For these styles of draws two weaves are com- pounded into one, each one being operated on its own part of the harness set. The manner of using two sections we find frequently extended to three or more sections, requiring a correspond- ing number of weaves to be compounded into one. In Fig. 149, we illustrate a specimen of suclb a kind of drawing-in draft. Harness I up to 6, inclusive, forms the first set; harness 7 up to 12, inclusive, forms the second set. 2ND. — Double Draws. These drawing-in drafts are generally used in weaves for double cloth fabrics, system of warp-threads (face and back) getting its own harness set. r i6adddddu uuuu d uuuuuuuuLid ©dddddndddddddddddndddddii>i: npadaddadddndaddddn0addddudPdddPdddddaapddd©ddd : Each dmdddi 'idddddt 2d set. Iddd ionn ddddddi dddddddiadddddddi ddddi 9d®l sdddd: dddddddg dddd®ddd ndddddddd! , ddddPddddBdd adadd ddddBBndDddddPddBPdppppnPddPBdn ddddddddBnddddddddddB ddnn ndddddDBaddndddDdddBpdd 1st set ddddndBddaaaddddddBdddnffldddddBdddddddddddBddddn isisei. , dddadBnddaadaaaddBdmdnddddddBaadBdddndnaBnaaBdB ddaBdadddddddddBdddddddddddBddddddfiddddBnaaaaagd BaB aadddddddddBddP dddddd ndBadddddnddddBdaaadPdpB V iBnnnnnnni 11 ii t iiannnnni 1 1 i nn nnMnnnnn nniin nnBn nnnn nrn-innfi Fig. 150. Fig. 150 illustrates a drawing-in draft to be classified in this system, ist set of harness, I, 2, 3, 4, 5, 6, 7 and 8; 2nd set of harness, 9, 10, II, 12, 13, 14, 15, and 16. n pdPP dDnPddddadandlpnaada: ddandddPpnDdddn@ppnnpncaa d®dnddddddddddddndaaddddd®ndddadddndad -,ddddddnndddp®dddddddnnddDndd: ddnddddddiioBDEnddddddndd sti gj_ dddddmnddddddnndddiadddddddddddnnddnnaaddd "dddnBddddPdPddddBPddddPdPPddBdddPBdaBmn'" „ „. fcl Q . idd: 2d set. Fig. 151 illustrates another specimen of drawing-in draft for 12-harness repeat. i2ddddaddiddddddd@dddddnd0dddddddi§ npadd@dddddnn©npdPdddldPdddDn® ian ddd0dddaaaa©ddaaadd®dadaddd®ddnQ 9n®nddddaa©aaadddd@dnddddd©ddddng sdddddddnnaddndBddddaddddadddddBd HaddaaaaaaddBdddddddQdddddddBddd ddddnadddBanddamdndddndaBddndd ddddddddBndaaaddaddddaaaBPpnadpn DddddBBopdnndadddaaaaaBdui 11 11 idarn IdddBddSdddaadddaaddBddnndandddn adddddBdddddddnddddQ adddBdnndddddddddaSd BaBPddddddPnddddddBddddddPddc iBdddnddddddddr^ F~iG. 151. 35 D. — Skip Draws. These draws are in their origin short straight draws in a larger number of harness. After drawing a certain number of warp-threads plain straight, commence anew again, but one, two or more threads higher or lower than the commencement of the preceding draft. Fig. 152 illustrates such a drawing-in draft for 8-harness, 4 threads for the short straight draw ; skipping one thread. snnnnnnmnnnnnnnnnnnBnnMnnHnnBnnnnnnnnnnnannnmuuunnBnnMmBnnBma nnnnnnnannnnnnnBnnBnnBnnBnnnnnnnnnnnnnnnnnnnnnnBnnBnnBnnBnnnunar nnnnnnnnnnnBnnBn-Bnn«nnnnnunnr:nnnnnpnnnnnnn«nn«nnBnnB.-::anr;nnnaani; nnnnnnnBnnMnnHnnBnnnnnnnnnnnLjnjnnnnnnnnBnnMnn«nnBnnnnnnnaDnnnnnc nnnBanBnnBnnBnnaannnunnnnz^nnnucnnnnBnnBnnBnnBnnqnnnnnnunnnnnnnnt: HnBnnBanBrjnnnnnuauunnrinrjij-jnnnr.GBnnBnnBnnBnnnnnnannnannnnnnnnnnnB nBuaBnnnnnnnnnnnnnnnnnuLinnnBnnBanBnnBnnnnnnnnnnnnnnnnnnnannBnnBn iBnmnnnnunnnannnnmnnunBnuBnrjBnnBnnnnnnnnnnnnnnmnnnnnnBnnBnnBnn Fig. 152. E. — Mixed or Cross Draws. As the variety of different weaves is unbounded, so are also the drawing-in drafts, and under the above heading it is proper to classify the kind of drafts obtained in one way or another, by combining two or more drafts of the previously explained systems. Other Points a Drawing-in Draft may require in addition to the indications for Drafting a Certain Harness. If a warp contains threads of different thickness, color, or quality of stock, the drawing-in draft must have a copy of the repeat of pattern, clearly indicating for each warp-thread such = particulars (see Fig. 153 for illustration.) . g . t The drawing-in draft should further show the number of warp, the number of dresser, the number of ends in warp, the number and width of reed to use, the number of warp-threads to be put in one dent, instruc- tions if any threads in particular have to be separated by the dents (see Fig. 1 154), and the number of heddles to be put on each harness. Every one of these points clearly indicated on the draft will greatly assist in the production of correct work, prevent mistakes and save much time. We append a specimen sheet of a complete order for the drawing-in department, such as ought to be used in every mill. snnnnnnBnnnnnnnBn nunnnnnBnnnnnnnB BnBnnnnnBnnnnnan □□BnnnnnBnnnnnn nnnnBannnnnnnBng nnnnnBannnnnBnnd nBnnnnnnnnnBnnnn iBnnnnnnnnuBnnnnn Fig. 153. Specimen of a Complete Drawing-in Sheet. Fancy Cassiniere, style ^2. Warp No. 393. 3600 ends in warp. Reed 13 x 4 = 69^ inches width of warp, in reed. Dressing : 6 threads black 4 run. D. N. 4. I " white 7 " I 7 " 2 " white " black " lavender " brown " 12 n blue " 10 9 8 7 in pattern. 6 H 3 I, Selvage : 40 threads i inch wide in reed for each side. Black. ^ Brown. Brown. Blue. Fig. 154. 36 Heddles required for the different harness : Numbers i, 3, 4, 9, it, each 300 heddles = 1500 Number 2, requires 750 " = 750 " 5, " 600 " = 600 Numbers 6, 7,8, 10, 12, each 150 " = 750 3600 Having explained the general principles of drawing-in drafts for theoretical and practical work, also their classification, the next subject for the student to learn will be " the drafting of drawing-in drafts " from the different weaves. Drafting of Drawing-in Drafts from Weaves. Rule : Ascertain the " repeat " of the weave in the direction of both systems of threads. Next, examine each warp-thread separately (on the design) as to its rotation of interlacing in the filling. If each warp-thread shows different places (different picks) for interlacing, each thread requires a different harness. If there are warp-threads in the repeat of the weave which have throughout the entire number of picks the same intersecting places, they can be drawn on one harness. For example, examine the two warp-threads illustrated in Fig. 155 ; both are working the same way ( ^ ^ ^ ^ \ ) in its repeat of 8-picks, consequently these two threads can be drawn on one harness, giving the same result. sun nn HH ■■ nn m ■■ inn 1 2 Fig. 155. In Fig 156 we illustrate 3 warp-threads over i6-picks. An examination of the same will show warp-threads marked I and 3 interlacing correspondingly with the filling, and hence can be drawn on the same harness ; whereas thread marked 2 works differently, therefore requiring a different harness. Weave. nnnM«n«nBnB«nnn leanH ■□■ nan nun ■□■ n«a ■DH nan ■na □an ana H°" nan ana inan 12 3 Fig. 156. i2a~nnaBannnaanananaannnaaannnannnanannn aannnaaannnanananannnaaannnaannnananng uuu: :~::aaB: "BnanannrsBBarniiiaBanijnanBcnri Dbbb; :bbb b b' 'fl:r :flflB: " :: bbb' :BflB3anBBa n: :flflfl. :: ':::flflfl: :Bfl. :flB: :flaB. : ::BflBnBnBaa nr:::flflflj:::-:flflB._B :H..BHB:::j: bbb: . .iBBnanaaa B:Lin.jBaBii; :ljbbub.3b .bb . .;.:bbb:.;. ,. :b; :; .::_:b: 'annn aanunaBannnanaLiB. .a: .: :; :bbb:.::^: :bb. :; u: u\ :n:i BaannnaaBnanaanBB ....:flBfl ;n::BBB_;: .::b: ,B::n:4 naBBnnnaaaanana:.:B: .::::bbb- .:^l:bbb: :BBB:_Bnr ~ nnBBBnnnaBananBLJB:jaBa:jnnBaBLjnaBaui innnBaana~Baa:aa::anBaanunaaannnaaanani 1 38 Drawing-in Draft. lannnnnannnnnnnnnnnnnnnannnnnanmanannn znannnnnannnnnnnnmnnnannnnnannnnnnnnm snnanBnnnannnannnannnannnnnannannnnnnnn With Fig. 157 we illustrate a complete weave ^one repeat) with its corresponding drawing-in draft : 38 warp-threads ~| 12 picks J m repeat. ennnnnannnnnannnnnannnnnBnnnnnnnnnnnnnn rnnnnnmnunnnnanannnnnnnnnnnnnnnnnnnnpn ennnnnnnnnnnnnnannnnnnnnnnnnnnnnnnnnnnn 1 38 Fig. 157. An examination of each warp-thread in particular will result as follows : Warp-threads i, 7, 23, 29, 33, 35 correspond, thus harness i 2, 8, 22, 28 " " " 2 3, 9. 13. 17, 21, 27 " " " 3 4, 10, 20, 26, 30, 31, 32. 34, 36, 37, 38 " '• " 4 5,11.19,25 " " " 5 6, 12, 18, 24 14, 16 <' "Warp-thread 15 working independent, requires a separate harness; =: 37 Hence, we find drawing-in draft illustrated below weaves reading as follows: The I St warp-thread for harness I. The 20th warp-thread for harness 4. The 2d ( t 2. The 2 1st 3- The 3d n 3- The 2 2d 2. The 4th t< n 4- The 23d a I. The 5 th u it 5. IJie 24tn «< ^ D. The 6th u a 6. Ine 25tn n 5- The 7th t( I. i ne 20tn ^^ 4- The 8th a i( 2. The 27th (( 3- The 9th (t it 3- 1 ne 25tn 2. The loth i( f < 4- Ine 29tn t( I. The nth n 5- The 30^^^ 4. The 1 2th {( 6. The 31st ti The 13th a (( ■J The 3 2d U 4. The 14th u i( The 33d a I. The 15 th (( <( I The 34th u 4. The 1 6th (( (( 7- The 35th (C I. The 17th i( u 3- The 36th i4 4 The 1 8th *i u 6. The 37th 4t 4 The 19th 1/ u 5- The 38th it 4 Some weaves will be found inexpedient to reduce to the lowest number of harnesses, as a drawing-in draft too irregularly distributed will be difficult to comprehend by the operative who uses the same for practical work. After making out a fancy drawing-in draft for a weave, the design for the "harness-chain" must be prepared. Rule for Designing the Same:— Reproduce each warp-threatl only the first time called for by its drawing-in draft on a different harness. For example: Produce harness-chain for weave and drawing-in draft Fig. 157. Aits7ver : The I St harness must raise and lower as follows (reading downwards): The 2d The 3d The 4th The 5 th The 6th The 7th The 8th 3 1 3 3 3^ 2 3 3 3 3 3 1 finding in this manner harness-chain illustrated by Fig. 158. ■■■ . ■ !!■■■: .: ; ■ n: :: .mbii::! mv.:.::. : ■■ : ■■ I ■■■□t ina: ; □■■■urr. Fig. 158. 38 RULES FOR ESTIMATING THE NUMBER OF HEDD^ES REQUIRED ON EACH HARNESS. Straight Draws. Rule : Divide the number of threads the warp contains by the number of harness in the set used. Example: 4800 ends in warp — 8-harness straight draw. How many heddles are required for each harness ? Ansiuer: 4800 -h 8 = 600; 600 heddles are required for each harness. If ends remain over the full repeat they are to be added, beginning with harness one until all are taken up. These harnesses will consequently require one more heddle. Example: 4800 ends in warp — 9-harness straight draw. How many heddles are required for each harness ? Anszver: 4800 -^- 9 = 533 full straight draws plus 3 threads. Thus, harness i, 2, and 3 must contain 534 heddles (1602) 4, 5. 6, 7, 8 and 9 " " 533 " (3198) 4800 Fancy Drawing-in Drafts. Rule: Multiply the number of threads for each harness by the number of pattern repeats in the entire warp. Example: — 3200 ends in warp on the following drawing-in draft: 32 threads in one pattern. 3200 32 = 100 repeats of pattern in warp. nnnnnBnannnnunnnnnnnnnuuuuunnBBUiz Hamess-a 1 3 >± DnnnBnnnnnnnnnBwnnnnnnnnQgngnanni 1 DDnHnnnnnnnDnanannnDUuuuHijnnuuuuio nnnnnDDMnnnnnnnnnngnBnnnnnnnnnnn 9 •linnnnannnnnnanMnnnnQnnBnnnBnnnnnn s ■ — — idinnnnnBonnannnunnnr nnnaBnnnnnBonnannnunBQngnnnnnn 7 ■nnmnncinnnnm«Bnnnnnnnn«nnnnn e nanSnnnganp»nnnnnnnionnn«nnnnnnnn 5 tji=!!=!___ —nunaanuDUUU 4 3i3jnnn«nna nnn ni . , — nnnnnnnnnnnnnl nnnnnnnar _ in«nnnnnnnniBnnnnnnnn«ndn 2 "ini II II l unnnnnnnnnnnnnnnnnM 1 32 Fic. 159. -3 —2 —2 -3 -2 —4 -2 —3 I —1 32 3 P No. of Harness. I 2 3 4 5 6 7 8 9 10 II 12 Threads per Pattern. 3 4 I 3 2 4 2 3 2 2 3 3 32 X 100 Repeats. Heddles. 300 400 100 300 200 400 200 300 200 200 300 300 3200 The repeat of the pattern will not always divide into the number of the ends in the warp. Sometimes it will leave a fraction over, which we have to add separately. For example, taking the drawing-in draft as before, and supposing the number of ends for the warp to be 3206. This will give us the 100 repeats of pattern as before, plus 6 ends. Numbers i, 3, 6, 10, 11 and 12- harness call for the first 6 warp-ends in the pattern, hence: 89 Number i harness will call for 301 heddles. 3 " " " 6 " " 401 10 " " " 201 " "II " " " 301 "12 " " " 301 Harness 2, 4, 5, 7, 8 and 9 will remain the same as before. THE REED. The reed consists of two horizontal strips of wood, between which a series of narrow strips of metal (flat steel wire) are bound in. After a warp is " drawn in its harness," it has to be " reeded ;" one, two, three or more ends together are drawn in one dent or split of the reed. The purpose of the reed is. First : To guide the warp-threads after leaving the harness, holding the same during the entire width and length of the fabric evenly divided. Second : To strike the filling in evenly divided places all over the width of the fabric in beating up. The height of a reed (distance between both horizontal strips) varies according to the fabric it is used for. Silk fabrics requiring 2^ to 3 inches height. Cotton fabrics " 2}^ to " Woolen fabrics " 4 to 4}4 " " Carpets " 4}^ to 5 It is advisable to have the height of a reed to }i inch higher than the highest lift of any thread in the fabric. It will never do to have this height lower than any thread of the upper shed lifts, as this would chafe the warp. The reed has to be movable the least bit in the width of the lay, but is required to be steady towards front and back in almost every kind of fabric ; except in the manufacture of turkish towelings, or similar textile fabrics, in which the reed is required to give way in a backward direction regulated by springs. To get perfect work the reeds must be evenly set, the wires must stand parallel with the warp and the wire must be neither too thick, nor too thin, too wide or too narrow for the work. The " riding " of threads can often be helped by different number of threads per dent, or by taking different parts of the pattern in the same dent. REED CALCULATIONS. The reed is named by numbers, the number in each case indicating how many splits are in each inch. Thus a number 8 reed means a reed with 8 splits in every inch over the required width. If we call for number 163^ reed, we want a reed having i6)4 splits in one inch, equal to 33 dents in every 2 inches over the entire width of the fabric. Whole numbers or half numbers alone are used for grading of reeds. Example : Suppose we have a number 9 reed, 4 threads in one split or dent, how many ends are in one inch ? How many are in a full warp if 70 inches wide in reed? Answer: 9 x 4 = 36 ends of warp in one inch. X 70 width of warp in reed 2520 ends in warp. Hence, we find as a rule for ascertaining the number of ends in the warp, if the reed num- ber, the threads per dent and the width of the warp in reed are known, the following : Multiply the reed number by the threads per dent, and multiply the result by the width of the warp in reed. Example : How many ends are in the warp if using 13)^ reed, 6 threads per dent, 80 inches wide in reed ? 40 Answer: 13^^X6 = 81 X8o = 6480 ends in warp. The next process will be to ascertain the reed number, if the number of ends in the warp and the width in the reed are known, the threads per dent either given or to be selected accord- ing to the fabric. Rule : Divide the number of ends in the warp by the width in the reed, which gives the number of threads per inch. Divide this result again by the number of threads in one dent according to the weave or pattern required. Example : 6480 ends in warp, 80 inches wide in reed. 1st. How many ends per inch? 2d. What reed number required if 6 ends per dent are to be used ? Answer: 6480-^80 = 81 ends per inch. 81^6 = 13!/^, number of reed required. It will be easily understood, how to find the width of the warp in the reed. Supposing the reed number, the threads per dent, and the number of threads in the warp are known : Rule : Divide the number of ends in the warp by the number of ends per inch, giving as the result the number of inches the warp will be in the reed. Example: Reed 12 X 3=3600 ends in warp. What width will this fabric have in the reed? Answer : 12 X 3 = 36 ends per inch. 3600-^36 = 100 inches width of fabric in reed. The number of ends to put in one dent has to be regulated according to the fabric and the weave. Experience is the only guide for this. The coarser the reed, to a certain extent, the easier the picks go into the fabric. The finer the reed, the smoother the goods, and with perfect reeds the less reed m.arks. The same number of ends are not always used in each dent, but the preceding rules may be used for finding the average number of threads per dent. Example : What are the threads per inch ? Reed number 20 using I dent, 4 ends I " 5 " Answer: 4 + 5= 9 9^2 = 4^ threads, average per dent, / 20 number of reed = 90 threads per inch. Example : What are the threads per inch ? Reed number 18 using 1 dent, 3 ends I " 4 " ' I " 3 " I " 6 " Anszver : 3 + 4+ 3 + 6= 16 threads in four dents. 16 4=4 threads, average per dent, X 18 number of reed=72 threads per inch. Sometimes it happens that the average number of threads includes an inconvenient fraction. To avoid a calculation with this fraction, multiply the sum of the contents of the dents* by the dents per inch, and then divide by the dents per set. Example: What are the threads per inch, warp reeded as follows in number 12 reed : I dent, 5 threads. I " 3 " I " 3 " 3 + 3 + 5 = II X 12 = 132. 132 ^ 3 = 44 threads per inch. Derivative Weaves. FROM THE PLAIN OR COTTON WEAVE. I. Common Rib-Weaves. This sub-division of the "plain" or "cotton" weave is classified into two distinct divisions, namely, weaves forming the face of the fabric by the warp (warp effects), and weaves forming the face of the fabric by the filling (filling effects). Warp Effects. The principle observed in constructing these weaves is to allow more than one pick to follow in succession into the same shed of a regular plain weave. This will require a high tex- ture for the warp in fabrics uBnanana which are interlaced with them. ■ ■ The first common rib-weave to be formed is the change in 2, as represented in Fig. i6o, re- quiring for its repeat 2 warp-threads and 4 picks. Picks I and 2 are interwoven in the first shed of the plain weave ; picks 3 and 4 are interwoven in the other. Fig. 161 shows a clearly drawn out diagram of this weave and the corresponding interlacing of warp and filling in a fabric. Fig. 162 illustrates the section cut of the woven fabric. 1 1 1 i 1 fs 1 — 1 1 -1 Fig. 160. nananana 1 2 Fig. 163. ■ ■ ■ ■ '■ 'an oanB^iB '■ um:~m M m !■ IB ■□■□■nan Fig. 164 Fig. 163 illustrates the common rib-weave as obtained by a change of 3 in the filling, thus requiring for its repeat 2 warp-threads and 6 picks. Fig. 164 illustrates the change of 4 picks in a shed for constructing the next common rib-weave, requiring for its repeat 2 warp-threads and 8 picks. Weaves Figs. 160, 163 and 164 require for their repeat warpways, 2 threads, and therefore 2 harness, which number, in practical work on the loom, will by reason of the high texture of warp generally used be increased to 4, 6, 8 or 12 harness, with a corresponding repetition 2, 3, 4 or 6 times of the design, for the warp-threads. (41) 42 Filling Effects . In these weaves every pick intersects alternately over and below two or three or more warp-threads; therefore being in its principle nothing more than the common "plain" weave, with two, three or more threads used in- stead of one in the plain weave. In their general appear- ance these weaves are the same as the warp effects of the same class of weaves previously explained except that the warp exchanges with the filling. As fabrics constructed with these weaves have the filling for face, a correspond- ingly high texture of the latter is required. The " ribs," as ^ produced by these weaves, are formed in vertical direction, ^ or in the direction of the warp-threads in the fabric, while ^ in the former division, classified as warp effects, this direc- tion is opposite — that is, in the direction of the filling. nrBBnnBH ■■□rBB~o 1 4 Fig. 165. ■■■r ■ ■■ □r.ci 2DCD ■□□□I 6 Fig. 167 ■no3 ■■■ ■ 'j-D ■■■ 'immm ■□□o ■■■■ r ■■■■ inoaa ■■■■ ■ ■■■ '7~D r: Fig. 168. Fig. 165 illustrates the change for two warp-threads in succession, interlacing with one pick. Fig. 166 shows a diagram illustrating the 4-harness rib-weave and the corresponding inter- lacing of warp and filling in a fabric. Fig. 167 illustrates the change for three warp-threads. Fig. 168 illustrates the change for four warp-threads. Weave Fig. 165 has for its repeat 4 warp-threads and 2 picks. Weave Fig. 167 has for its repeat 6 warp-threads and 2 picks. Weave Fig. 168 has for its repeat 8 warp-threads and 2 picks. But each weave can be made, if required, on 2-harness by drawing warp-threads interlacing the same in the filling on i -harness. II. Common Basket-Weaves. These are a combination of the common rib-weaves, warp and filling effect, having the same changes. Therefore, the principle of their construction will readily be found in the enlargement, warp and filling-ways, of the common plain weave. The first or most simple basket-weave to be found is produced by the exchanging of two successive warp- threads with two successive filling-threads, alternately up and down ; or an equal combination of rib-weaves. Figs. 160 and 165. Fig. 169 illustrates this basket-weave, requiring for the repeat four warp- threads and four picks. Warp-threads i and 2 are the first mate-threads. Warp-threads 3 and 4, the second. Picks I and 2 are the first mate-picks. Picks 3 and 4, the others. DOi Fig. 169. 43 DBDBDI m' m : ■ ■ threads working the same, and also illus- trates a combination of weaves, Figs. 164 and 168. III. — Fancy Rib-Weaves. Warp Effects. The first step towards designing fancy rib-weaves is the combination of the regu- lar "plain" weave with its sub- division the common rib-weave. Fig. 174 is designed to il- lustrate the combination of one pick "plain" to alternate with two picks of the common rib- weave ; or in other words, to put one pick in one shed, and two picks in the other shed of a regular plain weave. Fig 175 illustrates the diagram of this weave with a corresponding illustration of the interlacing of warp and filling in a fabric. Fig. 176 illustrates the section cut of the woven fabric. In its appearance in the Fig. 174. Fig. 170 shows a diagram illustrating the 4-harness basket-weave, and the cor- responding interlacing of warp and filling in a fabric. Fig. 171 illustrates the section cut of the woven fabric. Fig. 172 illustrates the common 6-har- or' ■■■ ■■■ 6Df. □f. □G' I □□r I nr' ■ ■■■■ OD. ■■■■ ■■■■ □r^ ■■■■ ■■■■ I I no I jQ I "a ■ ■■■ ■ BB JG BBB aaB_Ga Fig. 172. BBBB BBBB BBBB Fig. 173. ness basket-weave, having three successive warp and filling-threads working the same, and forming also a combination of weaves, Figs. 163 and 167. Fig 173 represents the common 8-har- ness basket-weave, with four successive warp- 1 1 \ % i i i i % i 1 i i % 4 1 Z2,.'/.S. 6.7.8. L Z. 3. 5. 6. % S. Fig. 175. 44 '1 3.i m\'\m \ \ ^- -i 1. Z. % H. i. 6. "7. S: Fig. 17S. or two changes of the plain weave and woven fabric this weave, as well as the following similarly constructed weaves, will produce the fancy effect by alternately exchanging heavy and fine rib lines. Fig. 177 illustrates the change as to the size of the rib produced by one pick in one rib to alternate with three picks in the other rib. Repeat of weave: 2 warp-threads, and 4 picks. □■ m -m: m ■I jai.jBua .1 Fig. 177. Fig. 178 illustrates the diagram of the weave, with a corresponding illustration of the interlacing of warp and filling in a fabric. Fig. 179 illustrates the section cut of the woven fabric. Fig. 180 illu.strates a fancy rib-weave having two picks in one shed, to alternate with three picks in the other shed. Repeat of weave : 2 warp-threads and 5 picks. Fig. 181 illustrates a fancy rib- weave as prc- duced by a change of the shed of i, i and 3 picks one change of three picks in the same shed. Fig. 180. ■□■□■^■21 ■□■□■□■a J 2 Fig. 181. Fig. 182. Fig. 182 illustrates the combination of three different ribs, (as to its size) or the changes for picks in one shed, as i, 2, 3. Repeat of weave: 2 warp-threads and 12 picks. Filling Effects. In fabrics produced with these weaves, the rib-lines run in the direction of the warp-threads in the fabric. The face and back of the fabric will be produced with the filling, the warp forming the centre. 45 Fig. 183 illustrates the combination of one warp-thread in one filling change, to alternate with one filling change containing two warp-threads. Fig. 184 illustrates the warp change of i and 3 in a fancy rib-weave. Repeat of weave : 4 warp-threads and 2 picks. chi«k:bbb::bb« cnaBMCCBHH nBcnBcaa raaannHnnBH nrm'^Ti mmcrrmmcna ■'^■■nw-n ■r_r~BBB'iBBnGG ri' : ■ ■ ■■ cmm ' m mmm ■ ■ ■ 1 . ] mm'r.n -.mwtJiTj ■ ■■ ■ 1 mt mmm mm la CMCMDH ■■■ ■■■ mam L;r,BBB[:cBH i ■ ■ ■■ ■ ■■■ m : y m. ' nm:\iij mmcnrMmGan ■ ■■ k.id '□■■□■■naa ^[ jmb 2::b:ji .bcbb 2GH^j::'B:^L:aH 13 14 .15 18 1 12 Fig. 183. Fig. 184. Fig. 185. Fig. 186. Fig. 187. Fig. 185, with a change of 2 and 3 in its con.struction, requires for its repeat 5 warp-threads and 2 picks. Fig. 186, with a change of l, 1,2, requires for the repeat of the weave 8 warp-threads and 2 picks. Fig. 187, constructed by means of change i, 2, 3, requires for the repeat of the weave 12 warp-threads and 2 picks. IV. Fancy Basket-Weaves. □■■GBI □■■GHI ■rj[^Br;c SOBBGH □■■IJH i».gj»::l' ■GnaaBB ■GGaaaa ■iGaaaa mm I . ) i^aG.!;. ^aa < , Fig. 190. Fig. □■□□□■□aaaaaannMGBBa CBDGDBGBBaCaGrraGBBB CBrrrnGBaa^a^G' m ^mmm B::Bsn~ii'^"'i"a aaa a on L Eg: .1 ai mem'' m : m' mmm B'-BBBi'B i a aaa a jGD BGBBBi a . . a aaa a zoD iCBBKi a : . a aaa a: "GO [ L . _ _ a g>eo a EBB I ! I aaa: These weaves are obtained by combining common basket-effects of different sizes in one design. They also have their principle of con.struction in the combination of corresponding warp and filling effects ot the fancy rib-weaves. Fig. 188 illustrates the fancy basket-weave produced with an alternate change of one and two threads, warp and filling ways. Repeat: 3 warp- ^bbb^bSS threads, ^ picks. ' SSa SSS ^ mmm mmm Fig. i88. pjg^ jg^ jg produced by the alternate changes of one and three 'f- ."ljuu threads, warp and filling ways. Repeat : 4 warp-threads, 4 picks. Fig. 190 illustrates a fancy basket-weave of a construction twice as heavy as the weave illus- trated in Fig. 188, or the alternate changes of two and four, warp and filling ways. Repeat : 6 warp- threads, 6 picks. Fig. 191 illustrates a fancy basket-weave pro- duced with a change of 3, I, for warp and filling- Repeat : 10 warp-threads, 10 picks. This weave will also indicate an important point in the con- struction of fancy basket-weaves with regard to their repeat. If changes are required, and warp and filling ways are of an uneven number, the repeat for warp and filling threads will be double the number of threads called for in those changes. For example take the present weave. Changes for warp and filling are 3, i, i. Thus, as three is an uneven number, we find 3+14-1 = 5 X 2 = 10 threads of warp and 10 picks necessary for one complete repeat. Fig. 192 illustrates a fancy basket-weave having for its foundation the change of i, 2, 4 for warp and filling. Repeat: 14 warp-threads, 14 picks. In addition to basket-weaves made with even changes ■ ' ' a aaa~ a ' ;g BBB' a ^ ' a aaa ■: I . BGaaai a^ igd ■ .: ai' aaa' a na I :c.M mmm a ;gd ■aaGB. . a aaa ■GDpBLBBBuauaa Fig. 191. □BBnanaanni naBGnGGBGGf tlBBGGGGB^' PBB '"' !~ a . iBGGnnBGGBI IGBBGGGr^B'GGBl IBBBGaBGG'"' ^a'~''"ai caaGonGaG ^aaaa ■CGaaaBGaa EincBBBBGan . . j felGGBBBBGaa ' I a iGBBBaGBa 1 CBBGG IB '■ BBBB CJBB 1 ] i a BBBB a BBBB 'BB "'G I ttrmn j a aaaa raa '< . , m aaaa raa ~i . m aaaa Caa GIB! BBBB a aaau aa ■ B' BBBB 'BB : i ~ I GBB .'IB BBBB a. , 'BBBB 'aa ' . j iBBBB aaaa aaaa aa I ' I aa caa . □BB IBGGI ilG IGG IGG ■ J jGG .BBBB BBBB BBBa ■ I "GG I ' TJ I Kl .TJ I • IGG BBBB IBGGGUBGUBBBBJBaGGGJ H Fig. 192. 46 for warp and filling, it may often be necessary to construct this division of weaves in one system heavier than in the other. The reason for constructing basket-weaves in this manner is found either in the difference of textures of warp and filling, or because of the different counts of yarn for the warp and filling. Figs. 193 and 194 illustrate two weaves constructed in this manner. Reneat / ^ ^arp-threads. Repeat ^ ^y^^^^ □□□□■■■■nn--' ■■■■ ■■■■ □□c ■■■■ ■■■■ ■■■■ ■■■ ■ 1 ■■■■ ■■■ ■ . i J ■■■■ ■■■ m. • J ■■■■ ■■■■ ■■■■ ■□□□□■■■■□uun i Repeat I Fig. 193. Fig. 194. V. Figured Rib-Weaves. These are the combination of common and fancy rib-weaves so as to produce a new weave. The following few examples, with the corresponding explanations, will illustrate methods by which each rib-weave (as numerous as they can possibly be constructed in plain and fancy) can be varied in an endless manner. The first step towards figuring will be to change the rib-line in a common rib-weave after a certain number of warp-threads. Figs, 195, 196 and 197 are designed for the purpose of illustrating this method. Fig. 195 contains for its principle the common rib-weave, Fig. 160, ^- 2- The rib is arranged for one pick higher for every six succes- sive warp-threads. Repeat: 24 warp-threads and 4 picks. Thus, as 4 picks form the repeat for the common rib, find the number of warp- threads required for the full design as follows: Successive warp-threads, I'l'^- i95- X number of changes, = warp-threads required for full design. 6X4 = 24. Fig. 196 contains for its principle of construction the common rib-weave, Fig. 163, ^ The rib is again arranged for two picks higher for every six successive warp-threads. Repeat: 18 warp-threads and 5 picks. Fig. 197 contains for its construction the common rib-weave, Fig. 164, ^. The rib is arranged two picks higher for every eight successive warp-threads. Repeat: 32 warp-threads and 8 picks. Figs. 198, 199, 200 and 201 illustrate a second division of figured rib-weaves, having for their foundation fancy rib-weave warp effects. ■ ■ ■ m m mi: u i ■ ■ «'j ■ ■ m^m m L ■ ■ .mis '2 :z □ -aa I 4 L ■ ■ m^2 >^ ■ ■ .jB la j'li >ij j ■ B^B ei ■Ti >i< a B B 'Z! -:i< 'x: :} r: la j3 ai la sDBnBGBnB'-inai DB' B ~B B a"\ CB B B b:: 3nat-ami~unm' ^■nnon a aB B B B a a :: B B B B a na'^ao a-BQ a aia ^m ,B_B-i' >3 •! :: cm m^m^ll s< a^j ■LB B . B a a. B B B B a a a ^3 B .B^.B^a JQ .a '.aja a B^B^BJjajffl.jB^aDa ja ■r BL.B. ■ iblb_.b:,b _ _ a 1 i: a B B B B a aLa_ a_B_B^ B_.Ba_B a ara a aa _ajaa 32 ■□■□□B3H ^naaaBOBn ■□BaBDao ■jBDuaaa 1 8 Fig. 196. Fig. 197. Fig. ■□■ JB j ^a ja la ■□BJB JB JBJBQ JBJaDMq 1 12 Fig. 199. Fig. 198 is constructed out of the regular fancy rib-weave, j (see Fig. 177). Repeat: 8 warp-threads and 4 picks. Fig. 199 is constructed out of the regular fancy rib- weave, ^ j. Repeat: 12 warp-threads and 6 picks. Fig. 200 is constructed out of the regular fancy rib-weave, ^ ^. Repeat: 24 warp-threads and 6 picks. Fig. 201 is con.structed out of the regular fancy rib-weave, 5- "^^i^^ ^o"'' changes in the repeat, each change 8 warp-threads, thus: repeat 32 warp-threads and 8 picks. 47 Figs. 202 and 203 illustrate a third sub-division of the figured rib-weaves, having for their foundation the fancy rib-weave filling effect. Fig. 202 is constructed out of the regular fancy rib-weave, 3 ^. Repeat: 4 warp-threads and 8 picks. □■□ ■□ ■□ la ■□ ■a ■□ ■□ □UH uma 1'4 ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ : □ ■ ■ ■ ■ ■ ■ ■ ■ ; a ■□ ■ ■ ■ ■ ■ ■ ■a ■ ■ ( B a u ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ □ a ■ {■□■□■□■oaauBaaaBMc □■□■□■□■□■□■□■a Fig. 200. Fig. 201. ■"bbb^bb ■bb"bbb" IBBBuBBBQ Fig. Fig. 203 is constructed out of the regular fancy rib-weave, ^ ?. Repeat : 6 warp-threads and 12 picks. The next method for the designing of figured rib-weaves is the combination of the warp and the filling effects of the common rib-weaves. We may select both effects correspond- ingly, or combine two different effects. Fig. 204 illustrates the combination of the common rib-weave, — ^, warp effect, with the common rib-weave, ^ -, filling effect. Each effect is arranged for a repeat of 8 warp-threads and 8 picks. Repeat of complete weave : 16 warp-threads and 16 picks. ■nCBBBBDOBBB ■ BBBB bbbi^'I'bbbb^^j ■bbb""bbbb"j IBBBaaCBBBBDa leccn-nnnnEiBnBCi □□□□"7" "^Br b: I DO" ::ann a a i nana a a 1 nc o::'j::a a a □□aa a a a □c: :;:::;::a a a aaar. a a a DB a a a ca a a a:::x::; ra a a a 1 Fig. 203. Fig. 204. m'j B'J BT □ ;aa □ J jDQ 10 g:: L :; g:: [ a r'B r:a [ a B-B„B_ a:z_GH__aa ipGBJBGBGaQGCBaOg Fig. 205. Fig. 205 illustrates the combination of the common rib-weave ^, warp effect with the common rib-weave ^ -, filling effect. Each effect is arranged for a repeat of 8 warp-threads and 8 picks. Repeat of combination design: 16 warp-threads and 16 picks. These changes of warp and filling effects may also be arranged after the shape of a certain weave. For example, Fig. 206, which is arranged after the 4-harness broken twill ^gj raama \ -GOB 1 -IGG I. iCGG/ ssDnBHHHnnnanannaHBDBnBOBonHDDODHa Bar-i sa^r aaaa' -r-n^-pnaranr:'^ aaaai □raaaa aa an a a a aaa aa Ba aa ac;aa a a a a aaaa j — aaa aaa aa aaaa aaaa i :b a a a aa aa BE^^,,^E bg'" □c:Gaaa bg„,,,,„e BG^'^)'":; bg^^)'""e bg^^"^"g bq")"^":: BG'""""a ccaaaa BB a Bca a a mem a a □a: a a □B a a □ara a □a a a a a a J a a aj ::^,,,,,,,aa :"^'"^aa :;)^"""aa ;""__"aa j''"""aa :""""aa :""""aa ■_.a aaaa- __aa^_- Fig. 206. aannBBDaaBDGQBDnBaDBDHDBOBnnaBnDaB BEG'^BG " 3D — GG 7 7 ^BG BGB^BGG "?7GGGG CDGa aa aa aa a a a a aa aa — .... ... .... _ _ _ ^,„, ,,,, J .... BG aL GG c a:: BB^_ Ba"" G a:: BG cl a:; Ba")' Ba"'' bg"" Ga ■ Ga. ■ Ga I GB ■ IBUB.B^B^aG aaa aa „a3 "Eia "Sa "aa ■"aa Fig. 207. -) is used. Each change in effect For warp and filling face the same fancy rib-weave (- (after the 4-harness twill, as mentioned before) is arranged for 8 warp-threads and 8 picks repeat. Repeat of weave : 32 warp- threads and 32 pick.s. 48 Fig. 207 also has for its principle the four-harness broken twill. Two different common rib-weaves are used in its construction, as follows : For the warp effect * ^ ; for the filling effect ^ Each change in effect is arranged for 8 warp-threads and 8 picks repeat. Repeat of weave: 32 warp-threads and 32 picks repeat. 32DBnBGBnBGnnnHDTnnn!3nnEnHnBnBnBnB cm'M'm'maaD Gnc aa m bi « ra ■ ■ ■ r.r.i: ■ ■ ■ ■ ■ ■ ■ ■ r.iy.: i::: ■ ■ ■ ■□ cm m m mir.y^ ::z:u LM ■ ■ ■ c.c l: CB ■ ■ ixy.: □□a c.azi oiz ■ ,„ '^^-n'^' □a:;' "'aaa ':x;" c :::: a:::: EHc: aa ■ : ::k:: aaai ■ ■ ■ ■ [ ■ ■ ■ ■ g:x: lY^:-. ■ ■ ■ <■ ■ ■ I ■ ■ I ■ ■ Fig. 208. ■ ■□ 3 :a :: 'ru ,; JO .jjiD as ^□■□■□■□■□□naHnnanHnEOHni □■□■□■□■□□□n'^naasanQDBnB □■:;:;[: he"''":: r. ■ ■ EE ■ I ■ ■ ■ ■ ■ ■ ■ ■ I ■ ■ I ■ ■ B ■ <■ ■ ■ Bill ■ O EEEQ ;e ]□ 3[: ]□ 14 Fig. 209. Fig. 208 illustrates a figured rib-weave having warp and filling changes equal Q-^), and with systems of effects arranged to exchange in the shape of the 4-harness even-sided twill. TeSSB^ Repeat: 32 warp-threads and 32 picks. \muam/ ' Fig. 209 illustrates warp and filling changes equal 3), both arranged to exchange in the shape of an even-sided twill. Examples 204 to 209 will indicate the great variety for figured rib-weaves. An endless number of them could easily be constructed. In the beginning of our explanation of the common rib-weaves, we mentioned that in " warp effects " the warp forms the face and back of the fabric and the filling rests in its centre, while in " filling effects," the filling produces the face and back and the warp rests in its centre. To improve or increase the strength of the fabric we may interlace the warp or filling threads float- ing on the back of the fabric on an extra weave. Figs. 210, 211 and 212 are designed to give a clear illustration. Fig. 210. ■■■■■ . ]□□ ■1 ■■■■■ :oa ■■■■■ ■ ■ ■ □ ■■ ■ ■■ ■ ■ ■ :□□ c.- M ■ ■ ■ mm ■mm ■■ ■ ■ ■ m ~/3G c. ■ ■ ■ ■ m ■■■ ■ ■ ■ ■ ■ ■ m ■;na ■ ■ ■ ■ ■ ■MB ■■■ ■ ■ ■ c ■ ■ ■ ■ ■ ■ mm ■■ ■ ■ ■ ■ r. ■ ■ ■ ■ ■ mmm ■ ■ ■ Fig 211. Fig. 212. Fig. 210 illustrates the common ^ g rib-weave (warp effect), having its warp-threads, as they float on the back, interlace in rotation once more with the filling, and thus giving additional strength to the fabric. Fig. 211 illustrates the common = 5 fib- weave (filling effect). The filling, when floating on the back of the fabric, is arranged to interlace additional, after the manner of a broken twill. Fig. 212 illustrates this additional interlacing arranged with the same twill for each rib. Effects Produced by Using two or more Colors in Warp and Filling of Fabrics interlaced upon Rib and Basket-Weaves. Rib and Basket-weaves are frequently used for producing various effects by different com- binations of colors in warp and filling. We will describe a few of the effects most frequently used, thus giving the student the necessary points for the construction of any effect he may have occa- sion to produce. 49 Fig. 213 illustrates an effect derived by a color arrangement of the warp (dressing), i end light, I end dark, and a color arrangement of the filling, 2 picks light 2 picks dark, upon a fabric inter- laced with the common rib-weave (warp effect) ? Diagram for Explain- ing Figs. 213 to 224. Arrangement of Warp (Dressing.) Weave ~ S, " Effect. B B ~ ■ B B B B B !□ :: a □be; □H i ■CB^'' ■'UB □B □ □□ □ □H □s : ia : :a : □ Fig. 213. a ;k Fig. : a ; a ; ;a ; .3 214. Fig. 215. ;aa aa □ aa aa aa aa aa aa aa aa aa aa :aa jaa c mm mm L BB [ L aa 1 I L ^" L a[; G ■ caa aaaaaaaaaaaa Fig. 216. Fig. 214 illustrates the same weave and the same arrangement of the warp as Fig. 213- The arrangement of the filling is also, 2 picks dark, 2 picks light, as used in Fig. 213, but is started on the opposite shed. In Fig. 213 the light filling covers the dark warp and the dark filling covers the light warp, and the effect produced are lines across the width of the fabric, (in the direction of the filling), each line having the size of two successive picks ; in Fig. 214 the light filling covers the light warp and the dark filling covers the dark warp, forming for effect a hair-line. Fig. 215 illustrates a heavier hair-line obtained with the common rib-weave filling effect ^ Arrangement for the warp: 2 ends light, 2 ends dark. Arrangement for the filling: i pick dark, I pick light, each style of warp covered by its own colored filling. Fig. 216 illustrates the tricot effect produced on the same rib-weave as Fig. 215 ; also the same color arrangement for warp and filling, except that the light filling covers the dark warp, and the dark filling covers the light warp. ■□■□■□□□□□□□□□□□□□□□□on ■ B " B " ' ti -'ry >' a^ -a: a a 1 ■■□□□□□nnnncnGDnDnnnpnnnnnnnGPDnnannnn r^BBi- Haaf-' -aaaat' "aaan= ("aaf ^aaaa^ r:aaaa"-«i i^^^^BB r,r."" """" """" :^ ^ oSEL.fik;aaf-*v.aKr"''""'"''Eai □■■QBaaaiiiaaaaaaaaaaai .aaaBGHHBBBHl L B B B 1 □ : a ) ■ DC a [; 1 BB UL a a 1 □C a a □C i a a □L 1 a a □C a a □C □r 1 a a DC □C ( a a □c 1 a a □c a a □c abr^a. m -,bIIq □G a ■■■■■ ■BBBIB Fig. Fig. 2i£ Fig. 219. Fig. 217 illustrates an effect obtained by combining- effects Figs. 215 and 216. Arrangement of the warp : 2 ends light, 2 " dark, 2 " light, 4 " dark, 2 " light, 4 " dark, 16 ends in repeat. Arrangement of the filling : one pick dark to alternate with one pick light. Fig. 218 illustrates an effect produced upon a fabric interlaced on the common rib-weave (warp effect) 3, with the following arrangement for the warp : 2 ends light, I end dark, I " light, I " dark, 5 ends in repeat Filling: all light. 50 Fig. 219 illustrates a hair-line, upon a fabric interlaced on the fancy rib-weave j ^ (filling effect). Dressing: i end dark, 2 ends light, = 3 ends in repeat. Filling: one pick light to alter- nate with one pick dark. Each color in warp is covered by its own color in filling. Fig. 220 represents another hair line, having more ground space between each line. Weave: fancy rib j -. Dressing: i end dark, 3 ends light, = 4 ends in repeat. Filling: i pick light, I pick dark. Each color in warp is covered by its own color in filling. Fig. 221 illustrates a heavy hair-line effect similar to the one shown in Fig. 215 and is pro- duced upon a fabric interlaced with the common 4-harness basket-weave. Dressing and arrange- ment of filling : 2 ends light to alternate with 2 ends dark. Each color in warp to be cov- ered by its own filling. Fig. 222 shows an effect produced with the same weave and dressing as Fig. 221. Filling: all lisht. :i J \ 0 m \E m HI: 0 a • □r: - 11 Of: a ' □Li, Fig. 220. Fig. 221. Fic;. 222. Fig. 223 illustrates a " star-effect " obtained upon a fabric interlaced with the 4-harness com- mon basket-weave. Arrangement for warp and filling : 1 end light, 2 ends dark, I end light, 4 ends in repeat. ■■nnnnnnnnmnnnnnmn 3 jl Fig. 223. Fig. 224. Fig. 224 illustrates another small effect upon a fabric interlaced with the 4-harness basket- weave. Arrangement for warp and filling : 2 ends dark, 4 ends light, or color No. I. color No. 2. 6 ends in repeat of color arrangement, and 12 ends the repeat of the entire effect. It will be easily seen that an endless variety of effects can be produced, but those pre- viously given illustrate the most frequently used, and will be a guide for the student in construct- ing other effects on 2, 3, or more, color arrangements. VI. Oblique Rib-Weaves. This sub-division of the rib-weaves is used in the manufacture of a line of fabrics tech- nically known as " basket-cloth " ; and they are also used to a great extent in the manufacture of worsted suitings, cloakings, etc. For their construction we use the following rule : 51 Divide the repeat, which must be equal warp and filling-ways, in four equal squares. (For example, take diagram, Fig. 225. Suppose n a, b, c, d to form the repeat for the weave, warp ^ and filling- ways. Small squares numbered i, 2, 3 and 4 are the four equal squares required.) Next, divide the main square {a, b, c, d) into eight parts by running two oblique litics from each corner through the centre ((?) to the opposite corner. For illustra- tion, see diagram. Fig. 226: lines /; to d and a to c, in addition to lines / to h and i to g will divide the main square a, b, c, d into eight even parts, each of a tri- ^- angular shape, as indicated by numbers i, 2, 3, 4, 5, 6, 7 and 8. Two methods of construction can next be observed : either we fill out every triangle containing uneven numbers with filling-weave effect, and every even-numbered triangle with a warp-rib effect, or we select two connecting triangles such as i and 2 = a, e, b, for warp effect rib-weave, and the next two triangles 3 and ^ = b, e, c, for filling effect, to be followed by triangle c, e, d with warp effect, and triangle d, e, a with filling effect. Weaves Figs. 227, 228, 229 and 230 are constructed according to the first-mentioned rule. Figs. 231, 232, 233 and 234 are produced according to the second method of construction. I 2 < 4 3 Fig. 225. 1 « Fig. 227. P / 6 warp-threads, repeat ^ g ^^^^^^ H! mrmu a ■■■■ ■■■■ u Q. ■■□■□□Ga 1 H Fig. 228. P J 8 warp-threads. Kepeat ^ g ^^^^^ ■ ■ D Ha T 10 Fig. 229 Repeat/ ^^^^p-th'"^^^^ ' y 10 picks. LI I a □ ■□aaa a I a ■aaaaaa Fig. 230. Repeat f 12 warp-threads, [12 picks. Fig. 231, Repeat ■f^^.^IP-*^'*^^^^- ^ 1^ 6 picks. BEH'TBCCD CG'JDHH ■■■■GGCG ccGBoaaa ■■GBGQGG ICBDBGQGH 1 8 Fig. 232. -p [8 warp-threads, repeat :: ■ n~ ■■■■■ ■■■■■ ■ ■ r::;a3 ■■■ ■ V. -G ■ ■ a aa m m ■ . a^aBannnaBB-'iBn'^iiB ^H-ringBBriQ ci' ■rmmm' i ' Bananna /~bb ' ' bbb ' " ' ~Ba'~:'~ a ' b'bb B' .: ' BBB . BB a aB I ' BBB^ Cli B' BB' ' BBB _ BB B B i BB BBB BB B CiL..' BBB BBB BBB BBB [ BB m M BB ' ' BBB BB B B BB BBB ' □I.:BBB I i B BB'J' B BBB.1.1 iBB BBBL:.' < BB ^ B . B BB . BBB... . BB B:. . B ..BB . CIBBBUC.-. BBJUBL.BBJ'JBBB J_JJB BBiJUUi-BBB^.uLiUBBUuB:^lja..e used. Examples Figs. 244 and 245 will also illustrate and explain any different changes in using a different number of warp-threads in rotation before breaking off In this selection we have an unlimited variety at our disposal. Fig. 246 illustrates the breaking off of every three warp-threads in rotation upon the /-har- ness - — ^ twill. Fig. 247 represents 5 warp-threads of the ^ ^ ^ 3 ^ ^ twill, used successively from the left to right ; next a break and five additional warp-threads, used with a twill arranged from right to left. These breaks may also be applied to different graded twills as 27° — 63° — 70°, etc., and which will be treated under the sub-division of the regular twills in the next chapter. For illustrating this point Fig. 248 is designed, representing 12 threads of the 63° steep- twill ^2^2 ^ direction from left to right, and 12 additional threads of the same weave having its direction of twill from right to left. □Bnaa"B~BB bbb' bbb " bbb CGBBB.. BBB ~ BB B BB B BB BGBB .iaCBB HB' BBB BBB BB GBBB BBB B'^BB B BB ~B IB □BB'. B BB.iB B BBB .BBB I B BBB .BBB iBBB~!BB B BB B : uannunmammmaanmamammm bbub'Ibb b bb bbb ^ .bbb . j GriBGnBB':~BB'~inBiinBBnBB BBiJ .BBB BBB B BB B BB IB : B BBB B B BBBHB BCjB BB B BB B ' BBB BBB] B B BBB B B BBBG BGGBBB : BBB B B BB B .BB J Di ' ..BB BBB '. BBi . BBB 10GBL..BB B BB BBB 'I BBB ~JBBB □i.BBB . . .BB BBB . mBB DOBBB'' BBB .BBGB .BB B BB CBBB B ' B BBB' B ' i.lfl BuBB...'lB BB m !BBB .BBB . BB BBB' B M < BBB B B' ,'GU GBBB ' BBB B BB'^B BB '.B IB BB .BB .B . BB BB UOa DBB. ~B BB B B .BBB BBB .B B .BBB . B Bi BBB .JBG BBBG BBB . BBB BB B BB B.J □BBB:. B < . .B BBB B lOM BBGB BB B BB i BBB BBB "I'D BBB . BB BBB ' BB'IGG BBC.' ''BBB i BBB 'iB BB .B BB :B BB .. '. BBB BB i BBBGD BOB BB. B BB B BBB. BBk ] 1BU..J-..B .BBB.jBU:^uBuBBBa lBGuBBBj_BBB B .B BB B ,BB.G 1 1" 1 L'4 Fig. 247. . Fig. 248. The arrangement of a steep-twill containing 70°, 63°, 45°, 36° grading, combined for a broken-twill, is shown in weave Fig. 249. Repeat: 48 warp-threads 12 picks. The foundation-twill for this weave is the regular '' i--^^ l2-harness twill, which is also used for harness-chain if using a cross-draw for drafting weave Fig. 249,' for 12-harness. 54 The next sub-division of "broken-twills" out of "regular-twills" is found in arranging the breaking off filling luays. For example: Fig. 250 illustrates the ^ ^ twill broken filling ways after every four successive picks. Repeat : 8 warp-threads and 8 picks. □□HBnnnaE3BBBHaaDaDnnDHacnHOBBi r ■■ ■■■ 'mmm ~ r::B ■■■■■ ■■■■■■ :: ■■■■■■ ■■■■■■ ■■■■■ I ■■■■ I Fig. 249. IB ■ ;■■ 'JM mm C:B ;□ ■ '?n ■c.mm ~ '1 ::■ J 1:: mm-] 1 wa □■ J IB ■■ ■■■■'-'□□□■■■a "' mm ■■■ ■■■■ ■■ ■■■■ ■ ■■■■ ■■0 ■ :■■ 'CM mm B ■ □ ■ U J u ■ ■■■■ ■■■ ■■ ■■■ ■■ ■ ■■■ ■■■■ ■■■ ■ ■■ ■■ m ■■■■ ■■■■ ■■■■ 46 1 ■■■ ... Fig. 250. ODDD Fig. 25 : shows the ? ^ twill broken filling ways after every four picks. Warp ways 2 threads are missed after every 6 warp-threads, to produce an additional fancy effect. Breaking off regular (or steep) tiuills in the direction of the warp and the filling will forni the next movement in the construction of broken-twills out of the regular twills. In this manner Figs. 252 to 255 are constructed. — mm - -m mmm mm m Ci ■■■ ■ ■■ ■■■ ■ G< ■■■ ■■■ ■■■ ■■■ ■I ■■ ■■■ ■ ■■ ■ ■■ BJG ■■ ■■ ■■ yju m mm ■□□ :; ::raa :: □ a m^mm m m ■■□■■□^□■■□■■□□a E :::: B □B L'l ■■■ ■■■ ■■■ mmm m mm mmm i raaa ■ ■■■ 1 CL ■■■ ■ mm ci ■■■ ■■■ ■■■ ■ ■■ ■■ ■ ■■■ ■■ ■ ■■■ D ■■■ ■■■ ■■■ 3 DC ■■■ ■■■ ■■■ ■■■ □CBBB B BB BBB B BB □■BBCJBB. B BBB BB ■■■UCGBBB BBB BBB .a ■■□□OBCBBB BB B ^■□□□■■□□■■B. ■ ■■GulBia BB Bl I BB BB B ■C Bl □GBB Fig. 251. Fig. 252 is obtained from the ^- FiG. 252. ibdgbb b bb^.b b b Fig. 253. twill, by arranging the breaking off in the direction of the warp and filling, after every 6 successive threads. Repeat: 12 warp-threads, 12 picks. Fig. 253 has for its foundation the regular ? r, 4-harness twill. Arrangement forbreaking the weave after warp-threads 8, 12, 16, 18, 20, and 24, thus forming twill effects of three different sizes as follows : 2, 4 and 8 threads. Another step towards figuring for broken-twill designs is that of using a motive (effect) for figuring by means of the two directions of the twill. To illustrate this method Figs. 254 and 255 have been designed. Fig. 254 illustrates two repeats of the motive, warp and filling ways. Fig. 255 shows this motive applied to a broken-twill weave produced by the 3 twill. 12 warp-threads and 12 picks are used for each part of the effect in the motive; therefore, as 6 parts compose the motive, we have 6 X 12 = 72 warp-threads and 72 picks the repeat for the complete design. ■ in motive, is illustrated a in the design ; n in motive is shown K in the design. Warp-threads I to 12 in the weave equal the longitudinal row i of squares in the motive. Warp-threads 13 to 24 in" the weave equal the longitudinal row 2 of squares in the motive. Warp-threads 25 to 48 in the weave equal the longitudinal rows 3 and 4 of squares in the motive. Warp-threads 49 to 60 in the weave equal the longitudinal row 5 of squares in the motive. Warp-threads 61 to 72 in the weave equal the longitudinal row 6 of squares in the motive. ■□□roB □H-CB- C"BB ■□■□C'BT " mmT'\ C BB LB B ■ B mm 1 B B ■ B ea B CB B C' BB B ■ B B BB C BB CB_-B 1 0 BB B_ B_ Fig. 254- 55 Picks I to 12 in the weave equal the horizontal row i of squares in the motive. Picks 13 to 24 in the weave equal the horizontal row 2 of squares in the motive. Picks 25 to 48 in the weave equal the horizontal rows 3 and 4 of squares in the motive. ■■■ ■■■ . ■■■ : ■■■ m ■■■.] . ■■ ■■ ■■■ ■' ■■■ ■■' ■■■ ■■■ E ■■ [:e ■ e;:: ■■ ^EE^ nnE_^ EE ^B BBB -'lamm ^ BBB :BBB ; BBB BBB^'J BBB BBB ] BB BBB ■ ■ 'mmm urn c ■■■ ■■■ :::::: :}:::; c::;:; c ■■■ ■■■ :::::: :::::: :::::: ::c: c.mmm mam c:::; ■■■ mmn f^r"i r:nr' r"'r' r'r^r' '-'^r^ BB ■ BB BBB BB ■ BBB BBB ' BBB BBB ■■ ■■■ ■ &J :::::: ■ ■■■ ■■■ ■ ■■ EEE ee:: eee "eee ■" mm mmm mm ■ EEE ■ ■ ■ ■ ■■ jiBB ■,,„„ BBB_^^_^^ i ■■■ E ■ :] ■■ ■■1 ■■ ■■■ ■ ■■■ ' ■■■ m m ■ 1 BBB IB B m ■■■ ■■■ ■■ ■ ■ ■■ ■■■ ■■■ ■ ■ ■ mm mmm mm m ■ B BB B B B u 181, an:; ■ EEE ■ EEE ■ ■ ■■ ■■ ■ ■ . ■ ■■ ■ ■■ c:ee ■■ ■ ■■ ■■■ „„■ ■ ■ IB ^_ ■ E ■■ e:; e ■■■ ■■■ ■ ■■■ ■ ■■ ■ ■■ ■ ■■ ■ ■■ ■ ■■ ■ ■■ E ■■a EEE ■ ■ ■■ ■ ■ ■■ ■■ ■ ■ ' ■■■ ■ Mmm mmm mmm mmm m mmm mm mm mmm ■ ■ ■ ■ ■■ mmm ■■■ ■■■ ■■ ■ ■ ■■ ■■■ ■ ■■■ ■■■ [: ■■■ ■ ■■■ E ■■ EE E ■■■ EE E EEE ■■ m mmm mmm ■■■ ■■■ ■■■ E ■ ■■ mmm ■■■ ■ ■■ mmm i ja ■ ■■ ; , ■■ ■■ ' ■ ■ 1 ■■ ■ ■ ■ E ■1 ' mm G :::::: . ■■■ ■ ■■■ ■ ■■ ■ ■■ ■ ■■ ■ ■■■ " mmm ■■■ ■■■ ■ ■■B ■■■ E ■ ■■ ■ ■■ ■ ■ ■ EE :::: i E ■■ ■■■ ■■ EE ■■■ ■■■ ■ ■■ ■■■ E IB ■■■ [:e e ■ ■■■ ■■■ ■■ ■ B BB BBB B B B ■ B, Enn ■ ■1 Ec: ■■ I ■ ■ I ■■ ■ e::e ■ ■■ EEE ■■ EEE ■ ■ ■ ■ ■ ■ ■ ■ BB B B b' B EG ■■■ L. mmm c. mmm ■■■ E ■■■ ■ ■■ EE ■■ ■ ■■■ E ■■■ ■■■ E ■ ■■ ■ ■ e::e ■■ ■ ■ ■ ■ ■■ ■ ■ a ■ ■ ■ B BB BBB BB ■-,„ B B m_ m' m B BB BBB BBB BB B B BB BBB ■ ■ ■■ ■ ■■■ ■ ■■J cmmm m mmm mm mm mmm m mmm c . ■■■ c mmm 1. ■■ ■■■ ■ ■■ E 'm m m ■■■ J J . ■■■ J ■■■ ■ ■■ ■■ ■ ■■■ ■ ■■ J 1 ■■■ ^; ■■■ BBB mmm i ■■■ . J I.; iE_-L ''□□El. .. . E.^_ SEE ou ■■■ H Fig. 255. Picks 49 to 60 in the weave equal the horizontal row 5 of squares in the motive. Picks 61 to 72 in the weave equal the horizontal row 6 of squares in the motive. Using two or more colors in Warp and Filling for Producing effects in Fabrics inter- laced with Broken Twills. In Figs. 256, 257 and 258 we illustrate three examples of effects produced upon broken twills by various arrangements of colors in warp and filling. In Fig. 256 the common ^ ^ 4-har- ■■□DBBDODDDDonDnaaaonnoD CBBnB::aB!^nnnDaannGnonnna ccmm^'nmm^-'^'^. "7 ^ — "3 mi^cm mm ■ " 'i-a nmm m m -.o^ mm mm m'^L.m mm i C]L^^ BB : J □L'C.&B ■:•>:< •:<•:< >:••:< aa Dec. ea ■■^■' — -na z-n Br- •:■ v>:-.i.:- esob ■■■ E : a -ma mmm^ -em - sm - mm ac ■"■■ E E ms ■"■■-! sm e^. sm nc m i CBBB CBBB — , DC >:■.:• .i-i bb c . ' JH r ss- >:-b -i-m am dp" ese ►;-•:< kib Lc-f >:• la [ bb .i-b ►:<■ sm otrsa .i.,i< n.sa rj •:• ■:• . la i -i-m h-b sm an ■ i-.-^j ■ sa c >i •:• !a L. -:<■ >i:• ■;■ n-- 1 C' >:< •:• ^'3 i_a& 'IB eb sm d^^'h-k- >:■•:< .i<>i-a rs.l- V '2 r.BB 'Ii3 tJ r^.t E^, , &■; ,_£■ CDC. , -. EE , .EE, EE, _.ffia Fig. 256. Fig. 257. Fig. 258. ness broken twill is shown arranged for 3 ends light, i end dark, or color No. i and color No. 2, in warp and filling. The effect obtained is a " hair-line," very extensively used in the manufacture of worsted and woolen trouserings by reason of the clear and distinct line-effect this weave produces. 56 Fig. 257 illustrates the same weave (4-harness broken twill) arranged for three different colors. Arrangement for warp and filling: 2 ends light or color No. i ; i end medium or color No. 2; I end dark or color No. 3. Fig. 258 illustrates the 8-harness broken twill (broken, warp and filling ways, every four threads), arranged for 2 ends light to alternate with 2 ends dark, 4 ends in repeat of color arrangement and 8 ends repeat for weave and effect. II. Steep-Twills or Diagonals. The next sub-division of the common or regular twills are the steep-twills, which are derived from the latter by using either every other or every third, fourth, etc., warp-thread in rotation for forming the weave. I St. Steep-Twills having 6j° gradittg are obtained by using every alternate warp-thread of a common twill. To illustrate their method of construction Figs. 259, 260 and 261 are designed. j^jjMjM 3 Pig 259 illustrates the regular i6-harness twill, 1 ■ ■■■■■■■ ■ . ' 1 1 -■ . ■ : 2 3 2' ByiasiM" _■ Pig 260 represents the same weave, every other IjiS warp-thread indicated by a different kind of type. iii""!" ■■■■ ■□■■■CMD iS5aji5ddi"jdSSiis ^^'S- 261 illustrates the steep twill or diagonal weave 5!SS"i5S jTjQ 2!;q. obtained by using only warp-threads shown in Fig. sSv^g^S □■■■■■■a ■■■■■ 259- 260 with ■. ■ This example of constructing a steep twill out of a ■FarSSSS g^Dsgft'sSiSi!!"! regular twill, which has an even number of warp-threads PcgSSSRS ; 3* ilSiSlS"^ 3" \ for Its repeat, will also explain that the former requires ESSS'i^S sjiSiSi" b'^' b^ only one-half the number of harness that are used in b5b BSBBBSB ^ a , r , • BB^BIB'::* SSS'f-B"' i- bI the foundation weave. SnB-izSS iSS^a'^i^ffl'^BlBiSi Thus the present example — Fig 261." 1 16 Fig. 260. 16-harness for regular twill only requires 8-harness for its corresponding steep twill. If we construct a steep twill out of a regular twill which has an uneven number of harness for its repeat, the same will not be reduced as in the case with an even number. Thus, 9-harness in □aOCBBBCBCBBB □■GBBB~'.:rZBBB □'~7BBB B^BBBJ B BBB ~ BBB^ liicaaauo .BBBBBD isaDDBannsBSBBB i'*: bbi.b bbb □□■^□□BBBBBB_ □□BQ^ZBBBBBaa LB BBB. : BBB □■TrrBBBBBfciiij re sBHBaBcn i- bbb b..bbb'j ■'Z : BBBBBBjQa B BBBSBS^DO B BBB BBB J □Z. BBBBBB ~ SBSBBB :~nB L BBB B. BBB 2 CZBBBBBB :■□ BSBBBB " BZi BIB BBB B ■ : s^BSBsa ■ 'm'j3 ; aaa b~ bbb BBBBBS S ]□ BBB .BBB B : BBBB ■■JuGBGZ; ■□□□■□□Dl _ ZBI .^BBI BBBS. . B .BI BBB„J^Br.l LBBI ■a-jLjaBGG_BBBi IBaaGHDGGBBBBI Fig. 262. Fig. 263. Fig. 264. the regular twill requires 9-harness for the steep twill. Again, ii-harness regular twills require I l-harness for the repeat in their respective steep twills, etc. For example: we give in Fig. 262 the regular twill known as ^3^3 . 13-harness repeat. 57 Fig. 263 illustrates again the analysis of the same with the view of constructing its respective "steep-twill," which is illustrated in Fig. 264. An examination of Fig. 263 shows warp-threads I and 13 indicated by the same kind of type; so, in constructing the steep-twill after using warp- thread 13 of the common twill for warp-thread 7 of the steep-twill, we must use warp-thread 2 of the common twill for warp-thread 8 of the steep-twill, and so on, until warp-thread 12 of the regular twill forms the last warp-thread (13) in the repeat for the steep-twill. □■■< ■■ J: : ■■ JBB J M omrt wo □■■iJBB ■□□■fjG 1 :J Fig. 265. ■jhb:h □■■■lIBMB Fig. 266. □□BBBuCBBB BaBMLjBiwaa mmm mmm 1 ■■■ ■ DDI □l . arm ■ ■■:3 ■ I ■■□□B ■■■Li'ja ■■■C/^GB 1!L n mmm mm ■■■ ■■ ■ ■■ I ■ ■■□□B ■ a ■■ ...cma mmm xidb ■ B« 'BOB Fig. 267. Fig. 268. These two examples will easily demonstrate to the .student the great amount and variety of steep-twills, 63° grading, which can be constructed out of the common or regular twills of 45° grading. Weaves Fig. 265 to 276 illustrate a few of the steep-twills most frequently used. Fig. 265 illustrates a 3-harness steep-twill (63°) derived from the regular twill, ^ ^ ^ ^ Repeat : 3 harness and 6 picks. BanaBGBBnnaBnH BDiB' :~mm ■■Q'^b □C^BB imm '' BB BB □BB BB BB BB □BB BB BB BB 3 ■B BB BB BBH BB BB .BB BB .'J ■ BB BB BB fl l^nBBGGBBdBBQDB Fig. 269. ICDnBnBDBBODBDBnBB rBHB'BBB ~B~~B'~BBB [ BTB' 'BB B B BBTI B B BBB B a BBBJ a a BB a a aa ] a BBB a a aaa b a BB B' a aa .a a BBB a a naa aj a BB a a BB bj aaa a a aaa a. .a BB a a bb a b aaa ' a a aaa a a 3 BB ~a a BB B m3 mm m a aaa a a jB BJ ;a. b^bb^..b: bib IBDBGB^BBBjBPBlIBB 1 8 If. ~BB BBB^BB BBB BB BBB BB BBB BB aaa aa < aaaj BB aaa aa bbbd a .BBB aa.. aaazB aa BBB BB BBBGD aaa aa aaajLBB aa aaa bb aaa'aa BBB aa aaa aaa a aaa aa aaa . i^m ' mmm mm mmm bbgg BBB aa aaa . aa BBB BB BBB BB/.nO BBB BB aaa . "..aaa aa aa aaa aa 'am mm .. BB aaa . aaca a aa... aaa.^aa :bb iaa^Daa>.aaBaGoaBLLaa I 9 Fig. 271. Fig. 270. Fig. 266 represents the 4-harness steep-twill (63°) derived from the regular 8-harness twill Repeat : 4 harness and 8 picks. Fig. 267 illustrates the 5-harness steep-twill (63°) derived from the regular lo-harness twill, 2- Repeat : 5 harness and 10 picks. 1 2 1 IBB a .aaaa aaaa n □BBBB aaaa. IB aaaa aaaaja Ba..:.:Ba.. aa.] .aa . aa i^aanj aaaa aaaa :a laaaa. aaaa a i mm .:Baaa a aaaa aaaa a aa □aa BB .aa aa aa aa ] BOBflBB ■ BBBB BBBB B BBB BB':.' BB BB BB BB BB , ] □aaaa a aaaa aaaa a aaaa aV' aa aa aa aa aa a aaaa a aaaa aaaa a aaaa : D aa aa ' .aa aa aa:.] aa aaa a bbbb aaaa a aaaa a ■Cl BBBB BB BB aaaa a □nqBBBB aa ' aaaa g^"' □□aaaa ; aa ' laaaa aa i B'jaaa aaa aaa 'aaa aaa aa □aaaa . aa aaaa aa j iaaa aa . aaaa -BB .1 iBaaaaanaaaGBBLjaBauuaaaai Fig. 272. laaDuBBaucaaaauLuBBUuDaBB 1 12 Fig. 273. 5 1 2 4- Fig. 268 represents the 6-harness steep-twill (63°) derived from the regular 12-harness twill, Repeat : 6 harness and 1 2 picks. Fig. 269 illustrates the 7-harness steep-twill (63°) derived from the regular 7-harness twill, -3. Repeat : 7 harness and 7 picks. 58 Fig. 270 illustrates the 8-harness steep-twill (63°) derived from the regular i6-harness twill, Repeat: 8 harness and 16 picks. Fig. 271 represents the 9-harness steep-twill (63°) derived from the regular 1 8-harness twill, 2^ 2 - Repeat: 9 harness and 18 picks. Fig. 272 illustrates the 12-harness steep-twill (63°) derived from the regular 24-liarness twill, 2 — 1 Repeat: 12 harness and 24 picks. Fig. 273 represents the 12-harness steep-twill (63°) derived from the regular 24-harness twill, 1 \ ^ 1 ^ 1 ^ 1 ^ 2 - Repeat : 1 2 harness and 24 picks. aamn-im^mm ■■■■ □■ni^'B ■■ ■■■■ □□■ ■ ■■ morm mm ■■■■ ■■ ■■■■ ■ ■■ ■■ ■■ ■■■■ ■■ ■■ ■nnnBBi c~ ■■■ (:■■■■ r ■■■ ■ ■■ ■ [ ■■■ [ ■ isaamoamanmrnammamm □■< ' ■m.'m -mm mmj arm ' ■ ■ ■■ □■ ■■■■ jQ C_.B ■■ ■■ ■■ GM ■l^ ■■■■ ■■■■ JD cm mm mm mm :rM ■L ■■ ■■ ■■ ■ "n OnBBBB ■■■■ ■■ ■■ ■ ja ■■■■ □■■ ■■ ■■ ■ mz) ■ ■■■ ■■■■ ■ J-! mm ■■ ■■ ■ ■ J ■■■ ■■■■ Fig. 274. Fig. 275. Fig. 276. Fig. 274 illustrates the 14-harness steep-twill (63°) derived from the regular 28-harness twill. Repeat: 14 harness and 28 picks. 1 1 z 2 z .5 1 --r 1 Fig. 275 represents the 15-harness steep-twill (63°; derived from the regular 15-harness twill, -^-J-r^. Repeat: 15 harness and 15 picks. Fig. 276 represents the i6-harness steep-twill (63°) derived from the regular 32-harness twill, 1^ 4^ 2 ' "2~^- Repeat: 16 harness and 32 picks. 2d. Slecp-Tivills having a grading of 70°. These twills are derived from the regular twills by using every third warp-thread in rotation for the construction of the new weave. To give a clear understanding diagram No. 277 is designed. A represents one repeat of the regular twill known as the ■•-jJL 8-harness twill; B illu.strates the drafting of the different warp-threads according to previously given explanation for forming C, the new design. 1. %. J H 5. fe. 7. 8 i B 1 c I 2. J. H. 5, 6. T «• Fig. 277. Fig. 278. ■□■CHUGS □■□□■■□■ □■■□■□■□ ■□□■■□■□ ■■□■□■□□ '■□■□□■■l^ Fig. 279. vacnmjoomwm □□■□□□■■■□ ■ ■■■^□Q ■ ■■ □■ ■ ■■ : ■■■ . n mmM' . ■.']□□ ■■□.JDBQaa^ !■□□□■□□□■"" 10 Fig. 280. ■ ■ ■□ I ■ ]■□ I ■ jG ■ ■ ■□ ■ :□■ ■ ■ la^ ■ ■'!■ ■ !■□ ■ ' ■□ ■ ■ ■□ ■ m'm isnnnpninn^BBBB P' m ^' 1 rm ■■■■■ j ■ ■■■■■ [ ■■■■■ ■ t. ■■■■■ ■ ■ ■■□□□■□Dub Fig. 282. □■□■□■□■ □□■■-^□■^ □"■■:"■■ ■ ■ ■ ■□ ■■□ mma [ Fig. 281. □□■ □Dl ■r.il □■■ cm IB-li ■■ . J 1 4 FiG. 283. Arrangement of drafting: 1,4,7,2,5,8,3,6. Repeat: 8 harness, 8 picks. Fig. 278 represents the regular twill known as p and Fig. 279 represents the steep-twill (70°) derived out of it. Repeat : 8 harness, 8 picks. Fig. 280 the regular twill is shown, arranged for a 70° steep-twill in Fig. 281. Repeat: 10 harness, 10 picks. 59 Fig. 282 the regular 12-harness twill ''3^3 is shown, arranged for its 70° steep-twill in Fig. 283. Repeat: 4 harness, 12 picks. Fig. 284 illustrates the regular 15-harness twill ^ 2 ^ 2 ^ 2 ' ^"'^ ^^S- 285 the 70° steep-twill derived out of it. Repeat: 5 harness, 15 picks. Fig. 286 represents the 70° steep-twill designed out of the regular twill ^3^3 (shown in Fig. 262, page 56). Repeat: 13 harness, 13 picks. Fig. 287 illustrates the steep-twill having 70° grading, which is derived from the regular twill ^ 2^ 3^ 2 (^^^ ^^S- 259, page 56). Repeat: 16 harness and 16 picks. mma m i ■■ ■■ ■■ ?■ □C '■■ ■■■■■ ' I ■ ■■ ■■ ■■■ ■■ ■■ ■■■■■ , ■■ ■■ ■■■■ ■■■■■ ■■ □nia'^BniBn^BB amm . ■■■■■ ' ■■ ~ □': ■■ mm m mm cmm mm ■■■■■ ■■ ■■ ■■ : ■■■■ ■■ ■■ umm m mm mmr. mm . ■■■■■ ■■ cmm ■■■■■] ■■ ■■ ■■■■■ ■ ■■■■■■ ICD ■■■■■ ■■ ISDDBB ■ ■■ ■ □;. □I ■ ■ ■■■■■ J ' ■■■ ■ ■■ ■■ ■ ■ MIJ ■■ ^ ' mm ■■■■■ ■ ■■■■■■ c mm m -.mm mm ojmm ■■■■■ ■■ ■■■■■ ■■ 1 r ■■ ■■ ■ ■■ ■■ , ■■ . mmjQ umm m mm mm 1 □■■ ■■■■■ ■■as n^^ '■■■■■: □■■ ■■ ■■■■■3 □■■ ■■ ■■ ■ ■■■■ ■■ ■■ :■ ■■ ■ ■■ — . ■□■■□ ■□■: .«■ juaaGDi ■■□□■■□' mm □■■■ ■□□■■■□□■■ ■□□■■□■□■■□□■ ■J'j-i^^'^JH^a^^'JDH !■□□■■□::■■-. -■■■« iBaGjaaJDaaaaoMBB 1 n 1 6 1 13 1 16 Fig. 284. Fig. 285. Fig. 286. Fig. 287. These few examples (Figs. 277 to 287) will easily explain the method of construction for these weaves; we would only add that if the number of harness in repeat for the regular twill can be divided by 3, the number of harness in repeat for the steep-twill will be reduced one- third, as follows : 12-harness regular twill to 4-harness steep (70°). 15 " " " 5 18 " " " 6 " * " etc., etc. Any number of harness repeat for a regular twill which cannot be equally divided by 3 requires the same number of harness for the steep-twill as is used in its foundation twill. jd. Steep-Twills having a grading of , Weaves of this sub-division of the regular twill of 45° grading, are derived from the latter by using every fourth warp-thread in rotation. In constructing 75° steep-twills out of regular twills having a number of harness for their repeat which can be divided evenly by four, only one-fourth the number of harness are required ; for example : 12 harness " regular" = 3 harness "75° steep." 16 " " =4 20 " " =5 " " " 24 " " =6 " " " etc., etc. Again, in constructing 75° steep-twills out of regular twills having for their repeat an even number of harness not called for in previous rule, the number of harness required is lowered one-half ; for example : 14 harness " regular " = 7 harness " 75° steep." 18 " " = 9 22 " " =11 " 26 " " =13 " " " etc., etc. These two given rules will readily explain a third, as follows : Every regular twill of an uneven number of harness for its repeat, if used for the construction of a steep-twill of 75° grading, requires every warp-thread of the former used; or in other words: 60 Steep-twills of 75° grading, constructed out of regular twills having an uneven number of harness for their repeat, require an equal number of harness for the former ; for example : 9 harness " regular" — 9 harness " 75° steep." = 11 = 13 = 15 ' etc., etc. To give a clear understand- ing of the construction of the 75° steep-twills, diagram 288 is designed, illustrating under A one repeat of the regular twilL ^ ^ =15 harness. 1 1 I 2 5. >( 5 6 7 8.9 10.11 Ills IV IS. B. is P 1 1 [ ■■ ■■ J ■■ ■ ~j ■■■■■■ . ■■ ■■■■■■ ; "mm : ■■■■■a 'mm ' 1 2 3 4 5 6 7 8 91011IZ.13 I1.1S Fig. 288. B illustrates the drafting of the different warp-threads (after rule given at beginning) for form- ng C, the new design. Arrangement of drafting : I, 5, 9, 13, 2, 6, 10, 14, 3, 7, II, 15, 4, 8, 12. Repeat: 15 har- ness, 15 picks. Fig. 289 represents the regu- lar twill, ' i - for 16 harness repeat. Fig. 290 shows its 75° steep- twill derived by drafting i, 5, 9, 13. Repeat: 4 harness, 16 picks. Fig. 291 illustrates the steep- twill of 75° grading which is de- riv^ed from the regular twill of 45° grading, VV = ^3 har- ness. (See Fig. 262, page 56.) Repeat: 13 harness, 13 picks. Fig. 289. □□■'^□1 ■□□■■r ■□□■■c ■■■■■ ■□□ ■ 2D ■□□ 2ua ■□□ ■□n ■□o ':MZ.-M::^- ■■□□■□□■□a|P Fig. 290. Fig. 291. III. Reclining Twills 127° grading). This sub-division of the regular twills has its principle of construction very nearly related to the ones given regarding the steep-twills ; in fact, points given in the latter as to warp will apply in the present sub-division of twills to the filling. Therefore in constructing a twill of 27° grading out of a regular twill of 45° grading, we only use every alternate pick of the latter. For example. Figs. 292, 293, 294, 295, 296 and 297. ^■■■□□□nB saafflDagaffl BP5R22S5WPPP£SSS ■■ -7"BM b: ^ega ■■■■ -a55" H ■5553 a uysawaj hha-SS"" ■■■■ Fig. 292. Fig. 293. Fig. 294. Fig. 292 represents the regular 8-harness twill ^ 4. Fig. 293 illustrates the same twill analysed, every alternate pick indicated by a different style of type. Fig. 294 represents the new weave, derived from weave Fig. 293 by using only picks i, 3, 5 and 7. Repeat: 8 harness and 4 picks. 61 Fig. 295 represents the regular twill = 9-harness. Fig. 296 is its analysis. Fig. 297 is the reclining twill derived from the latter. Repeat : 9-harness and 9 picks. aamaammmm □■□□■■■■a ■□□■■■■□a ' ■ . ■■■■ J I aaaa ..a.i ■■ ■ ■■■ ■ ■^□■a ■ ■■■■ ■ ■■■■ ■ ■■■■ ■ ■■■■no ■ ■■■■ ' m'l ■■■ ■ ■■ ■■ ■ ■ » ■ . ■■■■ ■ ■■■ cm ■■■■ ■ ■■■■ J G ■■■■ ■ ■■■■ ■ ■ mm m umm ■ ■ ■■ D ■ ■■■■ ■ ■■■■ ■ ■■■■ ■ ■■■■ L~:aBaB ■ ■ ■■■ ■ : ■■■ ■ ■■ ■■ ■ I ■ m'" m ■■■■ ■ ■■■ □■ _ ■■■■ . ■ ■■■■J 1 Fig. 297. Fig. 295. Fig. 296. These two examples will clearly illustrate the method to be ob.served in designing reclining twills for any number of harness. Regular twill weaves with an even number of picks in repeat reduce to one-half the number in the reclining twill ; again, regular twills with an uneven number of picks for their repeat require, if changed to reclining twills, the same number of picks. 520 Diagram for illustrating the construction of steep twills of 52"^, 63'^, 70° and 75° grading, and reclining twills of 38°, 27°, 20°, and 15° grading. 62 IV. Curved Twills. This sub-division of the " twills" is derived by a combination of "regular" 45° twills with 63°, 70° or 75°, or similarly graded " steep-twills." One kind of these twills is run for a certain number of threads, after which the run, without forming an interruption, is changed to the other (^^□■■■□□■■□■■□■■□□□■■■□□■■□■■□■a ■■■ ■■ ■■ ■ ■■■ ■ ■ ■ ■■ ■■■ ■■ ■■ urn m m mmm m m ■■ ■■ ■■■ ■■ ■■ mmj ■■■ . :■■ ' m ^ m mmm mm jM m a iBDLjaBaaGUBGaBGaaaaaaaaMaaBaaaaai' (CO mmm 10 a2 □riBBBI GBBBB □: . BBI □r BBBi □BBBB ■BBB ■BB BBjGU IBQGGGI innBBDnBBDQDDl ■□□■■□ni TGPBBGGl ~ ~BB'~'.'~BI BB' mm mm mm mm BBG BB BBG B , mm ij m MB'JG ■ BB' j._BBBGGU BBBGuBBi jGB ■GGBBGDBBaaaGBBBBaGBBaDB ■B BBBB 16 32 45P twill. 6}" twill. Fig. 298. 45^ twill. 63° twill. Fig. 299. system. The same twill which is used in 45° must also be used in the construction of the steeper twills. The following few designs will clearly explain the method of constructing curved twills. □□□□■■■■GnBBGGBBnnonBBDnBBBBGnnnBBOCBBmBBBB □GGBBBB : ~Ba':VGBBnG'-'-BB''':nBaBBGGG'nBB'~'i BBP' WaBBG UGBBBB BB' ' 'BB " 1BBB ~' BBB ''l?BBB BB ' 'BBB' ^ BBI B BB BB BB BBB B BB BB BBBBG L .LjBBBB □BBBB ; BB BB : BBB BBB BB BB BBB BBB BBB BB BBBQG BBB BB BBBGGG BBBB BBB BBG'. :. J IBGOUGB 1 BB BB BBBB BB BB BB . BBBU BB BBB.:_.BB^.-BBB_. 1. BB BBGUBBGGBBBGGGBBGGGB 8 16 20 21 B B B B B BBBB BB BB /JGG BBB'JJBB BB j. iGGB BB . _BB BBGGGBa aG^..^BaauaBauGaaB ^2 4() « 45° 63O iS° frjO 45° 63O 45' Fig. 300. Fig. 298 illustrates the curved twili obtained from the ' 3 twill. 8 warp-threads are designed in the regular 45° twill and 8 warp-threads in its 63° steep-twill = 16 warp-threads repeat. Drawing-in draft: i6-harness straight draw or 6-harness .section draw. BBBrB"B' 'I' □□DBBB BB B' □□L a a BB B a BBC a BB BBB B Bl DGBBBB BB a a BB ' B B BBI GGB 'BB ' B BBB ..a B BBBI BGB ' aa a aaa a aaa □BBBB BB a BB a BBB □BG. BB a BBB B B BBB I OBG BB a BBB.B B BBB B BBBB a a BB BBB B bg:.: aa a aaa a a bbb a ■ BG'. a a BB a a aaa ... a BBB. a a BB BBB B B BBB BB a B BBB B B -■f-aanncBGacGGrBBi a ' 'BB JGGGGaaaai ■ a J :g 'Baaaaai aa J , 'i aBBBBBBB a aaBBBBB a a BBBB a. BB a BBBB a a : a aa bbbb a a ai I . a . .i I. BBBBB ..a . Bl aa ' . aaaaa a ' a aai a BBBBB a a aaa I I BBBBBB a ' a . aaa aaaaa a a aaa ■ Baaaaa . a > a . . aaa a Baaaaa aa ' a ' aaa ■ a aa a a ] ■ B BB BBI BB a ' BBB UGBBBB BB a a BB GGB BB a BBB I BGB BB B aaa a □BBBB BB a aa □BG aa a aaa a i □B'G BB a BBB B B BBBB a a aa BG'_ .aa a aaa a a ■a a B ■aaa ■ ■ a aa B Bl BB a a J GBBBB aa a aa a aaa a aa aaaaaa aa □a . aa a aaa .a .a . aaa .a b j : aaaaaa . . aa l BB BB a aaa a a aaa a a Baaaaa a ■ BBBB a a BB aaa a a bbbbb aa aa a. .BB a aaa a a^.^ bbb.bi a ' . bbbbbb > a . i' bb' B B...B...J..BB 'B'^B.^^BBBl ;JG_.a'^..._BBBBB. L.' BB-; :^';Ba'_ LiGLJ. IBBaGBuGBGBBGGUUHUBBBGUBDBGGGBBBBBGGUBuG^BBGGQGGul Fig. 301. Fig. 299 illustrates the curved twill obtained from the * twill. 8 warp-threads are designed in the regular 45° twill and 8 warp-threads in its 63° steep-twill 16 warp-threads repeat. Drawing-in draft: i6-harness straight draw or 8-harness section draw. 63 c: ■■■ C ■■■■ Fig. 300 illustrates another curved twill obtained from the ^ twill. Warp-threads i to 8 call for the 45° regular twill. ■" ■55!"1 9 to 16 " " 63° steep ■■!5''«"1 " 17 to 20 " " 45° regular " " 21 to 24 " " 63° steep " " 25 to 32 " " 45° regular " " 41 to 44 " " 45° regular " Repeat of design: 45 warp-threads, 8 picks. Drawing-in draft: 8 or i6-harness section draw. ' Drawing-in Draft for 13-Harness. won ■ ■ - 'srnnm' rrt ''-yi ■-, mm t ijDODDDDDamDDDDnBDDDmnDDnnnDnDDDnnnDnnDBDDQcnDHDaDn DM ' : t m' "irw- -\ m .innnaDDanccnDDMDDaDDonnammDHDnDDDDaQBGmanaDaaDaa ai' m ,mjy'. ■ > jnDDDaPnnnnrnBDDnDDmDDDDDaDDBDQD^nn^n^nnnnDDDBumDB □□LjBUU._i^L,._-J._Lj_.On!JDD . ■ .UL:UGDDmCr J C ni ■■CODDDDDDDGnmDDBDD': r • ' r , r ■^□□□□□□□qo □□□□□□□□■□□□□□□□■□□i: 'I i . !■ ' ■ lanaoDDDDi- 1' 1 ' ~ ' ' ' m '□□■□□□□□a □□□□□□□□□□□□□□□■□□□n '■ ■■ .CnDDDDDDDDDDDBDODDi JDDDDDDBn □□■□□□□■nnafDmcmna. . . _ -onaanaaDBB ..cDDDaDmocccBDDacLc . ■ . jdbddddddd □□□□[:nai"i !:iG:K 1 ■GGGGG_jaG'B"J.JLI_jiJijjJQGDGaaaBGLjLj._jUUl JuGGaGDGDDGDGBDGaaGGGGuljBiJuj. ja iLJJaaDaGDDGa □GDGDDB' r m .laaaGaGaaaGaGGGGGGDaaGaHHGGGGGGODGGGnDCDGaaGBaDaQGaaGGDBaQULJGGGaBDGGDGBGa □■GGGCr jGGaGGGDBGGDGGGGGaaGaGBDGGDnODaGGDDDGDGGDGMGGaGDGGGGDGGaGCGGnDnDGGDDGQDa □GGGGB ■ uGaGaGaBaaGGGGaDaGGDBBGDDGGGGGGCQGQGDDaDDBDGGGGGDaQaaQBGaGaGDGGHDGaGaGGGG .□GaGGaai:)L;ijLiB._iGuGGGnGHGGGGaaGGGGGaBaGDGGaGGGGDDGGGDGGGGHGGGGDaaGaGGaBDGGGQaGGBDGOGDCBaDG iHDGaaaDaaaaaaGDaaDaGaaaGaaDDaoaaHaaGDGQDDDGDaGaaGaGDBBDDaGDDaDDDaDBDQDaacDDDDDDDaQDaaiiG 1 87 Fig. 303. Fig. 301 represents a curved twill with 87 warp-threads for repeat, which is obtained from the regular ^— 3 — ^^-^ — 13-harness twill (shown in Fig. 302) according to draft represented in Fig. 303, and thus will readily explain itself, as the drawing-in draft also clearly indicates the different grading of the twill. V. Skip-Twills. This sub-division of our regular or foundation twills embraces the weaves in which the twill line does not run continuously through the entire design. In their general appearance these rep- resent a combination of parts taken from a regular twill. They are designed as follows : After drafting successively 2, 3, 4 or more threads from a regular twill for the new weave, skip (or omit) I, 2, 3 or more threads; draft again 2, 3, 4 or more successive threads, then skip again, and continue in this manner to draft and skip until you get the repeat for the new weave. We can arrange this skipping in the direction of the warp, in the direction of the filling, or in both systems. 1st. Skip- Twills in wJiicJi the Skipping is arranged for the Warp. Fig. 304 represents the regular 4-harness twill 2- Fig. 305 illustrates the skip-draft reading as follows: Take two, miss one, four times over; or I, 2, 4, I, 3, 4, 2, 3. GnBOBBnB GnBBGBBnBBnnBaCB C'B' ' ■ ■■ ■ a . ■■■■■■ eOGGlH ■!■■■ ! ■ : ■ ■■ ■■ BSGG GGHBD 4DGBB ■iDGHaGBaa m mm. m • 4DDDBGaBaGBGGBaGa ^ij ■■ ■jub qbmgg GBBG DGGGBGaB □■QGBDBB DGBGaBGDBQGGQGGH I ■■uLB JGBLi.jBB ■■■GGG ■■GG GUGGGGSG ■■DBGOBG □■GGBGDGGGGBGaBG ■■□QBfjQBGGBBGBBG BaGGGB IBGGH IBQGBGGGG IHGBBDBGG IBDGDDGDBGGBGaBaa IBGGBGGBBaBBGBBDG IBGQGHB 1418191 16 1 16 le Fig. 304. Fig. 305. Fig. 306. Fig. 307. Fig. 308. Fig. 309. Fig. 306 represents the skip-twill derived by means of draft Fig. 305 from the ? ^ 4-harness twill shown in Fig. 304. Repeat: 8 warp-threads, 4 picks. F'g- 307 illustrates a second kind of skip-draft for 4-harness, reading as follows: Take four, miss one, four times over; or i, 2, 3, 4, 2, 3, 4, I, 3, 4, I, 2, 4, I, 2, 3, which, if applied to the 4-harness twill ? 2 shown in Fig. 304, will produce the design as represented in Fig. 308. Repeat: 16 warp-threads, 4 picks. Drawing-in draft: Either i6-harness straight draw, or for 4 or 8-harness with a section 64 Fig. 309 is the 6-harness ^ 3 twill. Fig. 310 represents a skip-draft reading as follows: Take six, skip two, three times over. This skip-draft, if applied to the ~ 3 twill (Fig. 309) will produce the weave of a skip-twill, as shown in Fig. 311. □□□■■■□■■■□ni cmmm nmm onna rrrnm mmm mm mmm i ■■■ ■■■ onz ' □□'15 . . J . . JJGB □□■tLL'j uu tjuma □■□□□□□□□□□«□□□■□□ lBDaDDDOGGa«GDDBGGG OLD ■! □:;■■{ □■■■ 1 18 Fig. 310. m.,. mn !□□■■□□■ Fig. 311. -Mm ■ ■■L ■■□■ ■■ ■■■ JBBBJ Fig. 313 shows another variation of the skip-twill, derived from the common twill ? j (Fig. 309) by means of skip-draft illustrated in Fig. 312. The latter reads as follow^: Take three, skip two, six times over", twill from left to right; take three, skip two, six times over, twill from right to left. Repeat: 36 warp-threads, 6 picks. □□□■□□■■□■■■□■■□□■□I □□■□□□■□□■■□■■■□I — □■■nDBnmB^GBBDBI ^□□■□□□■□GB □□■□□□■□□■■□I nrrBr-'i-BB'- BBB " GGnaGD ! - ! - □□□□□□ gghgd: OSGDGIl IBGGGBDl-jlJjj^^- -nQBDCDDnDOnDBDa ""LiGGGDnnBaanBG IGDGBGDGBDDGH ■□■□GDHDGDHr.UG . J JGBGGQBGDGnGG ^^■□□□■□□□□□□□□g c CI B BB BBB BB BB_.BBB. BB - B ..BBB^.aB^.~..BUL^^I Fig. 312. Fig. 313. For harness-chain use the regular For drawing-in draft use skip-draw shown in Fig. 312 twill shown in Fig. 309. In Fig. 314 we illustrate a skip-twill derived from the regular twill ^ (7-harness) by means of skip-draft shown in Fig. 315. Take two, miss two, seven times over, forms the repeat of this skip draft. Repeat of weave: 14 warp-threads, 7 picks. n^BB — B L BB B r,:m m B""^B — B B BB BB BB rr' B c m c m am mm mm mm mm m ■ B B BB : a 1 B B ] B BB . 1 B BB~ 1 cmm ■BB ■B ■ B 'z mm m L mm m cm m cm mm BBB B BB BB BB BB B J '□□□□□□□■GDBGna □GGHGnBQGQGGGa □□■GGGGGGGGGGB □GnGaGQQGBQaBa 'a ' m □L : B c m cmm um mm ■BL..BU„i !■□□■□□■ B. B jj B::GBBja ■GQIHGO 14 □□□□□■□□■□GGGG □BDGBGGGUGGGGG i|GaaQGDaDaDBaa ■BB ■ ■'_,U >■□□■ 1 Fig. 314. Fig. 315. _ _.■■□ 1. BB . . BB . 4 ■□□ ■ljUub: jubbbuubogg ■□□■□□□■■□□■■□og Fig. 316. 'Weave Fig. 316 is derived from the same regular twill as Fig. 314, but has a different drafting, as follows: Take three, miss two, seven times over. Repeat of weave: 21 warp-threads, 7 picks. DH CGi CBI BBBB BBB Bl BB" ~" BB IB^ ■ BB J IB □ ■ a 1 ■BB BBBB BBB I :i m a mm r.mmm 1 ■■■■ ■■■ bb;;! : b u 'B bb □ BBB BBBB BBB . BBCl ■ 'JS m^ ai SaanGBGDDDBGGGGBGGQDBQaDnaQaCXnGg □□(□□□□□□■□□□□■□□□□■□□GGBnGQGGGGiS □GaGGGGGGGGGBGDGGBDGGGBGGGGBLJGDG □GnaaCDGaGDGGaGaBQOnGBGDGGBDGGOB □GGtoGGGOGGGaGGGGnGGBaGaGaaGGGBG □□■nGGGBGDOGGaGGnGGGGGGGHGaGOBGa GBGOaGBGGDGBGGGGGCGaGnQ^GQGGBGaG IBGGGGBDGaDBGGDGBaaaaGGGGDGGGGGDG 1 Fig. 317. Fig. 318. Fig. 317 represents a skip-twill derived from the 8-harness ^—^ — - — j by means of skip-draw shown in Fig. 318. Repeat of weave: 32 warp-threads, 8 picks. 65 Fig. 319 illustrates the skip-twill derived from the 14-harness ^ — j — — 1 — - regular twill by the following drafting: Take three, miss six, fourteen times over. Repeat of weave: 42 warp-threads, 14 picks. Fig. 320 represents the skip-twill derived from the i8-harness 3 — ^— 5 — - — 5 — - — 3 regular twill, derived by means of the following drafting: Take three, skip ten, eighteen times over. Repeat of weave: 54 warp-threads, 18 picks. isnoDBDnnnHi EO'r. mm m CI ■■ ■■ ■■■ ■■ ,jci ]mm:j m i ■■□□□■■■□■■UUGiGI ■□□□□■■□■■■<:.]□□■■ ■■1) ]GG ■ aa ■ ■■ ■■■ ■ ■■ z: mm m ij ■■ ■■■ ■ ■■ ■■ ■ ■ ■■ jacs ■ ■■ c: ■■ ■ ■ ■■ 'j: mm ■■■_]□□ ■ I ■ . . ammm mm ao. i ■■■ i:^r^..LMi: m^.^^mm ^:aac ■■U! HLJ.A 1 jL^BGt^BB'-.HUGGMGCBUGDBaODDa ■■GHGLiGBHGGBGDBBaaUGaBBaDBDDGBQaaaHHBHDBBDDHDDaGBC ■GBGDDHaGaHGaGBGGGGBBHBaaHGGQaaaDaaHHaHHaaBGuaHQGc:; Fig. 319. Fig. 320. These few designs for skip-twills, with a regular exchanging of "take" and "miss," will readily establish the rule for finding the number of warp-threads required for one repeat, as follows : Multiply the number of harness the foundation (or regular) twill contains (this is also equal to the number of picks for the repeat of the skip-twill) by the number of warp-threads taken in rotation in the skip-draft before missing a certain number of threads; for example : — Fio" 20 - number of harness \ jg x / number of warp-threads taken \ / repeat of warp- ig- 320 foundation twill J ^ \ in rotation in skip-draft j ^ \ threads in s. t. " 319 " " 14 X " " 3=42 " 317 " " 8X " " 4=32 « " " 7X " " 3=21 " 314 " " 7X " " 2=14 The next step for figuring skip-twills is that of arranging the skip-effects produced by the warp into two or more different sizes. In their general principle of construction these kinds of skip-twills are identical with the ones given before. Figs. 321 and 322 are designed as illustrations. [ mmi mm eB' _ ] Fig. 321. 8G GC or cm I ■■ . mm um mm I ■ as mmm m ss t a fs ■■■■ a ma 'iii mmm @aa mmm .s ■■■ su ■■■□□s IB S . B • ■■■ S ■■■DD — - ■■□ IDO Fig. 323. Fig. 324. The rule for finding the number of picks necessary for one repeat of design is: Multiply the number of harness in repeat by number of picks taken in rotation before skipping. The result will be the number of picks necessary for one repeat in design ; for example : — Fig- 323 — 4 (number of harness) X 4 (picks in rotation) = 16 picks in one repeat. 324—8 X 3 24 □■I ■■□■■■□□■■□□□I 1- 'mmrT'ma 'rmmu ■ : fan fa aa aEsa a aaa ■ ■■ ■■■ ■■□ 2Cj aaa"! Eaa aa Ba aaa i B aaa mi cm m aaa. _ _ ■ ■■ aaa ■ ■■ asaa r. ■■■ aaa .a' ■■■ aaaua rj ■■■ aaa :aa ■■■ aaa LBBB aa aaa ■■■ aa bbb mmm a aaa ■■■ a Bssa L. .aaa ■ ■ aaa m urn Ci aaa ■■ ' aaa ■ ' '■■ □aaa .a ■■■ aaa a ■■■ aaaaaa ■■■ aaa aa mm aaa ■■■ aa aaa mmm 'ia B aaa ■■■ a aaa ■■■ cm m aaa ■ ■ aaa ■ : aaa ■ ■■ aaaa □ ■■■ aaa a ■■■ aaa^ w L: mmm aaa aa . ■■■ aaa mm □■■■_i:aa aaa ■■■ aa aaa Fig. 325. Fig. 326. The next course in figuring skip-twills is that of combining warp and filling skip-effects in the same design. Figs. 325, 326 and 327 illustrate this sub-division of the skip-twills. Fjg- 325 — repeat: 18 warp-threads, 18 picks — has for its foundation the 6-harness 2 ^ regular twill. Take six, miss two, three times over in one repeat for warp and filling directions. iiiaaaDHaaaMaaaaBaB mmi DODBnnnGBDGDBBB ■■■ ■■■■ ■■ ■■■■ ■■■ ■ ■ mmm mmmn ■■! mn' mmm m am □■■ ■■ mu Fig. 327. □■■ Fig. 328. Fig. 326 — repeat: 24 warp-threads, 24 picks, and Fig. 327 — repeat: 24 warp-threads, 24 picks — are figured skip-twills of a more elaborate design. In Fig. 326 6 threads in rotation, warp and filling ways, are used before skipping. In Fig. 327 4 threads in rotation, warp and filling ways, are used before skipping 3 threads. ,67 t Z 3 ¥ 5 6 7 8 Fig. 328 — repeat: 22 warp-threads, 22 picks — is designed to illustrate skip-effects irregularly arranged, and is derived from the common 3 6-harness twill. Arrangement of drafting for this weave is: Take one, miss two, take seven, miss two, take one, miss two, take thirteen, miss two. VI. Combination Steep-Twills (of 63° grading). This sub-division of the twill weaves is produced by combining two regular twills (45°) which either have the same number of warp-threads for their repeat, or two regular twills where one weave contains one-half, one-third or one-fourth the number of warp-threads in its repeat compared to the number of warp-threads found in the repeat of the other weave. In designing these com- bination twills the two weaves are combined, one pick of one twill to alternate with one pick of the second twill. Diagram Fig. 329 is designed to give a clear illustration of their method of construction. In the same A represents the regular 8-harness twill j — - — ^ — j — ^. B " " " " 5 C " the drafting so as to get D = the combination 63° steep-twill. Repeat: 8 harness and 16 picks. Arrangement of drafting : 1 Si? i 1 1. 2. 1 V. 5 6 7 a B Fig. 1. 2. 3 . 5 6 7 8 529. 1st pick of combination twill is 1st pick of re| jular twill B. 2ad " 1st A. 3rd " 2nd B. 4th t( " 2nd A. 5th " it « ^rd B. 6th i( " 3rd A. 7th <( " 4th B. 8th " 4th A. 9th << " 5 th B. loth <( " 5th A. nth n " 6th B. 1 2th « " 6th A. 13th " 7th B. 14th i( " 7th A. 1 5th (( " 8th B. 1 6th u " 8th A. 1 Fig. 330. 7HHt3DDDH □□□□nan Fig. 331. "□□□rrfan □□I. rv.aa □□■□□■■ □□□□□□a □■□□■■a □□□□□□□ □□□QHHD □EHHHQD □□□□□□□ 1 7 Fig. 332. □□□□□□□ ipa a" a" a □1 . Ha 1 7 Fig. 333. ■□□■□□■ □□£!□□□□ □□■□LMH □QHDGHG □■□□■■□ □ancHGD ■□□■■□□ □□□□□□□ □■■□□■a □□□□□□□ !■■□□■□□ 1 7 Fig. 334. Fig. 330 illustrates the regular (45°) 7-harness twill - — ; Fig. 331 represents the regular 7-harness twill known as - - -I o / - J Fig. 332 clearly illustrates the combination of these two weaves (Figs. 330 and 331), or its "Combination Stccp-Twiir o'i 63° grading. 68 To simplify the combination each regular twill is shown by a different type and this style of type is retained in the combination twill. Repeat of combination twill, Fig. 332, is 7-harness and 14 picks. Fig. 333 illustrates the regular 45° twill, known as ^—^ — 5 — 5, which, with weave Fig. 330 (from the previous example), is used in constructing weave Fig. 334. Repeat of the latter: 7-harness and 14 picks. Fig. 335. "aa::nant. ■' -■.zmvrjm a laajaa naa^aaa Haaaaan HD3BB:3a haaaoaa BBB_~BBLJ 1 7 Fig. 336. n.DnBGB:::aB ■ ■ -'mm ■ ■ ■■■ '■■■■UUGHGHUa T 12 Fig. 337. ED .aa , laa aaa cci aa aaau ncaa aaa :-j OHB aaa ,j HB aaa jj blj aaa _:q c.oiiBaa 1 ' .-JBB □□aaB' J., uljbbl) ICBBBLlJGUBBCq Fig. 338. Fig. 330 is shown combined again with a different weave. Fig. 335, in the 7-harness and 14-picks combination twill-weave, Fig. 336. I2-harness weave, Fig. 337, and 12-harness weave, Fig. 338, are illustrated as combined in its 63° combination steep-twill by weave shown in Fig. 339. Repeat of the latter; 12-harness, 24 picks. Fig. 341 illustrates another 12-harness combination twill, 63° grading, obtained by combining weave, Fig. 337 = 12-harness regular twill ^— ^ — ^ — j — ^ — and weave Fig. 340 = 12-harness regular twill 5^ — 3 — ^—^ — ^—^ — ^ — j. Repeat for the combination twill-weave: 12-harness, 24 picks. Fig. 342 represents the combination steep-twill for 12 harness 24 picks repeat, as produced by combining the regular 12-harness twill shown in Fig. 337 — ^ — ^ — j — ^ — ^ with itself, starting from two different points. The foregoing examples illustrating the construction of the sub-division of twills classified in general as " combination twills ' be produced. indicate that an immense variety of different new weaves can 3aann aa L ■ a aa a"' Lj-.aaa □■■■a. □BaBuaGGBQaa Fig. 339. B :: c a □a :: D a □a 1 Fig. 340. "naaa a :bo : aaa □□ ; 'DB "BD aDD a JGB ; ■ JBD ana a.jGB : , DBD 12 BU i_ „BBBa □in □BC.'a a ■□-■■■a BUB a OBL a a ■ 3.3 ■an a.i ■ a 13 ' j3 .3 ::■ a3 -.13 gaaan- , „..,S ■ t^'m" mm ■■■ 1 a B ■ BJ a a.D ■ BJG aa: 1: ■ ■■■■ . aa a a aa ■ ■■■■ ■ J a a a aaa ' m m a a aaaa ---- -"-] Fig. 341. 1 Fig. 342. 12 The principle of combining weaves in this manner, or the construction of new designs out of one weave, as shown by rules and examples, is of great value to every designer, as it enables him to produce a large variety of weaves. In addition to the combination steep-twills, constructed out of two twills and in regular order, we can vary the order systematically as much as we choose; again, we may combine three four or five regular twills for one combination twill; in fact, the great variety of new weaves we can construct is unlimited. VII. Corkscrew Twills. This sub-division of the "regular" (45°) twills is derived from the latter by means of a "double draw." This procedure will, to a certain extent, reduce the texture of the warp for the face in the fabric, hence a greater number of those threads per inch, compared with the regular twill, are required. 69 A. Corkscrew Twills Iiavin^ for iheir Foundation One of the Regular Twills. This sub-division of the corkscrew twills commences with 5-harness, after which they can be made on any number of harness desired. Figs. 343, 344, 345, 346 are designed to illustrate the method of operation for drafting the 5-harness corkscrew twill from its foundation weave, the regular 5-harness twill known as and which is represented in Fig. 343. Fig. 344 shows the double draw as required for drafting from Fig. 343. Weave Fig. 345 shows 5-harness corkscrew (with 5 picks in its repeat). Drawing-in draft for practical work, will call for a 5- harness " straight draw," as illustrated in Fig. 346. The pres- ent system of treating corkscrew twills will always be more advantageous on an uneven number of harnesses, as only such a number will allow an equal breaking off for the two twill-effects as visible on the face of the fabric. Fig. 343. 1 5 Fig. 344. Fig. 345- □■□□□□■□no M Fig. 346. □□■/.'■nBa □ " □■■■Lin 1 6 Fig. 347. □CB ■ •a a aJ3 ■-■a ,■■ ]■■ "ra-'a'^aB^B^BnBH [ a aa ■ ■ aa as ■ ■ aa a □ B ■ ■ aa a a □ a a a:: a a aaa a aa a a aa aG aa aa a aa aa a a aa J a a :a :: a aaa aa :aa 3B..ajaG Fig. 348. Fig. 347 shows the regular 6-harness Fig. 349, Fig. 350. twill. By means of double drafting, 1-4, 2-5, 3-6, 4-1, 5-2, 6-3, we derive Fig. 348, the 12-harness corkscrew. Drawing-in: "Straight draw," l2-harness. Fig. 349 illustrates the 7-harness j twill. By double drafting (1-5, 2-6, 3-7, 4-1, 5-2, 6-3, 7-4) we derive weave Fig. 350, the 7-harness corkscrew. Drawing-in: ".Straight draw," for 7-harness. .eonnnananaai rannaaa^a ■ iscaDQ'^a" Da^a ai □□""aa I caa a ■ a a a a a aa3 irom common corkscrew. PS ■ ■ " □ for smkers J th ■■■■■■■■■■■■■■ ■ for sinker for floating the filling upon the face of the fabric. ,| "s"! !■"!'! ■ 's'S Sa's'si Repeat: 14 warp-threads, 14 picks. ^ Fig '366 Motive for arranging spots: □■. 3«oBa«DBD«BaBaBaBCMOBnBnBnMnBGBaBaM Fig. 367 illustrates the forming of filling spots upon the RKHff'S ^Sj'S'l'^S^Sf :'5 |,Sj': regular 9-harness corkscrew (see fig 354). ■ ■ ■■"■ ! ■ S S S ■ Motive for arranging these spots is the 4-harness broken-twill gggg ■ for raisers , r 1 > from common corkscrew. □ for sinkers ■ S 5 5 ■■ ■ ■ sinkers for floating the filling upon the face of the ■ ■ ■ ■ ■ J," fabric. '■ ■ 5,"5"5 5 Sb's's S Repeat: 36 warp-threads, 36 picks. ■'■ ■■"■■! S Drawing-in draft will reduce the 36 warp-threads upon ■ ■ S.'s'j S Sb^ 15-harness as follows: i, 2, 3, 4, 5, 6, 7, 8, g, i, 2, 3,10,11, jaH'iBiaKzlJiJ^s:^^^^ 6, 7, s, 9, i, 2, 3, 12. 13, 6, 7, s, 9, i, 2, 3, 14, is, e, Fig. 367. ■* 7. 8, 9. D. Curved Corkscrew Tivills. This sub-division of the corkscrew weaves is derived from the regular twills by drafting in both directions, according to the same rules given in constructing the corkscrew under sub- divis- ions A and B. After starting to draft from left to right for a certain number of threads, reverse the direction of drafting until the starting point is reached. Front. □aDH□□□^Q^□□□□□□ OHD - . - '7 - : ■ - ' J □ □□□a DT"' ■ □□■ . 1 ira Fig. 368. ■ ■ wa ::: r: ■ ■ ■ wam 1 Fig. '369. Front. ^□□□□□□naanaaDDnanaBaQDaaaDnDaaaDaaDa □□□BaBannaaDnDBnBDLjnaoBaoaaoDnaHUHca □BpDcggrGDT]:2B ._, . 'uu naGaDjaamaaa □pqa m m m jaciDacam RSLi-a-"- - aaaa aaaaama DnB-,a, — ^-^-2 a, . .aaaaaaBa '■OG^ ^^^^a^a_.^ ^^^-.a^ai^aDDDDng Fig. 370. J, from which commence to draft as For example : Take the 7-harness regular twill - follows : I, 5, 2, 6, 3, 7, 4, I, 5, I, 4, 7, 3, 6, 2, 5, as represented in double draw Fig. 368. Fig. 369 illustrates the " cur\'ed " (wavy) corkscrew derived by means of this double draft from the 7-harness (- j) twill. Repeat: 16 warp-threads, 7 picks. Drawing-in draft: i6-harness " straight " draw and one repeat of corkscrew weave from Fig. 369 for harness chain; or 7-harness double draw. Fig. 368, and " regular " twill * ^ for harness chain. oa a aa ■ □aa a a ■ B a a a ■ a a a a:: lana^aga "innEnBOEBnani ■ aa a ia la^araa a m' t I a a aa aa a ;b a a ■ : aaaa a aaas a :: a a aaa a a a :: a a a a a a ai aa a a a aa ■ a a aa aa a a ■ aaaaaaai ■a^nDBDB ■ aa □ JB ■ a a aa ■ a a Bi aa a an a aaaaj a a a_,a ■a a a jb I aa ajB I a a .BB ■ a a BJ .,a a ,aaa Fig. 371. If the twill lines upon the face of the fabric are not required so steep, draft every one or every second, third, or fourth, etc., warp-thread for each twill twice or three times, or oftener, upon the same harness. Figs. 370, 371, 372, 373 are illustrations of this kind. Fig. 370 illustrates a double-draw, which has for its principle of construction, 2 warp-threads upon I harness, and i warp-thread upon the next. On points where the twill changes its direction, judgment must be used so as to prevent the last pick floating too far. Fig- 371 illustrates the curved corkscrew as derived from the "regular" ~ 7-harness twill by □□□BaOOD^: i3Ti':^D3Dnaaaaa.iBaanajasnaaz!aa.i3 aDDnBGarjajaaajjjDDBJjaBaD Lj'_]uuuu«_ ' . a : JBL]:jaa3DaijaDBJJii;jc]JBJjzi3 a ^•□□□□□□aaajj.iuJBjjjjJiiJ'Da □□BaaaD„_ja_- .j_.jjgaaaaaD'jjaaDJ'jJ.jBaaj3jjii iBDaoaDDBGjuGGDBGBGBaBGaGoaaaaajaaaBaBaBj Fig. 372. means of drawing-in' draft. Fig. 370. Repeat: 36 warp-threads, 7 picks. For drawing-in draft use Fig. 370; for harness chain the regular * ^ twill. A double-draw in which the point of reversing the twill" is more balanced, to give a more wavy appearance when applied to a fabric, is shown in Fig. 372. The point harness of the one twill shown in b type is drawn in four times in rotation, whereas its corresponding point HDB a^aa a" ca aa a a caa a a ■:: :;""'a^an3a' :ana 'aa o a u a a ;a ; a :: a aa a a aa a a a a a aa ■ a a ::a ■ a aa a a a aa a ■ aaa aa aa a a aaa aaa a a g a a a a a BL I aaa aa^a-.a .BB-a.a^ Fig. 373. "3 a aa a a aa a 3,.a 3 .a a a a ::a a a aa a a a a a a a a aa a a aa a a a laa aa a ;:a a a aaa aa a a a a B'J aa a a BJ a aa aa aaa l a a aa a a a a a ::b a a aa a a a b ::a a a aa a a aa a a aaa aa aa a a a U3 aa a a aa a. a bj M aa_a_a_aa_aaB3 to tor the other twill is arranged to correspond as nearly as possible, without producing any place for filling-floats on rear of fabric. 78 Fig. 373 illustrates the corkscrew weave as derived from the 7-harness twill j v/hen using double draw given under Fig. 372. Repeat: 40 warp-threads 7 picks. Double draw: requiring 7-harness for the 40 warp-threads in repeat of weave. The next step in figuring in this division of corkscrew weaves is the use of filling-float efifects as explained under sub-division C. ■ ■ ■■ ■■■ J L ni R ; El □ J' m u i ' an B' an -BL^an 13 Fig. 375. Fig. 376. Fig. 377. between the warp (except in the few floating spots used in Figs. 374, 367, 366). In the present division of corkscrews the filling is used to show a third line besides the two lines produced by the warp. To give a thorough understanding Figs. 375, 376, 377, 378, 379 and 380 have been designed. isncG'^ ^aaaaa □□c aaaaaij □□UL_,BBBaaLU □□UGaaaaBLLiJ nGGBBBBBGGCa □aaaaaaGGGca ■■BBBCaGGGCD BaaaGGGGGGC ■ ■■■CCGGG'^IGaa ■■CGGGGGGBBB IBaaDGUGGBBBB isnaaaGGDHnnanDGGDai jligggbo aGaDGaaaGGGQaaGGDGQQaQDG aaaaGGnGaaGGGDaaQaaGaaaa □□GDGGGuGGGaGDDGBI.lGGaGQa aaGQGGaaGaaGuaaaGi-":caGCGH aaGaGaGDGnnDBGGGGnnaoaGG 1 jGGaaaauGaaDGanaa nnaGGGo GT : GGGGaBGUGcanQaHGaancG ' n Li jGaGGaaGGOQQQnaGGGnc ; 1 M ajaQaGGaGBCQaGGGaaca ' I IB : jaaGaaaHGGGGDGaGDGDn 1 a ^uaaGGQGGaaGGDQGGGaan □a'jHGannGnGGariBi : GaoHG'::'n"'n- jB^.'ar;B GH'i::- 'H a m -m m GG'i a a a a a:: a a Bi a aa aai a a- ai a a ai a ac. a a a a a:: B"ia a a a:; 1 ij 1 ■ ■■ ■■ ■■ ■■ ■■■ ■■■ ■■■ ■■ ■■ ■■■ m' ■■■■ ■■■■ ■■■ ■ ■■■ ■■■ ■■■ aya aaa aaa^ aaaa . aaaa aaaa .aaaa aaa aaa aaa aaa aaaja ■' aaa aaaa. a . aaaa aaaa ■■•;jaa -r aaa aaa aa aaa aa aa aa < :.aaaa aa aaaa. aa ^ ■■B'::.; aaa aaa. aaa ...aaa z'jrm aaa a aaaa. ~ aaa ' aaaa a ' Ij Gaaacvaaa aaa .. aaa ..aaa mm aaaa aaaa aaaa 'aaaa □ □Liaaa aa aaa aa ^ aaa aaacw . aaaa aaa a . ' aaaa ' aaaa j CT aaa. aaa aaa aaa aaaaa lJ. aaaa aa aa aaaa<~~ aaaa □ a aaa aaa aaa aaa aaaa . .aaaa 'a aaa aaaa' L:.aaaa_^ aa aaa aa aa aaa aaa ' oaaa . ~ aaaa . aaaa aaaa t aaaa aaa aaa aaa aaa aaa aa a aaa a aaaa aaaa r . aaa . aaa aaa aaa: aaa aaa~ a aa aa. aa . aaaa aaaa _ aa r aaa aa aa aaa aaa aaa aaa ~ : a aaa aaaa . . aaaa . _a aaa aaa aaa aaa aaa ^ aaaa ~ aaaa . ~ aaaa :._aaaa ~ .1 a ~ aaa aaa aaa aaa aaa. [aaa aaaa . a aaaa :: aaa ..a aa aa aaa aa aaa aaa mma l aa . aaaa " aa aaaa aa ^ .aa aaa aaa aaa aaa aaa -^m a .aaaacQG.iaaa .aaaa. ' a aaa caaa 'aaa aaa :. aaa ^aaa'^raa aaaa ..jaaaa aaaa aaaa [ aa aaa aaa aa aaa aa aaa :aaaa . aaaa a aaa aaaa^ c. ..aaa 'aaa' aaa aaa aaaD c.^aaaa . aaaa ' aa aa.r.aaaa n a aaa aaa aaa aaa aaa ^ caaaa : aaaa aaa . a. aaaa □ a aaa _.;aaa. .aaa .. aa aa aaa.. "' aaaa aaaa aaaa l aaaa .3 raaa aaa _ _aaa . aaa aaa, a aaa aaaa aaaa a ..aaa. ■ ■aa'.j_'jaaaj...j.aaai^....aaaL"r;;„ mBBnca': ^□□"□□pbh e: ■■ C'- "fi"_!S" cam n:3 '^y^' mmn bb □ " < BB :::: bb i an:: mm i: aa bbb :^ ■ bb ■ ^".a mm .'.laa PHS., " =^i55".,;<, J c-^- '"-^ BB, bS C;. n pP> „ "_55" ^E<„ I- BB BB 1 r BB S' ''><''_55"„;;„ -"''^ "B BB □ □ BB □ " J " ■■ BB ] □ BB - CX}H RS- -5S".: " ><„ I ■■■ BB :;u 1 CBB PR''-5S"..;;.. '^So „ ' ■■ ' bb c:a tbb a ::an -'"iii., n bb bb a:: □ BB :;:3c: , PaSfB -'iii-„ G aa i.bb .an j bb aaa □ , i-SS,>r^>■ ■■■ ■ aa^ ir^ J 18 1 12 1 ir, Fig. 411. Fig. 412. Fig. 413. Reneat • / ^ warp-threads, Reneat ■ / ' ^ warp-threads, Rpne;,l- • / warp-threads, Kepeat . | g ^^^j^^ Kepeat . J I . ■■■ jQ ■■■ ■■a aa i ■■■ a ■■ aaa aa I aa^a i 18 Fig. 418. Repeat : 18 warp-threads, 18 picks. '.munnmrnaaaonaaczwiormmonu ■ ■■ aa aa an bbigh c ■■ na : mm mmm LBB aa aa mm ■■ aa aa aa mm ■ aa aa c:g ■■ ■■■ . :■ LUG na aa mm mmm mm caa aa aa "'3 nn ■■ ■■ ■■■ ■■ a ■■■ ■■ □ IB ■■ :::: i I ■■ :::] 1 ■■ na a mm an oa ■■ :::: ■ :::: nao mmm mm aa aa : ja ■■■ ■■ na aa na ■■ ■■ :::: :::: aaa ■ ■■ :::: ■■ an an an :m mm nn aa aa^mu um ,aa . aa aa ^ \^mma Fig. 420. Repeat : 24 warp-threads, 24 picks. ^oaBnEjaaBDaMBDaaaQQBEiEi HanDBHaBBHDBHi:j[3L'\'i I 111 [:n3BBCBHB::jBB' . ' □□□□□ a mm mmm mm . a } I ■■ ■■■ ■■ a n □uuBG ■■ ■■■ J I ■■ n mm mm a n n . mmj IB c: E ■■ ■ I n n mm mm n n mm mmm naa'nn mm mmm 1 a a ia BBB aa a n n mm ■■■ ■ En:; aa.aaa.ai c □ E aa aaa aa □ a mm aaa aa iL:].^E]^a..^aa. aaa^aa 1 Fig. 419. "Repeat saaaaDoaaBDaaDaaaonaDDnao DanaDaDDDaDDGaaaaBDnGaaa aGGoaaaBaGG!")BBBGanGG»':GG '~~''aaa a'^'Ga"'.'.. a: G~a 'aaa aaa aaa aaa aG a aaa aaa a a a~JG aaa< a'....' .a^...:ja^.i a.. aaa "jg Repeat Fig. 421. 24 warp-threads, 8 picks. 81 XII. Pointed Twills. Pointed twills constitute the next sub-division of twills, and are derived from the latter by- means of point draws (previously explained and illustrated under the head of drawing in drafts, page 33). The plainest "point draw" calls for each harness in rotation (beginning at number one, or front) until all harnesses are taken up. Next proceed to draw the rotation of harness backwards until you get on to the starting point. The first and last harness of the set (represent- ing the front and rear harness), technically known as " point harness," are drafted only once ; thus requiring only one-half the number of heddles compared to the others. If using a fancy point-draw, use the point harness in the one effect, straight in the next effect, and vice versa. ■ ■ ■■ ■ ■■■ ■■■■■ ■ ■ ■ ■■■ ■ I r ■■■ ■ ■ ■ ■ I I ■ ■ ■ ■ ■ ■ I ■■■ ■ ■ ■■ ■ ■ ■ ■ ■ ■■■ ■ [ ■■ ■ ■■■■■ ■■■ ■ ' ■■ ■■ ■ ■■■ ■■ ■ ■ ■■ ■□ ■■ ■ ■■■ ■ ■ ■ ■■■ ■ ■ ' ■ ■ ■ ■ ■ ■ ■ ■ ■■ 1 ■ ■ ■ ■ ■ ■ ■ ■ ■■□ ■ ■■ ■ ■ ■■■ ■ ■ ■ ■ ■ ■ jQ ■■■ ■■ ■ ■ ■■■ ■ ■ ■ . !■ Fig. 422. Fig. 423. Fig. 422 illustrates a " point twill " composed of the — regular 4-harness point draw, i, 2, 3, 4, 3, 2. Repeat: 6-harness and 4 picks Fig. 423 represents a "point twill" composed of the 21-harness — ^ ' ^ ' ^ ' . Fig. 424. 4-harness twill executed on the 2 ' i W 2 regular twill. The point draw required is as follows: i, 2, 3, 4, 5, 6, 7, 8, 9, 10. li, 12, 11 10, 9, 8, 7, 6, 5, 4, 3, 2. Repeat: 22 warp-threads and 21 picks, requiring 12-harness point draw. This will illustrate that the entire repeat of a regular twill must not be used in the construction of its " point twill," as in the present example only 12 threads of the regular twill, with 21 threads for repeat in weave are used, (9 threads being entirely omitted). The second kind of " point twills " is designed from the regular twills by means of a " fancy point draft." For example, weave Fig. 424, which in its mode of construction is designed from the ^ ^ ^ ^ ^ ^ 15-harness twill by means of the following fancy point-draft: I, 2, 3, 4, 5,4, 3, 2, I, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11,12, II, 10, 9, 8, 9, 10, II, 12, 13, 14 and 15. ■ ■ ■ □ - ■ ■ [} ■ I ran: nmrmmrrm Fig. 425. riBzi.naj-iBtjBcaauDB ■■□□HgHnDBDDBDHm Fig. 426. :3 . ■ ■ L a ■ L {.■a ■ .■ Q . ■ . . ■ 1 0 Fig. 427. Fig. 428. The next step for figuring in point twills is to arrange the pointed effect in the direction of the filling. Giving Figs. 422, 423 and 424 each one-quarter of a turn, or in other words turning them so as to bring the filling into the position of the warp and the warp into the position of the filling, will produce weaves for this system. A straight draw for an equal number of harness, which is necessary for the foundation twill, is required for this pointed twill (filling ways). Thus, weave Fig. 422 will require a 4-harness straight draw with 6 picks; weave Fig. 423 a 21-harness "straight draw" with 22 bars in chain; weave Fig. 424 a 15-harness "straight draw" with 31 bars in chain. 82 The next course for figuring in pointed twills is to arrange the pointed effect, warp and filling ways ; forming in this manner squares standing on one of their corners. These designs offer veiy many fanciful arrangements and are extensively used in the manufacture of fancy cotton fabrics. Fig. 425 is derived from the 3-harness ^ ^ regular twill by means of draft : 1, 2, 3, 1, 3, 2. Repeat: 6 warp-threads and 6 picks. Fig. 426 represents enlargement of Fig. 425 to 8 warp-threads and 8 picks repeat. Fig. 427 shows the same weave enlarged to 10 warp-threads and 10 picks. n ■■■ ■■■■■ L ■■■ ■■ □□■■■■I ■■■■■ J ■ ■■ 1 ■ ■■■■ 1 Fig. 429. Fig. 430 ■ ■ ■ c ■ aac m g ■ ■ ] ■ izau m i a:za m i xy.i mm mm a'^a m Fig. 431. Fig. 428 illustrates a pointed twill derived from the — ^ twill by means of point draft, I, 2, 3. 4, 5, 6, 5, 4, 3, 2. Figs. 429 to 435 represent a few novel and interesting designs of "pointed twills," which by means of the different styles of type used readily indicate their method of construction. Fig. 429. Repeat : 8 warp-threads, 8 picks. Point draw for 5-harness as follows : i, 2, 3, 4, 5. 4. 3. 2. Fig. 430. Repeat: 16 warp-threads, 16 picks. Point draw for 9-harness as follows : i, 2, 3, 4,5,6,7,8,9,8,7,6,5,4,3,2. Fig. 431. Repeat: 24 warp-threads, 24- picks. Point draw for 1 3-harness as follows: 1,2, 3, 4, 5, 6, 7, 8, 9, 10, II, 12, 13, 12, II, 10, 9, 8, 7, 6, 5, 4, 3, 2. c^nMnMor'~mmM mamc. ; ■■■ DDDB ■■■ mmm'.aam □□r;p ■■□•I- nrc m ■□□ I ■ ! lima ■■ J jam imm IB. I -j.i,'jmoma aaramaa Fig. 432. r aaaa ■j: ana BBB G ■j: bbbbb :: BBBBBBBJQa B BBBBB IBB BBB BBia BBB B BBB^Q Ha ""laa □□□ an □ Fig. 433. aan r.a bbbbi aaa a a'^ bbbbi rcHc: an bbbbi BgH^^G^_:::;__ bbb [ GG^^ioa^^ i g"bbb "gg":::; ' BBBBB I BBBBB ■ ao □HGna I GG G< aa ■ GG GGQ ^,GG_j:^^Ka ;g"gg" "go GG I ;bb bbbbbb bbb bbbbb BBBB BBB CG_ h"g:: g'^gc ILGQE BBBBB BBBBB' BBB BBBB BBBB BBB ■BBBB BBB BBB BBBBB BBBBBBB B B :: EBBBBBB B I JG BBB GG Gi aa GG GGH ^^GG_^G_.^Ha ig'^gggggq :--GGGjGE!a Fig. 434. Fig. 432. Repeat: 14 warp-threads, 14 picks. Point draw for 8-harness : i, 2, 3, 4, 5, 6, 7, 8, 7, 6, 5, 4, 3. 2. F'g- 433- Repeat: 24 warp-threads, 24 picks. Point draw for 13 harness: i, 2, 3, 4, 5, 6, 7, 8, 9, 10, II, 12, 13, 12, II, 10, 9, 8, 7, 6, 5, 4, 3, 2. This design has only the point arrange- ment, warp ways. 83 Fig. 434. Repeat : 38 warp-threads and 38 picks. Point draw calls for 20-harness. Draw harness i up to and including 20 from front to rear, then follow by drawing harness 19 to 2 from rear to front. □ ^□□n ^■■■HBH : -n □ "^T»":BB«[Dnan t ■"nnn"B»B"!B :a :-r"~ ■! '■■■-hhhd □a,! 11 m mmm a mmm m^a r.^m mmu mmm ■^^□j tde] . QB ■■■■■ ■■■■■ iyS:i 'S"Ji :5:z; ■■■■■ ■■■■■ iitir. ia gm^ar.i;} ■■■■■ ■■■■■ :::x] ■ ur.a a ■■■■■ ■■■■■ "jCaa ■ ^0::: ■■■ ■ ■■■ :::: ■■■ mmm m mmm :::: u:; ■■ ■ ■■■ m ^ ■■■■■ i:aa m mmm m n mm mmm :] ■■■■■ I'.w^ m mmm m ■■■■■ [xx: mmm ■■■■■ h:: ■■■ az: :::: ■■■ m w mmm L:r, cx: ■■■■ :] :::::: ■ '^ai: • ■■■■■ ■■■■■ ,u aiy^ m u ■■■■■ □□■■■■a aa'^ ■■■■■ ■■■■■ ^ul: u l: cx::: □n'. :::: ■■■■■ ■■■■■ ;x: ■■■■■na ana mmm m a: ,a m mmm i: mmm m . a c. m< '■■■r'GO p ! ' mmm :xy.: :-ipp mmm m ii p aaa r.::r, ijucs l'l: ' .■ Ixi:: mmm m -S'li m\ mmm nb:-: ' ly^c mmm> iB"jLjbE3 I . jC ■■■ m :::::: ■ >■■■ u c: ■■■ ■ a mi □LJ'JBBBBB ox: bbbbb bbbbb l::: :::::: l::: bbbbbgq OOBBBBB i: l;:x: bbbbb bbbbb ;x]:: □ □ o::;: bbbbbo OBBBBB :]r;:; m i: bbbbb bbbbb nu^' b [Xx: bbbbb ■PBBB :xo . . o:: mmm 1:0 '^:a mmm m mmm iza bbb :x; :x: bbbm ■B IB o BBBBB :xx: b ;BBa: b l::x: a bbbbb u B' ■■ MB 'J :xx; B iBBB m i::y.i :: bbbbb l: "cl: b bbb a ::cx: aa ■■ :q:: bbb ib ibbb ur, mmm ai: u:: aaa a-aaa aa :x: a a Baaaa bbbbb . aaa a [x:^ a aaaaa bbbbb aaa i aaa bbbbb bbbbb ,aaa a a cxx: bbbbb bbbbb aaa a aa aa bbbbb bbbbb aa aa bbbbb bbbbb aa .03 a m mmm a a mmm m a aaa a m mmm a a mmm m a 1 jq aoaaa jbbb ib a a ■ m mmm aaa aaa mmm m a a m mmm. a iaa bbbbb : bbbbb :::: ::u bbbbb bbbbb aau □ aaa mmm m ' a a m mmm aaa aaa bbb'ib b bbb aaaa aa , am mmm a a mmm m a aaa a m. mmm a a mmm m a aa . aa ;bbbbb .bbbbb aa aaa ■ . :x: bbbbb bbbbb aa na Qa..iu aaa .bbbbb . ;BBaBB aaa ' la' a aaa bbbbb bbbbb :xx:' ji ]□ ;a BBBBB BBBBB a aaa m aaz: a bbbbb bbbbb aan<3 ' ;x] 'BBB IB twice as many intersections in the short repeat of 5 threads, giving the fabric for which this weave is to be used proportionally more strength. Fig. 437, representing the 8-harness (filling for face) double satin, is designed upon the same principle as that of Fig. 436 ; having a larger repeat it will better demonstrate the purpose than the former. Fig. 438 illustrates the double satin (filling for face) produced in connection with the 8-harness satin, filling face. This time the adding point is found above the one for the regular satin, so the filling receives one more point of interlacing in each repeat ; hence more strength in the fabric, filling ways. ■□■7 □□■ □■: .-L m □□■□■□lj □■□□□□L ■ □□□□■□ia. IBGQanCBuBQQaaGHD 8 • .Fig. 439. ■ and ■ for Raisers. 'mm' ' ■■■■ ■■ ■■■■ ■■□ ■■■■ ■■■ ■■ ■■■■ M I .■■ ■■■■ ■■ mm ' 1 B BBB BBB a 1 HBB ] a aaa BB . i ! i 3 BBB ■ BBP BBB IB B BBB a BBB . : Fig. 455. described, for 14-harness, etc., etc. To give a clearer understanding of the method of procedure, Figs. 456 to 465 have been designed. Fig. 456 represents the common 5-harness satin designed on every imeven-n umbered (1,3, 5, 7, 9) warp-thread. naaaaaciBBiD □■■□nnanna Dnanannnaa CB^-][ << IB' BBG ~ iBnaa r m a[~:Bai\!['iaHGG [ BB ai < ■•:m m m • m :m m-^ • ' / 'bb jj n a BB I laa BB a J aa ati... ij SDDDDBnaDOD ''B B B ~H .m m aan •'■L: aa . bh □□□□□□□□■a : a aa bhd lbb b - ci a ' aa □□■□noDona 1 a i a bbg ■ » aa j c bb b' j □□□□□□■□□a I aa Bi ' ■ ■ a ^ a a m <. mm i maaaaziaaoQ n 1 1. .a aa wa aa a j >bb a; : . , _ j 1 10 1 10 1 II) I 10 Fig. 456. Fig. 457. Fig. 458. Fig. 459. Figs. 457, 458 and 459 illustrate granite-weaves obtained from the latter foundation weave by means of adding four additional points of interlacing (selected differently in each design) to the original spot of the 5-harness satin. Granite-weaves Figs. 460, 461 and 462 are obtained, by means similar to the preceding cases, from the 7-harness satin. Their repeat is: 14 harness and 7 picks. 7nDBGna«aoaBana '□□■■nnmanBaaaa ;rariaaGiinarnana n' 'Ba^^B'TBGni ir IB naG' ibb' MaaG'T.hia ■' a ~' ariaai ;nG a ' 'B' ' BB' a ■■ .- ' 'B a ' iBB 1 1 aa ' ' a 'B' ' '■ aa a a ' -a : DLiaa aa ' 'a a i a a bb' 'i i b'J L' . a .aa a a j OGi mm mm mm b_ .a B' i a gb a JG .na aa hbl.' .,aa_j Ma._.a._jj li GaoaaGH'^a' igm iHaaaaauaGuaaGL) inaaGuaaouaaGa iHGauaamGauaaa 1 14 1 14 1 14 Fig. 460. Fig. 461. Fig. 462. Designs Figs. 463, 464 and 465 are designed out of the 8-harness satin, and their repeat is 16 warp-threads and 8 picks. In designs Figs. 457 to 465 the original weave for the foundation (or the 5-, 7- or 8-harness .satin) is shown by h. In the same manner that we construct granite-weaves out of the 5-, 7- and 8-harness satin, we can also construct granite-weaves out of satin-weaves having a higher number of harness for their repeat. faB''^anBB^Bnf9nnana eDBDaBB^annMnaDGB "nrBnBannnr'fiBDBna a a n-': 'B'aaa ~'a m nm^'-' i a ' ia'~'B ^aaa gb-b ' . a aa a aaa a bb a ^ bggb a aaa a : r i ' a a' aa g gb a aa a ^ I m mmm gbbb a . a > 'B a a aa i a a r ' I'J a I a aaa a bbj con b a aGiBaa b . la a G.i_.a. .aa iG I aaa a Ba.■■■ ■■■ ■■ ■ ■ ■ ■ ■■ ■■ ■■1 ■■■■ a. I : ■ ■■■ . :_jBa . ■ ■ ■■■ . ■ :bbbb^bbuljJ' ■■□ ■■■..j'^uBaB'.jL/.^BU'^nBLjBBai.:aBu;:a ■ ■ ■■■ luu ■□■■■■^ mmajvmaarimmmrjcam'Dammammmamm m m ■■■<::□ ■■■□■■■■□■□□□■■□□□a 9 10 1 r. 27 ii as Fig. 488. Fig, 489. Weave Fig. 489 represents a perfect combination of five different weaves produced with a repeat of 38 warp-threads and 6 picks. Warp-threads i to 6 are interlaced with the regular j twill. Direction of twill from the left to the right. Warp-threads 7 to 12 are interlaced with the common 6-harness j basket-weave. Warp-threads 13 to 27 have for their weave the skip twill derived from the regular 6-harness ^ twill by means of " take three threads successively and skip two." Warp-threads 28 to 31 are interlaced with the common rib-weave j warp for face. Warp-threads 32 to 38 are interlaced with the filling by means of the j 6-harness twill. Direction of twill from the right to the left. Weave Fig. 490 illustrates another perfect combination of two weaves from two different divisions of weaves. In the same the combination of the regular 8-harness twill j, used for six successive warp-threads, and the 16 harness corkscrew, used for 18 successive warp-threads, is shown. ■■r !<7'Baai jasanBaria a ' aaa' ' ~aa ' aa q m mm a ■ a aa a a aa jBD mmm a a aa a a Bk a jaa aaa a a aa a a aa a ajaa caaa a aa a a aa a a a :mm G m a aa a a aa a a a aaJH Cl; 1 24 ;:a aa a a a aa a a aa ■:'! aa aa a ai Liy^u aa a a a aa a a aa a a I : aa aa aai B a a a aa a a aa a a a i v aa aa aaa iB^^L^Q :,B-aaL^a^a;^aa:„a„a„B_Ba^a iBB_:^aB— bBi -.bb. jJ 1 f. 28 1 8 lli Fig. 490. Fig. 491. Fig. 492. Weave Fig. 491 illustrates the same corkscrew as used in weave Fig. 490 combined with a rib-weave, filling for face. Warp-threads i to 5 are required by the rib-weave and warp-threads 6 to 28 are called for by the corkscrew. Repeat: 28 warp-threads and 8 picks. The next step for figuring in this system of weaves is by combining two weaves in the shape of alternate squares of any size desired. In the construction of these weaves we must be careful in the selection of the places for joining the two original weaves in the direction of the warp as well as the filling, so as to omit any unnecessarily long floating of either system of threads. Fig. 492 illustrates the combination of 8 threads on 4-harness basket-weave and 8 threads on the ^ — 9-harness twill. 16 threads repeat, warp and filling ways. 92 By carefully examining the combined weave we will find the twill and basket so selected as to form a clear break between. 4 X 12. Basket. 4 X "2. Twill. 4X4. Basket. 4X4. Twill. 4 X '2 Twill. 4 X 12. Basket 4X4. Twill'. 4 /\ 4. Basket. 12 X 12. 4-harness Basket. 12 X 12. 4-harness Twill. 12X4. Basket. 12X4. Twill. 12 X 12. 4-harness Twill. 12 X 12. 4-harness Basket. 12X4. Twill. 12X4. Basket. Fig. 494. In weave Fig. 493 we illustrate four different combinations of two weaves in each direction of threads. The arrangement observed is clearly indicated in diagram Fig. 494. ■■ ■ n ■■ ■■■ ■■ ■■■ ■■■ I ■■ ■■J I □ Fig. 495. Fig. 496. Fig. 497. Another method of figuring in the present system of weaves is the checking off of a weave of a given size fmostly square) with cnother weave, both weaves to harmonize in their methods of interlacing. DC' dl: ■■■ ■■■ cc ■■■ □c ■■ ■ I □D DD ■ ■ ■ ■■ ■■ mm3 mm mm :z] ■■ ■■ la nmm I -3 □G. or ":}:] ' i:; laa l::; :::: J :::: [:□:!□ aac □a a:: an aa ac: :jh 3a ■■ ■ . ■■ . ■ ■ JB ■■■ ■■■□c:b 'I aaG a jQQ :aa Doa I ■ ■■■ ■ ■■■ an ■ .. ■ m mm .■□□■■■□□■□□■■■□□■□a uGBBacaBcaHaaauaoaa Fig. 498. Fig. 499. Figs. 495, 496, 497, 498 and 499 are designed to illustrate a few of these combinations. Weave Fig. 495. Repeat: 12 warp-threads and 12 picks. In this weave 8 threads, warp and filling, interlaced on the 4- harness basket- weave, are checked off by the C^iyS") 4-harness granite- weave, 4 threads for each system. 93 Fig. 496 represents 1 1 threads, warp and filling, interlaced with the ^ 4-harness twill and overchecked with a common rib-weave. In the place where warp and filling rib meet the inter- lacing is done in plain weave. Repeat: 15 warp-threads and 15 picks. Fig. 497 represents 14 warp-threads and 14 picks interlaced in twill and overchecked with 2 threads of basket-weave. Repeat: 16 warp-threads and 16 picks. Fig. 498 represents 21 warp-threads and 21 picks interlaced in twill and overchecked with 3 threads basket- weave. Repeat: 24 warp-threads and 24 picks. Fig. 499 illustrates 25 warp threads with an equal number of picks, interlaced on the ? ^ 4-harness twill and overchecked with 7 warp-threads and 7 picks of the granite-weave. Repeat: 32 warp-threads and 32 picks. Figured Effects upon Fabrics interlaced with Derivative-weaves Produced by Arrange- ment of Two or More Colors in the Warp or the Filling, or in Both at the Same Time. Throughout previous lectures explanatory of the plain weave, the twills, the rib-weaves, the basket-weaves, and the brokcn-twill-weaves, the importance of the color arrangement in connection with the method of interlacing for producing the effect in a fabric, has been frequently dwelt upon. In the manufacture of fabrics known as fancy cassimeres, ladies' dress goods, etc., these are of special importance, for the reason that these fabrics are subject to constant changes, both in design and effect, by the demands of fashion. A great variety of new .styles in such fabrics might be designed alone by the different ways of interlacing warp and filling, yet the different color arrangements in the warp and filling will always be of great assistance to the designer. Therefore, before proceeding with the course of lectures for constructing weaves for single- cloth fabrics of a special construction, and double cloth, etc., we will take up the subject of color effects in combination with plain weaves, fancy twill-weaves, granite-weaves, etc. Explanations accompanied by their respective illustrations of weaves, with resulting effects, will readily 1st set. 2nd set. enable the student to comprehend their principle of construction. il Design Fig. 500 shows at A 16 warp-threads arranged in two sets. gM' ■■B"B"B"'^B^a®a'^ffl^^ Each set is mterlaced with the filling (same for both sets) on the plain □G; ■ ■ ■ Bi* a s a ,1 . DC' q 'q r. nS weave, and the connection between each set arranged so as to have the last warp-thread of the one set working the same as the first warp-thread of the second set. B shows the indications for the dressing, arranged for JJj one thread light to alternate with one end dark, and equal at 'C, indicated □l □r: I- " " " for the filling. °' (For hair-line and tricot effects combined, thread and thread, con- structed on the regular plain weave, and repeated without interruption or change over the entire width of the fabric, see Fig. 20^ page 15. For producing the change from tricot to hair-line and vice versa, the arrangement of two threads of one color is used in one place in the design which corresponds with the place in the fabric where the change from tricot to hair-line is required.) In the present example. Fig. 500, the dressing is not disturbed, but the weave is arranged so as to have (as already mentioned) the first and last warp-thread of each set work equal. Warp-threads l to 8 = ist set, shown by ■ type. Warp-threads 9 to 16 = 2nd set, shown by b type. Warp-threads 8 and 9 are connecting threads, interlacing alike into the filling. Warp-threads 16 and l are the second set of connecting threads, interlacing into the filling, and arranged to raise and lower on the pick opposite to the first .set. It will readily be seen that the changing or breaking off of the plain weave, by arranging two successive warp-threads to interlace in the same manner, will reverse the tricot effect to a hair- 94 line effect, and vice, versa (on a regular arrangement in the warp of one end light to alternate with one end dark over the entire width of the fabric). See Z?, Fig. 500 for effect. This arrangement of working two successive warp-threads can also be extended to the filling, producing some of the most novel effects for ladies' dress goods and similar light-weight fabrics. Such effects and their construction are illustrated in the following designs. Figs. 501 to 509. ■■ ■ ■ tj ■■ ■ ■ ■■ ■I ■ ■ ■■ ■ □□□ ■ ■ ■ □■□ Fig. 501. Motive. I L, , _ , □□□□□□□□□D" ■■■■□□□□■B ■■■■□□□□■H laBBaanaaaBi 1 .a j_ J Fig. 502. Ground-plan. Fig. 501 is designed to illustrate a motive. Suppose the ■ indications in the same to repre- sent the hair-line effects and the □ the tricot effects. Again, suppose every square in the motive to equal four threads in. the warp and filling in the weave and effect. An examination of Fig. 501 shows six squares each way for repeat, therefore 6 X 4 - 24 warp-threads and picks for the repeat of the required weave and effect. Fig. 502 illustrates the ground-plan and represents a four-fold enlargement of 501. In Fig. 502 those parts of the design requiring hair-line effects (according to the motive) are indicated by b type and those requiring tricot effects by □ type. OCX} 0(.j ' ■ - . ''-^ ■ ■ , .'■s'--' 1 ■ ■ ■ ■ ■ ■ ■ ■ ' 'fa 1 ■ B ■ ■ ■ •I' -11 i ■ ■ ■ ■ m m 1 ■ ■ ■ ■ m m ■ ■ ■ ■ m m J ■ ■ ■ ■ ■ ■ ■ ■ ■ '£< fm ■ a? .a 1 ■ ■ ■ rl< ■ ■ 'i<4 ■ ■ ■ •I' filt ■ fa 1 ■ ■ ■ ■'■a ■ ■ ■ ■ ■ ■ ■ B3"- ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ i i 1 ■ ■ ■ ■ ■ ■ B II I ■ 1 ■ ■ ■ ■ ■ ■ ■ ■ ■ '•i<'>i< i ■' J ■ ■ ■ ■ ■ J SB ■ . nnnnnnnncmnannnDnnnnaon Fig. 503. Weave. Fig. 504. Effect in Fabric. Fig. 503 illustrates at A the dressing, one end light to alternate with one end dark ; B the same arrangement for the filling, and at C the applying of the plain weave to the ground-plan 502, arranged as explained before. The weave for the part of the fabric requiring the hair-line effect is represented by s and the weave for the tricot effect by ■. Diagram Fig. 504 illustrates the effect visible in the fabric. A, arrangement of warp, one end light to alternate with one end dark; B, the same arrangement for the filling-; C, the effect produced. ■■■"■■■■"S Fig. 505 is a motive for another effect. Use 8 warp-threads and the same aBnMUBoi number of picks for each small square in the motive. Type ■ for the tricot effect and type □ for the hair-line effect. Lim mm m mm m^:m m am mm m mm im mm m mm a 95 Fig. 506. A, the indications for the dressing; B, the same for the filling; C, the weave. Fig. 507 represents the effect as produced in the fabric. p^^l — — -- □■par 'fl< 'I- □HGi; ^ -T', 'hi.'".T- - •.• >:< >i< >:• ►! ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ B ►:• >:!• an L :::: ■ ■ ■ ■ ■ ■ ■ ■ :::: ■ ■ ■ ■ ■ ■ ■ ■ -::a ■ ■ ■ ■ ■ ■ ■ ■ s s s s fi 'i< ►!< •:' '1. ^i- 'i >: .1- ii- >i -i< ►I- s;< :::: g £ g £ ■ ■ ■ ■ ■ ■ ■ I : a ■ ■ ■ ■ ■ ■ ■ r ■ ■ ■ ■ [ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ L'^c: u m m m ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ s s s s ■■1. .> ■:• >-L- •:• tL- a. >:• j fi. ■i ►I- .J .1' ■ 'i' .> i< £ £ £ ■ ■ ■ ■ ■ ■ ■ BE B B B B B B B BS B B B B a B B B.: a B B B . s s, s. s ■ ■ :-a ^■1' ^i- ^i- 'I' f3 ^i- •:• V "-i-i 1 Ki- ^-i' V 0 ^ ■< ^i- t'j (jjr^ ^i- 'i^ ti' ^-la C-' 'I* ■"I' ■I' ^1 'I-' -S^ £ i £ i £ g S^S B a a a a a :aG a a a a a a ■□■ a a a a a a bdb ■ ■ ■ B>1 tl< ■ ■ ■ ■ ' ^I' >l' ''J i/t ■ ■ ■ ■£< >!' ■ ■ ■ ■ .i-g ■ ■ ■ ■ ■ ■ ■ I ■ >!' '!< 5 5 E E >i s i< ti •:< ti- •I. -i' >:< 'I' >!< !- >!' i< >:■ S! >:- •:< •-;< >:< •:• (L- >:< •;• ■:■ 1- ii B a B.^ .5 ■ ■ 5 s s m a a B a m n- q ffl;-jB a a a bkI] h- >s a >s q B' ibh a a a a & a e >5 eb a s-jb a a a be a & s s ec >h .an B a a a a a a a a a a' a a a aa a a a a a a sm B a a a a a a a a a ana a ■ a aa a a a a a a 'Bh a a a a a a a a a a a ib a a a aa a a a a a a hb a a a a a a a a a a a ib a a a a a a a a a a an a a B B a a a a a a a la Fig. 506. H B =i H H H B H u H [i H B c::; ::: w ■ r" ■'. ;-, .:.:;:.:;:::;c::";:;:;::c Fig. 507. Fig. 508, motive. Fig. 509, effect obtained by using 6 warp-threads and 6 picks for one small square in motive. Repeat: 36 warp-threads, and the same number of picks. liiDBnBnBDBCiBQB^BnB BDBBB~B"E B B 'Ha B ffl ffl H " BWB^a!-- Fig. 508. B ffl :..ffl a a a sr.m a a a Lffl..,B a a IBJB^B^B^B^B^BjBd 1 16 Fig. 510. 16 harness and 16 picks for repeat. >^ ^= ■ '- '•' '■' - V i" V y ■; V :* •■ V V V :• x y v y v ... >. :-. /. /. y. y. y y y y =■ v m s i y ■■' ;=: y y y V M n * >: :< =: y y. y i ; ; ; y K y y y,:y y ^ : : : ^ Fig. 509. Fig. 511. Novel effects are also obtained by figuring upon the plain weave. For example, weave Fig. 510 produces effect Fig. 511, by means of i end light or color No. i, to alternate with i end dark, or color No. 2. 96 Effect Fig. 5 1 3 is produced upon a fabric interlaced with weave Fig. 5 1 2. Arrangement for warp and filling : i end light, or color No. I, to alternate with l end dark, or color No. 2. Fig. 513. The same arrangement of using alternately light and dark threads will produce on a fabric interlaced by weave 514 the effect shown in Fig. 515- 1 •:• •:< ■;• .:■ •:■ •:• •:■ ■:■ ■:• ;HGannoaannmana-'a.jB n^i'ii':"-.' »n >!< >:< •:' -:■ •:• •:• •:■ mffl '■■ la ima nana "m:-: :< >:< •:• ■;• •:■ •;■ •:■ •:• ^ ' i a a mm o n :: ■■ i (J .1^ .;. .;. .;. .;. .;. .;. .;. .;. .i..naH a ■■ a a a a a a ■■ a >:> •;• ■:• •;■ •:■ •:■ ■:• ■:• ■:• ' m a a a ■■ a a a a a ■■ a ; H'iH':"-:":":->:<>:":< •:' •:• >n •:■ ■:'>:ifi<';":ii:":<>;-n-v;'(:-.:-i:' .;• -:• >;'>;<>:'H;• ►:'.;'>:-ii<.:'>:j.:'.:":->:'h;'i:'H.C'i:-n-t:.4:.v:.i:.>:.>:..;. i:. ►:..:.►>.:.►:■.:->:- , a a a a a ■■ ■■ [j a I T _ _ -I-^ V.., ' ^,°„'^,'-„'' ■ ■■„■'„'•, sjEk--"-"-"-"-"-"-"-';,-; '-".<-. ■;■ . . » .J h' a"a"a"«B ■■ a"'a":;"::"a'i SSZ":-:"!'-:-:'':' >i- ►h>:j':<^;"I' ■:'>:■ •:•>:<•:<>:'►:•►:-•;•>;• >;•'.•' ■:■ .:-;..:'.ji:..:.i:-.:<.:<.:"i'>n ; a a ^a mm a ■■ a :j a .a ■:■ V V _ ^ ,^„'^ ""..'^ "„■■ ■'„",,'-„-',' 'J '•■•'•■••■'•-■-*■•■•-'•-"■■•-•-■-•■ ';, ""i q a"»B a"a' a"a ■■"a"[;"a i n- •:• ■:• •:< •:'>:• •:":'v-:'>;":<»:-vi;< i:- >J >::":<>:"i'ffl : .a a a a .a a ■■ a a a c- >:• •:• •:• •:• ■;• o •:• ■;■ •:• •:• >:■ ■:■ •:• j □ BB^ a^ a^ a__a__a__a__»« a__aj i'"^":< ki ■i) til S >:' 'i^ lii I:' lil .i. ■■ ja"a'a'a":j"a"a"a ■■"a'l fi< >i 'i >n -:• •!< ►!< !itii;< ii t:> ii- tii >;";itH'H ■:ja .a .a a a a a a ,c: ■■ □ iB-iA m.-m. iOi^m m js m m.muiimmmsB*M awan ait..aiiJiJM iuquq .a a a.-.a .a..a^a..a.^B.) 1 21 I --'4 Fig. 515. Fig. 514. The effect illustrated in Fig. 516 is produced upon a fabric which has the warp and filling (arranged I end light, or color No. i, to alternate with I end dark, or color No. 2) interlaced with the broken twill weave Fig. 517. 97 The same arrangement of colors in warp and filling (i light, i dark) used upon weave Fig. 518 (broken twill) will produce design Fig. 519 for effect in the fabric. Fig. 516. imomammauB'jBD □■□■■□□□□HQH ■□■■□■□nn. □□ ■ n 'a"na mm: m m n or.ij mam u a a3 chTjO: ■ ■ jB rr Fig. 517. ■□■□■□□■□□□□□aoa crm m~m 'a a ajB ■'2 ■ ■ ■ i: t: aa am mm :: aja mzm M -m m i: a l □H □ □ ■ ■ ■ ' □ a a as ■ ■ ■ ora a a . ■ ■ ■ □a a a ■ ■ bj □ a a aB .b bjb □a a a ib b mo EL.a_ a aB B bjb iDau^.a-,a ._B.^B_jBa Fi Repeat : 518. 16-harness, 16 picks. Fig. 520 illustrates the fancy color arrangement applied to a fancy twill. A, the weave, 8 harness and 8 picks repeat. BBB>5I^5;• ■:• @m >:< •:• V 'B^ Br=i< '"''i .J r:< ■> as glSv" •! •;• -I"!? -:"i<-L' i- 3*1 1- 5 i . . >:":••:■•:<■:- .bm B '1 "i, '''M' ' -i^i-^.i'v-i'a.Ji -:■ « -J.I-v-I'ijB B ' " ' i' 6BS>:":"i< -1- m •:• 1" " r r ." ' . * ' ■? ';■ ■? >j BH •:• as ■? n ■:■ a* ■:- a* as( . . , , , ^/sa ffl vi, ij :.. i . . ^i .5:^ . . J -iB ..t^! B I — ^□□DDDmaoanonDcaoa 7? ■□■■□□□■□□□□□□□□□□□□□□□a □'iBB'^BBB^^^'^nnnn^T-i^TTT-^G ■B BB DG ■B BB aa aa aa <33 'I mm mm :::: aa aa aa HBBB BB . 1 BB BB ia aaa aa aa aa a a a a c Fig. 519. la ..•aa aa aa aa aa jMHaauriaaSuaaiiaaa . BB Bl B ■rnpppggopT PPPPPPQD [~ a B ■ B B__ .:P B BB BB [ BBBB aa : 13 BBBB B BBB BB ■B Bl B B : ^BB BB ' 'a a a :c:aaa ClCiZi. : □□□ ■ ; M ana : -ra : :3 aac^ aa a:: ::;aaa aca ' '3 □□□[_ a □□□l aa a : 3 □□□r a ; ^ □□□l. ' a : 4 ; « □□□naa^ aaaaaatnrftjaaa aaa: Fig. 520. B, the arrangement of the warp, 2 threads light to alternate with 2 threads C, the arrangement of the filling, the same as the warp. D, the effect produced. B Fig. 521. dark. A PPB :bp a ■ : ' mm' BB Ba::B Pi B~BB : ■B B B ■c ~B B a CB B mm PP ■BB B ■P : B B a PP B B a PI BB BB ■B _BB B BPnGDDDDPP': T;PPPPPPPP " jPPPPPPPL B^^PPPPP"". ^PPPGP^PP t'ppppgpp :pdppppg 'pnp'^ppp GPBBPPB ■ pppppgp' ^p" ' '1 L IB ■i~a B B aa a Amm mm -^p-.aa a GPBB B a a ■B' a a ■BP BB □PP 4 OGP □PC □□r □Pi DP' □□ r>pn a % a:-?! :: a *^GL □LI □□ i J □P. □BdQQPupaaaaBBaaa! jaaaiaa ;pp ■:jpp ppp --11 •>pp ^□□. □Pi □p □P. □p: □□_ □PP □ PLi □PP □PPL □DDL baaa laaaappt: i^aaaaaaBaaiBabaaaaaabaiaa Fig. 522. Fig. 523. Figs. 521, 522 and 523 illustrate three specimens of effect produced upon fabrics interlaced on granite-weaves. In each figure A represents the weave, B the dressing, C the arrange- ment of the filling, and D the effect produced. Single-Cloth Weaves for Fabrics of a Special Construction and Peculiar Character. HONEYCOMB-WEAVES. The Principle of Constructing Honeycomb-Weaves and the Peculiarities of Fabrics Interlaced with them. In these weaves squares are to be formed by floating (more or less) part of the warp and filling threads. These warp and filling threads will float on the face opposite to the back of the fabric; also on the place where the longest floating warp and filling thread interweaves, will be formed a groove on the back of the fabric and vice veisa on the face. Hence we get the peculiar appearance of the fabric known as honeycomb. The difficulty for the designer consists in so arranging the weave that when the warp floats on the face, the centre point of this float will form the centre point for the filling float on the opposite side of the fabric. And again, when the centre point of the filling float is taken into consideration on the face of the fabric and we put a needle straight through the fabric on the designated spot, the point of the needle will meet the centre of the warp float on the rear side of the fabric. Different methods are observed in designing these weaves. Honeycomb-Weaves Designed on Point Draws. ■ and a Raisers; n Sinkers. Fig. 524 shows the plainest honeycomb-weave, executed on 8 warp-threads and 8 picks repeat, with the "point draw" for 5-harness below it. ■■■■■■■ □ 1 ■■■■■ 'C ■■■■■J I ■■■ ■■■ _ l:"b":; 3 ge: ■■■ ■■■ □□■■■■a a ■■■■■■■ c ■■■■■3 [JG ■■■ ■■■ □ sBc ■ ■ ' Point Draw □C: r - - - □I — □ □□□ □ for iScchddaciStiahHDu S'^'^'^^^ss. 5 Fig. 524. Fig. 525. Fig. 526. Fig. 525 illustrates the floating of the warp in above design, thread A A forming the centre of the float, which gradually decreases in the adjoining warp-threads. Fig. 526 illustrates the floating of the filling in design Fig. 524, pick B B forming the main float, which decreases in the adjoining picks. By these designs it appears that the warp float is two threads longer (7 picks) than the filling float (5 ends). Fig. 527 illustrates the honeycomb-weave, designed for 10 threads in each system. The main float in the warp covers 9 picks, and the filling float forms the square in the fabric with a pick floating over 7 ends. The point draw for this weave requires 6-harness. (98) 99 Fig. 528 shows the honeycomb-weave, designed for 12 threads, warp and filling ways. The heaviest float in the warp covers 1 1 picks, and the greatest filling float covers 9 warp-threads. The point draw for this weave requires 7-harness. □□rc □□H._i c: a mmm c: mum c:i ca o ■■■■■je3 b^mi □ 0: □□LI ■■■■■■■■■ DCS a ■■■■■■■ cs ■■■■■ ■■■■■ □ nc' c; n ■■■ K l: ■■■ ,„:^c; 1 c: ■■ ■■■■■■ 1 a mm ■■■■■■ ci a mmm ■■■ laa r □ ■■■■■■■ ■■■■■■■ □ ■■■■■ 0: ■■■■■JQ G ■■■■■■■■■ a ■■■■■■■■■ ] e: ■■■■■■■ r ■■■■■■■■■■■ □■■■■■■■■a ■■■■■■■■■ a ■■■■■■■■■ ■■■■■■■■■ j lc] ■■■■■■■ ■■■■■■■ a Da ■■■■■ a u^r. ■■■■■ c . ■■■■■ [: j or a mmm c ■■■ aa a mmm ■■■ a i Fig. 527. Fig. 528. Fig. 529 is the honeycomb-weave designed for 14 ends in warp and filling, with a main float in the filling covering 1 1 warp-threads. Point draw for this weave requires 8-harness. Fig. 530 illustrates the honeycomb-weave for 16 ends, repeat in warp and filling, being about the largest arrangement of this weave used on a high texture. nr^^ s m a -^H'^b^'g ^ ■ □c- ^^:z mmm mmm ) □□□'^■■■■■■■"e; i □GL ■■■■■■■■■ a ■■■■■■■■■ a ^□■■■■■■■■■■B :3 ■■■■■■■■■■■ ! ■■■■■■■■■■■■■ QCBBBaaaaBBBB ] □□^■■■■■■■■B a ■■■■■■■■■■ □ □DQ ■■■■■■■ a ■■5J5JB DC a mmm □ ■■■ o: rj DC\ G ■ □ r. m a 3 ccc a G t 140D G ■ G ■ G 1 □□r G ■■■ G G ■■■ G □CCH ■■■■■ G^_ ,,G ■■■■■ G^_ □□^■■■■■■■■■"g G"BBaBBBaBB"G G ■■■BiaBBBaii J DBBBBBBBBBBBBB BBBBBBBBBBBBB □rBBBBBBBBBBB G BBBBBBBBBaBl bbbbbbbbb g bbbbbbbbb 3 □□g: bbbbbbb g g bbbbbbb gj □□cg bbbbb g_ . _g bbbbb g □ arc G BBB Gj^u^u,. .uG BBB G ."1 OCC G B GaaDDDGDOaG - B G_. IDCu, _ ,G G . ^□□□□□CODGQ-.GJLLua 1 14 Fig. 529. aanarr □□□Hi m ana mm □□'jBBI □QBBBI GJ ,,G^BBBBB-'!gnQa ::"BBBBBBBBBBB"^a BBBBBBBBBBBBBJ BCIBBBBBBBBBBBBB □□□■■■■■BBBBBB :l □□□'liBBBBBBBBB G □r i^G^BBBBBBB G G BBBBB G BBBBBBBBBBBBBH BBBBBBBBBBB 3 G BBBBBBBBB G 1 G BBBBBBB G VD G BBBBB G U n _ _ _ U ''„"„'^ "„■„" P ichl ;:"b"g ::"b"g a c ""obbbb"- ""bbbbb"" □i:G"BBaSaSBBB~'G G^BaBBBBBBa^GS DGi BaaaaaaaaaB. G_G aaaaBaaBaaaaB GcaaaaaaaaBBaaa ~ g aaaaaBaBaaaBaG □BaaaaaaBaaaaaaa aaaaaaaaaaaaaBa B aaaaBBBaaaaBBTG aaBaaBaaaaaaB'j r G^^BBBBBBBBBBB^G Jgg""'*",^^ "g BaaBa'G" ._ __"g aSaaa'a" :j u.-L ,...-.H_.BaB,iG^\T.^:j_;_:L_..,a^BaB^G^ij:Ga □□□□□□QCDBaauuCQaaaaDtcHaacaDQDDa laaaDaDcaQBDDOGaacaGDDCDaaBDDDaDa 1 16 Fig. 530. Main float of warp covers 15 picks, and main float of filling covers 13 warp-threads on the face of the fabric. Point draw requires 9-harness. □■naD^B'^'^a -'"G "^an-G •'. WDBC BBB G G BBB G 1 □ancaaaaa g g aaaaa g □□□aaBBBBB BaBBBBB j □auLBBBBB BBBBB □ ■□G' BBB G G BBB G ; □■CG^, B ^,G G^_ B __G -i isBBcg'^^b "g ■ g'' b "g d masz mmm g g bbb g □□tl^BBBBB BBBBB G aOC'BBBBBBB BBBBBBB □arraBBBB bbbbb g ■na: bbb g bbb g □■rG„ B ^c: ' m __g i □□Cfti;G.i":a" • " .^li'^G g"' . : □cxiGsBcac'i ..; .icuh'/;g _ j □□□■□Qaan«DaDanH[3arjBDiiua lpQBOBCDDaD«f33aBDBDaDaaBa rn ':"n ^ B G G BBB BBBBB G^'^BOrG" mo a BBB BBBBB . u i?l BBBBB bbbbb: . ::b an c;_ BBB BBB ; ■ ■ "„ ■ „" ma :□ ra r 1 g" b "g g" b "g c ft BBB BBB : ■ nn DB" c ■ G ; Gi,- - ■: a □GGG^LjBGBDBGGGuuQCBDBGaCBQaa IDDDBaaCGDBuBnGaaGBDaGDDBGBGa Fig. 531. Fig. 532. A second style of honeycomb-weaves is designed after the following method : Run on the designing paper, over the repeat of weave wanted, a check formed by a twill one thread up. This check must stand on one corner, each corner forming in this manner one of the point 100 harnesses for the weave. Next put into every other square (in a diagonal direction) the required warp float. Every square so alternated remains empty or may be further outlined by one row of twill (raisers). □□□□□□■□HJH": □□□■■■■■■a a -Ji ■■■■■ /a ■■■■■■ □ ■■■■■ oa 'Ji mmm □ OODCH .C E □□□CI,Qja_. □ □ ■■■■■■■ : □ a^a a n ■ ajQU a a a ar.j :: ■■■■■ : ■■■■■■■ ■■■■■ : ■"a"'a"a'm . a a.rjDn i^-.H^a-aaDD 1 □□□HuQ^Huaa J JHcaaH'ja 1 Fig. 533- ^a^a^Bi a ■■■■■■■■■ a a ■■■■■■■ L a a ■■■■■ a DDri _ "a" □Qc_a □DC; a a a COL.- a a □□□L, H.:a_a- IDOaGHQBQHLliE I a ■■■■■■■■■ a ■■■■■■■ a..: a ■■■■■ a_a a..:jDC a . :■: a oca ■■■■■■■■■ a a a a^LiQ a a a_am a a . Z- ^ a._a_;auZ;Ga ::jGLjccGQLjQGHGaaan Fig. 534. a a ■■■■■■ -a ■■■■■■■ □ :.a ■■■■■■ a ■■■■■ BGa a ■■■ □■_-a^_a^_B^^E GOE ''!"a'^a'' □□cf: a a c nam a a a N a ■■■ a a . ■■■BBBB :: □a. ■■■■■■■■a a... a ■■■■■■■ c: '^. t::: :} c; v. c::) :;o a a ' a a ] I a a a < a a a ::[; cx: c;:; [:;; c) :) cx: a a a aaa; ■ ■■■■■ ■ ■■■■■ l;:: :\:: _ n_^:3 n a:: aaaaa a aaaaa ■ 'aaaaa a aaaaa aaaaa a aaaaa ca aaa a a aaa a :::: ::c: :::: :::: :::: :;:::;::a a a ur. m aaa a a aaa ■ □ a a a aaa :;a u t; c:l; l: l: □ □ r.r. aaa aaa □L a a a a vai c;a l: u □ l; t: □ n a □ n b □ at; a a a a □'aaa a a a a aa a a c:aa a a aaa □ a aa a aa a c; aaa a a aaa a a a:; a a a a aaa □a aaa a a aaa a t aa a c: aaaaa a aaaaa a^ a ' .aa aa a a aaaaa a aaaaa .a a aa a aaa a a aaa ■ m' Baaaa a aaaaa : aa a a aaaaa a a aaaaa a a ;:a aa a a aaaaa a a aaaaa a aa aaaaa a aaaaa ia . c: a aaaaa a a aaaaa a c: a a a aaaaa a a a aaaaa a a a aaaaaaa aaaaaai _ la a a a aaa a :;[;:: a aaa a a a a a a a aaa' a aaa a aaa a a [; a aaaaa a aaaaa □a aaa a a aaa a a a a a a a aaa::a c: a :] a a aaa a a aaaaa a a a a a a a aaa a a aaa ■ a a a a a a a a aaa a aaaaaaa a aaa a a a aaa a a aaaaaaa a a aaa a . a aaa aaa cr a a : a a a a aaaaa a aaaaaaaaa a aaaaa a a aaac;a [: aaaaaaaaa a aaaaa a a. a a a a □□a a a aaaaa aaa a a aaaaaaa a a aaa a a aac3 a a aaaaaaa a a aaa a a. aaa aaa □a aaa a u aaa a aaa a a a aaaaa a a_ a a a a t: a a a a aaaaa a a a a a a i ■ ■raaaaa a aaaaa a a a a aaa a aaa a aaa^ a a a a a a aaa^ a' .wa a aaa a c: a a □aaaaaaa aaaaaaa a a a aaaaa a. a la; aaaaa a a a a a a aaaaai la a a' aaaaa' a a a aaaBBBB bbbbbbb araaaaa a aaaaa aa a a aaaaa a. .a aaaaai a .a c;a aa a^ a ^aaaaa ^a a aaaaa a a aa aaaaa a aaaaaa aaa a a aaa a aa a a aaaaa a aaaaa a a aa aa ai a' aaaaa a aaaaa a a aa a aaa a a aaa ■ □I a a a a a a a aa a a aaa a a naa a' a aa a aa a a aaa a a aaa a a ::a a a a a a a mo □c a a a a aa ac: a a a a a a a a [; ac; aaa a:) o a a a c: a a a a aa aa a a a a □ a a a aaa aa aa a a a aaa a a a aa aa :::: aa a aaa aaa aa aa aaa _ a a aa □a aaa a a aaa a aa aa a a aacxx: a a aa a:: aa a:: a aaaua a a aa aa a aaa a a aaa ■ ■■■■■ ■ ■■■■■ a^ aa^_ aa_^ a a^^aaa__a ^a ^_aa _^aa :::: aa_^ [:__a^ aaa ^a a ^aa __aa ^_a aaaaa a aaaaaa ■□aaaaa a aaaaa aa aa ' aa a"a 'a"a ' aa ' aa ' aa ::a "a'c; ' aa "a" a a 'a aa ■ aan .aa aaaaa a aaaaaa □a aaa a a aaa a aa a::! r ;ac:i j a a c: aa aani laa ' aa . .c:a ' aa a ^1 a aa aa aa a aaa a a aaa □ca a a m a a a :;a a:; a:; a a aa aa aa a ;;a aa aa a a aa aa c^a a a a a a a aa OD a a a a aa a aa a a , C3 aa a a[;a a aa a c: a aa a aa a a aaa □ra a a a a . a a aa aa aa a a aa at: :;a a aa aa aa t; a aa aa ac: a a a a a a aa □a aaa a a: aaa a aa aa aa a :: a aa t:a aa ::a aa aa aaa aa aa aa a aaa a a aaa ■ ■□aaaaa a aaaaa aa ^aa ^j:a _^a^a_^a^^a^^ aa_^ aa_^ ::a aa ^^aa _._aa ^a a_^a ^a^_ aa aa^_ aa aaaaB^a aaaaaa ■□aaaaa a aaaaa ::" aa aa'^ a"c:'^aaa' c:' a "aa "aa "a" aa' aa' a"a aaa a"a "aa "aa "a aaaaa' a aaaaai □a' aaa a a aaa a a:: a;: a a aaa;:a a a aa ;:a aa c::: a a aaaaa a a aa aa a aaa a a aaa ■ □□a a a aaa a;: [:c: a a [: aaa c: a a ac: c:c: ::c: c:a a :: c: ::a:: a a :: [:a [:a aaa a; a a i □□ a a . a' a aa ' .ac: c: c: a c: a c: a a c: ac: c:c:a ::c: :: a a c: a a. c: a c: c:c: ac: a a « a a a □I la a a' i ' .a a m. la i aa c: c; ac:a a a iaaa c:' a c:c: c; c:c: c; c: aaa c: .a c:c:a c: c: c;c: c:aBa bbbj □■ aaa a a aaa la aa a c: aaaaa a' iaaaaa a a c:c: c:c: c: c: c:c:aac: c: c:c:c:c:c: a c: c:a a aaa a a aaa ■ ■□aaaaa a aaaaa ; aa ^^a_^c:_ j;aaaa__c:;,^a aaaaa^ a _a^_ c:a c:c: __::__c:_ aaaac;__c;__c;__c;aaaa_^c:_^a_^ c;c: aaaaa a aaaaa j ■r aaaaa a aaaaa a' a"a"c:"::aa"a"aaa a"aaa a 'a"c: "c;" ::"c:"c;"c;ac:"c:"c:a:;":;"c:c;a"c:"c:"a "c: aaaaa a aaaaa i ua aaa a a aaa a c: a c:ac:aa a c: a c: c: aaac:c: a a a a a c: a aaa a a aaa ■ □□a a a aaa c: c: ac:c: a :; ;:ac:c:c:ac: a c: c:::c: a a a c: c:::c: c: c: c:aac:c:c:c: a a ac:a a a a a ai aaai □Lj a a a a c: a aac:c:c; c: c:c;[;:;c;c:c:c;a a c:c:c;c;c: c: a a c;:;c;:;:: :; c;c:c:ac:ac:c:a a c:ac:aa a aaa mm; □r a a a aaa a a ac::; :; a ::ac::;c;ac: c: a c;c:c: c: c; a c; c:c;c: c; c; c;aaaaaa a a aaa c;a aaa aaa: □ai laaa a a aaa a :; c: c: c: c: a c;c::;;:c: :: c: a a c: ::i . u c: c; c; :: :; aac:c:a a: a a a a a a aaa a a aaa a ■□aaaaa' a aaaaa c:^_ a_^a__a,_aaa_^c:_j::;c:_ c:^j;ac:__c:__c;^^a ^^a i._a a^_a_j:ac;__a__c:c;c:^^a _c;c:c: _a^_:;__c; ^_c; aaaaa a aaaaa i ■□aaaaa a aaaaa 'c;c: "c:"c;"c:c::;aa"a"c;"c;ac';a::"a"c;" :;a c:a a"a"ac;aac;"c;"c;"aac:aa a"c;" c:a aaaaa a aaaaa ^ □a aaa a a aaa a c:a :; c; ::aac:a c: c:c;c:c;c: c: c; c:a aa c: a c:a::c;c; c; ac:aac: a c: ::a a aaa a a aaa ■ □□■ a a a a a c; c::; a a c:aa a :: c:c;c: c: c: ::c: c; c;c; c: c; c:c;a c: :: c;ac: c; c:a a a a a aaai QDLa a a a :;c: ac: a a a a a :: c: c: a c:c: c::;c: :;c: :; :: c: c; :: :: c: c: c;a aa a a aai □□a a a aaa c;:: c:c: a a a aac; c: c: a ac; c::; ac: c;:; c; c: c: c:::c: c; c; :; c:c: aa aaa aaai □■'.. aaa a a aaa a ac: aa a a aa:;ac: a a ac: :;c: c;c: a c: c: c;c: a aaa a a aaa ■ ■□aaaaa a aaaaa c:^ c:a^_ c:c:^_ c:^^a__ac:c:__a ^c: '_j;:; ,__c;c; _c;^_ c;c;__ c;c;__ :;^_c;^^c;c:a__c:_^a _c;a ^^ac: ^^a aaaaa a aaaaa i ■□aaaaa a aaaaa aa i: ac:: ' ac: "a"::"c:'lc; ' c:a"' aa'" c:c; ac: "ac; "ac: "a"a' a"c:" ac;" c;a" c;a aaaaa a aaaaa ] □a' aaa a a aaa a aa ;l aa c;a c; c^ aa ac: c;c; c;c: :;c; c: aa c:c: a aaa a a aaa ■ □□a a a a a a a ' aa . c:a ac: c; c; c:a 'ac: c:c; c; :;c: aa c:a a c; aa c:a c;a a a a a aaai □□' a a a a aa a c:c: a c: c; aa c: aaa , c: c:a c; c: c; ac: c: ac; a a aai DCi a. aaaaa a' aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaai □aaaaaaa aaaaaaa ■ aaaaa a aaaaa a ca aaa ai ai. aaa a □!.a a m- j lw B' a B' a a . ' a' Bi::a ' a a a'..,a a' B' a ' i. a' a a aaa b a a a a a i □L'l B a ' . B' a ' ■ '--T.- ■_ ' □ _aBB aaa aaa aaa aaa aaa aaa aaa aaa aaa aaa aaai □■ aaa a a aaa a a aaa a a aaa a a aaa a~ a aaa a a aaa a a aaa a a aaa a a aaa a a aaa a a aaa ■ ■□aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa a aaaaa j □aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa aaaaaaa ■a a aaaaa a aai §B5B'BauaH'ii'B"uLiL%%'?u'^,%%?GaQ%%'::aLjUB%fL,u^-'a'a' .LL,'a'a?c^uuBUBuLjU^%%GDJa5B'Bu^!_ Fig. 537. A fourth division of the honeycomb-weaves embraces those known as " star effects." The appearance of these weaves in the fabric is of a different character from those previously described. The effects produced by these weaves in the woven fabric are quite novel, and a careful study of the annexed designs will not only give a thorough understanding of their con- struction, but will greatly aid in developing new ideas for weaves in this line of fabrics. The point draw, which has been used to such a decided advantage in the first three divisions, is not used in this. Figs. 538, 539 and 540 are different weaves designed on this principle. 102 Fig. 538. Repeat of pattern: i6-harness and 16 picks. Check A contains in its 8 ends repeat, a twill running in a direction from left to right, the twill line being formed by the warp upon filling ground. Check C is the same weave, warp and filling exchanged, and direction of twill reversed. Check B and D are bound in plain for forming the groove. Fig. 539. Repeat of pattern : 28 harness and 28 picks. This weave is an enlargement of the preceding one and explains itself. 1 n □ a r,r, c: □ ■■ /> a a :; v.mmm u a V. ■■■ 2soHanriE3nannr-'HDHnDoi L a"'::"\:"a"L3"a'''L B a a H ■■■■■■■ LG a [: a a aaBBBMBBB a a a a ■■■■■■■■■ ,j ■■■■■■■ ma»um ^ A a c: aj _ a a a^a ^CiGaJauBuGQ □□□□nO'jnLi ■■■■L uaoL ■■■■■ . . □' ■■■■■ . [!■■■■■ na : IB ,aa I la u aa a a a BQ£) if-a' "B^rirnnnBMMiBi \C Fig. 538. 16 Fig. 539, a a □ a n :a a_,a_ a^a^^a__an a)^a"a":;"a"aG BuEJBGBLjBUB^ a a a a aaaa ■ ■■■ : a .a a a ■■ mm a^^a^^a a^aa ■■■■■'!]■ " ' a a a :ab ■ m a a ""a .aoa LB ■ a a 'BD . ■ ■ a a a a .]n „ A m a a a a Z? ■ ■ a a a a. a ■ ■ a a a S:j LB ■ a, a :a a^a i«,_j^^i_j^uijBuauaLBuBa Fig. 540. 18 Fig. 540. Repeat: 18 warp-threads and 18 picks. This weave contains in its principle, in check indicated by A, the X of a common twill filling face on 9 threads for each system. Check C contains the same arrangement except that the warp changes place with the filling. Checks B and D are interlaced plain for forming the groove. A fifth division of the honeycomb-weaves is created by forming squares with a certain number of warp and filling threads, floating (equal long floats for each thread in either system) regular distances. Figs. 541, 542, 543 and 544 are designed to illustrate this system. Fig. 541. Repeat: 12 warp-threads and 12 picks. Can be reduced to a 4-harness "section draw." Fig. 542. Repeat : 12 warp-threads and 12 picks. Can be reduced to a 4-harness " section draw." isaBnanaHMBBH BGB aaaBBiH DB^ BZBHaaBH BuBTBHaBBBH DBf' a ~' ■■■■■■■ "B'::'aDPDBnDDnDHO cazaiaaaDDQDDB B- a a^a^jDDcnaD □a a la aaonDDB □a :: DC □D- □□ □C iBca 1 3^B aa ::ra aa Fig. 541. L... ^ a .a a _.j^.^G _.GL an □□□□□□OBijaLa iBnanaoBCBCBa 1 12 Fig. 542. B"a"a" c a a a, ■■■■■■1 □□□□BD "amaa a__n'iB a"a"a a aa ■ a a a .]a a a a aa a a a^BQH 14 i'-a;^a;^c^anj ca"a"a"ai a :: a a □UlJ. . □no; . ■■■B ■■■a : aBBBBBBBa 'BBBBBBB'J □BBBBBBBB I BBBBBBBl a a a a a a a 1 ■J a a 1 a Fig. 543. Fig. 544. Fig. 543. Repeat: 14 warp-threads and 14 picks. Can be reduced to a 6-harness " section draw." Fig. 544. Repeat : 16 warp-threads and 16 picks. Can be reduced to a 5-harness " section draw." IMITATION GAUZE. These weaves are used for such fabrics as dress goods, curtains, ladies' aprons, canvas cloth, etc. In designing these weaves the end to be gained, is to have 3 to 4 warp-threads and also 3 to 4 picks intersect each other very easily, while the next following warp and filling thread form a com- plete break from the one ahead, and so can be readily kept apart for some distance. In the warp these breaks are separated by the reed by leaving one, two, three or more dents empty. The threads required for a close working are drawn in one dent. To give a clear explanation of the matter. Figs. 545 to 553 have been designed. 103 ^■□■□■□■□■□B ■ ■□■ MLM. ■ ■ Gb ■■■ ■■■ ■ ■. ■□ ~DB .■ ■-.« ■ ■« ■■■ . mma ■ ■ ■ ■ 14 □□uiBiuuuHi ^ I I I I Fig. 545. F'g- 545 illustrates the 6-harness imitation plain gauze-weave; the grama mam lines for the warp ( | ) indicate the break, and so the place in the -^^'^ reed where one, two or three dents are to be left empty. Warp-threads, ^SBS I, 2, 3 are drawn together in one dent, as also warp-threads 4, 5 * and 6. 546. Examining the weave, filling-ways, the break appears between picks 3 — 4 and 6 — 7, etc. Picks I, 2, 3 intersect easily, and also in their turn after the break, picks 4, 5, 6, to be followed again by a break; picks 6 to 7 equal to 6 to I. Fig. 546 represents a general analysis of the weave, which will at once convey an idea of the method of arrangement and operation, a to = 3 warp-threads for ist dent. d to c, = space for one (or two or more) empty dents. to c. f a to e, = 2) picks for close work. ^ J e to f, = space for open work, equal to b, c in warp, j / to^, = 3 picks for close work. 1^ From g to repeat of weave again (= d) leave space equal to the one left from e\.of. 1 45 8 ■■■■□□□□■■■■□□□a ■■■■neon \'m ■ ■ ■■ ■ ■ ■■□ ■■■■ ■■n :i:n ■ ■ ■■ ■ ■ ■■! t □ L. ■■■■ ■■■■ □i-^ ■■■■ . ■■■■ n I I I I Fig. 548. ■I fa% □□□□ ■■■■ □□CO ■■■■ abed Fig. 549. Fig. 547 illustrates the enlargement of a fabric produced on weave Fig. 545, under the pre- viously explained rules. As this figure cannot help but to explain itself, we will consider the imitation gauze-weave, produced upon 8-harness and 8 picks repeat, which is shown in Fig. 548. The lines for the warp ( | ) indicate operations as explained by Fig. 545, the break, hence the place for one, two or more empty dents, so as to form the open work in the warp. Warp- threads I, 2, 3 and 4 are drawn together in one dent, also warp-threads 5, 6, 7 and 8, etc. In the filling the break appears between picks 4 — 5 and 8 — 9, equal 8 — i. Fig. 549 represents the analysis of the weave with regard to appearance in the fabric. Warp. — a to b, 4 warp-threads drawn in one dent, b to c, for one empty dent (or two or more), c to d, ^ warp-threads drawn again in one dent. From d to repeat of weave (= d) leave the same number of empty dents as left from b to c. Filling. — a to e, 4 picks, close work, e to /, space for open-work, equal to b to ■■■■■ ;__a a ■ ■■■■■■ ; a a a ja ■ ■■■■■ a a a a a_; " ■ ■■■ a a a a -a j ,■ ; a ia la .a la ■■■■■ :;"a"^i a a a' Design Fig. 569 illustrates the figuring with an extra filling for forming a small spot figure. This extra filling is similar (except the floating, which is more extended) to the previously illustrated example of floating on the back of the fabric and is interlaced with the face fabric in a manner to produce the desired effect; in the present instance producing small spots. This extra filling, floating to a great extent on the back of the fabric, is generally removed by cutting off those floats around the place where they interlace with the face fabric. Another style of fabric which is constructed on this system of weaves are union fabrics, comprising certain kinds of shawls, Chinchilla and Ratine overcoatings, etc. In weaves for this description of fabrics the interlacing of the face filling with the warp is the same as the one used for interlacing the backing. The warp, which is in most cases of cotton, rests imbedded between the two kinds of filling. Fig. 570 illustrates the combination of the 5 -harness satin filling up for face and the 5-harness satin warp up for back; thus the same weave will form the face and back. Repeat: 5-harness and 10 picks. Fig. 571 represents a like combination of the 8-harness satin filling up for face, warp up for back. Repeat: 8-harness and 16 picks. Lia 'a ■■ ■ a a ■■■ iDaua a_ja ja.ja a a 'a a^a .a , a' Fig a [: a a a a a ,a ,a ,a a a a a a a a a a .aja ^a-^a-ja. ,ai : ;a ■a J :"a ■a .1 ; ;3 a D a a aja ; a J ^aja 569- loaCQHCl □DLiBD Gaaaa □■Licn caLiaa DUQDB □□□□a □□■GT 1 5 Fig. 57c. "nnananaa Lsaaaaaa Lcm:' ■_!□ aaaaai :3a aaaaaaaa ' "ill; t: aaaaaa ■ J aaaaaa a Fig. 571. isBHnBDHHaaa '■ ■ """ii "■"] c_.^ ■ ■ " 1 g: ■ ■ aaa aaaa a gl ■ ■ : Fig. 572. Fig. 572 illustrates the 5-harness satin filling up for face and the same weave, warp up, for back. Arrangement for exchanging face and back filling is 2 picks face, i pick back. Repeat: 5 warp-threads and 1 5 picks. Swivel- Weaving. For fabrics in which the figures are produced with an extra filling and these figures, as seen on the face, are far apart, as in figured dress goods, ribbons, etc., these figures are produced upon the ground structure of the fabric by using a loom having a "swivel lay" attached. The object of "swivel-weaving" is to save material in fabrics having small figures for the design, and to give to such figures a more prominent appearance in the fabric than can be pro- duced by the common method of weaving by floating the filling on the back when not required for figuring on the face. There is a further advantage in the designing, for no disturb- r r f ZX- ance of the design is necessary. Again, in cases where, in the ordinary process of weaving, the figure-filling would shew through on the face, and thus must be cut off, this method of weaving- omits ^ Fig 573 the cutting away of the loose filling on the back; and in this case the swivel arrangement contributes to the strength of the fabric. 110 Fig. 573 is an illustration of a swivel fitted in a movable frame to be attached to the regular batten of a loom. The method of weaving fabrics figured by the swivel arrangement is as follows: After the common shuttle carrying the ground filling is interwoven, a separate shed of the warp is opened for the introduction of the swivel shuttles (instead of passing a common shuttle all the way across the loom) carrying the fill- ing which has to form the figures on the fabric at intervals of two or more inches. Each figure in the fabric is formed by its own shuttle (filling); hence it is apparent that by the swivel arrangement we can have different colors in the same shed across the fabric. In using a fly-shuttle in common weaving the filling from < > > Fig. 574. the latter has to be used in every figure, whereas by the swivel method every figure may have its own color. The swivel is used to the best advantage in the production of small spot figures. In Figs. 574 and 575 such effects are shown. As the shuttles of the " swivel " are all of a given size, and are arranged in certain distances, they require the design to be arranged accordingly. By examining Figs. 574 and 575 we find the distances between the figures to outmeasure completely the spaces occupied by the figures themselves, which point it is necessary as a standard rule to keep steadily under consideration in de- signing. One and three-quarter inches is about the smallest width of the shuttle, thus two inches is the smallest distance possible to be used by a shuttle of such a size ; but generally a wider Fig. 576. Fig. 575. distance between the figures is allowed so as to get a more perfect fabric. The general rule to be observed in designing for these fabrics is to have the distance between the figures about thrice as wide as the space occupied by the figure itself In these designs the ground filling forms the general design for a ground or all-over effect, Ill while the filling introduced by the swivel shuttles only contributes to the coloring up of par- ticular effects. Circular swivels are used for fabrics where very close-set figures are required. These swivels are specially constructed for these effects. Combination of the Swivel Effect with Figuring through the Warp. In some fabrics (but only where the most exquisite designs, richness and fineness of material are employed) this method is applied, hence we have to use the following four distinct systems of threads in producing the fabric : 1st. One kind of warp to form a general ground fabric with 2d. The regular ground filling ; 3d. One kind of warp to produce, on the two systems mentioned, the foundation parts of a design, into which the filling from the 4th, swivel shuttles forms the figure spots. Fig. 576 is executed on this method. In this we find the white grounds for systems i and 2. The stems, leaves and buds, only outlined in design for system 3, whereas the two shaded flowers have to be produced through system 4, or the swivel shuttle. Design Fig. 576, illustrat- FiG. 577. ing only one effect, has to be arranged for practical use according to the fabric for which it is required. Another combination of the swivel arrangement with figures produced with the common shuttle, but of a yet more complicated nature, is procured by combining systems of threads as follows : 1st system : ground warp. 2d ground filling (common shuttle). 3d " figure warp. 4th " figure filling (common shuttle). Sth the filling from the swivel shuttle. Swivel Loom. The foregoing explanation of the theory of swivel weaving requires in practice a loom which must be capable of two different movements — namely, the plain or fly-shuttle movement, and the swivel and plain weaving movements combined — to produce the figure or pattern in the body of the fabric while the latter is being woven. For illustrating the method of operation in such a loom diagrams Figs. 577 to 580, represent- ing the J. Wadsworth swivel loom, are given, similar letters referring to like parts in each figure. 112 The before-mentioned two movements are carried on in the following manner: First, the loom having been adjusted for plain weaving, the cam-shaft C is in the position shown in Fig. 577, which illustrates a view of part of the loom, partly broken out, looking down upon the same. As the cam-shaft revolves the roller projections ^ at the right-hand end of said shaft, and the similar projections, z' z^, at the other end of the cam-shaft, alternately depress the treadles / which in turn operate the picker-sticks s s, to throw the fly or body shuttle back and forth across the loom, as in ordinary weaving. The rollers z' , z^, ,3^ and z^ must be so placed in relation to «3 Fig. 578. each other that they will act alternately, first operating the picker-stick at one side of the loom and then the picker-stick at the other side of the loom, and so on. The fly-shuttle is thereby caused to pass across the loom four times during one revolution of the shaft C. This is the plain-weaving motion of the loom producing the body of the fabric, and is the first motion referred to above. The next operation is the introduction of the swivel-shuttles for the purpose of weav- ing figures or patterns. This is accomplished by shifting the shaft C with its attached cams and rollers along the line of its horizontal axis from right to left, so that it will occupy the position shown in Fig. 578. The harness and other portions of the loom not essential to a full under- standing by the student are omitted from the drawings. By the shifting of the cam-shaft a new set of cams and levers is brought into action, and the operation of certain of the devices which were in action before the shifting of the shaft is arrested, while a portion of the devices which were in action before the shifting of the shaft remains in action after the shaft has been shifted. Fig. 579. The new cams and levers thus brought into play, acting in connection with the devices which remain in operation after the shifting of the shaft, as stated, give the second movement previously mentioned — namely, the combined plain and swivel movement. In diagram Fig. 579 the front view of the loom is illustrated, in which a portion of the plate at the left-hand end of the loom is cut away to enable the rollers z' .s^ the more readily to skip or miss the treadle. In place of the shots of the fly-shuttle, the swivel-shuttles are called into action by means of the second change effected by the shifting of the cam-shaft — namely, that by which the arms b b, with their attached rollers d d' , are caused to operate the treadles a a and to 113 give to the rack E, containing the swivel-shuttles D D D the necessary downward motion, and by which at the same time the cam /, through its connections K L y, is caused to drive the swivel- shuttles horizontally to weave the desired figure or pattern. The action of the fly-shuttle must alternate with that of the swivel-shuttle. The operation then is as follows, reference being had to Figs. 578 and 579. As the cam-shaft ^7 revolves the roller depresses the treadle to operate the picker-stick, thus throwing the fly-shuttle from right to left. During the next quarter-turn of the shaft the roller z' would operate the picker-stick at the left side of the loom to return the fly-shuttle were it not that by the shifting of the cam-shaft this roller is thrown out of gear. In its stead, the rollers d d, attached to the arms b b, are brought into contact with the treadles a and, depressing the same, pull downward the rods / / (against springs j^j^, arranged around the same), and the attached rack E, containing the swivel-shuttles V V V, is thus brought into posi- tion for the working of the swivel-shuttles with the warp. Almost simultaneously with this downward movement the swivel-shuttles are driven longitudinally from right to left by means of the cam /, acting in connection with the levers Kand L, rod J, and the rack-and-pinion mechanism. By referring to Figs. 579 and 580 it will be seen that on the outer edge of the wheel /, and extending half-way around the circumference of the disk, is a collar, e, having its ends beveled. As the shaft C revolves, carrying with it the cam /, the roller g, which is attached to the lever K, coming into contact with the collar e, is thrown outward, carrying with it the lever /v, which in turn operates the vertical lever Z, moving on the pivot To the free end of the lever L is attached the rod J. Rod y is connected with rack-bar T^^, see Fig. 573, which rack-bar is sup- ported in the rack E, and is in engagement with pinions V , which in turn engage teeth upon the swivel-shuttles V V V. As the lever A' is thrown from right to left, the swivel-shuttles are driven in the same direction. This longitudinal motion occurs almost simultaneously with the up-and-down movement mentioned before. The roller g is kept in close contact with the cam / by means of the spring/, and is prevented from being operated by the cam when the cam-shaft has been shifted for plain weaving by the stop k. (Shown in Figs. 578 and 580.) By the time this double motion has been accomplished the shaft has made another quarter-turn, the rollers d d have released the treadles a a, and the springs around the rods / / throw upward the rack E and the shuttles V V, to remove the same from the working level and allow the fly-shuttle to pass without interference. The cam-shaft having now entered upon the third quarter of its revolution, the roller ^ depresses the treadle / on the left-hand side, thereby operating the picker-stick s to throw the fly-shuttle back again across the loom from left to right, the roller ^ at the other end of the shaft at the same time passing inside the corresponding treadle / without operating it. The cam-shaft now begins the last quarter of its revolution. The roller misses the treadle / on the left-hand side, as before explained. The rollers d' d' depress the treadles a a for the purposes before described, and the roller g, having traversed the collar e, leaves the same and is thrown to the right by the springy, thereby, by means of its attached levers and rod, causing the swivel- shuttles to make a shot from left to right. This completes one revolution of the cam-shaft, and the operation is repeated as often as may be desired for the weaving of the figure or pattern. When it is desired to return to the plain weaving, the shaft C is shifted back again from left to right, and the action of the loom is then the same as that first described. Fig. 580. Combination of Weaves for Fabrics Constructed witii Two Systems of Warp and One System of Filling. Weaves for this division of fabrics are obtained by the combination of two (or more) founda- tion or derivative weaves. They are designed for three purposes. 1st. For using two systems of warp and one system of filling in producing double-faced fabrics, such as ribbons, etc., etc. 2d. For using an extra warp as backing for heavy-weight worsted and woolen fabrics. 3d. For figuring with an extra warp upon the face of a fabric otherwise interlaced with its own filling and warp. Two Systems of Warp and One System of Filling for Producing Double-faced Fabrics. These weaves are largely used in the manufacture of ribbons and similar fabrics used for trimmings, in which one side of the fabric has to be of a totally different color from the other. Such fabrics (mostly of silk) require a great many ends in the warp, as only one-half or two- thirds will form one side of the fabric; the remaining half or one-third forming the other. In addition to the difference in color for each side we can also change the quality of the stock, or the nature of the stock itself ; hence we may use a finer quality of stock for one side (the face), and a lower quality of stock for the other (the back) ; and again we may use silk for one side (the face) and cotton for the other (the back). In selecting weaves for these fabrics, we generally use the combination of a regular satin weave, warp for face, with its corresponding satin-weave, filling for face. Technically we classify the warp which shows on the upper side of the fabric as the " face-warp," and its mate, or the warp formmg the lower side of the fabric, as the " back-warp." As mentioned at the beginning, only one system of filling is used for interlacing both systems of warps. In combining both warps into one fabric in this way, it is necessary to observe the following Rule : The raising of the backing warp over the filling must always be done at a place in which two face-threads raise next to it (one on each side of the backing warp as raised). Diagram Fig. 581 is designed to illustrate this method. Three warp-threads and four picks are represented. Warp-threads i and 3 illustrate the face warp ; warp-thread 2 represents the back-warp. In examining the latter warp-thread, we find its point of interlacing with the filling situated in pick 2. Face warp-threads i and 3 are also raised on pick 2, as required by the rule (given before) for combining both systems of warps. A careful exami- nation of the diagram will show a second point possible for perfectly inter- secting the back warp-thread (number 2) into the filling at pick number 3. Picks I or 4, if used, would produce imperfectly stitched places, as in the first-mentioned spot face warp-thread 3 is down, and in the latter-mentioned spot face warp-thread i is down. To give an illustration of these weaves Fig. 581. Figs. 582, 583 and 584 have been designed. Weave Fig. 582, repeat: 8 warp-threads and 4 picks, has for its foundation the combination of the 4-harness broken-twill, warp up for face (■), and the 4-harness broken-twill, filling up for back (n). The arrangement of the warp for face and back in this weave and weaves Figs. 583 and 584, is one end face to alternate with one end back. (114) Tst warp-thread. 2d warp-thread. 3d warp-thread. ■ 4th pick. ■ ■ 3d pick. ■ • M 2d pick. ■ 1st pick. 115 Weave Fig. 583, repeat: 10 warp-threads and 5 picks, has for its foundation the combi- nation of the 5-harness satin, warp up, for face (■), and the 5-harness satin, fiUing up, for back (a). ■r:B~B ■□■^■T fHCB^B^B^B ■□■T ■ B acB. b::b b b bi a"" m' I b:}b :i sHnBrnoaQBnaDaacjnRaan aca:' a a b:3b a : \ a^B ..a vcM m2 aQa'~a'~a^;"'^aE:aLa':aDaa acr'' a^-^a a a b bi a a .jmvm a as a B:}a a a ' bdbvsu a a a a b a aa ■□a a aL:a a : :j a b b b:;b a a :be] a a a bgb a a : la ^-BEia .a asa^ i^^bl:b-B .a ^^a:^a_a^BQ i^.^aca a a a. a a^ 1 5 lli 1 111 20 1 !li Fig. 582. Fig. 583. Fig. 584. Weave Fig. 584, repeat: 16 warp-threads and 8 picks, has for its foundation the combi- nation of the 8-harness satin, warp up for face (■), and the 8-harness satin, fiUing up for back (n). In the same manner as these three examples of weaves are arranged for explaining the present system other combinations of satins or twills can be designed. Using an Extra Warp for Backing for Heavy-weight Worsted and Woolen Fabrics. These weaves are used to obtain a thickness of the fabric by using a lower stock for the back, as, for example, a wool back for worsted goods. They may be designed with one of the following arrangements for the warp: I end face. 2 ends face. i end face. 1 end back. i end back. I end back. - - • 2 ends face, 2 ends repeat, or 3 ends repeat, or I end back. 5 ends repeat, or any other similar arrangement. In stitching the back warp to the face fabric it is necessary to observe the following points : 1st. The backing-warp has to be raised over the filling, in every instance, between two face- ends, so that the face-threads will afterwards cover the backing ends. Should we have to deal with any face-weave in which only one end-warp raises at the time (satins filling up) we must raise the backing-warp near this one end-face, either to the right or left hand. 2d. We must select for the backing a weave as regular as possible, such as satin-weaves, broken-twills, etc., so that every warp-end gets the same amount of binding and therefore of tension. 3d. If there are more intersections of the face-warp with the filling (in a certain number of picks) than intersections with the back-warp (in the same number of picks as before) we must work each warp from a separate beam. The face-warp, if intersecting oftener than the back-warp (on the same number of picks) requires more material ("takes up more") than the less intersecting back-warp. Two warp-beams must also be used if the material for the face and back-warp is of a different nature, such as wool and cotton or worsted and wool spun yarn, etc. The number of intersec- tions of face and back-warp in such a case can be equal. 4th. If using the arrangement " one end face-warp to alternate with one end back-warp," never use a heavier size of warp-yarn for the back-warp than you use for the face-yarn. Such a selection will prevent the back-warp from showing upon the face. If using " two ends face to alternate with one end back," a proportionally heavier yarn can be used for the back-warp. Great care must be exercised in selecting the stock for the face-warp and back-warp for fabrics requiring "fulling" during the finishing process. The material in the back-warp, which can be of 116 a cheaper quality, must have, as nearly as possible, the same tendency for fulling as the "stock" which is used in the face-warp. In selecting the weave for the back-warp, we should be guided by the required appearance of the face in the fabric. For example, a twill-weave can be used for the interlacing of the back-warp if the face-weave is a prominent twill. If the face-warp is interlaced into a twill of short repeat, as ? J 3-harness twill,? ^ 4"harness twill, etc., etc.; or if the face-warp interlaces on a plain- weave, rib-weave, basket-weave, granite-weave, etc., etc., thus showing small broken-up effects upon the face of the fabric, a satin-weave must be used for the interlacing of the back-warp. In woolen fabrics requiring fulling, the back-warp, by reason of its lesser amount of intersection as compared with the face-warp, is apt to show by impressions the points of intersecting of the back-warp on the ennnDBDBanaanBBBD snoDnKiBamDnBHBD sDOB^B-ii " -■oBaaa sGDHnacB^ -^m^mnuo □□■□■□□□□□■HBona □□■aBanonaBCBGaa mem m m ■□■□on ■□■nar, cm m -m -.on uom'' n~r''mnm~nnna mom""-'^" mam^'-rinu mm m m::m ''mo mrm'rcrm' mcMn mci- mim ' 'ma W'.' ■ ■ ■ ■ m ma ■ ■ ■ m ma a? ■ □□ ■ ■□ -> ■ m::m m m mj □□■ mam m m a.n □lb:2b ■ ■ DCM m , . mv.m . a m ■ ■ '■ jG aca ■ ■ j jg m^m ■ ^jiG . . ■ ■ ig ma T IB 1 16 1 8 re T Fig. 585. Fig. 586. Fig. 587. Fig. 588. face cloth. For this reason a twill-weave, which is used for interlacing the back-warp, might possi- bly show its lines of impressions running over the face of the fabric, whereas if a satin is used in the present example for interlacing the back-warp, the impressions, if visible on the face of the fabric, will be well distributed and harmonize in every respect with the weave used for the interlacing of the face-warp. Weave Fig. 585 illustrates what might be called an imperfect combination. The ? 2 4-har- ness twill forms the face upon every alternate warp-thread; the ^- ^ 8-harness twill, the weave for the back-warp. It will readily be seen that the repeat of the 8-harness twill, taken in equal proportions with the ^ ^ twill, will require tw^o repeats of the latter. The interlacing of the back-warp into the face-twill will thus only occur with every other face-twill, and proportionally make every other face-twill appear more prominently. Weav^e Fig. 586 illustrates a perfect selection of weaves, the ? „ 4-harness twill forming the face upon every alternate warp-thread with the 8-harness satin-weave (filling for face) as the weave for the back-warp. A careful examination of this weave will show the method of perfectly com- bining the back-warp with the face fabric by stitching the former alternately (exchanging) into each twill line of the two repeats of the 4-harness twill, forming one repeat. Repeat of weaves Figs. 585 and 586 is 16 warp-threads and 8 picks. SQOnaCG:/ ■ BG ecOBBCBBG snODDBnHODQBHBDaa saaDBBOBH SDDnQDBHnDBaBGnDGDBBnGHaB ■ JG ■□■■□□GH ■GaDBBBDnDDDaOBG ■□□GBBGH ■□QaaGBGBGGBBGnGGDBCBGQB nGGGBa»a» jJG ■ — ^gbb-^b mrnnr^rrrm''m2a~mvi GBBnaBOG □GMnnBaB''^GG:GBBGrnBHBGaa □aBGBBBGBujJUGGG GBB ■■ 1 □□■ ■ T GO'" ■ m'm BBUG ■GaaBGBGGaaGGDGG r ■■ ■■ □□■:)■ ■ bg ■ ■ mv.m mm . '?m ■aaaBGGGQGGaaGHG ■■ ■■ or ■ ■ mama ■■ ■■ ~ j ■ ■ ■ ■ ■■ gg ■GBGGGGGGGGGBGaa ■■ .J mzM . MUM . JG ■■ ,Mm2 ■■ mam_ IBGUaaaDGGaBaBaBa IBBGJGBBG lBaB_G^^J^^B_BuGG IUBBGGGBB lQaBB_-'_ GB^«L.i_*B.^GU^GBGB 16 1 8 1 16 I 8 T la 24 Fig. 589. Fig. 590. Fig. 591. Fig. 592. Fig. 593- t Weave Fig. 587 illustrates by taking ■ and □ for raisers, ^ and □ for sinkers, an imperfect selection of weaves, as demonstrated and explained by example Fig. 585. By exchanging the 8-harness ' ^ twill (back-weave) in Fig. 587, to the 4-harness twill ^ 3 (■, ■ Q for raisers, □ for sinkers), we produce a perfect combination ; the back-warp interlacing with the face fabric regularly in every face twill-line ; thus, if producing any impressions, such will be uniformly visible. Repeat, if using the 8-harness ^ ^ twill of weave for back warp : 16 warp-threads and 8 picks ; if using the 4-harness ^ 3 twill for weave of back-warp : 8 warp-threads and 8 picks. Weave Fig. 588 shows a perfect combination of weaves, the ^ j 4-harness twill for face- warp and the ^ ^ 8-harness satin for back-warp. Repeat: 16 warp-threads and 8 picks. 117 Weave Fig. 589 shows another perfect combination of weaves. The ^ 5 8-harness twill is used for the face and the ^ 8-harness twill for the interlacing of the back-warp. Repeat: 16 warp-threads and 8 picks. Weave Fig. 590 represents a granite-weave. Repeat : 8 warp-threads and 8 picks. Fig. 591 illustrates the combination of weave Fig. 590 for face-warp with the 8-harness satin for the back -.warp, face and back-warp exchanging alternately. Repeat: 16 warp -threads and 8 picks. Fig. 592 represents a common granite- weave designed for 8 warp-threads and 8 picks in its repeat. Weave Fig. 593 illustrates the latter applied as a backing warp. Repeat : 12 warp-threads and 8 picks. Arrangement of warp : 2 threads face-warp to alternate with i thread back-warp. The next arrangement for combination of face and back-warp is found in i end face, i end back, 2 ends face, i end back =5 ends in repeat. Weave Fig. 595 is constructed in this manner, and has for its face- ^BBy'^S™"^" weave Fig. 594 (repeat: 6-harness and 6 picks). Weave Fig. S9S has Sb- ■''■2? ' for its repeat, 10 warp-threads and 6 picks. V- Fig. 594. f > f f YiG. 595. Figuring with an extra Warp upon the Face of a Fabric otherwise interlaced with its Regular Warp and Filling. This method of combining two systems of warps with one filling is extensively used in the manufacture of textile fabrics devoted to women's wear. One system of warp and the filling pro- duces the ground structure of the fabric, and then the second system of warp is employed to □□□□□□□□□□□□□□□□□□□□□□□a produce the figure upon this ground structure. B°HS8annBaaBRGnnBnR3BS38 As a peculiarity of this second system of warp, we mention ^77: i j it is only visible on the face of the fabric at certain places P. ba aa J ■^□uoddaj (according to the design), while at other times it is made to float □□□□□□DaDaaLiDaaaaaaODma , , , . . , , . . ., , Fig. 596. on the back or is stitched in certain places not visible on the face. Weave to Longitudinal Sec- To give a thorough explanation of the general principles in- tion. Fig. 597. volved in this system, Figs. 596 to 609 are given. Fig. 596 illustrates a part of a weave. The warp-threads indicated by i and 2, shown by ■ type, represent two ground warp-threads interlacing into the filling in " common plain." Warp- thread indicated by 3 and shown by ■ type represents the figuring thread. The latter is 8 picks down, 8 picks up, 8 picks down. A indicates the place where the figure warp raises on the face of the fabric, and B indicates the place where the former returns for floating on the back. Fig. 597. (Section corresponding to Fig. 596.) Examining the longitudinal section, Fig. 597, we find the same numbers and letters used. No. I warp-thread, ground fabric, is indicated by a dotted line (■ in the weave). No. 2 warp-thread, ground fabric, is indicated by a fine line (■ in the weave). No. 3 warp-thread, the figure-thread is indicated by a heavy line (■ in the weave). Places A and B in the longitudinal section indicate the respective places marked by corres- ponding letters in part of a weave Fig. 596. 118 Fig- 598 illustrates two warp-threads of a four- leaf twill, ground fabric, having in its centre a figure warp-thread, which also is stitched in certain places to the ground fabric, but so that the stitchings are not visible on the face. Warp-thread No. i reads 2 picks up, 1 ^ ^• ^ . , / 6 times over, 2 picks down, ) Warp-thread No. 2 reads i pick down, ^ J- Ground threads. 2 picks up, >6 times over, I pick down, j Warp-thread No. 3 reads i pick down, I pick up (binder), 4 picks down, 7 picks up (figure effect on face), 8 picks down, 1 pick up (binder), 2 picks down. □□□□□□□□□□^ aaacaanac- □□□Qnr.QLiL ■□■an-pi«s':! ' " ■■■■■ ■cm Hi ■ ; i!J □ ^ ^ LCaaa"- □□□□□□□□□□□LjDaDaDQnDDDDO □□□□□□ j'Dziamna Letter A indicates the binding at pick No. 2. Letter B indicates the raising to face at pick No. 7. Letter C indicates the lowering to back at pick No. 14. Letter indicates the binding at pick No. 22. Examining the longitudinal section Fig. 599, we find the same numbers and letters used, so as to give a perfectly clear compre- hension of the matter. No. I warp-thread is indicated by a dotted line, ground fabric (h in the weave). No. 2 warp-thread is indicated by a fine line, ground fabric (■ in the weave). No. 3 warp-thread is indicated by a heavy line, representing the figure-thread (represented by ■ in the weave). Fig. 598. (Weave to longitudinal section F'g- 599-) Fig. 599. (Section corresponding to Fig. 598 ) Places marked A and D clearly indicate the binding of the figure-warp. By the nature of the operation the same is pulled down below the ground fabric and covered by the two warp- threads nearest to it. B represents the raising of the figuje-warp; ^7 represents the lowering of the figure-warp. Fabrics made with Loose Texture without Binding the Figure. If a fabric is constructed with a thin or loose texture, the floating warp-threads are apt to show through on the face, hence the latter threads have to be cut off after the fabric leaves the loom. In this case a second point has to be considered: If the figure-thread (No. 3) as shown in Figs. 596 and 597, after producing the figure on the face, simply passes to the rear, there will be nothing else to keep the figure-threads upon the ground fabric but the slight pressure of the ground-warp upon the figure-warp, at the place where the latter intersects the former. As this would be insufficient to enable the fabric to resist the 119 least wear and tear, we must bind the figure-warp close into the ground fabric all around the edges of the design. The best weave to be employed for this purpose is the "plain," which by two or three repeats will give sufficient strength to the figure-warp to allow it to be cut off on the back. (Cut not too close to the place of binding.) □ □ ■ □ □ □ □ ■■■ □ □ L.a a a a m. d: El Dl t'.D.- ■■■■■■■( aa ■■■■■■■■ □ [:□ □ ■■■■■■■ □ I □ □ ■■■■■ □ □ □ □ ■■■ □ □ - - - a a a a. a Fig. 600. Fig. 601. Fig. 600 is designed to illustrate this point in general, as well as to illustrate a second point, in which this binding is used for producing a second effect to the main design itself In the illustration this binding forms a shaded effect around the main design. This binding may also be used for shading in floral designs, where in some cases the colors have to appear to their full extent. Some cases may require the same color only in a subdued form, while others may require that it shall be scarcely visible. To get these effects you have to bind your figure-warp into the ground cloth to a sufficient degree and in such order as is required. The weave must be selected according to the required effect, whether heavy twills, fine twills, satin-weaves or cotton-weave, etc. □ •3 m m m ■ m innmn a an n •-1 •1 m nnn m m m n H U - m ■ 1 ■ a nrjD jB F ID C im P n L m ■ ■ 11 t L ■ ■ ■ F □ I m la [ im r r ■ ■ ■ n I m ■ ■ f L H L R r m ■ ■ t [ ( ■ m ■ I 1: r c ■ ■ ■ (- r ■ ■ ■ J M m JD L ■ m ■ ■ ■ ■ m im P 1 n C n 1 L ■ ■ ■ a ; ' ijj^^ lJ a u u J yLjj Fig. 602. Fig. 601 represents a sketch for a design which is practically worked out on the □ designing paper in Fig. 602, to be used on a common harness-loom for a dress-goods fabric, produced on two systems of warp, one system of filling; ground fabric, "plain;" figure as formed by the extra warp — circular spots, distributed after the principle of the five-leaf satin. The warp is arranged — I end ground, 1 _ . • , ° V 7 times over, 14 ends. I end figure, j I end ground, i end 15 ends in one repeat. 120 Fig. 603 illustrates one spot (as used in Fig. 602), shown without the ground-warp, and thus represents the spot effect as visible on the face of the fabric. In weave Fig. 602 the h type indicates the "raisers" for the ground-warp, the ■ indicates the effect of the figure-warp as produced upon the before-mentioned ground-structure. The a indi- cates the additional binding of the figure-warp to the ground-structure. Fig 603. Fig. 604. As mentioned at the beginning, the plain ground fabric is not always used. Very frequently we have used the "twilled" face. For this reason Figs. 604 and 605 are designed, representing the sketch of the fabric and the weave. The arrangement of the " motive" in the sketch is after the prin- ciple of the four-leaf broken-twill. The weave of the ground fabric consists of the four-harness (even- sided) twill ^- g. The ■ in Fig. 605 represents the ground fabric; the ■ in Fig. 605 represents ■innB^iBllBananDDHDBDDnnDBGBnDmBaDBnDDnBPDBnDOODBDBaDDDDB ■ ■ ■ ■"^^.■□■□□□□□■□■□ncrjCBnBBrHnHBnBDaDaDBDBuaDDDBaB ■ ■ ■ ■ ■ ■acDDnDHDBacaaDBGBnDCDCMDBDnDDUPaBaDDnnBOBDa ■ ■ ■ ■ ■ iBDDDnBDBGnnanianBDDnnnBaHaLnaDBaBaDDnaBQHaana ^nnm«inftrT-r:nnRCBnDL]nDBDBDDDCnBDBDDDDaB □HaamaBniionDaDBL" □□□□□■□■□□□□□■nar, : . □acHaBaanDOBDBDDnDuHuiy^;.j.jU._it;Cr-' □■□■□□□□□■□■□onnaBCMnuDnDBGHDr" □■□□□□□■□■□□□□□■□■□□□□□■□■□□□C" □□□□n«ininnnnnn^a6!iDnnnni«nwnnnnKF' □Bar-; — , - ' ■ □■□11, ■ OODL . i ! l_ . ■ □■HBCuL-aGHHBaaDaaBaBaaaaaHLjaaG ,:aaLi»DBaCDDDBD«DDGnGBDB ~ □■□■□□□□□■□■□□□□□■□■aa ! J GBDODDnBaBCQncoBDUDnaa ' ''nnnnHaBDnDnnBCBGOnDDB ■ n'"' : ■""-~'^r;ia- ■ : ■ ' " saCBDa H^annB i ; I EHGfB _LLj3rjSDSDGDCK^ ' ■ ■ i ■ ■ ■ ■ ■ u □■□■□□OrDBD*-" ■ ■ ■ ■ "tl ' ■ ■ ■ ■ ■ ■ a. 1 " " " ■ ■ ■ li'I ■ ■ ■ :: " K n ■ ■■■■■ j-jl-jjjr-i ■■■■■■ :aoam ■ .^UBiCH ■ _fc:_r-, ;_. .^BaBnn IjGBBBBBGGGHBDBCDQDDBQBODGD Fig. 605. the figure produced upon the former; the a indicates the additional binding of the figure-warp to the ground structure. The warp is dressed — I end figure, 1 end ground, 2 ends in repeat. It does not always occur that only one color is used for the figure-warp. Very often differ- [ : :. ['.'''■■■■■■■■■:^^ (' aa:^ ! aaaaaaa: aaa::l aaaaaaa - aaaaa ■aaaaa'- aaaaaa aaaaa aaaaaaa ( aaa aaaaaaai^ ( aa aaaaaaaas I aaBaaaaaa'':[3 . .aaaaaaB:':7:-[3 LG.-iiGaBBZGGSEI Fig. 606. "'aa' ~ ai .-. -1 : BB a 1 [ aa a J aaaa Bl BB aaaa Bl BB aaaaa ai BB aaaaaa Bl Bl aa aaaaaaaa BBBI Bl r [/aaaaaaa aaai ai I'.aaaaaaa aaai ai B'-l [' '.aaaaaa aaai ai . .aaaaa aaai a: i;::.G:-.GBaa aaa^::.;< Fig. 608. ent combinations are employed; but, in whatever shape, form, quality or size, the principle of the construction of the fabric will remain the same as if only one color should be used. 121 We now pass to fabrics where the floating of the figure-warp is omitted, such as fabrics in which the extra warp is bound to the ground fabric. In constructing fabrics of this character the " plain " weave, which lias been used so extensively in weaves previously illustrated for inter- lacing the ground structure of the fabric, is omitted. The smallest weave which can be used for the present purpose is the 3 -harness - — — twill, but generally the 4-harness even-sided twill is used as the smallest repeat of a weave. In this manner Figs. 606 and 607 are constructed, representing a motive and the complete weave for ■Q. ddm; □Cl I □HH ■H CO □p; I ■H. BC □CI DC ■□l.i DBBuLlHy_,LJi_iLi; !□ ■■□□■■□□□Br ■Cj~:HBnCli9nHI incnnnr'i^Dpnnn!p(jr^nBnnnfii!!(nnflnnnnnnnnptnnnoDHa«DnnnnB"B'^pnpB^nrn □ 'III J IQi . t.jBUIJUDUi iD n aaaoamo 1 iiJDCPjiOiHrii ■■ni*i;"if" I luUuUUUiJtlD' I i^DDMilDC, □ 'mamaaoDci □ • -;«□□□□□■& (□□□□□BQH':; □ I ..liiLjLjanaPDf i ""^i □ .WDBLiDDGCI Qi : KDMjUijDLjMUMQaDDOBaBDDaDr ~ □ .□ I fomouanLi a □tlDDODCfiir .1 i l.i_,LliJGDOjN:lQ' ■ juiiiaBaDaDGBCri □■■□□□□□■□■Cl IHBGOnnPiaH^DC: . iGBDDQGCf D; a •□□□□□■CI tini-i Q □ ■ ■^EJ L. 1 ■ □1 .UDDDDBCI. laOaBDBGC "ingGBpr'jnri □ ' • □ □ :ULI'_ IGU 'amamnao I mmaaocu fflDGQG[;j«D! .□□□□■□■□. ^-^□■□■□□C, «□■□□□□□! a □(^□□□nGwji luuHHGDHB^LjBMGL'GUOBGuGDGWGMGGGGGBaBG; I 1 IJ f I jij GB nm HQ ■ ]□ □■ l-« uJ -aa .□■ mm mma MGG iMu^LMtmoa ■□□■■□□■□BDDCaDHnBDDGGDBDHaDaDDBnBGDMCDMDQBBaQBDBDnGCDBDaDDGDGHDBGaGGCBaBaGBBGGB Fig. 607. a figured dress-goods. The motive, Fig. 606, calls for 13 threads in warp and filling, hence the dressing of the warp for weave Fig. 607 calls for I end ground ] 13 times J r ' t =26 ends. I end rigure, J over, 15 ends ground, 15 41 ends in repeat. The m is for ground warp, the ■ for figure-warp, and the a represents the places for binding the figure-warp to the ground structure. This stitching is done with the regular eight-leaf satin. Weave 607, calling in its complete extent for 82 ends, can be reduced by cross-draw to 30- harness. Fig. 608 represents a motive, a crescent, arranged in Fig. 609, for 96 ends repeat. The motive calling for 16 ends for figure, will necessitate the following dressing : I end figure, 1 16 times ^ Grids I end ground, J over, 16 ends ground, 16 48 ends in repeat. 122 Comparison of the Si-ce of the Materials as used for Ground-warp and Figure-warp. The first condition required by the figure-warp is to prodiice a design soHd in appearance on the ground fabric. To produce this effect the texture is required to be as close set as possible ; and the figure-warp must be made of sufficient thickness, so as to cover the interstices between each other as nearly as possible. The general arrangement for changing ground and figure-warp is the alternate arrangement between both (i and i). Again, care must be exercised not to have the ground-warp of a heavier size than is necessary; for the figure- threads have not only to fill the places between the ground-threads, but also to cover them actually ; hence the diameter |"1 1 "nn ^■1 □ ■ ■ □□□ ■BB ■1 33n 31^0" □ □ m ■ ! ■ 3-1 " . ! i . 1 I n ic □ □ ( ■ □ \ M COG ■ 3 □ □ □ .}□□■ □□□iia i □ □ □ □□□■OB □ ■□ 3 □ □□□ ■ CGL 1 □ □ ■G ■ □ t ■:,3aDa ■ □□□ ■ □□: 3 □ □ a ■□□ ■ a a i B a ■ □□□□□□C a M3 □ a ■% jaum □□□ ■□■ □ ■ -:3B a 1 31 □C BIJ □ a a 3? B a ■ V. a B a a a 1 • □ □ G" ■ c t-! a a a a "J J I □ a a a B' e a a a a a a i 1 [. □ 1 1 { :□ □ □ ) 1 □ i J _J 3a ! i ■a 3L 1 1 C ■3 33 sunn □ 1 I 1 □ □ □ i - !□ □ □ □ □ □ o m i J □ □ □ □ B □ □ _i □ ■1 dL3 ■Ul_ □ □ □ □ ' "C □□ ■ni3Dr n ■ mr r □ □ □ 1 ■ ■C a □ □ ■ □□c a a ■ □ 'J □ a a □ ■ □ a a A GGGH 3 ■ a I J ■ B a a a □ ■ r ■□□□ ■ □ t ■ B 1iJDG a □ B B sa a □□□ ■ □ i r J 1 fin-"" IB n a ■ 'B □ ..□CB ■□□c □ =) 1 ■ ■ a ■ :i3aaD» □□CM □□□ ■L □ ■ ■ a ■ B n B B a a "-■□C inp □□' ■ ■ ■ D ■ U fl B a a a D □ L. , - S ■ OUH ■ a B a ■ B a □ □ ■□nan r.iH. ,ii □■□ □ □ ■□■ : □n ■ vmu ■ □ mm : ' □J yor Q □ □ ■□□□«□■ □■■ ■ □ ir □ ID ■□□□Bar □ □ □□ ■□□□r 1 II ■□ □c HOC □ ID □ □ c □L 33P □□□ ■C ■ a ■ □■D ■□C □ □ 3 I UDDDHDCL PC pup □□□□□□ I 1 □■ □□□ ■ yiju L B _ D_ U3 BOB- IS 1 □□□ B □□UL 1 CS □G ■ □G t-t . □ n □□□«□□□ ■ □t D CH ■□ P r n GDC H G □UL, □□□QODQB L JLJUUUU _ L 1_ □□CjDDDDMOaDH □□GBGDC Fig. 609. of the figure-warp must equal the diameter of the ground-warp, plus the space between each ground-thread. Comparison of the Twist in the Materials as used for Ground-warp and Figure-warp. As a general rule, the ground-warp is of a harder twist than the figure-warp. The latter is generally only twisted enough to weave well. There are two reasons for this arrange- ment of the twist. I. The ground-fabric has to stand the strain inweaving; hence, must be of a harder arrangement in twist. 2. The figure-warp has to cover the design ; hence the loose twist will assist in this work. Necessity of having Tivo Beams for Weaving. In almost every case in producing the textile fabrics here explained, we are compelled to em- ploy two beams, one beam for the ground-vvarp, one beam for the figure-warp. The reason for using 123 two beams is found in the difference of the weave (for the figure-warp is less interlacing than the ground-warp) as well as in the difference of the materials used for ground-warp and figure- warp. Another system of weaving for producing figures upon the face of a single-cloth fabric is that known as Lappet Weaving. Fig. 6io. This method of producing figures upon the face of a fabric was very extensively used prior to the introduction of swivel weaving and the invention of the Jacquard loom. The method of operation in this system of weaving is that of passing an independent set of threads through a series of needles set in a frame, situated between the reed and the shuttle-raceway of the lay. This frame is arranged so as to slide horizontally to and fro, regulated by the "pattern-wheel," and the needles are depressed at proper moments to allow the figuring-thread to interweave with the ground-cloth by passing the shuttle and its filling over the figuring-thread. This method of interweaving the figuring-threads is, in looms of older construction, arranged to have the needles which guide the figuring-thread operated on from below, as is illustrated in diagram Fig. 6io. The needles a (only the first shown) are fixed in the guide-frame b. The needles have a thread, c, passed through the eye d near their point, e represents the reed,/ and g the shed formed by the warp of the regular cloth, li the woven part of the fabric, and i the shuttle. The method of interlacing is as follows: When frame b is raised the needles pass through the warp at the rear of the shuttle i and guide-pins but in front of reed e, so that by inserting the filling by means of the shuttle the figuring-thread gets interlaced with the regular cloth structure. Next the frame guiding the needle is lowered and the latter moved to the right or to the left as required by the design to be produced. This hori- zontal moving of the frame, according to design to be produced, is effected by grooves / in a ratchet-wheel m, illustrated in Fig. 6ll. The pin n, fastened to the end of the connecting lever o, being worked alternately from side to side of the groove, regulates the distance in moving the needles for the figuring effect required. This method of operating the frame which guides the needles requires a fresh one for every new design. This ratchet-wheel moves one tooth for each pick, and the number of teeth it contains is regulated by the length of the design. Diagram Fig. 6i2 clearly illustrates (enlarged as to size of threads) the method of interlacing the figuring-threads into the ground structure. The figuring-thread is represented shaded, ground warp and filling outlined. Fig. 613 is the same effect arranged in 3 repeats in a fabric sample. As previously mentioned, the frame containing the needles for guiding the figuring- warp is placed in some attachment to these looms, situated above the shed formed by the regular warp. Diagrams Figs. 614, 615, 616, 617, 618, 619 and 620 illustrate a loom and the method of Fig. 611. Fig. 612. Fig. 613. 124 operation for lappet weaving as extensively used in the manufacture of elastic web fabrics, such as suspender webbing, also ribbons, tapes, and narrow goods generally. It can be arranged, however, for wider "figured" fabrics. This loom is patented by Mr. G. H. Hodges. Fig. 614 is a side elevation of the lathe and pattern-wheel; certain parts of the lathe being represented as broken off. Fig. 615 is an end elevation of the lathe, pattern-wheel and ratchet mechanism for operating the pattern-wheel. Fig. 616 is an elevation of the pattern-wheel detached, showing the side opposite that repre- sented in Fig. 615. Fig. 614. Fk;. 615. Fig. 617 is a sectional view representing the needles elevated. Fig. 618 is a like view representing the needles depressed. Fig. 619 is a front elevation, partly broken away, of a lappet loom of the present construction. Fig. 620 is an end elevation of the loom, the devices for connecting the needle-bars with their actuating levers, and also the mechanism for actuating, the pattern-wheel being omitted in order to avoid confusion and to better illustrate the features shown in this figure. Like letters of reference indicate corresponding parts in the different figures of the drawings, c represents the figuring-threads ; U, the woven fabric; A, the lathe; B B, the pendulous arms by which the same is suspended; C, the shuttle; D, the shuttle-race; E, a section of the reed. Fig. 616. Fig. 617. Fig. 618. The web U is ornamented by means of threads c, which pass from spools (not shown) mounted on the loom through the guides and thence respectively through the eyes of the needles d m and into the web. Guards are employed to prevent the needles from being sprung or drawn out of proper position by the strain on the threads c during the process of intersecting the same in the fabric. These guards consist of rigid wires arranged horizontally in front of the needles near the upper portion of the reed and firmly secured at either end to a fixed portion of the lathe or shuttle race in such a manner that when a needle is bent a trifle 125 outwardly or toward the front of the lathe by the action of its thread it will strike one of the guards, the vertical movements of the needle not being interfered with thereby. The needles work vertically and pass through the unfilled warp-threads between the path or race of the shuttle, the reed, the pattern-wheel and needles swinging with the lathe. Lateral movements of the needles in one direction or to the left are caused by drawing up the horizontal arm of the lever L by means of the rod k, thereby bringing the vertical arm of this lever into contact with projections on the pawls causing the latter to engage the teeth and slide the bars or holders H J to the left, the reverse lateral movement of the needles to the right being caused by the action of the springs K when the vertical arm of the lever L is withdrawn from the projection i by depres- sing the rod The clamp / is returned to its normal position after the vertical arm of the lever L is withdrawn by means of the springs g"^, its movement toward the right being arrested by the stop g^, which determines the oscillation of the socket When the vertical arm of the lever L is withdrawn from the projections on the pawls and strikes the curved arms of the pawls, the pawls are thereby disengaged from the teeth on the bars H J, permitting said bars to be forced Fig. 619. Fig. 620. by the springs K against their respective pins in the wheel Q\ but as the pins are of unequal lengths one of the bars will travel toward the right a greater distance than the other, thus chang- ing the relative position of the needles d in with respect to the web E. It will be obvious, how- ever, that when the vertical arm of the lever L strikes the projections on the pawls both the pawls will be caused to engage the bars simultaneously and both move in unison to the left. In order to more clearly understand the method of intersecting the threads c in the web U, and thereby ornamenting the same, the operation of the principal parts shown during one full revolution of the main driving-wheel of the loom, or one complete traverse of the lathe is described. The lathe being at the front of the loom, the shuttle at the right-hand side of the fabric, and the needles, needle-bars, and pattern-wheel elevated, with the needles threaded, and the bars against their respective pins in the pattern-wheel, if, now, the loom is started up the lathe will be moved or swung back from the breast-beam, and at the first quarter of its traverse the needles, needle-bars and pattern-wheel will be lowered, and the needles carrying their threads will pass through the warp-threads and remain down while the lathe passes through the second and third quarters of its traverse. After the lathe has passed through the first quarter of its 126 traverse, and while it is making its second and third quarters the shuttle is passed from right to left of the web, completing its passage at about the centre of the third quarter of the traverse of the lathe. The needles begin to rise as the lathe enters upon the fourth quarter of its traverse, their upward movement being completed before the lathe completes its fourth or last quarter. The lathe then continues to advance to the front to beat up the filling, and while completing the fourth or last quarter of its course the lever L is actuated through the rod k, and the needles carried to the left, after which the pattern-wheel is revolved one notch or step to change the position of its pins with respect to the bars or holders H J, after which the lever L is withdrawn from the projections of the pawls and striking the arms of the pawls disengages them from the bars H J, and permits the springs K to move the bars to the right into contact with the pattern- wheel, and thereby change the position of the needles preparatory to repeating the operation. The needles ^/are secured to the needle-bar or holder Hhy a screw-clamp, and the needles in in the bar / by screws ; but any other suitable means may be employed for this purpose. Any desired number of needles and needle-holders may also be employed. Mr. Hodges in his patent further mentions that " instead of using the rows of pins, annular cam-shaped flanges may be employed on the wheel Q, against which the bars H J may abut, if desired. " The movements of the needles ma\' be so timed as to cause them to work ' pick-and-pick,' or pass through the warp-threads at each throw of the shuttle or otherwise, as desired. The pawls and lever L afford a convenient means for locking the bars H J together, and moving them away from the pattern-wheel conjointly. "A proper tension and take-up mechanism (not shown) must be used with each of the threads c. " But one shuttle and one reed are shown in the drawings, but it will be understood that • several may be employed in the same loom ; also, that one or more needles may be employed with each shuttle and reed as desired. " It is preferable to have the threads carried by the needles of a different color or colors from those composing the warp and filling of the fabric ; also, that in commencing the weaving the needle-threads should be drawn some distance through the eyes of the needles, in order that the loose ends of the threads may be caught and secured in the fabric by the filling." TRICOT WEAVES. Under the general name of tricot are classified fabrics presenting rib-effects. The weaves of the tricot fabrics are more or less elastic, according to the uses to which they are to be put. If, for example, the stuffs are to be used for trousering the tricot weaves will be much le.ss likely to bag at the knees than other fabrics. If used for ladies' dress goods, cloakings, etc., they will tend to give the garment a nicer and closer fit to the person of the wearer. Tricot weaves are graded into tricots forming rib-effects in the direction of the filling and tricots forming rib-effects in the direction of the warp. We will consider the former first. Tricots with Rib-Effects in the Direction of the Filling Are employed largely for stuffs for dress goods, cloakings, overcoatings, suitings, etc. The arrangement of the weave most frequently employed is 2 picks face and 2 picks back ; but this may be changed to i pick face and i pick back, or to 2 picks face and i pick back, according to the size of the rib required in the fabric. As a general rule, the heavier the back filling used, the more prominent the rib-effect will be. Fig. 621 is the 4-harness (filling) tricot weave, 2 picks for face to alternate with 2 picks for back. Repeat: 4-harness, straight draw, 8 picks. This weave has for its foundation the 4-har- ness broken-twill, 2 picks, warp up, to alternate with 2 picks, filling up. 127 Fig. 622 is the 3 -harness (filling) tricot weave, 2 picks for face to alternate with 2 picks for back. Repeat: 3-harness, straight draw, 12 picks. This weave has for its foundation the 3-harness twill, 2 picks, warp up, to alternate with 2 picks, filling up. HHBDfflHHQ JQ ■ :2:j« .',1 Fig. 621. mm mm 1 cffiffl am r ■ ■ cm mj aa. EC : ■ 1 m 1 BE . ea J □aa: BH a affl BB.IjBaG Fig. 622. □BBSDEBBB BB Baa "a L« ■ 1 a EBB aa cm ■ J Baa EBB ; ■ ■ c aaa asa L ■ . ■ Be BBS a Fig. 623. Fig. 623 represents the 4-harness (filling) tricot weave, i face pick to alternate with a backing pick. 4-harness, straight draw, 8 picks, repeat of pattern. This weave is composed of the 4-harness broken-twill. Fig. 624, 4-harness (filling) tricot weave, 2 picks face to alternate with i pick back. Repeat: 4-harness, straight draw, 12 picks. In designing this weave, observe the following rule: The warp-thread which is lowered in the back pick must be raised in the next following face pick. Tricots Forming Rib-Effects in the Direction of the Warp. This division of tricot weaves includes an endless variety of effects in trouserings, suitings, etc., both in wool and worsted goods. A few ends of the regular warp twisted over with organ- zine silk, or a few fancy-colored threads of worsted wool or sewing silk spread over the fabric (on warp ends showing on the face) will give good effects. Fig. 625, 8-harness warp, tricot weave. Repeat: 8-harness, straight draw, 4 picks. Harness I, 3, 5 and 7 are for the face, and hence the harness where the fancy end has to be drawn on. \ jfflffl □fflfflB3Bffla ISBHfflnBBffla Fig. 624. 4HDBa Fig. 625. □CB a a B B B a ^^B B~~ as ■BB ■I BB B a a a a JQ □ . B a a a s a a B a BG as ■BB BE B a B a a a a ;g Fig. 626. BBBBa as or a ~a ~aa BEB BEBB a. 8B EBEBEB ■; aa a 1 BBBEB aa c: a a aa aaa bees ■BB a BBEEEBB 1 Fig. 627. Fig. 626, 1 2-harness warp, tricot weave. Repeat: 12-harness, straight draw, 4 picks. Harness I> 3> 5) 7> 9 1 1 are for the face, hence for the fancy ends. Sometimes we have to make these long tricots extra heavy, which may be done by adding an extra backing pick every alternate pick. Fig. 627 is an example. Repeat: 8-harness, straight draw, 8 picks. In Fig. 628 a specimen of a tricot weave is given which by the proper arrange- ment of its texture produces a fabric containing a considerable amount of elasti- city, in fact, a fabric very closely imitating what is known as "Jersey cloth." ■■ As mentioned, it is not upon the weave alone that we must depend for imparting this elasticity to the fabric. The result also follows from use of materials for the yarns ^BBBBB a aaaaa BBBBB a aa ■a B BBBBBG I . BBBBB a m JBB a^aaaaa ■□a .aaaaa^ajaa Fig. 628. 128 of the proper "counts" and quality and upon their arrangements. The following dressing must be used for the previously given design ; 2 threads of 2-ply cotton (forming after finishing the body of the fabric). 2 threads of single worsted (forming the face of the fabric after finishing). 4 threads in pattern. The fillings to be fine, soft, single worsted (forming the back in the fabric after weaving and finishing). Both kinds of warp will be visible on the face after weaving, but during the changes the fabric undergoes in finishing the cotton warp will disappear from the face, taking its place in the body of the fabric. These fabrics must be made very wide in the loom. Thus, in the case of a 54-inch finished fabric, the goods must be woven 92 to 100 inches wide in the loom, according to the texture and quality of the material used. (Fabrics made with weave Fig. 628 require the selvages to be sewed together when they are fulled.) Double Cloth. Under double cloth we comprehend the combining of two single cloths into one fabric. Each one of these two single cloths is constructed with its own system of warp and filling, while the combination of both fabrics is effected by interlacing some of the warp-threads of the one cloth into the other at certain intervals. The objects for the making of the double cloth are manifold. Among these may be men- tioned: To reduce the cost of production for heavy-weight fabrics by using cheaper material for the cloth forming the back; to increase the strength of certain grades of fabrics; to increase the bulk of a fabric; to produce double-faced fabrics; to produce fancy effects by the system of com- bining or exchanging both single cloths. As mentioned before, a separate warp and filling is required for each cloth, and so likewise in preparing the design a .separate dealing with each is required. In diagram Fig. 629a the section of two single-cloth fabrics is shown. In Diagram Fig. 629/^ the plan of two single-cloth fabrics, situated above each other, is shown. Warp-threads 2 and 4 and picks i and 3 form one cloth (shown shaded), while warp- threads I and 3 and picks 2 and 4 form the other (illustrated in outlined threads). Examining the section. Fig. 629^, and the plan of interlacing, Fig. 62(^b, it is found that each warp-thread interlaces with its own system of filling, and thus each cloth is formed independent of the other. These are, with a few exceptions, such as seamless bags, etc., stitched (or combined) together so as to form one fabric. The proportion of face warp and face filling to back warp and back filling to be used may be as I end face to i end back, or 2 ends face to i end back, or 2 ends face to 2 ends back, or 3 ends face to I end back, etc., etc. One proportion for the two kinds of warp and a different proportion for the two kinds of filling may also be used, for example: Warp I ^ ^"^^ ^^"^^ = FillincT / ^ P''^^ ^^^^ = >^ I I end back = back, I i pick back = i/^ back, 3 ends in repeat. 2 picks in repeat, etc., etc. As mentioned before, the stitching has to bind these two single-cloth fabrics together, in fact, to unite the same into one fabric. The warp of the bottom fabric may have to bind into the face fabric, or the face warp into the bottom fabric. In both cases the warp of the one has to inter- weave more or less with the filling of the other. (129) 130 In fabrics where each side is of a different color, and the color of the face fabric shall not disturb the back, nor the color of the back cloth the face, great care must be exercised in the manner of combining both cloths. For this purpose we must select for binding, points where warp and filling interlace less frequently, as this will reduce the chances of the thread used for interlacing on one cloth showing upon the other. The binding of both cloths into one fabric also has an influence with regard to the feel (handling) of the fabric, for the oftener we combine (stitch) a certain number of ends of warp and filling the harder and firmer the fabric will feel; again, if not sufficient stitching is used the fabric produced will be loose or spongy. The amount of binding for both cloths can only be learned through practical experience, yet the rules for binding are the same for wide as well as close-stitched fabrics. Rules for Designing the Present System of Double Cloth. I St. Indicate the back warp and backfilling on your squared designing paper. (At you r first few exer- cises stripe off these threads with a light color so as to readily distinguish one from the others.) 2d. Put the tueave for the face cloth upon its own system of threads (omitting every backing thread as if it were not in the design). ^d. Put the weave for the lower cloth (back cloth) upon its own system of threads. ^th. Raise all the face warp on every backing pick. §th. Combine both single cloths, thus far constructed separately, into one fabric. Observe the following rules in combining: The places for combining both fabrics must be distributed as regularly as possible over the entire fabric. Select the amount of binding for the two cloths according to the character of the fabric the weave is designed for. In combining the two fabrics by raising the back warp over the face filling at certain places, divide the arrangement as equally as possible for each backing thread. If in certain weaves every backing warp-thread cannot be used, arrange the omission of threads uniformly, such as every other or every third thread, etc. In combining the two fabrics through certain face warp-threads resting in the lower shed of the backing pick, observe the rules given for the back warp. In using the back warp for binding in the face cloth (as is generally done) the back warp- thread must be arranged to rise at places where the face warp-thread, situated on each side nearest to it, rises at the same time. It is advisable to have the raising of the back warp into the face fabric arranged to occur immediately before, or right after, the same back warp-threads have been or are to be raised by the weave in the backing cloth. In using the face warp for binding in the lower cloth, select for points of stitching spots (sinkers) in which the warp-thread is down in the two adjacent face picks. Be careful not to disturb the general effect of the face cloth by arranging perfect points of combinings, but in wrong places. For example: Take the = ^ 4-harness twill for face-weave. Suppose one repeat of the back fabric requires two repeats of the face-weave. Requiring a smooth face, and one face twill to show as prominently as the other, the stitching must be arranged alternately for each face twill, because by continuing to use only the one repeat of a twill in rotation, this twill will show more prominently than the other. To thoroughly understand the foregoing rules for designing double cloth, a study of Figs. 630, 631, 632, 633, 634, 635, 636 and 637 is advised. They represent both weaves for the single cloths and their principle of combining until the weave for the double cloth is perfected. Each rule is illustrated in successive rotation as laid down. Fig. 630 illustrates the 4-harness (^) twill ^, designed for 4 repeats, warp and filling ways; hence for 16 warp-threads and 16 picks. 131 Fig. 631 is the plain weave for 8 warp-threads and 8 picks. Fig. 632 represents one repeat of the 8-harness satin, fiUing face. In giving our rules for designing double cloth rule i calls for the indication of the two single-cloth fabrics, as each must be treated separately from the other. Fig. 633, which is designed for illustrating the present rule, explains itself as " two ends for the one single cloth to alternate with one end from the other, warp and filling ways." This will equal, in the present example, 2 ends face to alternate with one end back. caa ■■ ■■ J ■ ■■ ■■ LIL'BB ■■ ■■ ■■ ■■ ; ■■^'-.■B ■■ ■■ J ■■ ■■ ■ Dl ■■ ■■ ■■ ■■ □■■ ■■ ■■ I ■u ■■ ■■ ■ □r^BB. BB □BBU'^BBUGBB_i. .BB J ■■□□■■□□BBDnBBCD 1 lli Fig. 630. V. IB . Fig. 631. 1 8 Fig. 632. HBt j 1 □■ ■ 3 om: I ■B.-i , -1 uv: . □BL. ■Hi, 1 cm' , ■■■■■■■■«■■■■■■■■■■■!!■■■ IDBmBDDBnaHDDBLlDBaDBQaBa Fig. 633. B BB BB BB B . 1 , I B' ' BB BB' BB 'B I I--,, , . ■ ) ■Ul BB BB BB < 'B □HCB B B B B B B B ■UK , . \i □■BB ._.BB--J i :BB ^ BBilj ■BBLs^BuBL-iaCBSB^'H ..BwB^tlD BBBBHMUBBBHBBBBlitaSHSaHB '■■□□■■■■caaBBasaaBBBGDHa Fig. 634. Fig. 634 illustrates the application of the second rule as given: " Put iveav.e for tlic face cloth upon its oivn system of threads." In this example the 4-harness twill shown in Fig. 630 is applied for face-weave to the plan "2 face i back." Fig. 635 illustrates the succeeding rule (3d) as applied to example. Fig. 634. "Put the 7veave for the lower fabric upon its oivn systems of tJireads!' The weave selected for this example is the one shown in Fig. 631 (common plain). The next rule (4th) calls for the raising of the face warp on every backing pick. This is illustrated in Fig. 636. These four rules, as observed thus far and illustrated in Fig. 636, produce two separately constructed fabrics. Two-thirds of the number of warp and filling-threads form the face cloth, and the remaining one-third of warp and filling form the lower cloth. Rule 5 calls for the combining of these separately constructed fabrics, either by using the back warp for interlacing with the face filling or the face warp with the back filling. The first mentioned method is used in the present example. Fig. 635. "m ■n ■ ) 1 1 [ 1 a 1 b" B a BB a a" a B Btl B B BB a i b" a a a a a a a B^_a B ,_B B__ B B __B ■ 1 B ■ BB B B BB a j b'" B a a a a a" a bb" BB be" B a" ] i ■0; - J sJBB 1 aa IB J ■■ 1 24 1 24 Fig. 636. Fig. 637. F'g- 637. The arrangement for combining (stitching) is after the principle of the 8-harness satin shown in fig. 632. In designs Figs. 630 to 637 the character of type used for each figure is as follows : ■ indicates the weave for face cloth. H indicates the weave for back cloth. ifi indicates the arrangement for combining both cloths for the double cloth. B indicates the back warp and filling-threads from face system. H indicates the raising of the face warp on the backing pick. 132 The next thing to be studied is the relation of the warp to the filling and the weave. If both cloths (face and back) are equal in every respect (quality of stock, counts of yarn, proportion of warp and filling and its arrangement, and weave used for the face and back- cloth) no difficulties need be experienced in designing the same. But on the other hand, if any of these points, as mentioned, differ in one cloth from the other, great care must be exercised. We will next proceed to give a few examples of different kinds of double cloth ; also com- plete explanations of them from their foundation to the complete weave. In the following examples, Fig. 638 to Fig. 688, the different characters of type used give the following indications: = the weave for the face-cloth. = the weave for the back-cloth. 'S I a = the stitching of both fabrics, back-warp into face filling. B = the raising of face-warp on backing picks, as required for forming the lower cloth. Sinkers; k the stitching of both fabrics, face -warp into the back filling. A. Double-Cloth Weaves having for their Arrangement One End Face to Alternate with One End Back in Warp and Filling. This system of double cloth is mostly used in fabrics in which the quality, size and weave of the two cloths (face and back) is nearly, if not entirely equal, as in reversible overcoating, etc. ■ " ' ■ "m " S^Sa E c: :: ■ ■ ■ BQao b: □ :na ccm m m ■>:-■ J emraannB sbh^^dbdob saaanaaaa Hht: c; aj □□□□□□□H m3 □□□□□□HQ B":: :: c; KB □□□ODBDn ■: ■ B^'B □□□□fflDDD B aa □ ■ ■ ■ 0 □□anaaaa B.-:::t-ja a. aa mmm m.j iiiiiaa_.._t4._,_, iDBacDGaa iB:;BaB„_:c ■_^n 18 IS 18 1 10 Fig. 638. Fig. 639. Fig. 640. Fig. 641. Fig 638 represents the weave for face f8-harnes^ fancy-twill). Fig. 639 represents the weave for back — j — 8-harness twill). Fig. 640 represents the arrangement for combining both cloths through the back-warp, inter- lacing with the face filling (} ^ 8-harness twill). Fig. 641 is a complete double-cloth weave, constructed out of Figs. 638, 639 and 640. Repeat: 16 warp-threads and 16 picks. ■ ■ " ■ Sa);:] ■ „ m ■ '_^q r Bi'^ ■ ■ ^ ■ . c,,M l'^ ■ X ■ , ^r, r ■ ■ BB" ■ , ■ „ ■ " B „ R □G'/ ■ ■ " ' L e ■ " ■ " m^A c m ■ " ■ " r " msm " y jj , " y^j" p " ii " ^ ,^ y y , '^g dmaonaa g u :: g g :: :: :: i E-C :: ■ ■ ^ ^ . : ■ ■ B>i< ■ DDDoaDDD n n " □ . ,Efl.-. g :: g G-^iga iMZio iBDDoaQQa iBBBu^^-u-B-B . j m& - m ^ m ■---,-! — ■ ■Jog 14 18 1 16 I 10 1 16 Fig. 642. Fig. 643. Fig. 644. Fi 645. Fig. 646. inn mm r ) Another example illustrating double cloth constructed " one face, one back " in warp and filling, is shown in weave Fig. 644. It contains the common 4-harness basket, illustrated sep- arately in Fig. 642, for its face and back weave. The method of interlacing observed is the stitching of the back-warp into the face-cloth, as shown by a for raisers in the full design, as well as in the extra plan Fig. 643. 133 Weave Fig. 645 illustrates the combining of two plain woven cloths into one fabric by bind- ing the back-warp into the face-cloth. It will be seen that the points where the back-cloth interlaces into the face will show on the surface, but as only one thread raises at a time in a plain weave, the required points in Rule 5 (/. e. to have for the intersection of the back-warp with the face-cloth, a place where the face warp-threads on each side nearest to the back warp-thread raise at the same time) can never be found, and we must use the weave as mentioned above, or as to whichever side of the fabric is required to be the clearest, we may use the arrangement of the " double plain," as shown in weave Fig. 646. In this the face is arranged to bind the lower fabric as indicated by s for sinkers. The raising of the back-warp in the face-cloth in weave Fig. 645, as well as the lowering of the face-warp in the lower cloth, as in Fig. 646, are arranged I : ' : . 10 ' n M , -J .1 .1J IS T 8 Fig. 647. Fig. 648. ■BB ■HDHB ■C ( " ■ ■ ■ , ■ ■ m ■ I snnnfflDaaa □□□OQDSD □□UDBDGO □□□conaa □□aaanna □□□□□ana iBDDDGaan ■ ■ I IS ■ ■ I !^ . ■ ■ 1 i Fig. 649. Fig. 650. after the 8-harness satin (filling face). In the present examples. Figs. 645 and 646, the question may arise as to which method should be preferred ? Taken in the general average of fabrics constructed on this double plain weave, or similar weaves, in which only single threads raise at a time, such as filling-face satins, etc., the preference should be given in favor of the first named weave. Repeat of designs 645 and 646 is : 16 warp-threads and 16 picks. Another example of this system of double cloth is shown in Figs. 647 to 650. Fig. 647 represents the face-weave. Fig. 648 represents the weave for the lower fabric. Fig. 649 illustrates the method of binding both cloths into one fabric. ■□■■np'.jB cmm ■■ Fig. 651. Fig. 652. □□a g HDHB HDHI ■ ■ ■ ■ ■ ■ □□□□□□□a □□□□Bona □aDDDDDCJ □□□□□□BQ □□naanau l; c: ■ ■ B ■ ■ ■ ■ >!<■ V. ■ ■ ■ ■ ■da ■ ■ IDQQaCBDa ■ ■ 1 9 Fig. 653. Fig 65+ Fig. 650 shows the complete design. Repeat : 16 warp-threads and 16 picks. Face-weave is the ? — ^ 4-harness twill ; back-weave is the plain. The stitching of the back into the face-cloth is arranged after the 8-harness satin, filling up. Weaves Figs. 651 to 654 illustrate the combining of an 8-harness " granite- weave " with the plain weave for double cloth, each taken alternately, warp and filling ways. Fig. 651 illustrates the granite-weave (8-harness) to be used for the face. Fig. 652 is the plain weave to be used for the back of the double cloth. Fig. 654 shows the complete double-cloth weave derived by combining both cloths with the 8-harness satin. Fig. 653, using the back-warp for binding into the face-cloth. 134 Double Cloth Composed with Different Proportions of Face and Back-threads. B. Warp : t end face to alternate with i end back. Filling: 2 ends face to alternate tvitJi i end back. In this manner weave 655 is constructed. Repeat: 16 warp-threads and 12 picks. Weave h: !l: c; h :au sar-BB' ■ jmsa ■a« ■ ■ iJD r ■■ ■■ ■ :)■□ [ ■■ ■■ , □i:oDa6BDa G n :; n -!□□ ■■ ■■ j bddd^ODD Lj ■ ■ msMu ■ ■■ ■ 4DDBoaDDB □□□fflomn □,. BSIB a ■ J JO i ■■ ■■ B' :L3 □ :-; a h IjQT \ mm mm 2 offlDDDaaa . I . -.BaB ,'JGd <■■ _BB_T inaDDHaDn 1 16 13 1 » 18 Fig. 655. Fig. 656. Fig. 657. Fig. 658. for face-clotla is the 4-harness ? ^ twill, Fig. 656. Weave for the back-cloth is illustrated sepa- rately (same kind of type as used in complete weave) in Fig. 657. The combining of both cloths is effected by the 8-harness satin, Fig. 658. C. Warp : 2 ends face to alternate with i end back. Filling: i end face to alterttate with i end back. Designing a double-cloth weave under this proportion is illustrated by weave Fig. 659. Repeat: 6 warp-threads and 8 picks. Weave for face-cloth is the 4-harness ? 2 twill (Fig. 660). □□BHHQEaDHHHa D BE^B mmm E 'C'c :::: hcj. la c ■■ ■■ ::j □ :::: :::: a ■EJB^^ ■ '■ 1'' "■-!<■" □ :::: :i mcnm 'aood L:< ■■ ■■ I DBOS cx; acii iojo a □□□□ l«BB_ij:^afflB.JJU f"'-"J 'f9*D IfflDBQ Fig. 659. Fig. 660. Fig. 661. Fig. 662. The back-cloth is worked on plain, as represented in Fig. 661, and the combining is effected by the back-warp in the face-cloth raising every other back warp-thread on every other face-pick (Fig. 662). The next arrangement for double cloth is — D. Warp and filling: 2 ends face to alternate with i end back. This proportion for using face-threads to backing-threads in warp and filling has been repre- sented before, in the examples given for illustrating the rules for designing double cloth. At present this system of using face to back-threads is mentioned in its proper place under the head- ing of " Different Proportions of Face and Back in Double Cloth." i^noDummanmmna HUHnnnHSicanaH ■pi '■ iB n^'XJ* bR"c; :;'P'di-i" sGOBHDMa ■■ ■ JG □L!' ■■ msm HnQBana bn:::; ":3 ■■' o mm m ■ cl ■■ ■■ *cmmci iOBna ■SBB ■ ■ -jG □■■ ■■ BiiiHa; KCJGa :■■ \ ipDHUOLiaGBBaa laauuaBaG iibljo isudd T 12 ■ 18 14 14 Fig. 663. Fig. 664. Fig. 665. Fig. 666. Fig. 663 represents the combination in double cloth of weave Fig. 664 used for the face, and weave Fig. 665 that used for the back. Both cloths are combined into one fabric after the motive of the 3 4-harness twill (Fig. 666). Repeat of weave Fig. 663 : 12 warp-threads and 12 picks. A 135 Weave Fig. 667 illustrates the combination of the - the face-cloth and the ^ j- 4-harness common twill for the lower cloth (Fig. 669) I 4-harness broken-twill (Fig, 668) for Both cloths are combined by motive, Fig. 670 (plain). Repeat of the double-cloth weave: 12 warp-threads and 12 picks. ■ ■! Fig. 667. 1 4 Fig. 668. mcmm ■HQ 1 4 Fig. 669. DBnEB sasa I 4 Fig. 670. This character of the double cloth (2 threads face to alternate with i thread back) is that most frequently used in the manufacture of worsted and looolen goods. In designing double cloth b\- this arrangement for 4-harness basket or similar weaves, as also combination weaves of basket and twill effects, etc., always remember that the back-warp must be arranged to work in the centre of the two face warp-threads working alike, as this gives us the only chance for properly binding back to face. For example : I "a Fig. 671. Fig. 672. Kmnmimom □■□■□■o« 1 8 Fig. 673. □□□□□□na □□□□snDD □□□□□□HQ □□OaQQDD laaaaaaaa 1 8 Fig. 674. Fig. 671 illustrates the weave for a double-cloth fabric, which has for its face the 4-harness basket (arranged as previously mentioned). It has the common plain weave for the backing, and the stitching is done with the 8-harness satin. Fig. 672, the face weave. Fig. 673, the back weave. Fig. 674, the stitching. Repeat of weave Fig. 671 : 24 warp-threads and 24 picks. The next arrangement of proportional face and back for warp and filling is : E. 2 ends face to alternate zvitJi 2 ends back in both systems of threads. This method is illusti ited in Fig. 675 which is composed of the 8-harness twill - for face ■ :x;d«h ■ 'nm El wim f^u C mm = □ 1 ' [ " . mm>z< na 'jm ':3a ;□□ 1 16 Fig. 675. Fig. 676. -'i3 Fig. 677. sfflonDanna □□□□□oaa □□□□□□QH □□□□aaaa □□□□□aoG □□HDaaaa laDGfflDDQD t 8 Fig. 678. and the common plain weave for back-cloth. Both cloths are combined with the weave repre- sented in Fig. 678. Fig. 676 shows the face-weave. Fig. 677 shows the back. Repeat of the double cloth: 16 warp-threads and 16 picks. 136 F. Warp: 2 ends face to exchange zvith 2 ends back. Filling: 2 picks face to exchange with I backing. These are used to a great extent in arranging 63° steep twills (diagonals) for double cloth. Figs. 679, 680, 681 and 682, illustrate such a case. Fig. 680 represents a diagonal on 6-harness and 12 picks repeat, as used for face. Fig. 681 shows the common plain as used for back. ISDDOMnDaBnDH □□■□□□•nanHQ ■cr ■■ BB aa a:: ; ■ ■■ . ■G'. ■ ■ ' :■ □Cr -.vj, :;c; . : :■■[]■■ ■Ci. ■ siB m m • ■■' J no ■■ ■ !■■ .! :::: a ■ ■■ ■ □□: ■■ ..■ ■ ■ ■□. ■ ■■ : j L ■■ ■ ! eOHOHDB CcnDnDH HD'iaa a::; tea i ■ □□□□□□ ^.BB ■■ mm A □□□bdo ■□□l,BC'^_.^.jJH M^HJ □□□□□□ BBaaHBaaaPzia offlanna 1 12 16 16 16 Fig. 679. Fig. 680. Fig. 681. Fig. 682. Fig. 679 illustrates the complete double-cloth weave, 12 warp-threads and 18 picks repeat. The combining of face and back cloth is shown separately in Fig. 682. G. J ends face to exchange with i end back in warp and the filling. These are illustrated in one example by weaves, Figs. 683 to 686. Fig. 684 represents a 12-harness fancy twill to be used for face- weave. Fig. 685 shows the common plain to be used for backing weave. Both cloths are combined into one fabric with the * ^ 4-harness twill shown in Fig. 686. Repeat of double-cloth weave, Fig. 683 : 16 warp-threads and 16 picks. ■■■ ■ ■ r m ■■ ■ cmm~:u vmmDoamcmm m_m ■□■■■□■■I ■ ■ 'm ■ ■■ m ■ ■ ■ □□■ ■■ ■ ■ ■ 1 ■ ■□■ ■■■ ■ mm ■ ■■ ::m □■■ ■■■ ■ ■■■ m I ■ ■ smm" a:}a jQ I ■■ I ^.^mmzm ■■■ ■■■ ^mm 1 -A CanB 4CDDEB Fig. 683. Fig. 684. Fig. 685. Fig. 686. The foregoing 57 weaves have clearly demonstrated that double-cloth weaves may be de- signed in any combination, from i face, i back in repeat, to 3 face, I back ; also that these pro- portions may be taken independently for warps or for filling in any weave. The binding has mostly been done by the back-warp, yet it has been shown that the face-warp can also be used. In closing this subject on the construction of the double-cloth weaves, a further example is shown in which both methods of stitching must be combined in one double-cloth weave. JSDB-BB— -■"■■-'-'^^G Fisf. 687 represents such a double-cloth weave. BH ^^yy-g g Repeat: 20 warp-threads and 18 picks. The arrange- h ^^^^-^l ment of the warp is : "BS:".r^~!!"i3^g ■■ ■■ OB ci. mm mm mm ■■ Bg :::: ::::g gjj □ ^ threads face. W " umam mm m^■.•m ■■3 ^ aa c:aaaa a:::; :"^^::a j thread back. H LP mmsm □ ' ■■ ■■ ga :x:a;:a ::a::aa_.g ^ threads fece. g HI .Bauaa^aa maa^aasB ^ thread back. ' ^ TTtr- — 1 , • Fi"^- 688. riG. 007. jQ threads in repeat. The filling intersects 2 picks face, I back, = 3 picks in repeat. On examining the weave we find the centre thread of the 5 face-ends used for interlacing twice in one repeat of the weave in the back. The places of stitching the face-warp into the back are shown by a. 137 Weave Fig. 688 represents the single-face cloth, being a granite-weave with fancy spot-effects (by the aid of warp-threads numbers i and 9.) Double-Cloth Weaving without Stitching Both Cloths. At the beginning of our lecture on the double cloth, and the purposes for which it is used when the two single cloths are not stitched together so as to form a new fabric, we mentioned the manufacture of seamless bags and fabrics constructed on similar principles. In manufacturing seamless bags a series of panels are formed, each composed of two separate cloths, a series of solid webbings uniting the cloths of the panels, and a series of divisions formed in the solid webbings, each of which are composed of two separate cloths. Diagrams Figs. 689, 690, 691, 692 and 693 are intended to illustrate the method of weaving such seamless bags. (Harden- brook's patent.) Figs. 689 and 689' represent a plan view of the fabric. Fig. 690 is a transverse section of the same in the plane x x, Fig. 689. Fig. 691 is a longitudinal section in the plane Fig. 689. Fig. 692 is a longitudinal section in the plane s z, Fig. 689. Fig. 693 is a sectional side view of a bag when finished. A (689) designates a fabric in which the arrow i indicates the warp. This fabric consists of a series of panels c c*, each composed of two cloths, and of a series of transverse solid web- bings, a a, and longitudinal solid webbings b b, in which the filling is interwoven with all the warp-threads of the fabric, producing purely single cloth with the latter at places mentioned. The outside edges, as to width of fabric in the loom, may either be temporarily closed with a few threads of plain working selvage, which may be liberated after the fabric has left the loom ; or the fabric can be woven without specially uniting the two fabrics in such manner. The commencement and the ending of the weaving of the fabric in the loom is formed in each case by one of the transverse solid webbings a (single cloth). If the fabric is cut lengthwise through the centre of the longitudinal solid webbings b b, and through the centre of the divisions, and also transversely through the middle lines of the solid webbings" a a, f f, di number of bags are produced, and it will be seen that the bags produced from the side portions, c* c*, of the fabric have selvages at their mouths, while all the others produced from the centre portions, c c, will have raw edges at their mouths). The size and the shape of the bags is unlimited and is readily regulated by the changing of divisions (purely single-cloth weaving) or openings (double cloth not stitched). From the explanations and illustration given it will readily be seen that in cutting up the fabrics represented in the drawings a number of bags are formed, the mouth of each being 138 composed of two single cloths projecting beyond the solid webbing, so that they can be turned back upon the body of the bag (see Fig. 693) to form the tube g, for the reception of the drawing strings g^, or simply hems to protect the raw edges. Fig 694 illustrates the double plain weave (two plain woven cloths), without combining or g3Sj stitching required to produce the openings, while the common rib-weave, Fig. 695 S^S", Qj. j[^g common plain weave Fig;. 6qs^ is used for forming the divisions in the fabric Fig. 694. / , . , , ^, X (purely smgle cloth.) These bags are used mostly for tobacco, salt, flour, etc., or pockets for trouserings, coats, suitings, etc. Frequently seamless bags of a larger description are required to be made, extend- ing in their length over the entire width of the loom. In such case the double plain weave is arranged for two successive picks in each cloth, as shown in gajn j Lower side of bag on loom. Fig. 696. Warp-threads 2 and 4 and picks 3 and 4 forming the iSHSal Upper side of bag on loom, lower fabric, and warp-threads i and 3 and picks I and 2 forming -<-^ S. the upper "fabric. F'^- ^96. Only one shuttle being used the filling will form the bottom of the bag at the point where the filling, after leaving one cloth, changes into the other cloth. For example, in the present weave, suppose we commence to insert the shuttle in pick i from the right to the left, or in the direction of arrow S, below the weave ; the shuttle and its filling, after leaving shed i of the upper cloth, will return in the sajne cloth on its return (left to right), but will insert itself in the lower cloth on pick 3 by interlacing with the warp and filling of the lower fabric ; returning in the same fabric at the opening of shed (pick) 4, ready to change again (combining both single cloth for forming the bottom of the bag) from the lower cloth to the upper (the starting point in the present example). Before and after weaving the required width of the bag (double plain interlacing on one side of ^57 fabric), the entire number of warp-threads are arranged to interlace on the common rib-weave shown in Fig. 695 (in purely single cloth). Fig. 697 illustrates itself, by the aid of the foregoing explanation, as follows ; a, I?, c, d inside size of bag produced on weave 696. The shaded part between the two bags represents the purely single-cloth fabric interlaced upon the common rib-weave (Fig. 695); b to c — bottom of the bag, a \.o d = opening of the bag. Dotted line e to f indicates the place for separating the fabric. In the manufacture of hose and similar textile fabrics the weave given in Fig. 694 (double plain, one end face to alternate with one end back in warp and filling) is used. Double Cloth Fabrics in which the Design is Produced by the Stitching Visible upon the Face of the Fabric. Worsted Coatings. Fabrics of this style are a division of the double-cloth in which the binding of both is arranged so as to form patterns of any required design. This binding of the two fabrics has to be done as firmly as possible all around the outline of the design. The double fabric has to become a single cloth, warp and filling ways, all along the outline of the figure or effect. It has to be bound not only at intervals as in the previously explained stitched double-cloth, but into one compact fabric throughout the entire length of the piece, upon the warp-threads, and across the fabric upon the filling ends which form the outlines of the figure. Double-cloth fabrics in this arrangement of binding may be made as fanciful as required, but in the manufacture of worsted coatings and similar fabrics they are generally confined to striped and small check figures. 139 textures for these Fabrics and Arrangement for Binding. These fabrics are generally constructed on 2 threads face, i thread back (binder), and the stitching is done with the back-warp binding over 2 face-picks. For example, take Fig. 698 for the motive of the design and Fig. 699 for the complete weave. Repeat : 42 warp-threads and 24 picks. It will be readily understood that the stitching of the back-warp in the face fabric will form impressions on the latter according to the figure employed for the motive of stitching the fabrics. Again, through the places where the double cloth is left unstitched, the fabric will get an em- ;;;; ^^;r^-H ^\^v^ Fig. 698. Fig. 699. bossed effect, similar to that of 2 pieces of cloth embossed with the needle, the binding taking the place of the latter. The cut effect will be more prominent when 2 beams are used, one for the face-warp (ground) and one for the back-warp (binder), and putting more tension on the The twill for the face, having the backing working on plain beam carrying the binder, weave, may also be used. Fig. 700. Motive of the effect. Fig. 701. The complete weave to produce the same, executed on above stated principle Repeat : 36 warp-threads and 36 picks. ggRyiRnRqg-n-gpn-npapygL Fig. 701. In worsted fabrics (also woolen fabrics) forming stripes composed of different weaves, in which it is desired to make the changing from one effect or weave to the other very prominent, by means of a deep or pronounced cut line, use a method similar to the one above explained, e. " the double-cloth fabric changing into single cloth at the respective last ends of the one weave or effect, and the first ends of the other." The only change observed in the present kind of fab- rics, compared with those explained before, is found by combining both fabrics into one through lowering the face-warp into the back filling. In this manner designs Figs. 703 and 705 are constructed. 140 Fig. 702 represents the motive to weave Fig. 703, and Fig. 704 illustrates the motive for weave Fig. 705. Fig. 703. Repeat: 18 warp-threads, 6 picks, s for raisers, □ and ■ for sinkers. Fig. 705. Repeat: 36 warp-threads and 6 picks, a for raisers, ■ and □ for sinkers. □■■ ■ ■■ ■ ■ ■■ jm mm mm mm mm mm mm"j3 ■ ■■ ■ ■ ■■ ■■□ *n mm mm' mm mm mm mm □■■ ■ ■ ■ ■■ }■ ■■ ■■ ■■ ■■ ■■ 1 4 12 Fig. 702. eg'- . FtG. 703. Matelasses. These fabrics are chiefly used for ladies jackets or mantle cloth, hence the name " matelasses." The face fabric is mostly silk or fine worsted, the back all cotton, or cotton and woolen. The face and the back are also two separate fabrics, having an extra "wadding " pick between each, which will greatly help to enrich the embossed effect characterizing this line of fabrics. The figure is produced exactly on the same general principle as that explained before. In addition to this □■■rrH-aa aa-^ a^aa ~~~aa aa ^ aa'^^D aa aa aa aa aa aa aa aa aa aa i a aa a aa aa aa aa a aa a aa aa 'tc. aa aa aa aa aa aa . aa aa aa aa caa aa aa aa ...a. ^aa^'^a^aa aa aa aajj ,aa aa aa aa laaacDaauaaa^ aa aa ...aaGC^ IB., aa a aa. ._.BBDBaaDaaaaO'_aa . a aaDnaB 1 - 16 24 Fig. 704. Fig. 705 □□□□ inara ] ^□ca.jaaaujcaHaDg binding different weaves for the face effect may be employed by using twills and other weaves in floral and ornamental figures for design. In some of the lighter grades of these fabrics no interior or wadding filling is employed, but simply the two cloths as explained at the beginning of this article. In these fabrics nearly the same effect is obtained -for the face appearance, though of course the figures do not stand out as prominently as when wadded, and the fabric is not as stout. Quii.TS. P/ain Piqut Fabrics. Another line of textile fabrics, constructed on the same principle as the coatings and mat- elasses, is found in quilts, bedspreads, toilet-covers and similar fabrics. These fabrics are gener- ally made in white. In plain pique fabrics the back-warp forms lines across the fabric. Fig. 706 '°BB°§B^§B-aBa shows a draft for such a fabric requiring 4-harness for face-warp, 4-harness for i' :;;]a:;;; ^jiaa back-warp, = 8-harness. iyaB ::Sa^S 5 Repeat : 6 warp threads, 10 picks. iBc,"a_":a ° represents the face-warp, b represents the back-warp. Fig. 706. Examination of the design shows: Picks I and 2 interlacing the face-warp on plain weave. Pick 3 is a backing pick, in which the entire face-warp is raised, and also every other one of the back (forming in this manner the first pick of the plain weave for the back). Picks 4 and 5 are a repeat of picks i and 2. Pick 6 is a backing pick, in which the entire face-warp is also raised, and also the back warp-ends not raised in pick 3. Picks 7 and 8 are again a repeat of picks i and 2. Thus far the weave has 141 formed two separate fabrics, each one worked on its own system of threads. By picks 9 and 10 these fabrics are united into one cloth by raising the back-warp into both picks and working the face-threads on the plain weave as was done before on picks i, 2, 4, 5, 7 and 8. This combina- tion of both fabrics gives us the required line across the fabric. If it is desired to produce this fabric for a heavier article, one or two " wadding" picks may be introduced between both fabrics, as in Fig. 707, through pick 5. Picks I and 2 face. " 3 back. " 4 face. " 5 interior (wadding.) " 6 face. " 7 back. , " 8 and 9 face, " 10 back. " 1 1 face. In inferior qualities these fabrics are made by omitting the two backing-picks ; hence the binder-warp has to float on the back. The wadding pick taken for these fabrics is of a very heavy size so as to prominently raise the rib effect. 11 an cxv '[;□, na i a a ■ . ' "ti^ ■■ ■■ ■■ ■ .a::a::a a in > ,a : a , a-j i 1 \i Fig. 707. cba . □HBCfflS □BGnnn □□HDan □fflfflDBH □nnntan □□□OGH TDBBDfflffl cba Fig. 708. Such an example is shown in weave Fig. 708. Repeat : 2 ends face, i end back in warp and 8 picks. The arrangement of the filling is — Pick I face, binder. " 2 ) „ ^1 face, regular. " 4 wadding. 5 1 „ ^ Vface, the same as picks 2 and 3. " 7 wadding. " 8 face, the same as picks 2 or 5. Diagram Fig. 709 illustrates the section cut of a fabric interlaced with weave, Fig. 708. Figured Pique. These fabrics are also executed on the principle of the double cloth. Both cloths are quite plain in their weave, but the face is much finer than the back. White is the color in which they are generally made. A "wadding" pick maybe used to give bulk to the cloth, and the em- bossed effect likewise characterizes these fabrics. The design for the fabric is also formed by binding both cloths together. The thicker the wadding and the larger the figure required to be designed, the more prominent will be the effect. Tn many of the lighter fabrics no wadding pick is used, but the two cloths are simply stitched together. 142 IS Fig. 710 illustrates a weave for these kind of fabrics (without a wadding pick). Fig. 711 the motive of the stitching for effect in Fig. 710. A consideration of the face-picks will show in every one of them some of the binder-warp up, according to the figure required. This will easily explain the stitching of the fabric. As both warps are white, no change in color can be seen but the effect will be produced by the weave, as every binding back-warp thread will pull in the face of the fabric, in any place where it is raised on a face-pick, somewhat similar to the stitching together of two bulky fabrics with a sewing machine. Large designs, such as □■a ,a T a ; "a ' " i am a [} a a ai a aaB[;a a:j aa a:; rj a Ba a a a a« a [; a a a ,aa aaaaa c;a aa □ c: a aa [: a. ■ laai a ■ aai ■a I a a aa a "a a aa a a aa a c: :;a [laaaa aa aa "a ^j;B"a^"a a aa a a a □ aa a ::m a a "a ^a l^aS^a j iQUGaa jaj'-jU j^a j^a_j _,aBua.^'^ a a ]□ a aaaa [; a aaaa □ ■a □ a« a.jQ a aa la a JH a a a aa:o a :} a.' a a aaJH a^jDia a aaiB a a a«a a aa □ a □ :ij3 a aa jca "■; )□ B' JQ la )□ I JQ a ,□ la jH a laac] ,ama ye Fig. 710. □□■□□□□□□□■a □□□■□□□□□■□n ■□□□□■□■□□□a □□□□■□□□■□□a □□□■□□□□□■□a Fig. 711. flowers, etc., are woven with the Jacquard. As these large figures have a long floating of the binder-warp (back-warp), while not being used for the outline of the figure on the face, the back warp-threads as a consequence float on the back; and as this floating is injurious to the fabric, we must use, in addition to the front-harness for the face-warp, a second set of front-harness for the back-warp (binder), through which the back-warp can be worked on plain. Reeding these Fabrics. Threads i, 2 and 3 are drawn in the first dent of the reed; threads 4, 5 and 6 are drawn in the second dent. RIB FABRICS Under this division are classified fabrics which, in their method of construction, have high prominent and elevated places exchanging with lower or compressed ones. This method of ex- changing is generally arranged to run in the direction of the warp, but can be arranged for a diagonal direction, or even filling ways. The principle of construction of the weaves for these fabrics is nearly related to the common rib-weaves for single cloth. sHaaaaaHannna sDDDHnnnnnnHnanmnaBnHHEHnnnnHa 4HHHHHHaHGDDn Gaaaaaaa B aaaaaaaaaaa — □■□■□■□■□■a Fig. 712. Fig. 713. Fig. 714. □□□□□□□□□am Eaaaaaaa "uud u_j_jaaaaaaaaaaaa._i^^"'aaaaaqHaaaag — a B 1 12 1 16 Weaves for rib fabrics forming their line (rib) effects in the direction of the warp ^re gener- ally produced by floating every other pick for 4 to 12 (or more) threads, and then raising these threads so floated for two, three or more warp-threads. The picks situated between them are interlaced either in plain or twill weaves. 143 For example, Fig. 712 The foundation weave is the common plain weave. Picks i and 3 (and picks of uneven number) interlace in the entire repeat (12 warp-threads) on this plain weave, while picks 2 and 4 (and picks of even numbers) technically known as " rib-picks " float below the first 8 warp-threads and over the next (last) 4 warp-threads. Fig. 713 illustrates a similar arrangement. In this weave the ^ j 4-harness twill is used for every pick of uneven number, while the picks of even numbers, the rib-picks, work the same as in the preceding example. Repeat: 12 warp-threads and 8 picks. Fig. 715. Fig. 714 illustrates an example in which every uneven numbered pick interlaces for 12 warp- threads on the common plain weave (floating below 3 warp-threads), while every even numbered pick (rib-pick) floats for 12 warp-threads on the back of the fabric and next forms the face-rib over 3 warp-threads. Diagram Fig. 715 represents the section cut of a fabric woven with weave Fig. 714. A careful examination of it "will .show that warp-threads 4 to 15 inclusive must make interlacings with the filling which are not required by warp-threads i, 2 and 3. To get perfect work and sufficient production it is advisable to have double beams — one beam to contain the first 3 warp- threads, the other the remainder. Repeat : 15 warp-threads and 4 picks. Another division of rib-weaves is derived by omitting the special rib-pick, using instead of it, every pick to form partways (across the weave) rib-pick and 'Pp^^SfJ^ngaSS partways regular weave. Every pick in rotation is arranged for "rib-pick" effect (floating on back) when the adjacent picks interlace on common weaving. This method of alternately exchanging every pick in certain places for " rib-pick " when its preceding and following picks are used for forming the weave (on the face of the fabric), is con- sumed until the repeat is derived. Fig. 716 represents such a weave, designed for 12 warp-threads and 4 picks repeat. The float of each pick (for " rib-pick ") represents 6 warp-threads as illustrated by □ type. For the remaining 6 warp-threads in the repeat of weave, every pick interlaces with the warp on the regular plain. Fig. 717. Diagram Fig. 717 represents the section of weave Fig. 716 This method of using every pick partways as rib-pick (float on back) and partways to interlace with the warp on a weave, and having this arrangement alternated in each adjacent pick will, in addition to the rib-effect pro- duced, prove of great advantage in the manufacture of fancy trouserings, in which every other rib is required to appear in a different color. Using each pick (taken in rotation) with the alternate ex- changing of two colors, each alternate pick the same, will (using one color for warp over the en- tire width of the fabric) produce the above mentioned effect. Such stripe effects will be yet more prominent if the warp in color arranegment is used according to the filling forming the weave. 144 ' ^ Weave Fig. 718 illustrates a rib-weave constructed on the same principle as iBgagnaHgGBGg weave Fig. 716. The distinction between them is the difference in size of ribs iS3a3a"a'^Sa5a forming the new weave. Warp-threads i to 8 form the large rib I while the smaller Fig. 718. rib II the size of I) is formed by warp-threads 9, 10, 1 1 and 12. Fig. 719 illustrates a rib-weave in which the 4-harness ^ twill is used for the face-weave, every pick being used for one-half the repeat in width of weave for floating, thus forming ribs of equal size. Repeat of weave: 16 warp-threads, 8 picks. I n 21 '■■nana -mm mm m cmm, ■■^■,^■-■■,,■^,11, □Hp :^_B^B»^^n_^B, ] I II I 11 I II : ■ ''□□□□□□□□■□cHaaoH ^□□nnHnnnanBG ■■■■■■■■■■■ ■■ mm" nz-.sr.aaaa rmm mm aaaaaaaa m " mm ■□□aa :;:::::3:::;:;:::::;:;:;:;:::::;::::n:3 c::x:::;:::r:::BB ■■ 1 u:x:::cc:u::aB Ba< ■ a ■■ ■■ aa aa uiy^r.azy.^.a mm mu:;i:::a aa a a aa a a aa a ] c::::;:;::;;::l; bb bbj Kc::x:::cx;a aa . mm3 c:::;:::;:x::;b b ] :;:;aaa:!a::r;:;E::;:;c::;a:>a::t) aa Ba::::::::::::aa a aa . aacaaBaaEi 1 aa aa uauEj 1 1' -: : a a a bb blb ..aa a biJ Qcaaaaaa -Ba__aB cascsaaa. ..aa^Gaa csaaaaua.a a cjtiiii-.B..a aa a .B::aa..B a.aa lajuaa^jaaBaaaQBE) inuBB_j_jBBBBQQBaBEi laao^aaLiL.EiBaa igacGQaQSQaaQaanuEiGBQaQaES Fig. 719. Fig. 720. Fig 721. • Fig. 722. The direction for running the twill in both ribs in weave Fig. 719 is the same, but which is differently arranged in weave Fig. 720. Fig. 720 has a similar repeat and the same weave (- ^ 4-harness twill) for face. The differ- ence is in the direction of the twill in the face-weave, which has a different direction arranged for each rib. Weave Fig. 721 illustrates a further step in figuring rib-weaves. In this figure rib I is inter- laced on its face-weave by the ^ 4-harness twill, and rib II with the common plain. Repeat of weave: 12 warp-threads and 8 picks; rib I calls for the first eight warp-threads ; rib II requires warp-threads 9, 10, il and 12. I II III IV 2rca;;;;BBB^;_^B" -"■v-b7__;bbb;;_;b ^^b a '"bbb''"!;" b_\'b"_''_'bbb_"^' ma r/^BBB)^'^B"B ^'b)'b""bBb" QM cbbb""'b)'b'' - ""b_"'b^^"^bbb .ma mmm'[yji]'ml'^]'^ b^"'b)'b"^|bb is bb"_"^b"b)"'b bb""b^^b''"'b -to b""b"'b""bB . g::::::"::::":::; ja b b bbb bbb b b h:::::::;:;::"";; cb__b___^bbb__ __^_bbb__^_b^ b ob B"B""aBBj"-J^iajB""BBB'j!jBSMdBa laaaaHaBaHaDQGQaBHHHaaaaHaaDa 1 lU 14 M 28 Fig. 723. Kcannaai ■□CBBB UuBBBC □CB a.,.._Bi ca;_BGDaai iBaBGaarai Fig. 724. Ill IV lonaDaaaaHaaaBGaaBGarjaaaBBaGH ■■■■B^ ::a'ja< laGaaBaaBaaauBuaaaD □□GGaaaaBBBBi ibgb; jaQaaaaBaaBB iHaBBGBGaaaGBBaBBaaaa .b^bubgb Fig. 725. Weave Fig. 722 illustrates .still another step in the figuring of rib-weaves, observing for the general arrangement 2 face picks, to alternate with one rib-pick. Repeat of weave : 24 warp- threads and 21 picks; rib I is produced by every third pick with the first 4 warp-threads, and rib II by warp-threads 5 to 24, with two successive picks out of three picks in repeat of arrange- ment, and interlacing as face-weave with the regular 7-harness corkscrew. f ig- 723- Repeat of weave: 28 warp-threads and 20 picks. This weave illustrates the application of a pointed twill for face-weave of every other rib, I, III, etc. Every even numbered rib, II, IV, etc., is produced by 4 warp-threads ; one pick floating on the face over all four warp-threads (rib-pick in the adjacent ribs) to exchange with one pick interlacing on common plain. 145 Fig. 724 illustrates the face-weave for Fig. 723, as used for rib I and III. Repeat: 20 warp- threads and 10 picks, and is the pointed twill derived out of the - — j — ? — ^ — lo-harness, uneven- sided twill. Weave Fig. 725 illustrates a rib-weave, constructed in four changes. Repeat: 28 warp-threads and 4 picks. The next sub-division of rib weaves embraces the diagonals. These can be further classified into two divisions. Those designed with an extra rib-pick and consequently an extra face-pick ■)^^bb''''bb^')'bb C:L'By"Ba'"'aB ■■ DMLM ■ ■ ■ '■ emu urn urn mmn □□□[;:::;:::;[;:: ] BaGc::)[;L;[::;;: ::::aa mi ■■_,^^BB^,^^i|a ■ ■[:"■■""■■ io::nnnnnnn' — ■■^^■■"~n Kaanaca:; 1 dhc3:;l;:::;:; :;::[::::::: ■■ mm ' ■ ■■■■■] DL ■■■■■■ ■■ ■■ :::: □ egg:::;:;:: :::::;:;:;::a ■ ■■ :::::::::::::;:::; ■ □■■ ■■ ■■ ■■ 1 mm mm r.'^a □:::;:::;□ Bat;:;:;a :::;:;:;:;L:aa ■■ :;:;:;:::::;:::;:: ■■ ■ J ■■ ■■ an ■■ J isaaaaacmcmnuna c:::::::: ■■ ■■ ::::::□ e:;:::;:: :::•]□ □□□:::: :;:;:;:::::;:::■;□ CBnBDHQHHHnaH ■■ :::;:::;:;:;:::;:: ■■ ; LM ■ ■ ■ ■ ■ ■ ■■■■■■■ □□BBi .B'^B 'aGEia G:::::: ■■ ■■ :::::::;□ Eca:: :::;□□ Han:: :::::::::::::::::;□ ulM' :■;:;::::::::! ■■ :;:::;:;:;:::::::: ■■ ) ■ ■ ■ ■ B ■ , n ■■ ■■ ■■ aac ■ ■ ■ caa mm mm ::::::::□□ aw :;[;::□□ ebh ::::::::::::::[;:;aa □■. :::::::;:::; ■ ■ ■ :;:;:;:;:::::::;::" ■■ ■ ■ ■■■■■ L.mm mm mm ■■ 3 bb ■ ■ ■ :::;e:b a:: ■■ ■■ :;::::::::qb :;:: ::;;::::::□ bb :;:::::::;:::;:;;::;::□ ■l;:::::;:;:::: ■ ■ , . :;:::;:;a:;:::::: ■■ ■■ ■ ■■■■■ 1 ■■ ■■■■■■ J BL B ■ ■ :::::::::: b ■■ ■■ :::::::;::::□□ :; :::::;:;:::;□ a. « :::;:;L;::::c::::;:::::;n Dn:;:;;::::; ■ ■ ■ [ c;aHB:;Ba::o: mm^ ■■□ ■ ■ ■ ■ ■ H'.jL ■■ an ■ am, m m c:::::::::l: r- _mm mm bb::bbbbbb ^BBBBBBB □□BBBBBBBHBBBBBB BBBBBH'jB ■ .■lJ BBBBBBBBBU - ■■ .l L,Bi_*L,BLjBUBy IDJHBQCBBUrBBUUBB lyGBDBL'QBBBBBg l"^l«BJr,BB'liL:BaBBB " Fig. 726. Fig. 727. Fig. 728. Fig. 729. (see Figs. 726 and 727), and the diagonal rib-weaves in which every pick is used partways for " rib-pick," and partways for face-pick. In this manner weaves Figs, 728 and 729 are constructed. Weave Fig. 726 has for its repeat 12 warp-threads and 24 picks. The face-picks interlace in common plain, while the rib-picks float under 8 and above 4 warp-threads. Weave Fig. 727 requires for its repeat 16 warp-threads and 32 picks. The face-picks have for their weave the '- ^ 4-harness twill, while the rib-picks in their repeat in 16 warp-threads float under 14 and over 2 threads. HBBBB: J □□lJUBBI IHCBBDDl ■ ■ ■■ ■ < U Fig. 730. cam ■ ■ ■ ■ MB ■■■ ■■■ ■■■ ■■■ ■■■ mmU'j ■ ■ ■ ■ ■ ■:: B ■ ■■■ ■■■ ■■■ ■■■ ■■■ ■■ D M m._ m m ■:: uma mmm mmm mmm mmm mmm ■l. ' ■ . ' ■ ■ ..■:: ::■ a ■■■ ■■■ ■■ Gi. ■ ■ , ■ . ■:: ::■ ■□ ■■■ ■■■ ■■■ ■■■ ■ r ■ ; ' '!■ ■:: ::■. ■ ' o ■ ■■■ ■■■ mmm' mm c, .■ '■. ■ i.jb:: :::■' - ■ < ■□ ■■■ ■■■ ■■■ ■■■ ■■■ ■1 , ■ . ■:: :;■ ■ . ■ a ■: ■■■ mmm mm o m ' ■:: ■ ■ an ■■■ ■■■ ■■■ mmm mmm ■ ■:-:□■ ■ : B ■ ■ ■■■'^■■B mmm' mmm mmm mm □UBBljHBCjOLjBljLii ■ ■□ ■■■ IBBDHBnODBDanBi ■ . ■ Fig. 731. I a:::: :::::: ■ I a ■■■ Ba ::a:; ■ ( a ■■■ ■■ , a:::: ■ ■ ■■■ a:: ■ ■ :: :: :3 mmm mmm a::a ::aa ■ ■ a:;a :;::a ■ ; ■ i a .a ■■■ ■■■ :: ■■■ i aa laaa ■ ■ :::::: ;:::a ■ ■ a ■■■ ■■■ a :: ■■■ ■■■ a a:3a m > ' m aaa aaa ■ ■ ::aa :] . ■■■ a :: ■■■ ■■■ a i a:: ■ ■ a:::: aaa ■ ■ :::;:; a [ ■■■ . a ■■■ ■■■ .a u . , .■ ::a:: aaa j ■ aaa .bbb mmm . a a iijaaBLjaBB a . laaa tmxxMJ .aaa .aaa nm^ozm . .aaa bqbqd T 10 Fig. 732. Weave Fig. 728, as previously mentioned, is a rib-weave in which every pick is used part- ways for " rib-pick," and the remaining part forming, by interlacing with the warp, the face- weave. Repeat: 13 warp-threads and 13 picks. Width of rib-float 6 warp-threads, exchanging with 7 warp-threads interlaced on plain weave. In weave Fig. 729 the same principle, that of using each pick for rib-float and face-pick, is observed. For face-weave a common-twill is used. Repeat: 19 warp-threads and 19 picks. Rib-float is 9 threads, and interlaces in warp for face ^ — ? — j — - — -i = 'O threads. 146 Another method of producing rib-weaves is to combine regular double cloth at certain places with a single cloth. In such cases the fabric when forming double cloth will not be stitched together, as, for example, weave Fig. 730. Warp-threads i, 2, 3 and 4 form a common plain rib-weave or single cloth, while warp-threads 5 to 12 interlace (without binding) with the filling on the regular " double plain." Repeat of weave: 12 warp-threads and 4 picks. These rib-effects in double cloth can also be produced entirely by the binding of both single-cloth fabrics. It may be arranged to form ribs in the direction of the warp and effects in a diagonal direction as shown in Fig. 731. Repeat: 24 warp-threads and 24 picks. ■ represents the weave for regular double-plain and n shows the stitching of both fabrics in a diagonal direc- tion for the required rib. Another step for producing rib-effects in double cloth is taken by exchanging the face-cloth with the back, and the back with the face. This method of exchanging may be arranged to run warp-ways (vertical) or in a diagonal direction. For illustrating this method Fig. 732 has been designed. Repeat : 16 warp-threads and 16 picks. Fabrics produced by means of weaves designed on the regular double-cloth system, such as weaves Figs. 730, 731 and 732 and other similar weaves, do not have the rib-effect appear so prominent as in the case of the preceding weaves, all of which contain the peculiar pick known as rib-pick, rib-float, etc., and which assists, for the reasons given, to such a great extent in making tlie rib-effect prominent. THREE-PLY FABRICS. It will be readily understood by any one that has carefully studied the structure of two-ply fabrics that by the same method and principles employed in combining two single cloths into one fabric, known as two-ply or double cloth, three such single-cloth fabrics can also be combined into one fabric. In the construction of a 3-ply fabric a regular set of zvarps and filling for each of the three single cloths is rcqtiircd, thus dealing with three systems of warp a?id three systems of filling in designing. To impart a more perfect understanding, the construction of a 3-ply fabric from its beginning to the finished weave is shown, and for this purpose three single-cloth fabrics inter- laced on the plain weave are selected. □□□□□□□□□□□□□□□□ □□□□□□□□□□□□□□□a lOiBDaaUDHDCDDnHDa □□□□□□□□□□□□aDDa □□□□□nccjaDanoaDa 'HBaDBaCnDCHDDCOG □□□□□□□□□□□□□□□a □□□□□□□□□□□□□□□a ••■■□□□□□BaDDDDHDa □□□□□□□□□□□□Dam □□□□□□□□□□□□□□GD IBBaDBrjDDDDBDDDna □□□□□□□□□□□□□□□G □□□□□□OfDDDGDDDna □□□□BanBDDBDDBDD □□□□■□□■□□■□□■□a 1 10 Fig. 733. □□□□□□□□□□CD "□□□□□□□□□□□a □□□BLiaaa^BDn CCD" \ ' ^.n B B J S|_ „ r. - Fig. 734. □D. ",□□□■ l_'--..B. ,1 -Lij^ BOG SGGBUGduDHDGG □QaoGQaEBD^aa Ha^GGCBGGGQG 3 6 0 IS Fig. 735- ma UU:- B Fig. 736. Fig. 733 illu.strates the first set of the plain weave, or the weave for single cloth number one (h type). Warp and filling-threads used are numbered on the left side and the bottom of the design, and are indicated by m type. "One thread taken and two missed" in each system for the other two single cloths. Fig. 734 illustrates by E on warp-threads 2, 5, 8, 11 and on the corresponding picks, the interlacing of the single cloth number two (plain weave). In Fig. 735 the interlacing of the third or last single cloth is shown on warp threads 3, 6, 9, 12 and the same numbered picks (■ the type used). Next, raise for the picks of the lower single cloth (in the 3-ply structure) each warp- thread of the two upper cloths (face and interior cloths) ; also, raise the warp-threads of the face 147 cloth on the interior picks. This method of operation is illustrated (successively from Fig. 735) in weave Fig. 736 by m type. In this is shown : — Pick I, first pick of face cloth. " 2, " " interior cloth (face raised). " 3, " " back cloth (face and interior raised). " 4, second " face cloth. "5, " " interior cloth (face raised). " 6, " " backed cloth (face and interior raised). And thus the repeat : 6 warp-threads and 6 picks, allows 2 warp-threads and 2 picks for the structure of each fabric. Weave Fig. 736 thus produces three distinct single cloths resting in the loom after being woven one above the other, as shown in the sectional cut in diagram, Fig. 737. The next process is the combining of these three single cloths into one fabric, which is i2Bq^nt ' i- T technically known as the " stitching." To effect this in a proper manner combine the . backinsf-cloth to the interior cloth, and this in turn to its face. [ " In weave Fig. 738 this method of " stitching " is clearly indicated. In this I i d figure the m type illustrates the three single-cloth fabrics, equal to the weave illus- " ° ™B trated in Fig. 736 by four different characters of type. In Fig. 738 a illustrates the Fig. 738. stitching of the interior cloth to the facc-cloth, and the b the stitching of the back- cloth to the interior cloth. Fig 739. Diagram Fig. 739 illustrates the section of a 3-ply fabric interlaced by means of the weave previously shown (Fig. 738). FOUR AND FIVE-PLY FABRICS. Sometimes it is desired to have produced fabrics constructed out of more than three single cloths. Weave Fig. 740 clearly illustrates the construction of a 4-ply fabric. The ■ type represents the interlacing of the four single cloths. 148 ■ on ffl on B on completes " four-ply. picks I and 9 illustrates the stitching of the second cloth to the face (or first) cloth, picks 2 and 10 represents the stitching of the third cloth to the second, picks 7 and 15 illustrates the stitching of the back cloth to third cloth, and which the stitchings of the four single-cloth fabrics into one, and technically classified as ■B :: a ■□I : . 13 I ^ " i. 3 '3 a ■ 3 Mil J mc .3 □l; a me-i . , , \ ^ : • . . /4j HBH^yUJUHt i -J jbji l_iU ■■□□■□□□■■aDBDaa iHBDaaaaDHaQQDiaaLi 1 u t 1 c .a ,3 t F 1 u ss 1 1 C JL_i JO t '.\-ia mi . ' na m Mi ;j, .1 Jti . a I JQ Fig. 740 Fig. 741. Weave Fig. 741 shows the construction of a 5-ply fabric. B type represents the interlacing of the five single cloths. ■ type on picks i and 1 1 illustrates the stitching of cloths i and 2. ® type on picks 2 and 12 illustrates the stitching of cloths 2 and 3. H type on picks 8 and 1 8 illustrates the stitching of cloths 3 and 4. B type on picks 9 and 19 illustrates the stitching of cloths 4 and 5. And thus closes the complete stitching of the four single-cloth fabrics into one, technically known as " five-ply." Pile Fabrics. Textiles classified as " pile " fabrics, form a separate sub-division of woven articles, and are characterized by the soft coverin03a::« en ri 5'-] 40 I ) □□□□□ ■■□□□n m jriBGaa !□ :; a la B ■ i a C: BB JG . WD BBBBBQ .B ! n mm BBBQ I mvtm B mu ■B BBBD m ; !□ BBBBBI) BB a ■ B )□ 1:: ' B IG ■ V. m iG I a :g :BB TG . '.:iG fJG IG Fig. 767. ^■■□□■■□■■□□■■■■■■□□□□□□■■■■■■■□□□□□oaBM ISDDDCDCBDDnDDDnDDDCBBBDCaaaBBBBGDBBBQDDan 14DDDnDaDODDmDDBBBBB«B2aaDOBaDDDDBBBBBBBa lC3anDDBBBDDamDBBHMBBDDGBQDnBDDDBB«BHBBQ IsaaaaBQaBBCCDaCDBBaBBBBBBBaaDBBBBBaBHBBDa "□ODOBBBBBDQDDDCnBBBBBBBBBDBDBBMBBBBBCaa lOaDDBBBaBBBnacanBaBBBBBBBBanGBBBSBBBBaBDa SDDDDBDDDBDnDDDCBBGtiBBBBDDDnDGDBBBBBEBBDa ^BnaDaaaaaDDDBaaGBBBBBaBDaBBBaDBaBBBBBDaa IGDDDBBBBBGIGOGGGaGBBaBBBaGCBaaaBBBDBBGGDa 6GaaaaBBBaDaDGGaGGGGaGBBCGaBGnDBBaaaaGGaa saacGacGaGaaGaoDDcaGGGGGGGGGaGGGGGaaaaaDa ^GoacaaGOGanaDnDDaaQGGGGGaGaGaGaGaaGaaaaa iDaaDGGGGaGGcaaGGOOGmGaaGGGDaDGDuGGGaaDa Fig. 768. In examining Fig. 767 it is found that 35 picks are required for one repeat. The design itself represents a " point figure," picks i to 18 and back again. Indicating the colors by type as follows: □ for straw color; * for red; a for maroon; ■ for blue-green, we have : Strip I. — All straw color. " 2. — One pick straw, one pick blue-green, 20 times for one repeat. " 3. — All blue-green. " 4 and 5. — All straw color. 5 picks. straw. 7 cont'd. — I pick. blue-green. 3 " blue-green. I ti red. 13 " straw. I ti blue-green. 2 " blue-green. 3 n straw. 3 " straw. I a blue-green. I " blue-green. 3 (i straw. 3 " straw. I ti blue-green. 2 " blue-green. I red. 8 " straw. I « blue-green. I « straw. —4 picks, straw. 2 « blue-green. I " blue-green. 4 straw. 3 " red. I " blue-green. Strip 8.— I pick. blue-green. 8 " straw. 1 1 (f straw. 2 " blue-green. I t( blue-green. I " straw. 3 t( straw. 156 8 cont'd. — I pick, blue-green. 2 " red. 2 " blue-green, I " red. 1 " blue-green. 2 " straw. 3 " blue-green. 2 " straw. I " blue-green. 1 " red. 2 " blue-green. 2 " red. I " blue-green. 3 " straw. Strip 9. Strip lo.- -4 picks, Straw. I <( blue-green. 3 (< straw. I blue-green. 6 straw. I blue-green. I red. I maroon. 4 red. I i( blue-green. 7 straw. I blue-green. 4 red. I maroon. I red. I a blue-green. 2 straw. -3 picks, straw. I it blue-green. I if red. I u blue-green. I red. I n blue-green. I red. I blue-green. 5 straw. I blue-green. 2 red. I it maroon. 1 It red. I i( maroon. I it red. 3 it blue-green. 10 cont'd. — 3 picks, straw. 3 " blue-green. I " red. I " maroon. I " red. 1 " maroon. 2 " red. 1 " blue-green. 2 " straw. -4 picks. straw. I blue-green. I a red. I it blue-green. I tt red. I it blue-green. 7 strav/. I blue-green. 2 it red. I it blue-green. 4 tt red. I it blue-green. I straw. I blue-green. I i i straw. I i( blue-green. 4 a red. I H blue-green. 2 it red. I blue-green. 3 it straw. ■4 picks, straw. I " blue-green. I " maroon. I " red. I " maroon. I " blue-green. 6 " straw. 2 " blue-green. I " red. I " maroon. 2 " red. 4 " blue-green. :) straw. 4 " blue- green. 2 red. 1 " maroon. I " red. 157 12 cont'd. — 2 picks, blue-grcen. Strip 1 3. 16 cont'd. 2 " 0 L 1 d W . -5 picks straw. 3 " blue-green. 6 " straw. I " blue-green. 5 " red. I " blue-green. 3 " straw. I " blue-green. 1 " 0 LI d \V , I blue-green. 3 " straw. I " blue-green. 5 " red. I " blue-green. I " straw. Strip 14. — 14 picks, straw. blue-green, red. blue-green. straw. blue-green. straw. blue-green. red. blue-green, straw. Strip 15. — 6 picks, straw. I blue-green. 1 1 n straw. I II blue-green. I II red. I II blue- green. 2 II straw. 3 blue-green. I IC maroon. 3 11 blue-green. 2 II straw. I II blue-green. I II red. I II blue-green. 5 II straw. Strip 16. — 5 picks, straw. I " blue-green. I " red. Stri P 17- . — I pick. blue-green. 6 straw. II blue-green. I II straw. 4 It blue-green. I 11 straw. 2 It blue-green. I II red. I it blue-green. I 11 red. 2 II blue-green. I II straw. 4 II blue-green. I II straw. 2 J It blue-green. I straw. — 2 picks, blue-green. 2 (( straw. ti blue-green. ii red. maroon. ( 1 red. It blue-green. Strip 18.— straw. " blue-green. " red. " blue-green. " straw. " blue-green. " red. " blue-green. " red. " blue-green. " red. " blue-green. straw. " blue-green. " red. " blue-green. pick, red. " blue-green. " straw. " blue-green. red. " maroon. " red. " blue-green. 158 1 8 cont d. — I pick, straw. l8 cont'd. — i pick, maroon. I blue-cfreen. I red 3 red. I blue-green. I maroon. I (< maroon. I n blue-green. I (( blue-green. 2 a straw. 2 (< straw. 1 ti blue-green. I tt blue-green. 2 straw. 2 tt straw. I ti blue-green. I tt blue-green. I i( maroon. I tt maroon. I it blue-green. 2 (t red. I red. Pick ig will equal pick 17. which equals pick i. Pick 20 will equal pick 16, and so on until pick 35 is reached, Suppose we have 20 picks to 1 inch in the chenille, the repeat of the figure (40 picks) will be 2 inches, or 22 repeats in a curtain 44 inches wide. According to the width of the loom on which we have to produce the chenille filling and the size of the chenille to be made we find the number of duplicate strips produced the same time. Suppose we have a loom weaving one yard wide in reed, and want a chenille of inch diameter (on loom). We ascertain the number of strips of each kind of color-arrange- ment produced at once, as follows : 36X4=144 strips chenille of the same color-arrange- ment, produced at the same time. This equals 72 duplicate strips for 72 pairs of curtains. If this border should have to be used twice in each cur- tain (4 strips in the complete pair) we must calculate for 36 pairs of curtains, etc. Another arrangement for weaving chenille (lower grade) is illustrated and explained in the chapter on cross weaving. Two methods of separating or cutting the web into the required strips, are in use. That which separates it automatically in the loom during the process of weaving, and that, the most generally used, which separates the web after it leaves the loom by means of the Fig. 769. — Design for Chenille Curtain. (Border. ) Chenille Cutting Machine. For illustration of this subject the machine, patented by William Mcllwain, has been selected. Fig. 770 is a top or plan view of it. Fig. 771 is a vertical section in line xx, Fig. 770. (Similar letters of reference indicate corresponding parts in both figures.) A represents the frame of the machine, on which are mounted rollers BCD, which feed the chenille fabric into the machine, the rollers B D receiving motion in the same direction. G represents a transversely-extending comb, which is secured to the frame of the machine at the end thereof opposite to the roller B, and H represents a rotary cutter, whose shaft, mounted 159 on the frame A, receives motion from the pulley a. The cutter H is formed of a series of circular blades fitted between teeth of the comb G, and washers alternating with the blades, the washers serving to adjust the distance between the blades, and in connection with a nut and collar to clamp the blades in position. The comb is vertically adjustable and has above it a pressure bar, G", properly secured to the frame A, or a projection thereof, the object being to force the fabric against the comb and hold it firmly and flat during the cutting operation. (Pressure-bar G" is Fig. 770. removed in Fig. 770.) Mounted on the frame, or the attachments thereof, on opposite sides of the cutter, are tension-regulating rollers / K. Secured to the frame, and at the rear end, are trans- versely extending beams d e, around which the fabric to be cut is passed from the roller D to the rollers J. L represents a roller at the top of the frame A, and M represents a roller on which the cut chenille is wound. Roller M rests on the rollers B D, and has its frictional contact with the Fig. 771. roller adjusted by means of weighted levers P, which are pivoted to the frame A, and carry rollers Q, which are in contact with the peripheries of the heads of roller M. Supported on the base of the machine, or on the floor of the apartment, is a fan or blower, R, the pipe S whereof leads upwardly and transversely, and opens just in advance of the cutter //, so as to direct a current of air over the fabric and remove fine particles of the same and dust there- from. The chenille fabric to be cut into strips is passed under the roller B over the roller C, 160 under the roller D, under the beam d, under and around the beam e, under and over the several rollers and then between the comb G and bearing-plate G", where the cutter H acts on the fabric, thus severing it into chenille strips, the chenille strips then passing over and under the rollers isTand over the roller L to the roller M, on which they are wound. The roller J/ is then removed, and the several lengths of chenille thereon are re-wound or re-rolled on other rollers or spools, and subjected to further operations. CHENILLE AS PRODUCED IN THE MANUFACTURE OF FRINGES, In fringes and similar upholstery fabrics the chenille is produced through the warp, the filling taking the place of the inside binders. For a practical explanation of this point we refer Fig. 772. to Fig. 772. In this illustration we represent under A the heading, under B the worsted, wool cotton or silk warp for producing the chenille. C, C, C", C" , etc., represent the fine cotton binders interweaving in the heading and chenille part of the fabric (forming the centre of the chenille after cutting). The arrows at the right hand indicate the places where the chenille has to be cut towards the heading as indicated by the dotted line between (Tand C. A □■■amn ■1 ' m a B ■ B B f- ■ i i ■ B B H B B CB B B ■ B B DB ■ 1 ■ H B B B 1 ' • B B B B ■ ■ e B B ■ ■ B B ■□!- i H B B B ■ B B ■□CI B B B ■ B B □■C H ■ ■ : ■ ■□y B . _B ■ ■ 39 B □BCiJ _,B jB^ _j B B . C c ac ac a c ac bob C B ^□i^DKioiaDianKnisiDiaDKCKnBQ JO " " " " " " jQ c: -c ndC 01 jDCjuQQPUCQQQ 3aHnBniH)nB'„„. ^rr;^fT-r-,fT-^,,7„-pp^n|^r-T;inHnKnra""«nRrHnaD Fig. 773. Fig. 773 represents the weave for a chenille fringe. A is the heading of the fabric and B the chenille part. The width of heading in fabric to be inch ; the width of chenille fringe to be from I to 3 inches. Three ends of 2-ply loose twisted zephyrs to be used for one end in the 161 chenille fringe. Two ends of 2-ply 50s cotton used in ground of heading for one end. Two ends of 2-ply zephyr used for one end in figure of heading. Specimen Dressing of Heading for Present Example : 10 ends of 2-ply 50s It. blue cotton for ^ CliUo I IlCQLilCb 1. I " Gold tinsel " T pn H 2 2-ply 50s It. blue cotton " T " I " Gold tinsel " T " 6 " 2-ply 50s It. blue cotton " 2 " 2-ply It. blue zephyrs " 1 1 3 times over 4 " 2-ply 50s It. blue cotton " 2 " 2-ply It. blue zephyrs " T 6 " 2-ply It. blue cotton " I " Gold tinsel " T " 2 " 2-ply It. blue cotton " I Gold tinsel " T " 10 " 2-ply It. blue cotton " 5 " 60 ends. Dressing for Fringe. (Chenille part.) for 32 heddles. 9 ends Zephyrs. Blue shade No. i for 3 heddles. 9 12 12 9 9 12 12 12 Yellow 3 4 4 3 3 4 4 4 96 ends Zephyrs for 32 heddles. The H type in the chenille part of the weave indicates the weave for the cotton cord required to be interwoven for the filling. Hence every filling line in the design containing this type will require 2 separate picks : i pick for the heading ; », ■, and ■ up, □ and a down ; I pick for the chenille ; a up, a, ■, h and □ down. The process of weaving is clearly indicated in the drawing Fig. 774. In weave, Fig. 773, and fabric sketch, Fig. 774, the letters used for indicating the different systems of threads correspond. c stands for 2 ends of 2-ply 50s light blue cotton (heading). b stands for I end of gold tinsel (heading). a stands for 2 ends of 2-ply light blue zephyrs (heading) as used in the different arrangement of colors mentioned before. The arrows in both (weave and sketch) are also on corresponding places. Fig. 775 represents the finished fabric sample. For the filling for heading, 4 ends of 2-ply light blue worsted are used. For filling for the centre of chenille strip and interweaving in the heading, use 2-pIy 60s black cotton. 162 Weaves Fig. 776 and 777 are two additional specimen designs for chenille fringe. After the chenille fringe is woven and the heavy cord extracted, the fringe is submitted to a Steaming, which process will put the twist into it as required, for a double purpose. A for general appearance. B for strength, so as to resist a pulling out of threads in the chenille part. Lately this method of producing chenille fringe (in certain fancy effects) has been patented for weaving a double set of fabrics at the same time, thus separately weaving two fillings with two sets of heading warps, at intervals, alternately interweaving the above mentioned fillings with a set of body-warps, and interlacing a tem- porary filling with these body-warps in alternation with said heading-fill- ings, and then cutting the body of the fabric so produced between the insertions of heading-fillings and re- moving the temporary filling. In diagram Fig. 778 is illustrated such a fabric, having the temporary filling both interlaced and liberated. The body of the fabric is cut and two distinct fringes are produced, each fringe having a series of spaces, and each space of one fringe being slightly wider than the width of two pendants ; the spaces and pendants alternating in the fringe. A represents two fringes consist- ing of the heads a a and pendants bb. The spaces cc between each two pairs being slightly wider than the width of a pair. The fabric of which the fringes are formed consists of a body, B, and two heads, a a. In weaving the fringe fabric a cord d is thrown into the body at inter- vals as temporary weft, after the pre- viously explained method of forming 'single set" chenille-fringe fabrics. Two shuttles are employed for the heads a a, one for each head. The threads e from the two shuttles for the heads are separately woven with the warps a' a', employed for these heads, thus producing two heads, and threads e are alternately and at intervals shot past the heads into and across the body, and woven with the warps d' thereof, so as to bind the portions of the body, which afterward constitute the axes or cores of the pendants of the fringe, it being noticed that the two 163 woven heads are alternately connected with the body by such threads e as are shot into the body at intervals. The cord d is woven only with the warps d of the body, and is introduced therein alternately with the filling e, as shown. When the fabric is finished, the body is cut through between the cords d, midway between the fillings e, as usual in making chenille fringe, thus Fig. 775. .severing the pendants, and the temporary filling is removed. It will be seen that by so doing said pendants are separated into two series, one series being connected with one head and the other series with the other head, and the pendants of one series having left among them spaces corresponding with the pendants of the other series. These spaces may be equal A B enoriHH n an a' an H HBP W- Rin ps H a Bp H □BO Has ■ ■ ■ 1 ■ ' B S3 B B 1 ■ □ 33 n : i li si" ■ : . •J C9 ;s B B B S IK, ■ ■ ■ ■ a " j » . B 'B B _,:■}_ 'B B B -aQDaoaaaDaDDDDDDaLjD a B B H;- 3GH ■ □sir HD mm : SI'- HE n-. 3Ba s g 1 ■ ■ ■ ■ ■ m . B ^B B a ■ ■ ■ ■ ■ ■ B B B 3m 3 ■ ■ ■ ' B B B ":aDca B B B □ S B a □ 33 pi : ! 1 ■ ■ ■ ■ S B B B C:r: : n H i ' ■ a ■ ■-• B B 'U S B c:^j J-, .a \ a*, . B B B ■□■LJ dD ■ □□DBQ J , ,• HO . £ jS HQ Fig. 776. to one, two, or more pendants, according as the set of threads e are thrown across the body from the two heads. Another method of weaving a double set of chenille fringes at once, and with their pendants attached, is illustrated in Figs. 779 and 780. This method of operation (patented by S. Steinecke) consists in interweaving two separate sets of heading-warps and one series of ordinary body- 164 warps with a single filling or series of picks, and also a series of temporary picks of another heavier size filling, which is removed in like manner to that of the temporary filling inserted in fabrics previously illustrated. Fig. 779 represents a plan of the construction of the fabric, showing the pendants in pairs on the opposite headings, some of the fabric being cut so as to form the pendants (as they appear when finished) in pairs on the lower part of the diagram. A ■rn i m ■ m ■m B B ), = 4 picks in repeat. Fig. 788 represents the drawing-in draft arranged, 4-harness in first set for ground warp and 2-harness in the second set for pile warp. Harness: a, b, c and d for ground; harness: e and f for pile. Fig. 789. Fig. 790. Fig. 789 illustrates the method of operation on the loom. Every letter or number used in this diagram corresponds with those used in Figs. 787 and 788. and thus will readily explain itself 168 Fig. 790 represents a reproduction in perspective of the fabric as produced with weave Fig. 787. Letters used in this drawing also correspond with those used in Figs. 787, 788 and 789. In drawing Fig. 789, representing the method of operation for forming pile fabrics, only one wire is shown interwoven. The same will illustrate a principle most frequently observed, i. e., to| have the pile warp in the lower shed, both in the pick preceding the wire as well as the one following. This method has a strong tendency to drive the wires into position as well as to keep them there. In some fabrics this method is changed with respect to the pick preceding the wire, but in whatever warp pile fabric to be constructed by means of wires, the pick following the insertion of the wire must have all pile warp-threads, raised as before over the wire, down. We will now give a short sketch of the method of operation on the hand loom when weaving warp pile fabrics, thus illustrating also a like principle for weaving the same fabrics on the power loom. After the weaver has interlaced the required number of ground picks between the threads of the combined warps, a shed is formed either by raising the entire pile warp-threads in the upper part of the shed and forming the lower part of the shed by means of the ground warp, or by raising only a part of the pile warp in this pick, forming the lower part of the shed by the entire ground warp and also the remaining part of the pile warp. This shed remains formed until the wire has been passed through, extending on each end several inches wider than the selvage threads. Towards this wire so inserted the reed is brought with considerable force, and pushes the wire close towards the previously interwoven ground picks. The shape of these wires is of such a form that, by arranging the latter so that the reed when pressing towards the interlaced part of the fabric comes in contact with the grooved edge, the wire is caused to stand on its lower edge. In this upright position it is maintained by pressing the reed towards the wire until a new shed (ground pick) is formed, in which the filling for the ground cloth is inserted by means of a common shuttle as is done in the ground pick preceding the insertion of the " wire." By this method of fastening the pile warp over its respective wire to the ground cloth, the latter is also securely fastened to it, and, if an uncut pile effect is desired, requires some effort to liberate it. After inserting the required number of ground picks the process of inserting the wires is repeated, several wires always being retained in the fabric to keep the pile-threads from pulling out of the texture, which would destroy the face. From 6 to 12 wires, according to the material and the method of interlacing the ground cloth, as also the closeness or "height" of texture, are required to remain in the fabric to prevent any possible trouble, as pomted out. The last wire liberated is always the next to be inserted. We will now proceed to explain and illustrate a few of the most prominent warp pile fabrics. Velvet and Plush Fabrics. These fabrics are constructed with two kinds of warps. The ground-warp consists either of silk or cotton, and interlaces with the filling on plain □■, rib Sg, *g, basket 55^3, or a 3, 4, 5, 6 harness twill ; whereas the pile-warp being of silk, forms the face, through interlacing with the ground-cloth after, or before and after, raising for the wire. The ground-warp is woven with a tight tension, while the pile-warp is arranged to " take up " easily. The name of the fabric indicates the " cut " character for the pile. As previously mentioned, two beams are necessary, the beam for carrying the ground-warp, and the beam for carrying the pile-warp. The pile-beam must be situated in a higher position (in the rear of the loom) than the beam carrying the ground-warp, so that the pile-threads will run in an oblique di- rection towards the harness. The proportion of pile and ground-warp as well as the height of te«tu«-e, and threads per dent, vary for the different qualities. Arrangements most frequently used are: 2 ends ground to alternate with i end pile, or, 2 ends ground to alternate with 2 ends pile. 169 Or, 2 ends ground, i end pile, i end ground, i end pile, = 5 ends in repeat. Or, i ground, I pile, I ground, 2 pile, = 5 ends in repeat. Or, i ground, 2 pile, 2 ground, 2 pile, = 7 ends in repeat. Or, 2 ground, i pile, 2 ground, 2 pile = 7 ends in repeat, etc., etc. The ground-warp and pile-warp are each put on a separate set of harness, generally using 4 successive harnesses for drawing in the ground-warp, and 2 harnesses for the pile-warp. For example : '.'^Fig. .represents a common vel- vet weave in which 2 ground warp- threads alternate with i end pile-warp. Filling: 3 picks, ground {A. B. C.) to alternate with i wire {D). Fig. 792 illustrates the drawing-in draft with two sets of harness. Harness a, b, c, d for the ground-warp (4), harness c and f for the pile warp (2). Technically the velvet fabrics are Fig. 791. 792. Fig. 'i j £ 1 ■ , ) picks velvet," etc., which means that in the two-picks velvet we use two ground-picks between each insertion of the wire, and in the three-picks velvet three successive ground picks, and so on. In Fig. 793 we illustrate one of the plainest of the velvet weaves and representing what is technically classified as " the common two-picks velvet " weave. Fig. 793. F'S- 794 represents the sectional cut of this weave. An examination of this weave will illustrate the following arrangement for each pick : • Pick I raises ground warp-thread i and the pile. " 2 " only the pile (wire). " 3 " " ground warp-thread 2. Repeat : 3 warp-threads and 3 picks. Warp : 2 ground-threads to alternate with one pile-thread (this pile can also be a two-fold or a three-fold thread). Filling: 2 ground-picks to alternate with one pick for inserting wire. orcrron 6r .DBC 'CU ^□□■□CB Fig. 795. In Fig- interlacing of 795 we illustrate a the eround cloth Fig. 796. velvet weave frequently used, which has for the the common rib-weave (2 harness and 4 picks n»/' In this weave we find the ground-picks preceding the pick for inserting the wire, as well as the ground-pick following the latter, call for the raising of the same ground warp-threads (two picks in a shed in the common rib-weave). 170 Fig. 796 illustrates the section of a fabric interlaced on weave Fig. 795. An examination of each pick will show the following results : Pick I raises ground warp-thread number i and the pile. 2 " only the pile (for inserting the wire). 3 " only ground warp-thread number i. 4 " ground warp-thread number 2 and the pile. 5 " only the pile (for inserting the wire). 6 " only the ground warp-thread number 2. Repeat : 3 warp-threads and 6 picks. Warp: 2 ground-threads to alternate with i pile-thread (which can also be a two-fold or three-fold thread). Filling: 2 ground-picks to alternate with one pick for inserting wire. IHUGHGO 1 t i Fig. 797. Fig. 798. In Fig. 797 we illustrate the common " 3-picks velvet" weave, which has for its interlacing of the ground-cloth the common plain weave. Repeat : 3 warp-threads and 8 picks. Warp : 2 ground-threads to alternate with i pile-thread (which can also be a two-fold or three-fold thread). Filling: 3 ground-picks to alternate with one pick for inserting the wire. An examination of each successive pick will show the following results : Pick I raises ground warp-thread No. i. (Ground-pick I.) pile-warp for inserting wire, ground warp-thread No. 2. (Ground-pick 2.) ground warp-thread No. I and pile-warp. (Ground-pick 3.) ground warp-thread No. 2. (Ground-pick 4.) pile-warp for inserting wire, ground warp-thread No. i. (Ground-pick 5.) ground warp-thread No. 2 and pile-warp. (Ground-pick 6.) The section cut of this weave, which is represented in diagram Fig. 798, readily explains the advantages of this weave over the preceding ones, in that it more securely fastens the pile to the ground-cloth, every pile warp-thread being interlaced by - — ^- — j before it is raised for inserting the wire. Therefore fabrics produced with this weave will be more durable than fabrics interlaced as shown in sections 794 and 796; of course, by using the texture and size of yarn alike in all three examples, the fabric as produced with weave Fig. 797 will be less dense, in appearance of the face, than the others. BDDaGiJ □□■JGB-D BnOHJJ saonaGQ _ SDUBJOB-D IHG jaG_i Fig. 799- SecUormt cat '^^^^ warp __ Fig. 800. In weave Fig. 799 we represent another " 3-pick velvet" weave. Diagram Fig. 800 repre- sents the section of a fabric interlaced with weave Fig. 799. Letters for indicating the different threads in weave and section are used correspondingly. Two loops formed by the insertion of the wires are shown as cut, whereas one is represented as uncut. 171 An examination of the weave will show the followincr results • Repeat : 3 warp-threads and 4 picks. Arrangement of Warp : 2 ends ground to alternate with i end pile. Filling: 3 picks ground to alternate with i pick forming the shed for inserting the wire. Picks marked I, 3, 4, are ground picks. Pick 2 {— D) is the pick for inserting the wire. If using a twill weave for interlacing the ground-cloth in a velvet fabric, we generally use not less than 3 successive ground picks to alternate with one pick for the wire. Less ground picks would result in a texture not sufficiently strong to resist the pulling out of the pile by the wear the fabric is put to. Fig. 801. Fig. 802. Fic;. 803. In Fig. 801 we illustrate the design for a pile fabric having the ^ 6-harness twill for weave of the ground structure. Repeat : 9 warp-threads and 8 picks. Arrangement of ivarp : 2 ground threads, i pile thread = 3 threads repeat. Filling : 3 ground picks to alternate with i pile pick. The method of interlacing the pile warp to the ground cloth is, in the present example, equal to the one illustrated in P^ig. 800. In place of one pile thread we can also use a two-fold or three-fold thread. In the manufacture of velvets and plushes, in which no dense pile is required on the face, as also in fabrics in which the material used is rough or too close set, and so liable to " choke " between the raising and lowering of the entire pile warp or vice versa the entire ground warp, we raise on every successive pile pick only each alternate pile warp-thread. The proportion of pile warp and ground warp in these fabrics is generally equal; one ground warp-thread to alternate with one thread of pile warp. In this manner design Fig. 802 is executed. Repeat: 4 warp-threads and 6 picks (4 ground picks, 2 picks for wires). Filling: 2 picks ground to alternate with i pick for inserting the wire. Diagram Fig. 803 represents a sectional view of the method of interlacing both pile warp- threads in the ground cloth in weave Fig. 8o2. One pile warp-thread, indicated as A, is shown shaded and situated behind pile-thread B, which is shown in clear outlines. 5 represents the section of a wire as used in hand looms, but which will also demonstrate the section of a wire as used in power looms. C represents the section of the knife in the trevette. The first loop is shown as cut, whereas the other three are represented as uncut. FIGURED VELVET. In these pile fabrics more figuring is possible than in any other kind of textile fabrics. One of the first requisites for figuring these fabrics is the use of different colors for forming designs. Then, again, we can figure successfully by using uncut pile with the regular cut pile, as also by using the common weaving to form figures with the pile weaving. We can also produce new additional designs by means of high and low pile. All these latter methods for forming addi- tional figures will result in the necessity of using a great many beams, and in some fancy figures 172 C E s GC C E O GB CB 1 J B71 G BBG BBII "bd 3 ' as ' bbjcl, aa '.cjaa 1 BBBa bbbb^c aaaa 1 v r^iBaaa : 1 BBfflSBB " BBBBBa ' BBaaaB :_jBBaBaa fflBBBBaCGBBBBBB " BBBSBBC: iBBBBaa .J 'BaaBBBG . BBBHaBG _i CBBBaGG GIj JUCBB_;U JG: JjHSOGG :3 BB B G.. B cc GB c: E ,^a_ ^_B ''a "a a I c^a _^a _^a __a ^_a _^a. __a ^^a □Ca' 'B" a" a" a" a"" a" a"' GIB B n " r. cc., ^-_B^^ B^_ a_ a^^ c""' " a" a" e" a' a" a" I'GB " n -c'l'" a a a a "^^ '•BC_B__B_. . a.. B C -□□□UGaCDuCDBaCBGUDGGGDL,G_ J ^3 "l 3 Bl B 3 3 m3 3 J B a "bg a B' . ; B ..□_,GBGa jBjCDDGDCICO-. Fig. 804. Combination of figured pile-effects and figure-effects, produced upon two systems of warp and one system of filling. Arrangement of dressing : A, I end pile, \ . , , C 12 times = 24 ends. I end ground, ) B, I end figure, I times = 36 ends. I end ground, j Repeat 60 ends. I 173 Lowest number of harness possible for drawing in, is 24-harness. Filling: i wire (pile), 2 ground. Fig. 8o4<5. Motive for weave 804. B pile effect. ■ effect produced on ordinary weaving with extra warp. In both designs (the motive and the weave) three repeats of the pile part and two repeats of the part figured by extra warp (ordinary woven) are illustrated. Fig. 805. Repeat: 60 warp-threads, 24 picks. Can be reduced, if required, to 21 or 23-harness. Fig. 805^^. Motive for preceding weave. A B ins .a s •a a .a a a a 'm a i^.a a .a a s a a a a a ,a a ►J a ►J . ^ . J a >j a L , . ■ y. a a a a a a a a a a a L a a a a a a •;• a a 'a a ;B E. . □fflna a a a a a a a ■:• a •:• :■ ljB a a a []Lmj , ■■: □BUB .a 'B □□BQ' 1 : .jfflaB_ja a Kama □[jscij :■: □s 'a a L □a a a a a a, s a a a a a .a s,a a a .a s a a " □□□□□□□□□□□□□□□□D ■■■□□KiDOBnanBaaa JDUDGUDQCDDDaDDQU . IC □■□□□■□□□■□□□■□C ■ iflsaaaBaDDHDDaiinnDBi □□□□□□□□□□□GDDDCr ' ^□□□■□□□■□□□■□□□Pi ":cani:?D;:iDnc!DDDrjDnr' 1 i j; 1 ■ ' ■ ■ ■ ■ ■ 1 1 ■ j • ] ) ■ ■ ■ ■ ■ ■ ■ J 1 ) ■ ■ ■ ■ ■ J 1 1 ■ ■ ■ ■ ■ ■ ■ ) ■ ■ ■ ■ ■ ■ ■ ■ 1 1 ■ ) ■ ■ ■ ■ ■■3 ■ ■ ■ ) ■ ■ ■ ■ ■ ■ ■ ] ■ ■ ■ J ■ ■ ■ J J ■ ■ ■ ■ ■ ■ ■ '3 ■ ■ ■ : ■ ■ ■ ■ n ] □LBM ■ C ■ ■ □■H jddbqdl: ■□ 1 (i represents pile, 2 ground, filling.) Fig. 805. A. Pile Effect. Dressing: i end pile, i end ground, 12 times, = 24 ends. B. Figure Effect. Produced upon 2 systems of warp, i system of filling. Dressing : i end figure, i end ground, 18 times, = 36 ends. A EBBBHBBBBESBJ _ ■■■ ■■■■■ ■■■■■■ BBBEEfflBBEBBB BHaaaaaa aaaa ~aaB aaai aaai aaei ■■□□□□□□c ■■■■■□□u ■■■■■■a iffiBaaaaiiaaaaa 1 Fig. 805*5 ■■'_jU IJOD ODD In both designs (the motive and the weave) only one repeat is shown, a for pile-warp. ■ for figure-warp, ca for ground-warp in pile part of weave. ■ for ground-warp in ordinary weaving part of the design. ASTRAKHANS. These fabrics are also formed by adding an extra pile-warp to a single cloth, otherwise interlaced in plain, basket, rib, or common twill weaves, and are the nearest related (some weaves being exactly the same) to the velvet weaves given in the preceding chapter. We may either cut this pile (plush) or leave the pile uncut (terry) ; or we may use both methods in the same fabric, producing in this way some of the most beautiful novelties for ladies' cloaking — trimmings, and similar fashionable articles. Texture of Astrakhan Fabrics. The texture of these fabrics requires 2 kinds of warp : a. ground-warp, pile-warp, and one kind of filling (ground). The ground-warp will, by interlacing with the filling, form the 174 ground or body of the structure, while the pile-warp through being interlaced to this ground structure and raised at certain intervals over wires (as required by the design), forms the face of the fabric. Ornainentation of Astrakhan Fabrics. Fancy effects upon otherwise plain interlaced Astrakhan fabrics can be produced by various combinations. Among these are found ; The use of different colors in the pile-warp ; varying ,) , g.tl J{ ^: 2 ends ground-warp, i end pile- warp, 2 ends ground-warp, i end pile-warp (to alternate with the first end pile-warp in weaving). Fig. 811. Each pile warp-thread is drawn on a separate harness, as shown in Fig. 810. Diagram Fig. 811 illustrates the method of operation in weaving a fabric with the weave just given. 2 picks ground B, C, E, F\ i pick for inserting \\\x&.A, D. In pick A the harness / raises warp- thread 3 ; in pick D the harness e raises warp-thread 6. The interlacing of the body-cloth is done with the common 4-harness basket-weave having the two warp-threads between the pile warp-threads working the same ; also the pick before and the pick after the inserting of the wire. Fig. 812 illustrates a weave for Astrakhans similar to the one above. The same arrangement for texture, 2 ends ground i pile, 2 picks ground I wire, and 4 harness common-rib (filling effect) "-'[-F Fig. 8x2. for the ground structure is used ; but the latter weave is arranged to have the two ground warp- threads, situated in the fabric near each other, work opposite ; thus the ground warp-threads working nearest on each side of a pile-thread raise and lower equally. In diagram Fig. 813, a section cut of the two pile-threads, as they interlace in a fabric, is shown. One pile-thread marked A is represented in outline (forming loops 5 and F), while the other pile-thread is shown in full black (forming loops S' and F'). The letters and numbers indicating the differ- ent warp-threads, picks, and openings of a shed for inserting wires, respectively correspond in weave Fig. 812 and diagram of section Fig. 813. Fig. 813. 176 Weave Fig. 814 has the following arrangement of texture and principles of construction: Warp : 4 ends ground-warp, i end pile-warp, twice over in one repeat of the weave. Filling: 4 picks for ground, I pick for inserting the wire, twice over in one repeat of the weave. Ground-weave: plain. Raising of pile-warp: alternate ends on alternate wires. A and B are pile warp-threads, C and D the shed for inserting the wires. D n ,P 1 a 1 ,1 G a J 1 i 1 _ 1 JU' J □□□□ □□□□ 1 1 ■ ■ a I a I □□□□□ JDODO 1 H ( 1:]" ' 1 ■n Q I r P maa n E 1 J i G \', a H-ES ,1 □ AAAAABBBBB Fig. 815. Weave Fig. 815 has the following arrangement of texture and principles of construction : 2 threads ground-warp, i thread pile-warp, 10 times over in repeat of weave. Filling'. 4 picks for ground, i pick for inserting wire ("cut"), 3 times over; 4 picks for ground, i pick for inserting wire (" uncut"), 3 times over; hence 30 threads warp and 30 picks in one complete repeat. Weave for body of fabric : plain. BSB on right-hand side of weave for wires " cut." Gna on right-hand side of weave for wires " uncut." I I I I K K K K L L L L rv/ I I I 1 I I I I I I I I /■^ -| ffl EB"^ "a Q ^\ a ffl ^ ^ ^ „^ ^ ',j >7 '^laBBB^a Q I ..1 ... : . „ ! .,1^ ... ^ " „ 'm^'^%wm~H' Q G ■ ^y. _y. ■ y. ' y. ^y y y y j ja [ a >i< •:• \\ >;< e< " " sa P'- iG iG iG :: G G G g r ■ ■ ■ ■ ]'□□□□■ ^dBHBG ^, /'''-BGGGGGGG22ga_ ' JQ GM G . G [: G : :) G g v. g i JD ( ' a ■ ■ ■ ' I . 'JjH' B' 1 G ■ Hi ' G : G G' ■ V.' . G G G G . G .; ..JUUL ■■iGDDDaa M- C-ggggggg:: i tj I 11.-. r> ! agaH— 77 „ I ' IG . :G , G G • .G :G iG_ G G G G ■ iGDDDaa n/l ^ » ffl a n< a o s •:• a a a laoaasH - ~ " □□□□□□ ■ ^'-GGGGGGGGGGGG f-, ■■■■ -D c: ■ G G g g g g ^ G . JDDjna 7,, o ! ■ ■ ■ ■ Z7' y\G. 817. t: ■ _y ■ y. y y. y y _G y y _y _c; ^.oppqa ' ■, " -:• " a " " 'Sa P , " 'g " B " ■ " " " M-D U ' G • G G G G G G G 'Gi i. G : .Gi . } J- jujDa L. 'G G [; G . g g g ; jancBBijuBHUGBHGaDaa // A A A B B B B C C C C Fig. 816. Fig. 816 illustrates another fancy weave for Astrakhans, containing the "terry" and "velvet" principles. The arrangement for the warp is : 2 ends ground, i end pile-warp (for terry); i end pile-warp (for velvet), 12 times over. The warp-threads marked on bottom of the design A, B, C, are for the velvet, and the warp-threads marked /, K, L, (indicated on top of the design), are for the terry. Picks D, D' , E, E', H, H', are to be the " cut " effect, and picks M, P, N, P', 0, P", 177 the "uncut" effect. The weave for the body of the fabric is the common 2-harness rib-weave (two picks in a shed of common plain). In diagram Fig. 817, the motive for the pile-warp is clearly illustrated (representing the 3- harness twill ^ ^, velvet effect upon a terr>' ground for motive). It will be easily seen by any one that an endless variety of weaves and effects may be secured by combining cut with imcut Fig. 818. pile. And whatever designs may be required, the principles given and illustrated in the preceding examples, will always apply, as they remain unchanged. In the method of weaving Astrakhan fabrics, as thus far explained, the raising of the pile has been effected with the use of wires, over which the loops of the pile were formed, and which were inserted and withdrawn at intervals. These wires being constructed in a single piece, the Fig. 819. width of the fabric which can be made on them is necessarily limited, as a very long wire cannot be withdrawn and inserted with precision automatically by the loom. Also, the means for operating such wires are of a character to prevent rapid weaving; hence it requires a special loom of complicated construction. In fabrics of a " cut " pile character and in fabrics in which the warp pile is not cut but inter- woven very loosely, this process of interlacing and its loom (power or hand) must be used ; while 178 in " terry " pile Astrakhans, which have their pile warp rather solidly interlaced with the body- structure, a device has lately been invented by T. Harrison, which he claims can be applied to almost any power loom, and is not limited to the width of the fabric which it can produce, and which can be arranged so as to form the pile at any desired interval upon the surface of the body fabric. It consists of a movable frame carr\'ing a series of short " wires " upon which the u ; a i 1: - . A \ i \ '; _ y 1 j L Fig. 820. pile loops can be formed, each wire being pivoted at right angles to the plane of its longitudinal movement and provided with means for depressing its free end at proper intervals, so as to engage beneath the warps which are to form the pile. In Fig. 818 an exterior side-view of a loom embodying the arrangement is given. In this, as well as in the following drawings, referring to the present subject, those parts are omitted Fig. 821. which are well understood in their action and whose insertion in the drawings would only tend to confuse the mind, and render a comprehension of the special parts to which the present arrangement relates, less clear. Fig. 819 is a view in detail of a portion of the sectional wire which forms the basis of the arrangement, showing various parts connected with the portion of the sectional wire, as also a number of warp and filling-threads. 179 Fig. 820 is a front elevation of the loom with its attachment for raising the pile-warp. In this drawing the working parts are shown in one extreme position, while in Fig. 821 (corres- ponding to Fig. 820) they are shown in the other extreme. In diagrams I to X in Fig. 822 are represented the positions which the threads assume at each stage of the formation of the fabric. Two pile-warps may be used, which are indicated respectively by i and 2. The body-warps 3 and 4 of the fabric are brought from a separate beam. To form a row of loops with the pile- warp I, the operation commences, as shown in Diagram I of Fig. 822 — that is to say, the points of the wires a are all depressed, and the frame is at the extreme right-hand position shown in 1 Fig. 822. Fig. 821. Each wire a thereupon enters beneath a number of warp-threads and raises them slightly above the plane of the fabric. A shuttle is then shot through, after which the body- warp 4 rises and the pile-warp i descends, as shown in Diagram II of Fig. 822. The pile- warp 2 rises and a pick of the shuttle follows, and the action of the reed throws the filling-thread toward the wire a, so as to close the row of pile-loops thereon, as indicated in Diagram III of Fig. 822. The weaving then continues, as indicated from IV to VII inclusive, in Fig. 822, by means of both pile-warps and both body-warps, the shuttle operating in the ordinary manner. During all this period the taking up of the cloth has drawn over the bottom of the pile-loop somewhat to the left in the diagrams, and as soon as a sufficient number of picks have been made to securely lock the pile-loops the frame and the wires a are thrown to the right of Fig. 180 826, or toward the observ^er from the point of view in the diagrams. This disengages the wires from the loops which they have heretofore supported, and leaves them as shown in diagram VIII in Fig. 822. So long as the wires have been surrounded bj^ the loops and have rested upon the body of the fabric they have been maintained in a horizontal position ; but upon their being withdrawn from the loops and upon the rise of the frame bodily, this support ceases and the ends of the wires a dip downward by the tension of the spring. Ihis position immediately follows upon their withdrawal, and occurs when the frame is at the extreme right-hand position (shown in Fig. 821), or, in other words, is ready to engage with a fresh set of pile-warps. Returning now to the Diagram IX, Fig. 820, it will be seen that both the pile-warps are up; but in the Diagram X, Fig. 820, the pile-warp 1 (which has just formed the first series of loops) is down, and with it the body-warps 3 and 4 have descended, leaving only the pile-warp 2 up and ready to be engaged by the wires a, whereupon a repetition of the ten positions indicated will occur with the pile-warp 2, and so on throughout the weaving operation, the rows of pile-loops alternating from the warps i and 2. In the method illustrated in the diagrams six picks of filling are represented between the rows of pile-loops ; but this number can be varied by varying the frequency of movements of the frame and wires relatively to the picks of the shuttle, and in many cases a much less num- ber of picks will be found sufficient to lock the pile-loops, so as to prevent them from pulhng out. The invention claims further that the frame and its sectional wires can be ajjplied to almost any well-known form of loom without interfering with the general arrangement thereof, and by merely increasing the number of wires a the fabric may be produced of as great width as the loom is capable of weaving. In the drawings the number of wires has been arbitrarily reduced and their individual proportions exaggerated, in order to more clearly show their construction; but in practice for making Astrakhans good results are obtained with wires one-eighth of an inch gauge, each about four inches long. Wires of any gauge may, however, be used, according to the fineness of pile which it is desired to produce, the only limit being in the stiffness of the wire, which of course may be relatively increased by diminishing the length of the individual sections. Machines for Curling Warp-threads for Astrakhans. In the manufacture of "Astrakhans" (and similar fabrics) it is necessary to impart a perma- nent curl or twist to the warp threads which are to form the face of the fabric. The yarn is crimped, the length of the crimp being regulated by the amount of waviness it is desired to give- The crimping is set in the yarn by a steaming process; the yarn is then made into a warp and woven over wires and cut, or the wires are withdrawn without cutting, as explained in the preced- ing articles on weaving these fabrics. The moment the wire is withdrawn (cut or uncut, as required,) it falls into crimps again, and thus is produced that u av}' shagginess which characterizes the surface of these fabrics. Until lately, the method of producing these wavy yarns was a very slow one, the operation having been performed by hand. At present, however, they are produced quickly and entirely automatically by one operation of the machine. Figs. 823, 824 and 825 illustrate a machine for performing this work. The main part of the machine is a solid metal spindle, on which the thread is wound from a bobbin having a rotary motion around the spindle. As soon as the thread begins to wind on the spindle it is forced between two rolls, which are pressing against the direction of the winding of the thread on the spindle, and through their rotation draw the thread from the spindle. These rolls are heated by a gas jet and transfer their heat to the thread. Through the pres- sure and the heat the required curling of the thread is fixed. 181 Fig. 823 represents a side view of the machine. Fig. 824 represents the top view. Fig. 825 represents the mechanism for curling the thread (enlarged from Figs. 823 and 824). In Figs. 826, 827, 828, 829 and 830, we illustrate another machine (patented by T. Harrison) for preparing these pile warp-threads for Astrakhans or similar fabrics. Fig. 826 represents the front elevation of the machine. Fig. 827 a vertical central section through the coiling device. Fig. 828 illustrates a side elevation of the uncoiling device. Fig. 829 represents the top view of the latter, and Fig. 830 a view of the stop, by means of which a positive motion is imparted to the coiling mechanism. We will next give a description of the different parts of this machine as mentioned in the invention. B represents the frame of the machine, consisting of two parallel housings, with an inclined upper portion marked B^. A'^ \s the driving shaft, to which the power is imparted by a belt upon the pulley A"^. ■ Upon the driving shaft is mounted a drum, extending entirely across the interior of the machine, and Fig. 824. Fiu. 823. which is provided at intervals with grooves to receive a series of small driving cords or belts, which, after being brought into a horizontal plane by passing the inclined part of the belt over idlers, pass around a series of horizontal "whirls," which are journaled upon vertical rings II secured in a series of openings formed in the transverse platform Z^. These whirls are formed with a circumferential flange on their upper side, thus providing seats for the " fliers " G and F. The three fliers marked G are coiling devices, the three marked being the uncoiling devices. The coiling fliers each consist of the two uprights, mounted at the bottom upon a ring which fits snugly within the flange of the wheel. At the top the two uprights are connected with a central sleeve which revolves upon a vertical tubular stem, which passes downward through the axis of rotation of the flier and for some distance below, where it is secured in the transverse piece £\ extending across from side to side of the machine at the front thereof The spool upon which the warp that is to be coiled is wound in the first instance, fits snugly, but so as to revolve freely upon the outside of the before mentioned stem and rests upon a standard, through whose centre the said stem passes freely. 182 The last mentioned standard passes freely through the ring H and is supported upon a fixed platform K. The coiling flier is provided with eyes 1 L, the latter of which is situated at the top of the sleeve G*, and is at right angles to the axis of rotation. At the bottom of the coiling fliers are stop-pins A'^ (see Fig. 830) projecting into slots in the flange of the whirls. These stops make the rotation of the coiling-fliers positive. As before stated, there are in the machine shown in the drawing, Fig. 826, six of the horizon- tal whirls, three of which drive the coiling-fliers, the other three driving the uncoiling-fliers. These latter resemble the coiling-fliers in shape, having uprights connected by bottom rings, which rest loosely within the flanges of the whirls, but which (unlike the coiling-fliers) are not positively connected therewith, the weight of the flier alone being the means by which it receives F.G. 825. Fig. 826. its motion from the whirl. The uncoiling-fliers have eyes//^ at top and bottom, respectively, the latter being the eye which delivers the thread to the spool or body. They have also at the top a brake mechanism. A tubular stem extends down through the axis of rotation of each of the uncoiling-fliers, and is held in the cross-bar E'. These stems receive bearings at the top of the uncoiling-fliers. The spools or bobbins of the uncoiling-fliers fit snugly around the stems and are supported upon standards which also surround said stems, but which are mounted upon a vertically-movable cross-piece arranged to be reciprocated in a vertical direction. The spools or bobbins of the uncoiling-fliers are thus adapted to receive a rising and falling movement within the flier during the rotation of the latter, and in this respect differ from the spools of the coiling-fliers, \vhich are 183 stationary so far as vertical movement is concerned. The upper ends of the fliers extend Into openings in the shelf or platform, provided with rings, and are thus shielded during rotation. The latter shelf is hinged at the rear, so as to be thrown back when the fliers are to be removed. The brake mechanism of the uncoiling fliers is constructed as follows : Upon the top of each sleeve there is pivoted upon one side a lever, through the centre of which there is a vertical hole coinciding with the opening of the stem. This lever has at its rear end a cam-surface, which, when the lever is in a horizontal position, rests without substantial pressure against the stem. At the front end of the lever is an eye through which the thread, which is being uncoiled, passes, Fig. 827. Fig. 828. and thence rises to the eye i, mounted upon the top of the flier. So long as the portion of the thread between the eye and the axis of rotation of the fliers is substantially horizontal the lever will remain in a horizontal position ; but if that portion of the thread rises to an angle with the horizontal, then the strain upon the eye will raise the front end of the lever and bring the cam p gradually around, so as to press upon the top of the stem. The cam-surface being eccentric, as it turns in the direction of its longest axis, it will raise the flier /^bodily by bearing upon the top of the stem, and in so raising it will lift the flier clear of the whirl, so that motion will be no longer imparted to the flier. If desired, the lift may be such as to bring the upper part of the flier into frictional contact with the under side of the ring. 184 At the top of the machine is mounted upon suitable pins the spools or bobbins M, which contain the cord which is to form the core for winding the Astrakhan warp upon. These bobbins, like the coiling-fliers, are three in number, and the cord from them passes through feeding mechanism, down over pulleys mounted upon a horizontal shaft, and through the central stem of the coiling-fliers. A belt conveys motion from the driving-shaft to a pulley, and thence by gears and pinions a very slow rotary motion is imparted to the shaft, which extends entirely across the top of the machine, near the bottom of the incline. Upon this shaft are mounted friction-rollers S, three in number, over which the cord passes on its way from the spools M. Upon the cross-piece v are mounted overhanging arms which support the shaft Q, on which are mounted friction-rollers bearing down upon the rollers 6". The shaft Q is provided with a spring pressure device, con- sisting of a vertical stem having a sliding collar with a hook-shaped projection, which engages with the shaft, and a spring whose tension is adjustable by means of a thumb-nut. By means of this tension device the rollers s' can be caused to bear upon the rollers 5 with any desired degree of pressure. Therefore, although the take-up devices at the bottom pull the cord with some strain, it is fed to them by the positive motion of the rollers 6", and cannot be drawn more rapidly than the rotation of the latter will permit. A similar set of feeding-rollers, w w', the latter mounted in similar spring-bearings, are arranged to deliver the cords from the bobbins 0 to the three uncoiling-fliers upon the other side of the machine ; but the diameter of the positive feed- FiG. 829. Fig. 830. ing-roUers iv is less than that of the feeding-rollers S, and with the effect of feeding more slowly to the uncoiling-fliers than to the coiling-fliers. The take-up bobbins 0' M for the cords, which pass from the coiling-fliers and uncoiling- fliers respectively, are mounted upon horizontal rotating seats R, placed at the bottom of the machine and driven by the twist-belts passing around pulleys secured to the seats. The twist- belts are so arranged that they can slip upon their respective pulleys, in case the feed from above requires such slipping. In order to wind the cords upon the respective bobbins 0' M' evenly, a traveling guide-bar, E, is provided, which receives a slow vertical reciprocating motion. This traveling bar carries vertical rods, which rise and fall with it, these rods being guided by suitable openings in the cross-bar E. The rod serves merely as a guide-rod, but the other two rods /, carry at their tops a cross-piece, which supports the standards of the bobbins F. Thus if a vertical reciproca- tion is imparted to the traveling bar E its motion will cause the bobbin to rise and fall in the same manner. The traveling bar E is provided with openings or eyes opposite to the bobbins 0' M , which openings guide the thread during the rise and fall of the bar, so as to distribute it equally upon the 'bobbins. The operation of the machine in coiling and uncoiling the yarn is as follows : Upon the three bobbins M, at the top of the machine (see Fig. 826), are coiled cords which are to form the cores for winding the Astrakhan warp upon. These cores are carried down be- tween the feeding rollers 5 5', over three of the rollers v, and on down through the axes of the 185 three coiling-fliers ; the passage being of course through the tubular shafts. They then are brought down and passed through the three left-hand eyes of the traveling guide-bar E, and are secured to the three bobbins 0' . The Astrakhan warps which are to be coiled are wound in the first instance on the bobbins G' , and placed in position within the three coilmg-fliers. The ends of the Astrakhan thread, having been brought through the eyes / /' L, are tied fast to the three cores at a point just above the fliers G. Assuming now that the proper feeding and take-up movements occur at top and bottom of the machine, respectively, and that the fliers G are rapidly rotated, it will be seen that the Astrakhan thread is drawn off from its bobbin and coiled tightly around the core. As the coiling progresses the feeding and take-up movements cause the com- posite cords to pass down through the tubular shafts, and thence to the bobbins 0' . The travel- ing guide-bar E causes the composite cords to be evenly wound upon the bobbins 0' . When a sufficient quantity has thus been formed, the composite cord — that is to say, the core with the Astrakhan warp wound tightly around it — is removed, steamed, or otherwise treated to render its twist permanent, and is then ready for uncoiling. A portion of the core m at the end of the composite cord is left uncovered for a clearer illustration. The uncoiling operation is as follows : The uncovered end portion of the composite cord (now upon the three bobbins 0 at the top of the machine) is brought down through its feed- ing-rollers w zu' over the three right-hand rollers v, and thence down through the tubular shafts, through the three right-hand end eyes of the guide-bar E, and secured to the three bobbins Af. The uncovered portion having been fed down until the commencement of the covered portion or composite cord reaches the top of the uncoiling-fliers. Then carry a loose end of the Astrakhan warp through the eyes of the lever P up to the eye i, and then down to the eye / at the bottom of the uncoiling-flier, when it is taken across to the bobbin and there fastened. The feeding move- ment at the top and the take-up movement at the bottom being continued and the uncoiling-fliers being rapidly rotated in the proper direction, they will uncoil the warp from the composite cords and wind up the now twisted warp upon the bobbins. These bobbins have the proper rising and falling motion to distribute the warp evenly upon them. The uncoiling movement is necessarily a trifle slower than the coiling movement, hence the composite cords do not require to be fed so fast as do the cores upon the other side of the machine. This difference of speed is produced by smaller diameters of the feeding rollers w as compared with the feeding rollers 6". The uncoiling operation continues and the cores are wound up in a proper manner upon the bobbins at the bottom of the ma- chine so that they can be again transferred to the positions indicated by M and the operation re- peated. If the uncoiling tends to progress too rapidly, it is checked by the brake mechanism upon the uncoiling-fliers, which are operated by the portion n' of the warp assuming an inclined position, instead of substantially a horizontal one, between the eye and the core from which it is unwound. If the uncoiling takes place too rapidly, relatively to the downward feed of the core, the point of the uncoiling will rise higher and higher upon said cord, and will thus produce that inclination of the warp necessary to operate the brake mechanism. The uncoiling of the warp is thus automatically regulated by this brake mechanism and cannot progress with such rapidity as to tangle the warp or to break it. TAPESTRY CARPET. Tapestry-carpet is a warp pile fabric in which the loop formed by the face warp-threads is not cut. The demand for its production is found in the need of a cheaper and more economical imitation of what is known as Brussels carpet. In its general appearance it resembles the latter to a great extent, but in its method of construction differs wholly from it, as may be seen by any one that examines the two methods. In tapestry carpets three different systems of warp-threads are used : A, the ground-warp ; B, the pile-warp or face-warp ; C, the stoffer or thickening-warp. 186 The general arrangement for the warp is: • I end ground or binder-warp, I end double or three-ply thread, of stout linen for strengthening or thickening the body of the carpet, resting in the fabric below the pile-warp and actually forming the main part of the back of the structure. I end double thread of worsted for face-warp forming the pile, by being interlaced into every third opening of the shed over a wire, as required for the face of these fabrics. I end ground or binder-warp. 4 ends in repeat of arrangenaent of warp (= one set); to be reeded into one dent. The pile or face-warp, before being wound upon the warp-beam, has the pattern printed on it by wrapping the threads around a large cylinder, and coloring them according to the design. The length of a certain color for each pile-thread, required for each individual loop when woven, is regulated by the size of the needles used. Fig. 831 illustrates the example of a pile-warp printed as required before weaving. The same illustrates four different colors : black, white, heavy-shaded and light-shaded. Fig. 832 illustrates the same pile-warp as it appears when interlaced into the fabric; each effect in the warp being reduced to its required size or proportion to the corresponding effect in the design. Fig. 833 illustrates the sectional cut of the fabric. A and A' represent the ground-warp; B, the thickening-warp; C, the pile-warp; W, the wire requiring every third opening of the shed. Picks i and 2, requiring the first two openings of the shed in the repeat of three, are the means for interlacing the ground-cloth as well as fastening the pile to this ground structure. Fig. 834 illustrates the complete draft, or weave for producing a tapestry carpet. Each warp-thread and pick is marked in accordance with previously given explanations. Different Qnaliiics of Tapestry Carpets. The fineness as well as the value of these carpets is regulated by the quality of the material used as also by the height of the pile and number of pile-pick (technically known as number of wires) per inch. Seven to eight wires per inch are about the usual number in the arrangement. Method for Ascertaining Sise of Designing- Paper Wanted. The designs for tapestry carpets are generally painted on the squared designing paper in about a size equal to the design upon the face of the fabric when woven. Thus the number ot small squares to one inch in a horizontal as well as a vertical direction on the designing paper is regulated by the number of loops in the woven fabric, both in the direction of the warp and the filling. In some cases the number of loops is equal in both directions, while in others it differs to some extent. Designing papers known as 8 x 8 to i inch and 8x7 to i inch are those most frequently used. Tapestry carpets are generally produced 27 inches wide ; therefore the design will have to be of equal width. That arrangement for the design may be selected known as the " half-over pattern," or one that has one complete repeat in one width ; or a design may be produced which repeats twice (or oftener if smaU figures are wanted) in one repeat of 27 inches in the fabric. Lately a method of producing effects in tapestry carpets, classified as " sheeny " or " varie- gated," has been patented in this country, England and France, but is nothing more than a 187 method of arranging the design of the carpet so as to make use of more or less soHd colored pile-warp yarn, hence requires no printing for this amount of warp. In Fig. 835 such an effect is illustrated ; a represents the solid colored threads, b represents the printed threads. Each Fig. 831. Fig. 835. kind of pile-warp is operated from a separate beam ; so it will be seen that a general range of effects can be produced by simply var^'ing the solid colored threads in each style, leaving the printed warp entirely undisturbed. 188 BRUSSELS CARPET. Brussels carpet is a warp-pile fabric in which figures are produced by raising over the wire different solid colored warp-threads at certain places according to the design. Brussels carpets are of a far superior character, as resj^ects color, quality of material used and the structure, than the tapestry carpets which have been just explained. In Brussels carpets the colors used are generally " fast," as the yarn is hank-dyed and not colored in the warp as is done with the tapestry carpets. Brussels carpets are technically classified by " frames," or in other words by the number of different colors called for in a vertical row of squares on the designing paper, as also one row of loops in the direction of the warp in the fabric. In tapestry carpets one double thread of worsted, printed according to the design, is used for one row of loops (warp-ways) while in Brussels carpets a similar double thread is used for each color as required by one row of squares warp ways in the design. One color only is raised at the time, while the threads then not called for rest in the body and partly on the back of the fabric ; therefore the thickness and substance of the fabric is not due to cotton or jute thickening threads, as in the body of the tapestry, but the same pure wool- thread which forms the face will at every place not called for by its color in the design, form part of the " body." The ground-warp in Brussels carpets is interlaced with the filling on the common four- harness basket-weave ( ) arranged so as to have each ^^^^"^^^^^^^^^ ^^^^^^ t^^'o successive picks insert in the same opening of the shed (of the ground-warp) and only separated by the pile warps. Fig. 836. O'ls pick passes above, and its mate pick below the pile warp-threads holding the latter firmly secured between; thus, if the raising of the pile warp over its wire for forming the characteristic loop should be omitted, we would produce nothing more than a fabric interlaced on the common four-harness basket-weave having a stout packing or thickening thread in the centre. As mentioned before, Brussels carpets are graded by '^frames." There are three-frame, four- frame, five-frame and six frame Brussels carpets. Under " frame " we classify the number of different colors found in the different rows of squares in a vertical direction on the designing paper ; thus a three-frame Brussels carpet has three different colors in one row of loops (warp-ways) in the fabric. Any of these three colors can at any other row of loops (warp-ways) be exchanged to a different color without changing the principle of a "three-frame" carpet. A "four-frame" Brussels carpet will extend the number of colors for each row of loops to four colors. Thus, a "five-frame" Brussels carpet will show five different colors in one row of loops warp-ways. A "six-frame" Brussels carpet will extend these number of changes to six colors. Having an individual warp-thread for each color in the formation of the loops will also speak greatly in favor of the Brussels as compared to the tapestry carpets. By means of these separate threads the design will be more clearly defined and its various parts more pronounced, while in tapestry carpets the figure is always more or less indistinct, which arises from the method of operation by which the pattern is produced. In Brussels carpets the different colors used are variously distributed, one color being used to a greater extent than the other, etc. This method of using every pile warp-thread at will and in a different amount than another, requires us to use instead of ordinary warp yarn beams, bobbins or miniature beams fixed in frames, or a huge creel, stationed behind the loom. The manner in which the different colors are controlled, in other words, in which they are concealed 189 from or brought into view upon the face of the fabric is of great importance in the manufacture of this article. Method of Structure of the Brussels Carpet. The pile (loop) is formed the same as in common (uncut) velvet fabrics by the insertion of wires (see Fig. 836) under the pile-threads; but the method of selection is different. In producing a common velvet fabric we raise either the entire warp or one-half, etc., over each wire, while in Brussels carpet we select for each individual loop from a series of duplicate threads (set-frame) each of which has a different color. Another difference between a common velvet fabric and a Brussels carpet is found in the manner of operating the pile-warp during the insertion of ground- picks. In common pile fabrics, as explained in precediaig articles, the pile-warps interlace up cmd down in the body of the fabric, while in Brussels carpet the face or pile-warp rests during the time it is not used for forming loops in a straight line in the body of the fabric. Three-frame Brussels Carpet. Fig. 837 illustrates part of a design technically known as a " three-frame " Brussels carpet. In the same the different colors for 8 loops, warp and filling-ways (which equals in the present r a ■■ 1 B Fig. 837. 8th wire. 7th wire. 6th wire. 5th wire. 4th wire. 3rd wire. 2nd wire, ist wire. _iaDKiaaDaDKaaaisinaaanEaDDagiDnDaDKaDQE24 □ ■ >fl "BUDnnaDDL c; t □E ■ ■ ■ ■ ■ .EHKIHHHSCE ■ ■ .-1 □Lj ., _GUBGDnHDC ■] nca .. g jH :_.,.j_.fl^.j,.u«GDCHnaDGa j E)HaGi/jEii.;joGHaHE!»iujGujuaadQQKiaHHElaigBl;jGBuQEGa HDGGKIQDDGDKlCDUBCDnaDglDGDSlDaDaDBDODKiDCDUa □□□■aDBGGnaaaBDGHaDDnBaDGDacBDGHDaDGDaap □□aGGBGGaHBaaGaHDGaHGaGaQSaGGEiaGaGDEinaDa □□□□GDBnaaGGCBDGBDGGaBDDGGGGBGGBDaGODGBa KBBaBDBBgaKBBBIElDBBBaEjBBQBGBBBaElQHBHGBBEia BCDGBGDanGHaGaHaGGGGKiGGBBaGaaGEiaanEGanaa GGB" □E.:. ■ Qua "]BE ' ■.laGGGGBGaGHanaca ^aaBBBaSBBBHGF ■ - ^SGGGGGSlGGaHaL ' -IGGGGBGaGHaGGL Q .EEGKBBBBaBBHGKE'l ■ i SGGGHCGGUQBaGuiaGGGGGHGGGBGQGGGBGQuEGGELjJ aBaaGGaGBGGBGGGaaHGGaaQannBoaGGGaBCGBGuG GaaBBHBBBISaBBBBElBBaHGHBGGEiEBBKiaBBEaglBEESl 2nd dent. 3rd dent. dent. 6th dent. 7th dent. 8th dent. I Fig. 838. example 8 by 8 = 64 loops) are indicated for each color by a separate kind of type. In the same Hne of the design (looking at the design lengthways), apparently in the same thread, three colors form the pile in succession, which is practically produced by employing three distinct threads, each of which is so controlled that it only appears in the pile when required to produce the design. In Fig. 838 the ground plan of the method of interlacing is shown. On the top of the plan the arrangement of the warp is indicated. I end binder-warp. 3 ends face or pile-warp, each representing a two-fold end of worsted and each of these 3 so indicated pile-threads to be of a different color than the other. I end binder-warp. 5 ends in the repeat of arrangement for the warp. Thus 5X8 = 40 threads of warp in ground plan, representing the construction of a 3-frame Brussels carpet, similar to the one shown in design Fig. 837. 190 In plan Fig. 838 every shed for inserting the wire is represented on the left side of the design ; and on comparing with the part of the design of the face, Fig. 837, it represents the threads as indicated in the latter raised from each set. Pick I in the design calls for i ■, i ■, i ■, 2 i i ■, !■. Examining wire I in the plan we find the selecting of the different colors from each set arranged accordingly. Thus we select — From the first set " second " third " fourth " fifth " sixth " " seventh" " eighth " ■, etc. Pick 2 in the design calls for 3 a, 2 ■, 3 a, and the colors of the face-warp for raising over wire number 2 in the plan are selected accordingly. From the first set of 3 pile warp-threads we call for second " third " fourth " fifth " " sixth " " seventh" eighth " Pick 3 is a repetition of pick number 2, Pick 4 in the design calls for i q, i ■, i ■, 2 ■, i i ■, i o, and the colors of the pile-warp raising over wire number 4 in the plan are selected to correspond. From the first oet of 3 pile warp-threads we call for a. second " fourth " fifth sixth " seventh " eighth " Pick 5 in the design calls for i i ■, i 2 ■, in, i i a, and the colors of the pile-warp raising over wire number 5 are selected to correspond. From the first set of 3 pile warp-threads we call for ■. second " third " fourth " fifth sixth " seventh" eighth " Picks 6 and 7 are duplicates of picks numbers 2 and 3. 191 Pick 8 in the design calls for i ■, i h, i 2 a, i ■, i i ■, and the pile warp-threads raising over wire number 8, as shown in the plan, are selected to correspond in colors. From the first set of 3 pile warp-threads we call for second " " " " " third " " " " " ■ fourth " " " " " □ fifth " " " " " □ sixth " " " " " ■ " seventh" " " " " ■ eighth " " " " " ■ Any pick that will be called for in any complete design always has its method of interlacing arranged similar to the principle explained in the specimen 8 picks of part of a design given for example. Pile. Fig. 839. Fig. 840. The two binder warp-threads working between each set of threads in Brussels carpet of any frame," interlace with the filling as shown in Fig. 839. The reeding of a 3-frame Brussels carpet is arranged for " I binder, 3 pile, I binder," in each dent ; thus splitting by the reed a/ways the two binder warp-threads. Fig. 840 illustrates the section of a 3-frame Brussels carpet. In the same, threads marked d and e represent the binder-threads. A, B, C, represent the 3 different colored pile warp-threads. Wires 1,2, 3, 4, 5,6, 7, illustrate the section of the wires as used in the opening of the 3d, 6th, 9th, I2th, 15th, i8th, and 21st opening of the shed. Picks i, 2, 4, 5, 7, 8, 10, 11, 13, 14, 16, 17, etc., of the ground structure of the fabric are indicated by shaded circles. □QHBaKBHEianQEISDKHQBa KHHBKIDBBHaBBHSgiaBBEa EDGDKiCQBGaglDGGSlDDDDa Fig. 842. Fig. 841. The binder-warp is drawn in two common harness frames which are placed in front of the Jacquard-harness. The face or pile is drawn in the Jacquard-harness, which is tied up for as many sections as there are frames in the carpet, so that in the present example of a 3-frame car- pet we must use a 3-section tie-up. (See section on "tie-ups" in my treatise on The Jacquard, etc.) By forming the shed for the insertion of a wire only one pile warp-thread from each set is raised, as is required by the design. If the pile-warp in a carpet, constructed as thus far explained, is cut, the name Brussels is changed to Wilton. 192 Diagram Fig. 841 illustrates the method of interlacing a 3-frame Brussels carpet. This diagram readily explains itself on examination. Warp-threads indicated hy A, B, C, are the three different colored pile-threads required (as explained before). Thread A is shown blank, thread B shaded, and C black. The binder or body warp-threads, situated in the fabric on each side of the face-threads, are indicated by / and 2. The ground picks and places for inserting the wires are a inde der. a c 1:: 1:: (E.l «□ ■:: ic:. 1 ■■:< 1 ■ c:sin 1 m 7th wire. c- :;■ m 1 ■ ^11 ■ i-BH in, „ 1, iffl itjB 1 8 6th wire, 5th wire. Fig. 843. 4th wire. 3rd wire, and wire □□iiGuaaGDa_aDaLiuuuauLjaDaLjGDLjULJLjuL.iGua; jUCjiJurjuQuijaa □□□□□□□□□□□□□□□□□□□□□□□□□DaDDDunDDDDDDnDnnarjDDDn □□□□□□Baa[jDBDaDaoDEinnDaBaDaDDaBDDGDKiDnDDoaaaDnaH24 □■□□□□□□□■□□□□□■□□□□□^□□□□^□□□□□■□□□□□■□□□□HLna ^□□□□^□□□□□□EiaaaoKDaaanLjEJDDDGEiaDnDuDiaaaDaKGGDOcn aGnHGaaHDaDDDnaaBaDDDBGGanQpaGDaaBmaDHaaDDDDPGa GGaaaaHaDDDHGGaaoGHGnDGBDaGaaDBGaDnBaQDGDDBGalGGK □aGBaGaDGHaGGBDaanGaGBGGGGaBGCGDHGDanGGGBGDaCBDa BBEBEiaGEEHEaglBQEEEICEBEEGiaEBEEBCEEEEGBEEBBgiaQEEBa EiGGaDsiaaDaGaHGaGQginGGUGagiaGaG»aQGGaDBiGaaQS)jGGnGa aanHGGGGaBaaGDaMoaaBGGaGDaHaGaaGaBGnaGDBGaanGGBa □HBBBDBlBBBEiEiaBBBBGEIBBBBBQBBQBGglBElBBKiaHBGBGBBBBBia oaGGGaaaaanHr;BnuGaKiGaaGBaaaaDGEicGQGKiD.GaGaasiGGaaia □□GaB8aaaQBDGnnc]waaQGnnaGaHGDCGQanHaoaGG«GonaG«aa iaBBBHKGBQBBBKI(ZEaBHD'"-";SP'^GEBBBB!aGBBBBGElBFlT'^:-:' ■"'^^qa KDGGGKaGrjGaasiGaaGH " GGGBGaaGGnBaGGHGai: OaQBGGKQBBSHaHBBS " DG: jrjnGHGGBGSIGan ' DaGBaGGGHGGGD'^ BBBBBKiaBBEQGE ■ ■ KICGGGBGaGGGDH □GBaGGGGGiiaGGi. I GHH3BGglBBBBBQB.i;^J 11 '□□GGISDOaGGGBL:'! n i. laBGGGBGGGaGDl J BEBBlHBBBQHGEi ■A " "nnHDGGGHGDi.j. . T □□GnGBaa«a'jjijLj._.^Mua ■ jEEBBGHBEBBBaBQEBa :■: :aaGacBCuaG8iGaGGGa J B . jOGaBr-DGGGKlDGBaQGa JBliJli;liJGSBEaBHaBBEBGiaEB0!r~ ist 2nd dent. 7rd dent. 4th dent. dent. 6th dent. 7th dent. 8th dent. 48 1 Fig. 8zt4. marked on the bottom of the diagram. P on the top of the drawing represents the interlacing of the fabric, omitting the loops, and thus giving, at a glance, the correct j^rinciple of interlacing the body. Fig. 842 illustrates the weave for this part. Shed for " wire " omitted. ^ on the top of the drawing Fig. 841 represents the entire procedure. The wire marked / calls for the raising of warp-thread C {— black) for forming the face of the fabric. Wire marked 2, the successive wire, calls for the raising of warp-thread B (= shaded) for forming the face of the fabric. [39[: : ■■□ ::□•!<:: ■■ ■ : x 8th wire 7th wire. 6th wire. Fig. 845a. 5th wire. 4th wire. 3rd wire, find wire, zst wire. □■B □■g □G GC" Gca 1:: so IBD der. der. c c c (3 m ^ n \n m^,- an BD ■ — ■ — .ax -. fflon ■:: ■ : ana mv.\ an &a ■ ^ ^B□G ■c:i ■l:: bo ■ J. niD n 1 ; I OCLGGCU'^HaauGuGGLjI.jauGUDLjHUG :• • ■ -J 1 •] ■,.•]■,■ I BBBBQBBEEHBBBGIEIBEBBBEICHBBHBG hd: I ... ._.!.,.--; 1. i.'juji 11 .GHDGaaaKGDGGaEDKGGGGaKirDaDaGa , GG HI ' a . . J . I -1 J . J ) JGMLjI :i jGBaOnGGQBnaaDQDaBDGnaGGGGGBG GBE -. ■, J_jl-;.^.-.;.-J3GBJ:-jBJZQG[gHaHQEEGBBHBBCHBEBBBKGEEQEBGEiBBBEBH GGGGGGGiSiaDnaGBGGaGGGaKaGarjLJHGGGaGGaSlODGGGBQCGDGCaEiaGGDGBl , QGnaanGGGanBaDaGHaaaGGGaiGaaDGaHGanaHaaDDDGBacDDCGGBQGGC] BBGEBBSIGEBBB(3GSIBBBBHBaHBHB0nBnEnEEHDEr-lEHBnHBBBBEiSOBEBEBa KGnGGGgiaGnGaGaKaGGaaSGG'l' ir 11 lI^rr '_-r GOglGaGGaBGGGDGGG , GDaGaaaanGGGBOGGGGEBGaDDn ■ "■QGBGGGaaaBaaaaQ GEEBEHGKBBBEBEluEEaGEaKB" ■ — aDBBBEEDElBBBEBB GaaGGGGigiuDGGGKianGaaaGgiG- saaGacEGKOGGDag , GBaGGGaaaaaaGGfiaaaaaGaa.j .,q . a _ : ijGGaGHGaaaBGGQEG HBaEBBKlGaBHEBGBlEEaBaKGBaBQBGBGaiJ'BaEGEBaaBGBBBQBBHGEBQQBP HEGGCGKGGGGQGGEiGGaGasGEGEaGDiaGaaQG^QaQaaaaiEiaGOGQBiaaGaDDa . aHnaaaGaHaaaGEGGaaaGQGaaaDaaGaaaBEaaaHanaaaaGBaaaGaaBGDD aBG3BaG«aBaBaslGBaBBaGBlEBB0BHGBE]aaEGHEa'^aE?^^aEBS0GHBBBHSH GaGDGGaaGGaDaBaGGaanniaaDcTJGKaGGO. "t:-: " LnaDGGma . □acHaGGEBnacaGGBEaGGGLiGHaanDGGnnr . a n ,'ji.,QHGGa ISBBBaBKiaEBBEBaHEBaQQEIGEaEQQDKiEaE!"- ■: ■ • • :-UGlEE)BEP BGaGaasaDGGGGagiGaaGasiaaGaaGaBECCL" - ;-:jaGCEan aaaBGEGaaDwaGDaBGaaGaQBaDGGGCGacij.LJG,,ui_i_n_.LL:L.LH. .;GGHL:aaa EBaaaaEgiaaEaESGBEBBaGiaBBBBaHaBBQaEEHQBBBEHQaBEEEGiaBBBEESll 11 ist I 2nd I 3rd 1 4th I 5th I 6th I 7th I 8tli W I dent. I dent. I dent. I dent. dent. I dent. 1 dent. \ dent. I Fig. 8456. Wire marked 3, the next successive wire, calls for the raising of warp-thread C (= blank) for forming the face of the fabric. Warp-threads 2-C-B-A-i are drawn in one dent of the reed, as indicated on the left-hand side of the drawing. Fig. 843 illustrates part of a Brussels carpet design classified as a "four-frame." 198 Fig. 844 furnishes an analysis of the latter. The difference in the construction of a "four- frame," as compared to a "three-frame" carpet, consists in its having four different colored pile warp-thieads, instead of only three, as in the latter, so that the figuring possible in both carpets is equal in proportion as 4 is to 3. Having thoroughly described the method of constructing the " three-frame " carpet, the present " four-frame " design will the more readily explain itself Fig. 845 a illustrates part of a design for a " five-frame " carpet, which in Fig. 845 h is also analyzed. Brussels and Wilton carpets are made up to and including " six-frames," also " in part of full frames" (after the " three-frame "), as may often be required in order to cheapen the fabric. DOUBLE-FACED PILE CARPETS In which the Pile is Produced by Inserting a Special Heavy Filling-Cord Instead of a Wire. The construction of these fabrics has for its object the production of a cheap, strong, firm and durable double-faced carpet, wherein the figure at each side of the fabric is derived from A. i e. A'. I c A" i i Fig. 847. Fig. 848. face-warps appearing upon one and then upon the other side of the fabric for one or more rib-picks. In addition to the face-warp there is also used a binder-warp, usually having two threads worsted face-warp alternate with one end binder-warp. These face and binder-warp-threads are interlaced into one fabric \>y means of two kinds of filling, the interior (heavy) filling and the binder-filling. The binder-filling at alternate picks passes above all the face-warps and then below all the face-warps. The binder-filling is tied to the upper and then to the lower side of the face-warp by the binder-warp, two picks of binder-filling and two picks of stuffer (interior, heavy or cord) filling being put in in succession. The binder-warp is lifted into the upper half of the shed between the insertion of the first and second picks of stuffer (cord) filling, the binder- warp thus splitting the stuffer or interior filling. The crossing of the warp and filling is such as to enable the two picks of interior or stuffer, when beat up into the shed, to lie nearly one over the other, forming ribs opposite each other at opposite faces of the fabric. Fig. 846 represents a longitudinal section. Fig. 847 is a diagram representing the arrangement of the warp and filling as they interlace in the fabric. 194 Fig. 848 illustrates part of a design (face and back) corresponding to diagram Fig. 847. The threads shown in Figs. 846 and 847 are separated for a clearer understanding of their working ; but in the actual fabric they are beat closely together by the reed and appear somewhat similar to those illustrated in part of a design (effect) Fig. 848. Method of Operation. These carpets are produced on an ordinary two-box Jacquard loom with the addition of front- harness. For the binder-warps an independent harness or set of harness is provided, being operated through a cam on the picker shaft. The sheds for the binder-filling are formed by the binder-warps on the one hand and by all the face or body-warps on the other hand. The face- warps (indicated by letters E, E , G, G' in Figs. 846 and 847), which are generally of worsted and of different colors, and dyed or printed according to the colors and patterns it is desired that the carpet shall show, will be operated on by a Jacquard machine of the usual construction, so as to split the face-warps at suitable intervals to form sheds for the introduction of the stuffer or interior filling (indicated by letters E, A', in Figs. 846 and 847) carried by a shuttle. The face warp-threads uppermost or at one side of the fabric remain at that side of the fabric for as many picks as desired, and then are carried to the other side of the fabric. The binder-warps (indicated by letter d in Figs. 846 and 847) are carried by one or two harness frames and are distributed at suitable intervals between the face-warps. They are arranged so as to appear at both sides or face of the fabric between each two picks of interior (or stuffer) filling. Method of Successive Interlacing of the Warps and Fillings. Examining Figs. 846 and 847 from the right to the left, it appears that pick i has all the face-warp down and the binder-warp raised, thus forming a shed between all of the face-warp and binder-warp to receive a pick of binder filling. Pick 2 — the second binder-pick — has all the face-warp raised and all the binder-warp lowered. Pick 3 has one-half of the face-warps raised, which with the binder-warp then down, forms a shed for receiving the first stuffer or interior filling. Pick 4 has one-half of the face-warp and the binder-warp in the upper part of the shed, and the other half of the face-warp in the lower part. (This pick is not illustrated in Fig. 847, it being opposite to pick 3.) This operation is repeated until such time as it is desired that the face-warp uppermost in the last shed to receive the stuffer or interior filling shall be made to appear at the opposite side of the fabric. When it is desired to make the warp upon one face of the fabric show for one or more sheds upon the opposite face of the fabric, these face-warp-threads are themselves bodily carried, as indicated at the line F, from the upper to the lower part of the shed. DOUBLE-PILE FABRICS. Principles of Construction of the Plain "Double Plush." The end to be gained in the manufacture of warp pile fabrics of the present division is, the production of two single velvet (or similar) fabrics with one operation of the loom. In the manufacture of double plush the ^ ^B^ ' wires so conspicuously referred to in speaking of warp pile fabrics, are omitted. The pile-warp-threads, after interlacing into the "body structure" Fig. 849. ^j^^ single fabrics, pass across to the " body structure " of the other fabric, where in turn they are interlaced before returning to the fabric from which they 195 started. Constantly exchanging pile-warp-threads from one cloth to the other forms the principle of double-pile weaving, and is illustrated in diagram Fig. 849 by a. After combining the pile of a two-ply fabric in the manner previously explained, its pile-warp-threads, running across the centre or interior of the fabric, are cut automatically by means of an attachment on the loom known as the " cutting knife." The variously constructed knives in practical use, as well as the methods of their operation, are treated later on. Methods in Use for Interlacing the Pile-warp in Double-plush Fabrics. Various methods for exchanging the pile-warp in weaving " double plush," as also the different ways of interlacing (or fastening) these pile warp-threads to the ground-cloth of each fabric, are in practical use. An explanation of a few of these is given, whereby a pretty clear conception Fig. 850. may be had of the method of interlacing double plush. Diagram Fig. 850 illustrates the section of a double-plush fabric. In this, four distinct warp-threads are visible, and are indicated by the numbers i, 2, 3 and 4. These four warp-threads and the sixteen sections of the filling illustrate one repeat of the arrangement of the warp and filling, as well as the method of intersecting both systems, technically known as their weave. Line A X.o B m the diagram indicates the direc- tion for cutting the pile-warp. In diagram Fig. 85 1, another method for forming double plush is shown. The diagram illustrates the section from a specimen fabric. In this, two distinct sets of warp-threads (shown by dotted lines) form the body structure for each individual single " plush fabric," while the pile is produced by a separate set of warp-threads which alternately interlace into one and then the other body-structure. The body-warp for the uf^r fabric is indicated by letters A and B, and that for the lower by D and E. Line F \.o G shows the course through which the pile is cut to produce the two separate plush fabrics. % 1 2 1 2 3 ■£ ■□□□■-6 ) □QBOa— 5 ^ Picks for the top fabric. ■□□CJB-4) HDfflc:)*-! J Picks for the bottom fabric. HGBQG-l ) (i denotes face fabric, a bottom fabric, 3 pile-warp.) Fig. 851a. An analysis of the section shown in Fig. 851 gives as follows: Picks i, 2 and 3 for the lower fabric and picks 4, 5 and 6 for the upper fabric. Fig. 85I<^ is a plan of the method of interlacing, technically known as the "weave." 2 harnesses are required for the body-warp of the upper fabric ; 2 harnesses for the body-warp of the lower fabric and i harness for carrying the pile-warp; thus 5-harness in repeat. In reeding the warp five threads must be put in one dent. To produce a well covered full face in the fabric, two kinds of ground or body-warp must be used. One kind for threads working as shown by warp-threads A and E, or tighter than the other body-warp, or threads working the same as warp-threads B and D, which operate with less tension ; hence two beams are necessary for the body or ground-warp, with one beam for carrying the pile-threads. Fig. 851. 196 The adjusting, or "setting" of the harness is such that when the loom is at rest the set of warp-threads for the upper section of the fabric is in a sufficiently elevated position as compared to those for the lower cloth. The method of operation for the harness is such that for the picks of the upper cloth harnesses are lowered, and for picks for the lower fabrics harnesses are raised. This method of weaving double plush only requires one shuttle, and the weaving is per- formed the same as ordinary weaving. abcdi2i-2 ■ :\ ■nn J ■ .3 ■ IB- aa \ I: m jg atij'jBaajj Fig. 852. □□□□ □HDH □GDH □HDH 1 2 Fig. 852a. ( ,-, ::b;-3 : ■ :: ■ ::■ i-a c. ■ ■ 1 13 . VMS □f: .: -. ■ ■ IBKB ■ /M 1 Fig. 852c. -5' 1 U-JM. □ ■ ■ I ■ m ■ :::: 1 ■ 1 u::bb^ b ::::bb:: i a muWa a;: BB::a B._'_B _.^:;jn..^__,B_ij. lBUaBBBBBBGDBBB( 1 8 Fig. 852^. □■nHBBnH may. bo y. DB : DB □B DB ua ma 1 ( : DB OB r BO BD ma ma am am : ma ma t: DB na □a: ■ r.m I ma ma CiDB DB iGUBD.jjaa 1 * Fig. 852^. -s qo:qd:qd:qd:qd:q d:q D < € A Jk .4 A Fig. 8526. The arranging of three successive piCKS alternately for each fabric is of no disadvantage to either structure. Each plush fabric will show the same smooth surface after cutting. Diagram Fig. 800, on page 170, in the chapter on the construction of single plush and velvet fabrics represents the section for each separate single cloth of the double plush illustrated in Fig. 851. Fig. 852 illustrates another plan for weaving double plush. In this instance a double shuttle loom is used (cam-loom principle), using each shuttle for interweaving in the one system of the structure. Consequently two sheds must be formed at one operation of the loom, which is effected by using for the pile-warp " Cams " which are capable of holding the harness frames in three 197 different positions, " the bottom," " the centre," or " the top " part of the complete double shed. It will be readily understood that " the centre " refers to the upper division of the lower shed, as well as the bottom division of the upper shed. In Fig. 852 the first 4 harnesses, for future reference indicated by letters a, b, c and d, repre- sent the pile. In the same the ■ type indicates the raising of a harness in the top division of the upper shed or " the top," the ■ type indicates the placing of the harness for forming " the centre " (being also the temporary " shuttle-race " for the shuttle interlacing the upper ground fabric). This position is also technically known as " dwelling." The □ type indicates the lowering of the harness for forming " the bottom " of the lower shed in the loom. The rear 4 harnesses indicate the working of the ground warp. Harnesses indicated by i form the one body-structure, while the harnesses indicated by 2 form the other body-structure. Each set of the ground- harnesses (l, I and 2, 2) is placed by a respectively high or low strapping into its proper position for guiding either the ground or body warp of the upper or lower ground-cloth. The drafting for the present weave is i end ground-warp for the top cloth, I end ground-warp for the lower cloth, 2 ends pile-warp, thus 4 threads in one repeat. Fig. 85212 illustrates the separate weave for interlacing each body-structure, being the com- mon (2-harness, 4 pick.s) rib-weave, or the common plain two picks in a shed. In Fig. 85 2(^, six respective diagrams are given for illustrating the compound weave Fig. 852. Diagram indicated by a represents the section of the corresponding pile warp- thread a in the weave ; diagram b shows the section of pile warp-thread b in the weave ; diagram c illustrates the section of pile warp-thread c in the weave, and diagram d refers to pile warp- thread d in the weave. The ground or body-warp working close by the pile-warp is shown by the dotted lines in each diagram. Letter A, in all the diagrams shown under Fig. 852 b, indicates the upper fabric and letter B the bottom fabric. Horizontal line c to / indicates the direction for cutting the pile as performed afterwards. In diagram s of Fig. 852Z1, the complete interlacing of all the four pile-threads in a fabric is shown. In the same, ground-warps (as previously shown) are omitted so as to give a clearer understanding of the subject. Letters of reference are also selected to correspond w ith the previously explained diagrams a, b, c and d, as well as to diagram t, which illustrates the section of the four pile warp-threads when cut (ground-warp again omitted). In Fig. 852 1^^^ =^' The first method is the one most generally adopted, and the illustrations and explanations of some of the processes most frequently used are given. Fig. 853. Diagrams 853, 854, 855, 856, 857 and 858 illustrate C. R. Garratt's inven- tion as to the mechanism for cutting double-pile fabrics. Fig. 853 illustrates at M'dxo. section of the double-pile fabric, at D the section of the cutting knife, liberating with it both separate pile-cloths as shown N N. Fig. 854 illustrates a plan-view of part of a loom having the before-mentioned arrangement attached. Fig. 855 is a front elevation, with the bracket, which supports the operating shaft as well as this shaft and its driving-pulley and bevel-gear, removed. Fig. 856 is a plan-view of the knife, showing the manner in which the cords are attached. Fig. 857 is the side-view of a loom (of a different make than the one before) which has the cutting arrangement attached. Fig. 854. Fig. 855. The letters used for indicating the different parts in these five diagrams are identical. An examination of the same gives us as follows : A illustrating the framework of a loom. B representing the mainshaft, journaled in the framework, and provided with a driving pulley. C is a cross-piece located at the front of the loom, provided with a groove extending across the loom, in which the knife D reciprocates. The main portion of the cutting-edge of this knife is straight, but the ends, or corners, are rounded, so that the knife will cut equally well when moving in either direction, while the straight cutting edge between the rounded corners is adapted for cutting the pile in a smooth and effectual manner through very short reciprocating movements of the knife. At the opposite ends of the knife cords are attached, which pass over pulleys F. One of these cords is attached to a spring G, which is secured to the floor. The other cord or wire is |V \''\ \ attached to a lever, which is pivoted in a bracket secured to ^ . .1 IlJj — li — L_!i__^J===— the framework. This lever can be arranged to vibrate either Fig. 856. by means of a cam or crank. In the present illustration the first mentioned arrangement is used. The acting of the cam upon the lever H forces the latter outward, and consequently forces the knife to the extreme right of the groove against the power of the spring G. The action of the spring as it contracts is to draw the knife to the extreme left of the groove, and at the same time to draw the lever inward. 199 Fig. 853, as previously alluded to, illustrates at N the two separate single pile fabrics. In diagram Fig. 857, the method of " taking up " these fabrics without injuring the pile is shown. After drawing the fabrics over the edges of the " breastbeam " of the loom, they are guided over two "take-up rollers," X, opposite each other, which have a roughened surface, and by which the fabrics are held taught and drawn backward from the knife, so that the centres of the uncut pile will be evenly presented for the cutting. After passing the " take-up " rollers N, the fabrics fall into the cloth-box 5. This method of keeping the fabric loose, and not tightly wound around its " take-up " or cloth beam as in common weaving, preserves the beauty of the pile. The previously explained method of operating the cutting knife may also be changed so as to have it operated on by the lay. This principle is illustrated in diagram Fig. 858. In this, the one cord (formerly con- nected to a lever) is shown attached to the lathe 0 of the loom. This lathe is operated in any ordinary manner, so that the knife will be reciprocated in its guiding-groove at each throw of the lathe. Fig. 857. Fig. 859 a. Fig. 859 b. Another kind of " cutting knife " is shown in Figs. 859^ and 859^. Fig. 859^ illustrates the plan-view, and Fig. ?>S9b the section. In operating this " cutting knife " the long teeth enter between the two pieces of cloth while the lateral movement of the top blade cuts the pile-threads. In the diagram blade A, shown shaded, is the movable blade, and is situated upon B, the fixed blade which is shown in outline. Figs. 860, 861, 862, 863 and 864 illustrate a mechanism for severing double-pile fabrics in the loom in which it is woven, as invented by A. Bacon. Fig. 860 is the side-view of a loom necessary to illustrate the construction and mode of • application of the attachment for severing the double-pile fabric produced on the loom. Fig. 861 is a front-view of the same loom and the cutting device, with the sharpener for the cutting knife removed. Fig. 862 is a plan-view of the same loom and the cutting device. Fig. 863 illustrates a perspective view of the cutting device ; the sharpening attachment for the knife is illustrated separately, in front, and detached from its supports, so as to give a clearer understanding of the main features of the device. Fig. 864 is a transverse section (enlarged) on the line i, 2, in Fig. 862. 200 The letters indicating the different parts of the cutting device, as well as the loom, are identical. The following description will readily show the manner in which the cutting device is attached to the loom. Also the method of opera- tion of the former, with a general description of its construction. (This device, as claimed by the inventor, can also be adjusted to any other kind of loom with a few appropriate changes, such as may be required by the style of loom to be adjusted.) Parallel with the breastbeam of the loom (see A in drawings) and a short distance in front of it is a bar B, which is carried by projecting brackets X, and forms a guide for a slide D, the latter carrying a stud, on which is free to turn a spur-wheel a, to the upper face of which is secured a circular cutter F. This spur-wheel engages with a rack b, which is secured to the upper face of the guide-bar B, so that as the slide D is caused to reciprocate trans- versely in the guide a rapid rotary motion, first in one direction and then in the opposite direction, will be imparted to the cutting-disk F. One end of the slide D is connected to one end of a belt G, which passes around pulleys d, supported on the frame of the loom. The opposite end of this belt is connected to a stud /, projecting from one of the links of a chain-belt H, adapted to sprocket-wheels /, mounted upon studs g'^, secured to and projecting from the loom-frame. A similar belt G^, passing Fig. 860. Fig. 861. around like pulleys d, serves to connect the opposite end of the slide D to the stud /, so that when r-otary motion is imparted to the sprocket-wheels / the stud /, traveling with the belt H, 201 will, through the medium of the belts impart a transverse reciprocating movement to the slide D, and thus cause the cutter F\.o pass to and fro through the web of fabric, so as to cut the pile- threads and separate the compound fabric into two single fabrics, each having a cut-pile surface. In order to insure uniform cutting of the pile, the movement of the slide and its cutter must be smooth and steady, as any jarring or jerking of the slide or cutter causes irregularity in the 862. cut and unevenness in the length of pile on the fabrics produced. This smooth and steady move- ment is secured by means of the driving mechanism shown ; there is a gradual dimunition in the speed of the slide at and near each end of its traverse and a gradual acceleration of speed as it starts on the return movement. Rolls f J, between which projects the cutting edge of the knife F, are acted upon so as to press the rolls J J toward each other and into contact with the opposite sides of the knife. Fig. 863. Fig. 864. The rolls J are coated with abrading material, and extend throughout the traverse of the knife, so that the cutting-edge of the latter is at all times under the sharpening influence of the rolls, and a keen edge is thereby maintained. (This cutting device can also be used, applied to a machine for cutting double pile fabrics after the woven cloth has left the loom, instead of being used directly in connection with the loom in which the fabric is woven.) 202 Drawings Figs. 865, 866, 867, 868, 869, 870, 871, 872 and 873, represent C. Pearson's inven- tion for cutting on the loom double pile velvets and similar pile fabrics during the weaving process. The invention of the present system for separating the double pile fabric into two separate single pile fabrics, consists in employing two pile-severing knives, which are caused to travel laterally, each a distance only half the width of the fabric, in a transverse guide-plate or race. The letters of reference in the drawings denote like parts in the several views given. Fig. 865. Fig. 865 represents a side elevation of part of a loom for weaving double pile fabrics. The drawing also illustrates one of the " knife carriages " with its actuating mechanism, and part of the sharpening mechanism adjacent to it with a part of its actuating mechanism. Fig. 866 is a front view of part of the loom. Fig. 867 illustrates a transverse vertical section of the grooved race-bar ; also one of the cutting-knives mounted in its carriage, and one set of the sharpening- roUers with its frame or " housing." Fig. 866. Fig. 867. Fig. 868 is, partly, a sectional front-view of a pair of the sharpening-roUers mounted in their frame with a portion of the velvet rail or cutting bar. Fig. 869 is a top-view of the transversely grooved guide-plate or race-bar in which the • knife-carriages are reciprocated, and the parallel supporting-bar in which the fabric is cut by the laterally-traveling knives. Fig. 870 is an enlarged view of the parts at one end of Fig. 869, showing the transversely grooved race-bar, a knife-carriage with its knife, and the stopping mechanism in the race-bar. 203 Fig. 871 is a cross-section view of the velvet delivery rollers, one of the pile severing knives, and the supporting bars, showing the relative position of these several parts. Fig. 872 is a transverse section of the inside of that part of the loom shown in Fig. 865 from the outside. Fig. 873 is a transverse sectional view of the loom, showing the location and arrangement of the crank-shaft and connecting-gear, one of the pulley-wheels, and the sharpening mechanism with its actuating mechanism for one of the knives. Fig. 870. The method of operation and principle of construction of the cutting-device is illustrated by drawings Figs. 865 to 873 inclusive. By means of the double cam C, operating the rack-bar and cog-gearing, alternate partial revolutions in each direction are given to the pulley-wheel F, to which are secured two cords or bands, the other end of each of which is attached to the " knife-carriage," one cord on one side and one on the other side thereof, so as, by the alternate partial revolutions of the pulley-wheel in Fig. 871. Fig. 872. opposite directions, to pull the carriage backward and forward transversely along the grooved guide-plate or race of the loom. A similar set of cords and a knife-carriage are provided for each side of the loom, both knife-carriages moving in the same guide-plate alternately, each only about half the distance across, and each alternating in its lateral travel from side to centre of the race-plate. Transversely across the frame of the loom are arranged two bars or rails, R and S, their relative positions being as shown in Fig. 869, the former being merely a bar or rail supporting 204 the double pile fabric while it is being severed in two through the pile by the laterally-moving cutting-knives. Bar R is recessed near each of its ends (see Figs. 868 and 869) to admit of the insertion and support therein of the housings for the sharpening-roUers, and so that the upper and lower sharpening- rollers shall come alternately in contact with the upper and lower sides, res- pectively, of the knife-blade, as shown in Fig. 867. The bar 5 is a grooved transverse guide-plate recessed at each of its ends, to hold two sets of friction-rollers, over which the knife-actuating cords pass to the corresponding pulley-wheel F, and having one wide groove its entire length, serving as a race for the knife-carriages T T. At the bottom of this groove are two smaller parallel grooves, extending to the recesses at each end of the plate, and within which the knife-cords are moved. Two cross-bars, i and 2, are secured to the bar 5 at each end, supporting a guide-rod, 6, having an enlarged inner end, which serves as a stopper for the knife-carriage, and upon the rod 6 are placed two pieces of india-rubber tubing, 4 and 5, and between them a metal band, 3, which may be slipped along the rod against Fig. 873. Fig. 874. the tubing and fastened tight at any point thereon by a set-screw. By this arrangement the rubber tubing acts as an elastic cushion for the stopper-rod and in turn for the knife-carriage. The movable metal band also permits of lateral adjustment of the stopper-rod, thereby producing a variation in the resistance encountered by the knife-carriage. This mechanism is shown in detail in Figs. 869 and 870, the latter showing only one end of the bar S, the other end containing similar mechanism for the other knife-carriage. The knife K, to cut the connecting pile latterly between the two backings, is secured in a holder, K' , mounted in a carriage, T, moving laterally in the large groove of the race-bar ^ backward and forward half the length of the bar, from about its centre to its either end, by means of the pulley and cords before mentioned. The end of the knife-holder K' swings upon a cross- bar, passing through it and having its bearings in the carriage T. A spring is coiled around this cross-bar on either side, with its ends fastened to the carriage, so that the tendency is to press the knife-blade down upon the supporting-bar R, or upon the velvet resting thereon, and cause the knife to travel in its reciprocating motion in a straight line and cut the pile evenly. 205 Each knife-carriage is provided with two pulley-cords — fastened one at each end thereof, one cord passing from the right-hand carriage over the friction roller at that end of the bar 5 to and partially around the pulley-wheel in one direction, and has its end knotted in the periphery thereof The other cord, fastened to the other end of the knife-carriage, passes along one of the small grooves in the bar ^ to the other or left-hand end thereof, where it passes over a similar friction-roller and back under the bar 5 to another friction-roller, 7, and thence to and partially around the pulley-wheel F, (in an opposite direction from the other cord) to which it is fastened. A like set of cords are arranged for the other or left-hand knife-carriage. This arrangement causes the knife-carriages to be moved backward and forward in the carriage-race when and as the pulley-wheels wind up either cord successively ; the w heels being turned by means of the mechanism operated by the cam C. Upper and lower velvet-rollers L' L' , Fig. 871, suitably mounted in the frame of the loom, take up the two pieces of pile fabric cut apart through the connecting pile by the laterally- reciprocating knives K, and draw forward the uncut double pile fabric to the traveling knives as it is deliv- ered over and upon the velvet-rail or cutting-bar R. These rollers L' L' are geared together and actuated by a worm, to which motion is communicated from the picking shaft, or any other suit- able actuating mechanism. Machine for Cutting Double Pile Fabrics After Leaving the Loom. As previously mentioned in the chapter on double pile fabrics, in some instances the separat- ing of both pile cloths is not done in the loom during the process of weaving, but a separate machine is necessary for cutting the fabric afterwards. In using such a cutting device for separa- ting both cloths the former must produce a suitable feeding and tension upon the fabric during the operation so as to divide the pile-threads midway between the two "body-structures" (backs). As the length of pile in any such fabric is not always uniform, it is difficult to maintain the cutting line midway between the webs, and in order to avoid the risk of cutting into the fabrics at places where the weaving is irregular it is necessary to use a longer pile than would otherwi.se be required, thus consuming more material than is needed for the finished fabric, and also requir- ing the divided fabric to be "shorn" (afterward) to a greater extent than would otherwise be necessary. An invention, lately patented by J. A. Campbell of Philadelphia, is designed to obviate these difficulties by making the straining-bars, over which the newly-divided fabrics are drawn, self- adjusting and self-centering, so that, whether the original double pile fabric be thick or thin, the dividing-line shall always be midway between the two fabrics. Diagram Fig. 874 is a side-view of that portion of a machine which has this improvement attached. The method of operation is made fully comprehensible by the following explanations given with reference to the letters used in the diagram. At Ji is shown the double pile fabric passing in between the plates B' B'^, and at g is shown a section of the dividing-knife, while at i and k are shown the divided fabrics passing off. The operation of the device is as follows : The uncut fabric, being drawn in at // by the action of any suitable feeding mechanism, passes between the plates or jaws B' B^, and is divided by the knife g, after which the divided fabrics pass off at i and k, being drawn taut by suitable winding mechanism. The springs c c, being adjusted to a proper tension by the thumb- nuts d d, tend to draw the jaws or plates B' B^ together, and so the fabric which is being divided is held firmly between the said jaws B' B^ during the operation of cutting. The divided fabrics i and k, being drawn taut, tend to draw the jaws B' B^ apart ; but this tendency is resisted by the springs c c. As the toothed segments C are firmly fastened to the jaws B' B^, it follows 206 that any motion of the jaw B' will be communicated to the toothed segment C , and from thence through the toothed segment C"^ to the jaw B", and so any motion of the jaw B' , to or from the cutting-line, will be accompanied by a corresponding motion of the jaw B'^. If, from any irregu- larity in weaving, the two fabrics of the double pile fabrics are closer together or farther apart at various points than the normal distance, the jaws B'B'^ will press together or be forced apart, but always to an equal extent, and hence the two webs will always be kept at an equal distance from the cutting-line, no matter how irregular their distance from each other may be. Weaving Two, Three or more Narrow Widths or Pieces of Double Pile Fabrics at once. The weaving of two or more narrow widths of double pile fabrics, side by side, in a broad loom, also requires the production of fast selvages for each special narrow width. For this pur- pose we must form two adjacent selvages with fast edges at any desired part of the width, both of the upper and lower cloths of the double pile fabric, as also selvages in the upper cloth imme- diately above the selvages in the lower cloth. To form a fast edge to each inner selvage, a warp binding-thread to cross with the outermost warp of the selvage and becoming knit together therewith must be employed. Any desired number of fast inner selvages may be formed in this way in the width, so that the fabric may be divided into widths of any required size by cutting Fig. 877. both the upper and lower cloths lengthwise between the pairs of fast selvage edges, which have been made in these cloths. The construction of such " fast " .selvages, properly belonging to the division on gauze or cross-weaving, will be explained later on. Diagram Fig. 875 illustrates a perspective view of a short length of a double pile fabric woven face to face, with fast inner selvages. Diagram Fig. 876 shows a perspective view of one-half of this fabric when the pile has been severed and the upper cloth separated from the lower cloth. Diagram Fig. 877 shows two separated pieces, obtained by dividing the fabric shown at diagram 876 longitudinally between the fast selvages which are formed in it. In these diagrams U is the upper cloth, L is the lower and P is the pile. The two parallel lines 5 S, which run lengthwise of each cloth, represent the fast edges of the inner selvages. Let-off Mechanism for the Pile Warp for Weaving Double Pile Fabrics. In double velvet weaving there is one great difficulty to contend with, namely, to keep the two pieces of cloth an equal distance apart. To do this a regular supplying, guiding and deliver- ing of pile-warp is required, otherwise any additional strains would draw the two pieces nearer together, and the pile would be irregular. 207 Diagrams Figs. SySa, 878/; and 879 illustrate the arrangement for effecting the letting-off, supporting, guiding and delivering of the pile-warp, and represent C. Pearson's Patent. Fig. 878a illustrates a side elevation of that part of a loom containing the necessary mechanism as mentioned. ■ Fig. 878/; is a detached view of some of the parts and taken from Fig. 8ySa. Fig. 879 is a diagram showing the arrangement and position of the several rollers and parts constituting this mechanism. The letters indicating the different parts in this mechanism are as follows : A represents the frame of a loom. G and H are the beams containing the pile-warp. The latter threads are delivered from these to a guide-roller secured in the frame of the loom, and thence to a pair of metal rollers, C C, turned perfectly true and covered with cloth, plush, or other like rough-surface material, in order to create friction between the surface of the roller and the warp-threads. These rollers are mounted upon shafts having bearings in a bracket bolted to the frame of the loom. They are independently rotated toward each other with unvarying uniformity and precision by means of worm-wheels d d on the axes thereof, which engage with two screws, F F, one for each Fig. 878a. Fig. 879. roller, one being a left-hand screw and the other a right-hand screw, on a horizontal shaft, E, which has its bearings in brackets XX, also secured to the side of the frame A. One end of this shaft E\s provided with a beveled gear-wheel, which engages with a similar beveled gear-wheel on the end of the picking«shaft D, and is thus continuously driven. The other end of shaft bears against a rod, L, in the bracket X, provided with jam-nuts, in order thereby to secure desired pressure against the shaft and its actuating-wheel, more especially when actuated by friction as a substitute for the gear-wheels shown. The pile warp-threads are delivered directly from the guide- roller R to one of the metal rollers C, and under and around the same, and from thence in like manner under and around the other roller, these rollers rotating toward each other, and from the last-mentioned roller C the pile-warp is carried to a second guide-roller, 5, supported horizon- tally in the frame A, and is from thence taken up by vertical rods Y, held up by pull-springs to support the warp in its passage to the heddles, and to create the necessary tension thereon to hold the same taut. Carrying the pile warp-threads to a point over the main rollers C the loose waste driven off by the operation will drop onto the warp after passing the second roller, C, injuring the pile-warp and clogging the mechanism. To prevent this, a shield, T, is arranged over the second roller, 208 consisting of a flat tin or other suitable plate extending from side to side of the loom and secured to its frame. Another arrangement for delivering the pile warp in looms for weaving double pile fabrics has been lately invented by Mr. Fred. Pearson. This invention consists of a mechanism for the proper feeding of the pile warp into the harness, and is placed in such a position in the loom as to pre- vent any fibres or other substances, which may be freed from the warp yarn as it passes over the mechanism (friction rollers), from falling into the latter, and thus injuring the warp-yarn as well as clogging the mechanism. Another advantage Mr. Pearson assigns to his invention is the means provided by which this feeding mechanism can be easily thrown out of action, so as to allow the weaving of the ordinary close-stitched double-cloth required for the weaving of a proper heading at the beginning and ending of each cut. The mechanism is also arranged to permit a quick and correct changing of the amount of pile warp to be delivered, as regulated by the height of pile required for the fabrics woven, by substituting a smaller or larger worm-wheel upon the axle of the main roll. Diagrams Figs. 880 and 881 illustrate this mechanism. Fig. 880 is a side elevation of the rear part of a loom or attachment to a common cam- loom, and embodying Mr. Pearson's inv^ention. Fig. 881 is a sectional elevation, showing the delivering of pile warps (from two beams) and Fig. 880. Fig. 881. the direction of the running off of the ground warps (from one beam). The respective parts with the letters of references given (the same for both Figs.) will in a great measure explain the modus operandi. A represents the beam for the ground-warps; B and C, the beams for the pile warps ; E and //.the guide-rollers; F and 6", the main or friction-rollers, who.se axes are mounted in open bearings in an adjustable bracket N, attached to and mounted upon the main frame of the loom. The axis of the lower friction-roller is provided at one end with a worm-wheel which gears into a worm P on one end of a horizontal shaft, which is driven by gear wheels R and 6". Upon the opposite ends of the axes of the friction-rolls are mounted gear wheels V X, which gear into each other. J represents the harness frames. An examination of Fig. 881, with regard to the direction of running the pile warps and ground warps of the fabric, gives us as follows : The pile warp-threads, upon the beams B and C, are, together, carried over the guide roll E, under and around the main roll F, and around the main roll G, under the guide roll H, and over the horizontal yielding, or spring-supported rods / contained in the vertical guides K, and are thence run to the heddles. The ground warp-threads upon beam A are carried over supporting or guide-rollers a b to the harness-frames. At the beginning of the description of this invention we mentioned that a part of the claim was based upon allowing a quick changing from pile weaving to a w'eaving of regular close- 209 stitched double-cloth used as headings for the fabrics. This is accomplished by shifting lever T to the right {i. e., towards the rear of the loom), thus elevating friction-roller F and its worm- wheel, carrying the latter out of contact or gear with the worm P, whereby the revolution of the main rollers /^and G will be discontinued and the feeding of pile warp-threads to the heddles will be stopped. Another method for arranging the beams for pile warps and ground warps in the loom in weaving double plush is that used by Mr. R. H. Patton. In looms of his construction the beam, carrying the ground warp is situated in the rear part of the frame, as built in addition to his regular cam loom for operating the harness. The beams carrying the pile warps rest in the upper middle part of said frame. To give a clearer understanding diagram Fig. 882 has been designed. In this A indicates the side of the frame previously alluded to, B the beam carrying the ground warp, and C and D the beams for both sets of pile warps. In the present style of arranging the beams for the pile warp and guiding those warps in their run to the delivering Fig. 882. rollers H G, and from there to the respective harness, one great advantage over that of the pre- viously shown methods will be readily noticed, i. e., that the pile warps are delivered to their respective heddles without crossing the ground system, and consequently any possible chafing is avoided. The ground warp for the upper cloth in the loom passes from the warp beam B over stationary guide-roller E towards the harness frames; this set of threads being indicated by letter a. The other set of ground warps required for the lower cloth passes from beam B below guide roll Fand from there direct to the respective harness frames. This set of ground or body warp has been indicated by the letter d. The two sets of pile warp, one from beam C and one from beam D, are guided from their respective beams into the delivering rollers G and H. The lower roller (//) is covered with a fine sand-paper, while the one above is covered with a plush fabric. After leaving the delivering rollers one set of the pile threads is passed over guide-roll J and below guide-roller L, and the other set below guide-roller K. Each of these two guide-rollers is adjusted to a lever which is on one extreme end connected with the loom frame and on the oppo- site end has adjusted a spring which is fastened to the floor. These springs will greatly assist in 210 easing up the "beating home" of the pile warp. The let-ofif of the pile warp is regulated by sproked gears adjustable to the axis of the delivering roller and gets the motion from the "take-up" by means of a chain belt. The present method' of delivering pile warps allows the harness in the front part of the loom to be arranged for an extremely high pile, i. e., the keeping of the two sets of ground warp — ground cloth — as far apart as possible. The bracket for holding guide-roller F can also be applied to the centre standard of the frame. Double Pile Fabrics Made with a Proportionally Higher Pile. In some double pile fabrics a greater length of pile may be required than the one which can be produced on a common loom. To overcome this difficulty James, Fred, and George Priestley have lately invented an improvement on the lay, suitable to be adopted for any loom. To secure a proportionally higher pile their patent advises the cutting away of a large portion of the solid part of the lay and inserting small steel plates set upon edge. Each plate reaches across the cut-out part of the lay, and the tops of all the steel plates are in a line and carry the shuttle when in operation. The warp-threads of the bottom fabric drop into the spaces between the steel plates and are well out of the way of the shuttle when the top or upper fabric is being woven, and at the same time the pile-threads are kept tight and at full stretch between the two fabrics. fTTTTTTTrTl I I I I 11 1 1 n I IILL Fig. 8S36. Fig. 883a. Fig. 883^:. Diagram Fig. 883a illustrates the sectional side-elevation of a portion of the lay of a common loom which is fitted up with such steel plates. Fig. 883^5 represents an elevation of the latter, and Fig. 883c illustrates a plan of a portion of the same. Figured Double Pile Fabrics. Double pile fabrics are also produced by means of the Jacquard machine. Various methods of operation as well as different makes of looms exist for effecting this process. Diagrams Figs. 884 to 891 illustrate a specimen of such a loom and the method of operation for weaving figured double pile fabrics, which was invented and patented by T. J. Shuttleworth. The said diagrams illustrate a loom for weaving figured double pile fabrics for operating the pile-threads whereby on the ri.se of the Jacquard lifter-board any desired pile-thread may be drawn down from the upper warp into the lower fabric or drawn up from the lower warp into the upper fabric, so as to produce two fabrics having a corresponding figure. In diagrams Figs. 884, 885 and 886 the method of interlacing the two fabrics is clearly demonstrated. Fig. 887 represents a loom showing sufficient to give one a proper understanding. 211 Figs. 888 and 889 are diagrams illustrating the operation of the heddles controlling the ground warp-threads. Figs. 890 and 891 illustrate the Qperation of the heddles controlling the pile warp-threads. Each of the fabrics has a number of pile-warps (indicated x) and two sets of ground backing threads (see y), the number of pile-warps depending upon the number of colors in the pattern to be produced. The operation of weaving the fabric will be understood upon reference to Figs. 884, 885 and 886. In Fig. 884 the threads are represented as they appear after the figuring pile-warps have been drawn from the upper to the lower and the lower to the upper fabric and bound in by picks i , all of the upper pile-warps being then elevated and the lower pile-warps depressed and the ground or backing warps of each fabric crossed, so as to form upper and lower sheds for the insertion of Fig. 836. Fig. 887. the binder picks 2, which are thrown in and beaten up and the ground-warps of each fabric then again crossed, as shown in Fig. 885, to form sheds for the binder picks 3, and after throwing in these picks the ground-warps of each fabric are again crossed to form upper and lower sheds, all of the upper pile-warps except those for the figure being lowered to the level of the bottom of the upper shed, and all of the lower pile-warps except those for the figure being raised to the level of the top of the lower shed, as shown in Fig. 886. Such of the upper pile-warps as are necessary to form the figure are drawn down into the lower shed; and such of the lower pile-warps as the figure demands are lifted into the upper shed, as shown in Fig. 886, preparatory to throwing in the binder picks which confine said figuring pile-threads on the backs of the fabric; the operations being then repeated. As shown in the drawings, accompanying these explanations, such of the pile-warps as are necessary to form the 212 figures are drawn across from one fabric to the other on every third pick ; but, if desired, only one binder pick may be put in on the face of the fabric between successive tufts of the pile. The mechanism for effecting the movements of the threads whicJi we described, is shown in Fig. 887. The heddles which control the ground warp threads have double eyes, as shown in Figs. 888 and 889. The threads of the upper fabric pass through the upper eyes of the heddles, and the threads of the lower fabric through the lower eyes, these eyes being so related and the lift of the heddles being such as to effect the proper formation of the upper and lower sheds. Each of the pile-warps is controlled by a harness thread connected to one of the needles of the Jacquard, (see Figs. 890 and 891) and passing through the usual notched eye in the lifter board, above the Jacquard needles, each harness-thread having a knot above the lifter-board, so that when the thread is adjusted by the needle to bring this knot over a notch of the board, this knot and that Fig. 890. Fig. 891. portion of the thread in which it is formed will be lifted by the board as it rises, there being no lift of those threads the knots of which remain in line with the eyes of the lifter-board. The movement of the entire body of warps, except those necessary to form the figure, is effected by comber-boards g and h, Figs. 890 and 891, the upper of which, in the present instance, acts upon knots upon the harness-threads of the pile-warps of the lower fabric, while the lower board acts upon knots upon the harness-threads of the pile-warps of the upper fabric, and these boards are caused to move toward and apart from each other, so that on the rise of the upper board, g, all of the pile-warps of the lower fabric, except the figure-warps, will be lifted from the position shown in Figs. 884 and 885 to that shown in Fig. 886, the descent of the lower board, h, causing the corresponding pile-warps of the upper fabric to drop to the same extent. The comber-boards remain separated while the binding-shots i are being thrown in, after which they are drawn together, so as to restore the warps under their control to the positions shown in Figs, 884 and 885. Such of the pile- warps as are desired to form the figure are by means of the Jacquard brought 213 under control of the lifter-board, which has a njovemcnt in excess of that imparted to the comber- boards, so that the figuring pile-warps will be carried up or down into the opposite fabric. The figuring-threads of the lower pile-warp are simply elevated by the action of the lifter- board as the latter rises in the usual manner; but it is necessary to transform this rising move- ment of the lifter-board into a downward movement of the figuring-threads of the upper pile- warp; hence each of the harness-threads of the upper pile-warps must be passed around a pulley or other bearing so as to double it back upon itself, pass it again through the eye of the lifter- board, and connect it at the lower end to a strip m, Figs. 890 and 891, of rubber or other elastic material, secured to the guide-board n below the Jacquard apparatus. The lifter-board acts upon a knot on this returned portion of the harness -thread, so that the lift of the board serves to stretch the spring and permit the drop of the weighted portion of the harness-thread which controls the lA.lB. M.^B. 3A. 3B. U. "iB. 5A.5B. 6A.6B. TA.IB. 8A.8B. Fig. 892. warp-thread, this warp-thread being lifted on the descent of the board by reason of the contraction of the spring in, which exerts a force considerably in excess of the weight. The lifter-board of the Jacquard is operated by a cam on a shaft, the cam acting on a slide which is connected by a rod to a lever connected to the lifter-board by a rod. The comber-boards are operated by another cam on the shaft mentioned before, this cam acting on a slide which is connected by a rod to a lever, and by another rod to an arm; the lever before mentioned being connected by a rod to the upper comber-board, and the arm also previ- ously mentioned is connected by a rod to the lower comber-board, so that the desired movements of both comber-boards towards and from each other are effected. The principle thus far explained of weaving these double pile fabrics can also be used in connection with a Jacquard apparatus in which griffe-bars are used in place of an eyed and notched lifter-board, and hooks are used instead of knots in the harness. 2U Figured Double Plush Produced upon a Jacquat^d Machine Containing a Stationary and a Raising "Griffe," and also a Lowering {Falling) ''Grate" or " Rcster." Mr. T. Halton has lately applied for a patent for a Jacquard machine for weaving " Jigiired double pile fabrics" which is very simple and effective in its method of construction. This machine resembles to a certain extent a double-lift double-cylinder Jacquard machine used in weaving damasks, dress-goods, etc. This new Jacquard machine has also two sets of griffe-bars (similar to the double-lift double-cylinder), but only one set raises while the other remains r Fig. 893/?. I Fig. 893.^. Fig. 893 C stationary. The " grate " or " rester " for the hooks in the new machine is arranged to lower simultaneously when the previously mentioned griffe raises, and again raises to its starting-point as soon as the griffe lowers to its point of starting. The cylinders of the Jacquard machine for weaving figured double pile fabrics are operated on at the same time, while the cylinders of the Jacquard machine, known as " double-lift double-cylinders," are operated on alternately. To give a clearer illustration of the construction of the machine, Fig. 892 has been designed. It represents the section of a four-hundred Jacquard machine for weaving figured double pile fabrics. 215 c I ^ 1 a. I L d. in. At the point indicated by A, one vertical row of one set of needles is shown (E — needle board, D = spring box). At B one vertical row of the second set of needles is shown (C = needle board, F = spring box). a represents sections of stationary griffe-bars (shown shaded) ; i> represents sections of raising griffe-bars (shown in black) ; // represents sections of the grate or rester (for holding the hooks in the required position and also for guiding the latter in their lowering, if not called for by either one of the griffe-bars). Hooks I A and i B have their neck-cords connected to the same leash. (Also 2 A and 2 B; 3 A and 3 i? ; 4 A and 4 B, etc.) Figs. 893 A, B, C, D and E illustrate the modus operandi of the machine and its harness. Two hooks, operating the same warp-threads, are used for illustrating the principle. Letters of reference indicate like parts in each diagram. g-l and h-in are the previously men- tioned two hooks; r-/"the needle for oper- ating the hook g-l ; c-d the needle for operating the hook h-in ; a is the station- ary griffe-bar ; b is the raising griffe-bar; l-n and m-n are the neck-cords ; / is the heddle eye ; r and s the double shed re- quired ; q the lingo, and 0 the last woven part of the fabric. Diagram Fig. 893/i shows the hooks at rest; or in a position similar to that in Fig. 892 (the complete section of a 400- machine) ; thus the warps will rest in the loom in the position shown by the fall line o-p-t, or in the centre. Diagrams Fig. 893 B and C illustrate the raising of a warp-thread in the upper section of the top shed (;'). (See full line o-p-t) In diagram 893-^ this is accom- plished by punching a hole in the cards for needle c, and none in the other card at the place where needle e strikes. Conse- quently hook h-m, not operated on by its needle (hole in card), will be caught by the ascending griffe b, and in turn raise the warp-threads by means of the harness cord in the upper section of the top shed (r). (See full line o-p-t.) The hook g-l, which is thrown backwards by reason of its mate needle e having no hole cut in the card, is thus placed out of reach of the stationary griffe-bar and descends with the lowering of the rester i until it reaches the base, as shown in the present diagram. This, consequently, will have no effect upon the warp-thread, and nothing else will be produced but the slackening of the corresponding neckcord l-n, as represented in the diagram. In diagram Fig. 893 C the same effect (as in Fig. 893.5) for the warp-thread (or its raising into the upper section of the top shed is produced by having two holes cut for both needles (for needle e Fig. 893/?. Fig. 893£". 216 in the card of the other set). Cutting a hole for needle e will leave hook g-l in its vertical posi- tion and the crook of the hook will be caught by the stationary griffe, which will hold it during the, downward movement of the rester. The movement of hook Ji-ni and its result upon the corresponding warp-threads being the same as in the previously explained diagram, the only difference between adopting either plan B or C, is the lesser amount of slackening of the neck- cord l-n which is out of action in using the plan as illustrated by diagram C. Diagram 893Z? shows the warp-thread in the lower section of the bottom shed s. (See full line o-p-i) This movement is accomplished by cutting no hole for either needle in its correspond- ing place m the card, consequently throwing off each hook from either griffe, which will result in the lowering of both hooks by means of rester bars / and k. Diagram Fig. 893/: shows the method of operation necessaiy if a warp-thread is required to remain in the centre, thus forming the bottom of the upper shed r and the top of the lower shed s. In this case no hole must be cut in the card for needle c, and a hole in the card from the other set for needle e to penetrate. Hook g-l will thus remain over the stationary griffe-bar {a) while the mate hook h-m has its crook thrown out of reach of the raising griffe b, and consequently descends with the lowering of the rester. TERRY PILE FABRICS In which the Pile is Produced During Weaving Without the Aid of Wires. Pile fabrics in which the pile-threads are raised without the aid of wires are fabrics known as "Turkish toweling" and certain kinds of scarfs used for ornamentation on chairs, bureaus, etc. In the manufacture of these fabrics two (or more) warp-beams are required — one to carry the "pile- warp" for the formation of the loop and the other to carry the "ground-warp" for forming the body of the fabric. Method of Operation for Producing the "Loop" or "Terry" Pile. In the process of weaving a terry fabric the upper or terry series of warps is weighted lighter than the lower or body series, for the purpose of allowing the loops to be formed on the surface by the lay swinging or being driven fully up to the body already manufactured after several or one or two picks of the filling have been shot from the shuttle and but partially beaten up, those picks having in the meantime so tightened upon the upper or "terry" warps that the latter are forced with them by the full beat fully up, and thereby forming the pile loops or terry. Fig. 894a. Fig. 894A. The three (or more) picks so interwoven will have slid on the ground-warp, which remains tight during the entire process of weaving. To illustrate the method of operation more clearly Figs. Sg^a and 894^^ have been designed. In Fig. 894^ the pick, indicated by 0, represents the edge of the cloth. At the first stroke of the lay the first pick, i, is not driven home. At the second stroke the second pick, 2, is driven against the first pick, i, and no further; but the third pick, 3, is driven home towards o. This pick will in turn naturally take picks i and 2 along, pressing them up against the finished edge of the cloth ((?). The pile or "terry" warp will thus form the loops s, as shown in Fig. 894^. 217 Fig. 895^: illustrates the drawing-in draft for the regular terry cloth. Harness i and 2 are for the pile, harness 3 and 4 for the ground-warp. Fig. 8g^i> represents the weave or harness- chain for the above illustrated drawing-in draft. To give a more perfect understanding of the method of operation in the present style of terry weaving, Figs. 896, 897 and 898 are designed, illustrating the operation of a terry loom patented by Messrs. Holt & Mellor. '* Fig. 896 is a cross-sectional elevation of part of a terry loom necessary for properly illus- trating the explanations to follow. Fig. 897 is a plan-view of the same. P W I 1.") Fig. 895*. Fig. 898 is an enlarged cross-sectional view of the upper part of the lay and the breastbeam. The operation is as follows : When the cam Z> (see Fig. 897) does not raise the lever £, the frame remains lowered, as do also the arms L, and when the lay swings toward the breastbeam the outer ends of the arms L come in contact with the inner ends of the screws N (see Figs. 896 and 897), whereby the arms L will be pushed in the inverse direction of the movement of the lay — that is, in the direction of the arrow d' — thereby swinging backward the reed and pre- venting it from driving the last pick home — that is, preventing the reed from driving the last pick against the finished edge of the cloth; but if the cam D raises the lever £ the frame /^will be moved upward and the arms L will be raised so that their shoulders engage with the face of Fig. 896. Fig. 897. the lay, and the free ends of the arms L will be raised to such an extent that they will pass over the beveled ends of the screws N, and the bary, or lower part of the reed, will not be pressed in the direction of the arrow i', thus permitting the reed to drive the last pick home, as represented in diagram Fig. 898. The loom can also be so constructed as to drive the second, third, fourth, fifth or sixth pick home, as may be desired, and according to the number of loops desired in the fabric. The length of the loops is adjusted by means of the screws N, for the farther the screws project from the breastbeam the greater will be the distance that the bar J is swung back, and thus the greater will be the distance between the finished edge of the cloth and the first pick. Fig. 895a. 218 Diagrams Figs. 899, 900, 901 and 902 illustrate the principle of construction and the opera- tion of a loom for weaving terry fabrics patented by N. A. Woodhead. Fig. 899 is an end or cross-sectional elevation of the loom with the movable journal-boxes and crank-shaft thrown fully back, as when partially beating up the filling. Fig. 900 is a cross-sectional elevation of it without the gear-wheels, showing the journal- boxes and crank-shaft thrown forward and the lay forced fully up. Fig. 901 is a top view. Fig. 902 is a detail view showing one of the journal boxes and part of its supporting lever, its adjusting screw, and the device for locking the lever and box in a Fig. 899. Fig. 900. forward position for the production of a plain fabric. (Letters indicating the different parts for reference are selected to corre.spond in all four diagrams.) The method of operation of the loom thus forming the terry pile is as follows : The crank-shaft A when revolving drives to and fro the lay H by means of the rods a, com- municating with the cranks b l>, and thus drives the picks partially up at each revolution, when it is thrown back, as illustrated in Fig. 899. In order, however, to produce the terry loop the entire shaft A is, after two picks, thrown forward to a point where, when the cranks /; arrive on a horizontal plane toward the lay H, the lay will be caused to make a full beat, driving the picks full up, and producing the terry or pile loop. The shaft A, when it is desired that the loop shall be formed at every third pick, is arranged to revolve by a proper adjustment of the gearing three times while the cam shaft N revolves once. When the cams h of the cam-shaft N are in any position other than an upright position, the lower arm E' is at rest, being borne down and held in that position by the weight e. As a natural consequence, by reason of the pivotal bearing at g, the knee of the arms EE' is thrown forward, while the journal boxes F oi the shaft A, being firmly fixed to the arms EE', are thrown back, and the shaft A, while revolving in this position, produces by means of the lay but a partial beat of the picks, one throw of the shuttle being made to each revolution of the shaft A. When, 219 however, the cams h of the cam-shaft iV, by the revolution of the shaft, begin to assume an upright position, pressing against the lower edge of the arms E' as shown in the drawings, the arms E' are gradually raised until they assume a horizontal position and thereby, by reason of the pivotal bearing g, throw the boxes E, adjusted to the extreme upper ends of the arms E and containing the crank-shaft A, completely forward. Then the shaft, revolving to the proper point, produces a full beat of the lay and makes in the fabric the terry or pile loop at the desired interval. The length of the terry-loop is regulated by means of the screw /, adjusted to the journal boxes E. By screwing down the screw the terry-loop is shortened by the shaft A being prevented from going as far back as it otherwise would by reason of the lower end of the screw coming in contact with the loom-frame, consequently allowing the short beats of the picks, to be driven more nearly full up. When the screw / is screwed up, the arms E' fall fully down when released from the cam li and throw the shaft A full back, and this produces an extremely long terry-loop. By this means a terry-loop of any desired length can be produced. When it is desired to throw the terry devices out of operation and to weave a plain fabric, the lever S, connecting with the lug as shown in Fig. 902, is depressed, the lug / thereby engaging the movable journal-box F, and, preventing the backward motion, holds it firmly in position and allows of the lay //beating full up at every revolution of the shaft A. Fig. 903. Fig. 904. Fig. 905. Some " terry" fabrics require a combination of the terry pile weaving and the common plain weaving ; both systems of weaving to exchange alternately (and sometimes more frequently) in one length of the fabric. For such fabrics the loom illu.strated in diagrams Figs. 903, 904 and 905 (as is claimed by its inventor, C. Strobel), is of special advantage. Figs. 903 and 904 represent vertical sections of the loom ; the parts being shown in different positions. Fig. 905 represents a vertical section of the loom in line x x Fig. 903. The shedding, picking and take up motions are substantially the same as are ordinarily used in looms. (The letters of reference in all these drawings are identical.) The crank and cam shafts A 0' are geared by gear-wheels, each mounted on shafts and meshing together, and are driven in the usual way. While the rollers M are in the bottoms of the slots in the links or levers C the lay will travel forward to a fixed line, this being the cloth making line of the fabric. The roller J on the gear / at each revolution of the latter, if the lever H is not engaged by the hook N, presses down the rear end of the lever H, causing the forward end to rise, and through the rod G and the arm F to rock the shaft D until the rollers M reach the bottoms of the slots of the links C. The spring P, connected with the arm F on the rock-shaft Z>, keeps the rollers Mm the upper part of the slots of the links (7 when the lever H is free from the hook N and is not acted on by the roller J. Wlien the rollers are in this elevated position, the lay will not travel as far forward as the cloth-forming line, owing to the pivots of the pitmen B having been given a lateral movement toward the lay, thus shortening the 220 distance between the crank-shaft and the lay. It will be understood that during these short movements of the lay the filling will be only partially beaten up. The number of short or partial beats to each full beat may be varied by changing the gears / or O. The present illustrations show the loom arranged so as to have two short strokes to each long or full stroke or beat. At each third jaick the lever //" will be depressed by the roller J on the gear /, causing it to bring the arms E on the shaft D to a horizontal position, thus giving the pivots of the pitmen B a movement away from the lay, and increasing the distance between the crank-shaft and the lay. By this means the lay in its next forward movement will be moved forward to the cloth-making line, beating home the previously inserted two picks and causing the terry warp-threads to be looped or raised from the body of the cloth. The screws K, passing through the side projections of links C, act as stops for the roller-supporting levers E, limiting their upward movement, thus regulating the length of the terry-loops, making them longer or shorter, as desired. The arms F may be given more or less movement by shifting the pivots or screws, by which the connecting- rod G is attached to the arm E or to the lever H. When it is desired to do plain weaving, the Fig. 906. Fig. 908. hand-lever 5" on the breastbeam is moved to the right, causing the lever Q to act on the hook M, pressing it toward the lever H, when it will hook under and lock the lever H as soon as the lever is raised to the proper height. The parts will remain in these positions until the hand-lever 6" is thrown to the left, thus unlocking the lever H from the hook JV, when the loom will be in con- dition for terry-weaving, all these changes being accomplished without stopping the loom. Before closing the chapter on the construction of the various looms for weaving terry fabrics we refer to the patent of T. A. Brady, it being a loom for weaving terry-pile fabrics such as Turkish towelings, etc., and in which there is a different throw or beat of the lathe, due to the shifting of the boxes or bearings for the crank-shaft of the loom. The shifting of the boxes car- rying the crank-shaft is effected by means of a grooved cam. Figs. 906, 907 and 908 are drawings illustrating the principle of this operation. Fig. 906 is a longitudinal section of parts of a loom sufficient to illustrate the present expla- nations. 221 Figs. 907 and 908 are drawings representing enlarged face views of the cam by which the parts are operated to effect the shifting of the sHdes forming the bearings for the crank- shaft, and thus regulating the forward beat (towards the last woven part of the fabric) of the lathe. The cam has an outer flange, Ji, an intermediate segmental flange, /, and a central cam, in, the inner portion of which is concentric with the flange i, so as to form an inner groove, n, while the outer portion of the cam is such as to direct the roller on the stud of an arm fastened on the loom into a groove, /, formed between the flange i and the outer flange h. Pivoted toes s and / form continuations of the flange these toes being such that their ends can be thrown inward, so as to bear upon the nose of the cam w, or can be thrown outward, so as to come in contact with the outer flange, Ji, of the cam. The toe s has a projecting pin passing through a segmental slot, ec, in the disk of the cam, and having an anti-friction roller, which is acted upon by a spring, tending to thrust the point of the toe outward against the flange h of the cam, so that, supposing the cam to be rotating in the direction of the arrow. Fig. 907, the roller on the .stud of the arm would be under the influence of the cam and inner groove «, and the arm would be depressed at the proper intervals to effect the forward movement of the slides and the full beat of the lathe. If the toe s, however, is adjusted to the position shown in Fig. 908, the roller will traverse the outer groov^e, />, of the cam, and will be free from the influence of the cam VI, so that there will be no vibration of the arm and no movement of the slides and crank- shaft ; thus the lathe will move forward to the full-beat point on each stroke, so as to produce plain or unpiled fabric. The toe t .serves to bridge the groove n when the roller is traversing the outer groove,/, there being in such case a practically unbroken flange, i, so as to insure the proper guidance of the roller. In order to permit the ready adjustment of the toe s to the position shown in Fig. 908, when such adjustment is desired, hang to one of the frames an arm, which is adapted to act on the roller, carried by the pin of the toe $, this arm being connected by a suitable cord to a lever, hung to a stud on the breastbeam of the loom, so as to be within easy reach of the attendant. For figured terry fabrics as produced on harness-work, the Geo. W. Stafford Manufacturing Company, Providence, R. I., build a dobbie specially adapted for this purpose. This dobbie requires the pegging of two patterns on the chain. By means of the box-chain we can arrange the former to move automatically sideways so as to bring the different patterns, as required by the fabric, under the operation of the hooks. Thus we can weave terry for a certain distance, and then move the chain for ordinary weaving. For very heavy work the " Positive Dobbie " must be used, which, by being a " Doiible Action" is very easy on the yarn. PILE FABRICS OF A SPECIAL METHOD OF CONSTRUCTION. Smyrna Carpets and Rugs. These fabrics are made on a loom specially built for their manufacture and is known as the " Haiitelisse Loom!' Diagram Fig. 909 illustrates a section of this loom. In this loom the warp passes from the beam g (upon which it is wrapped) over the guiding roller f, through heddles b, c, down towards the place a, where the weaver is situated while at work. The heddles being in a horizontal position are fastened to two rollers, d and e. The latter (by reason of their turning to the right or left) operate the heddles, which in turn produce the opening of the shed. (The loom, it will be observed, is technically a " vertical loom.") The pile in these fabVics is produced by inserting, separately, loops of yarn for each square on the designing paper of the respective design. This method of producing the pile in a fabric is a slow and troublesome work, still fabrics showing many varieties of colors can be produced. 222 The body or ground structure of a Smyrna Carpet or Rug is made with either strong woolen-linen or jute threads, and the pile of a soft woolen yarn. Diagram Fig. 910 illustrates the method of interlacing (shown in the front view). The vertical threads represent the warp, and the horizontal threads the necessary ground or body picks. At a is shown the insertion of a loop (pile). This loop, intertwined with the two warp- threads of the ground structure, is shown separately in its section in Fig. 911. The body-filling is inserted by a "block," as shown in Fig. 912 (clearly indicating the yarn as wound around it, and leaving this block at the place marked p). The beating up of the filling (ground and pile) is effected by means of a comb shown in Fig. 913. In this method of operation Fic;. 909. Fig. 910. Fig. 911. the weaver inserts two body-picks ; next, he places one row of pile loops over the entire width of the fabric (selecting their different colors in accordance with the design which is to be produced). Then he again inserts two body picks (by turning the rollers d ox c for each pick) to be followed by the next row of loops across the fabric ; and selecting the colors as required by the design. This method of alternately exchanging two body picks with one row of loops is repeated until the fabric is finished. On fabrics of a sufficient width two or more persons can operate at once. After the fabric is finished upon the loom it is " sheared " so as to produce an even height of the pile. This method of tying each individual pile-thread to the ground structure in Smyrna or Turkey carpets and rugs is very laborious, and hence materially increases their cost of manufacture. Y\G. 912. Fig. 913. Various methods have been devised to imitate these beautiful fabrics in a way that would give a better production for the manufacturer as well as to provide a mode whereby a certain proportion of any desired number of carpets of the same jDattern might be produced in one operation. This has been accomplished quite successfully in a process invented by Messrs. Kohn & Watzlawik and resembles in its main features and principles the explanations given by us in a former chapter, pages 154 to 158, on the manufacture of chenille rugs and carpets, and pages 160 to 165, on the manufacture of chenille fringe. Such imitations of Turkey carpets are produced mechanically from patterns composed of colored squares that clearly indicate the design and arrangement of the colored squares to be reproduced in the carpet. In the carpet each transverse range of squares corresponds to a pick 223 of pile filling, and each pick of this pile filling consists of a woven strip (or ribbon), the warp of which is composed of wool threads of the required colors. These filling strips have edges con- taining no filling (fringed) and which are intended to be brushed up for forming the pile of the carpet. These ribbons or filling strips also contain Jio filling in their centre, for two reasons: To form the imitation of the knot characterizing the real Turkey carpets, and again to reproduce the (pile) pattern of the face in an ordinary woven appearance on the back. These explanations demonstrate that tivo operations are necessary in producing the imitation. First, the weaving of the fringed strips or ribbons composed of different colored threads, according to the transverse Fig. 914. Fig. 915. Fig. 916. ranges of the colored squares in the pattern, and, second, the weaving (or setting) of these strips in a common warp to produce the pile carpet. In diagrams Figs. 914 to 919 a clear illustration of the entire method of operation is given. Fig. 914 illustrates a carpet pattern. Fig. 915 shows one strip (ribbon) cut from a chain corre- sponding to the upper transverse range (or row) of the pattern Fig. 914. Fig. 916 shows a like strip from which the centre filling has 'been removed. Fig. 917 represents the back of the carpet. Fig. 918 illustrates by a perspective view the method of operation at the loom, weaving imitation Turkey carpets. Fig. 919 is a section cut of the shed and two transverse ranges of pile picks previously inserted. We will next give a short description of the methods for producing the filling strips or ribbons necessary for the construction of the fabric. Fig. 918. Fig. 919. :l^^lllll«i■4^i«|»il|«t«|»iifl3J|S^l!«^||i^■lM# I i-'li*w;"C:«i^Ti«^f!pi^sSi« As many different warps for weaving the chenille strips for a certain carpet are necessary as there are differently figured or colored transverse ranges (rows of squares) in the pattern of the carpet, each warp producing any desired number of fringed filling or pile strips of the same trans- verse range of colors, that are woven into suitable warps for as many different carpets of the same pattern, or into a warp for one carpet as many times as the transverse range of colors correspond- ing to the strip or ribbon recurs in the carpet. Thus, for instance, the strip or ribbon shown in Fig. 916 corresponds with the transverse range A' of the pattern shown in Fig. 914, and, sup- posing that one hundred such ribbons are produced from one chain of warp, they may be used as a strip (pile pick) in one hundred carpets for one transverse range of colored squares in the 224 pattern, or in a given number of carpets for a multiplicity of identical transverse ranges of squares in the pattern. The length of these multicolored warps therefore not only depends on the number of carpets of the same pattern, but also on the number of times the same transverse range of colors is repeated in this pattern, also on the length of the pile of the carpet. After a warp is beamed, it is bound at intervals equal to twice the length of the pile to be formed by a few picks of any suitable filling, the fabric being cut centrally of the fiUingless portion on opposite sides of the filling to form the fringes for the pile. The width of these multicolored-wool chains, or, in other words, the length of the filling strips or ribbons to be produced therefrom, corresponds, of course, to the width of the carpet to be produced thereby, and the number of colored-wool threads per inch, which is usually from four to five threads, according to the quality of the carpet. The length of the fringe in the chenille strips is regulated by interweaving a flat bar or lath, b, b' , Fig. 915, of a certain width. After cutting the different strips apart they must be numbered. To prevent the displacement of the wool-yarn filling, these are firmly sewed to the warp with a sewing-machine, as shown by dotted lines x x in Fig. 916, and finally the pack-thread d, between the wool-threads c and c' , are drawn out to leave a central fillingless portion in the strip or ribbon, as shown in Fig. 916, that imitates in the completed carpet the knots of the true Turkey carpet, and reproduces the pattern on the back of such carpet, as shown in Fig. 9 1 7. By means of these strips or ribbons the carpets are produced as follows, referring more particularly to Figs. 918 and 919 : A ground-warp is drawn in two harness, e and e' , of an ordinary loom, the reed f of which contains one thread for each split. (The weave used for interlacing is the common plain ■* weave.) In beginning a carpet, a few picks of wool-yarn are first introduced into the warp, and then the first strip or ribbon. To prevent the shrinking of these strips they are secured at their ends to a rod or bar, /, triangular in cross-section, which is introduced into the chain or warp in such a manner that the rear or thicker portion will be elevated above the forward or thinner portion of this rod. By means of a brush the fringe at the front edge of the ribbon is brushed up or erected to form the pile. The po.sition of the warp-threads is now reversed, the reed beaten up against the rod /, and the latter tilted so as to elevate its front edge above the rear edge, which will enable the operator to brush up the fringe along the said rear edge of the filling strip or ribbon, and when this has been effected the strip or ribbon is detached from the rod /', and the latter is withdrawn from the warp. In order to fill out the warp between the pile-threads of adjacent strips or ribbons, a few picks of strong wool yarn are interpo.sed and a new strip of ribbon introduced as a filling into the warp of pack thread and the operation repeated until the carpet is completed, when again a few picks of strong wool yarn are woven in to bind the edges. The carpet so produced is then finished in the usual manner by steaming, beating, brushing and shearing. Having given in our chapters on pile fabrics (page 149 to 224) a very closely detailed description of their methods of construction, both theoretical and practical, commencing with the simplest structure and finishing with some of the most intricate pile structures known, we feel confident that we have imparted sufficient details to enable any student of technical designing to master the principles of construction of any given pile fabric. These chapters also illustrate the extensive use of pile fabrics for floor and other household decorations, in addition to their use for clothing purposes. The manufacture of these fabrics is of great extent and importance. In some households is often to be found for floor decorations a less durable and effective fabric known as the " Ingrain Carpet" which is no pile structure but a common double-cloth structure. In my treatise on " The Jacquard Machine analyzed and explained, with an Appendix on the Preparation of Jacquard Cards and Practical Hints to Learners of Jacquard Designing," the structure of the Ingrain Carpet fabric and the preparing of designs for the same, as also the practical part of manufacturing, and the tying-up of the harness and operating the loom, etc., are fully treated. 225 The thorough study of these chapters will prove very profitable, especially the chapters on tying-up Jacquard harness for the different other Jacquard fabrics such as damasks, dress goods, upholstery fabrics, gauze, shawls, etc. Two-Ply Ingrain Carpet. We herewith give the reader a brief description 'of the method of construction and the principles governing the manufacture of the Two-ply Ingrain Carpet, an article composed of two fabrics, produced on the regular double-cloth system. These two fabrics are arranged in the loom to form figures by a simple exchanging of positions (see Fig. 920). A great variety of colors may be put into each of these separate cloths, (I and II), and the most elaborate designs Face of Warp. No. I, Single Cloth, "i^^^^^^^^^^^^^^^^ ^- No. II, Single Cloth. No. II, Single Cloth. ^^^^^^^^^^^^^^^^1 No. I, Single Cloth. Warp threads a and /> for cloth number I. Warp-threads c and d for cloth number II. Fig. 920. may be used for exchanging cloth I and II. On every part of the carpet where these two fabrics do not exchange, each works on the plain weave. The exchanging of these two fabrics binds both into one, thus forming the Ingrain Carpet. In the manufacture of this carpet four sets of warp-threads, and also four .sets of filling-threads are generally employed; but if occasionally more or less should be used in warp or in filling, or in both, in the .same fabric, the principle of ex- changing is still observed. If employing four sets in warp and filling, two sets of each are used for forming the figure, the other two sets forming the ground. Each of the figure threads has as its mate one of the ground threads. In the common effects in the Ingrain carpet, (ground up, figure up, or one or the other shot about effects) these threads are so arranged that when a figure thread appears upon the face of the fabric, its mate appears upon the back, and when the figure thread appears upon the back of the fabric, the corresponding ground thread appears upon the face. Grounol Tic^urt wp . Jfiol oieu-t .SWl SKol atoul .^ict * ^ , , ^ ^ r- ^ J ' » 1 \- ■« 1 „ > • > '» 'S lo It 11 li 11 *c SI Fig. 921. Diagram Fig. 92 1 shows the section of the effect commonly used in ingrain carpet. Suppose the filling-threads for the figure to be: Red, indicated by heavy shaded circles; picks 2, 6, 10, 14, 18, 22, 26, 30. Black, indicated by full black circles; picks 4, 8, 12, 16, 20, 24, 28, 32. And the filling-threads for the ground to be: White, indicated by empty circles; picks i, 5, 9, 13, 17. 21, 25, 29. Olive, indicated by light shaded circles; picks 3, 7, 1 1, 15, 19, 23, 27, 31. A careful examination of the drawing shows that the white threads mate with the red, and the black threads with the olive, so that when one of these colors shows upon the face the mating color will show upon the back, and zdcc versa. 226 As a general rule, these warp-threads are of the same color as the filling-threads; hence, every filling pick appearing on face is bound by a warp-thread of the same color, and if appearing on back by the other color of the same system; thus, in the present example, the white filling is covered on the face of the fabric by white warp, and if appearing on the back of the fabric by olive warp; the olive filling is covered by olive warp on the face of the fabric and by white warp on the back of the fabric. The red filling is covered by its red warp on the face of the fabric and by black warp on the back of the fabric ; the black filling being covered by black warp on the face of the fabric and by red warp on the back of the fabric. / // /// . □□■■□□□□□□□□□■■■■■■■■■■a . ■ lOaa □■■■□□□□□□□□L ■■■■■■■■■ □■■■□□□□□□□OQ' ' ■ G:rja ■■■■■■■ □■■■■□□□□□□□Qi. i ■ ■■■■■■unaannnGuL 'lj> ■■■■■■□□□□□□□□□□□□□□■□□a ■■■■■■■■"□□□□nDDJoannDBD ■■■■■■■■■ ■ iGnnoDoaanDaDB ■■■■■■■■■■ "'7 □□□□□□□□□□□□ ■■■■■■■■■■■ junmnoaaaaDn ■■■■■■■■■■■□□□□□□□□□□□□a Fig. 922. Fig. 923. In the diagram Fig. 921 the four "standard effects" of the ingrain carpets are illustrated with 32 picks, allowing 8 picks for the illustration of each part. First effect, picks i to 8, is ground up (white and olive). Second effect, picks 9 to 16, figure up (red and black). Third effect, picks 17 to 24, is first effect in "shot about" (red and olive up). Fourth effect, picks 25 to 32, is second effect in "shot about" (white and black up). Fig. 922 represents a small portion of a design illustrating the three principal combinations required in the manufacture of the two-ply ingrain carpets. / = figure up ; // = ground up; III = effect, technically known as " shot about," and derived from " one pick figure up, one pick ground up " (in the design), and repeated. In Fig. 923 a detailed description or analysis of the interlacing warp and filling of Fig. 922 is given. In the same ■ represents figure up, n represents . ground up, produced by the Jacquard machine; a represents weave for ground, represents weave for figures, produced by journals. CrovinoL u,p. JWalt-tPiTfaolf, svd« £.vde. TuXji/trt top- 3^ot-oiJrottt e^^^otj. Fig. 924. In Fig. 923 the weaving of the " shot about " effect calls for two picks face and two picks back. An examination of this part shows that the warp-thread represented by the light pick 5 § is to be raised, or has been raised in the adjoining heavy pick ? j ; further, we find the two light picks separated by the raising of a different warp-thread in each pick, which is also effected between the two heavy picks by the lowering of another warp-thread. If these mate threads introduced in succession should be required to show side by side (as may be the case in some special effects) either on the face or the back of the fabric, these changes must be indicated on the design by different colors. If such effects are to be introduced when using the common ingrain Jacquard machine, the needles of the latter must be operated on at each pick. This 227 requires twice as many cards as are used in designs where the mate threads are always placed below or above their respective corresponding threads. In diagram Fig. 924 a section cut of an ingrain carpet, also containing the previously ex- plained effects of " mate threads side by side on face of the fabric," is shown in connection with the regular effects, " ground-up, figure-up, and both combinations of shot about." Diagram Fig. 925 indicates the rotation of inserting picks in each ply corresponding to the section of the fabric shown in Fig. 924. Ground-up. Mate threads side by side. Figure up. Shot about. 1st effect. 2nd effect. ist effect. 2nd effect. Face-ply. I 1 3 1 5 7 9 10 13 14 19 20 1 23 1 24 26 28 30 32 34 35 37 40 1 Face-ply. Back- ply. 2 1 4 1 6 8 II 12 15 16 17 18 1 21 1 22 25 27 29 3^ 33 36 38 39 1 Backply. Fig. 925. Diagram illustrating the rotation of inserting the picks in each ply, corresponding to section of two-ply ingrain carpet. Fig. 924. Other effects (combination of colors) in ingrain carpets are produced by using three different colors of filling in each of the two single-cloth fabrics, and also by throwing them singly and in a definite order or succession in each ply. For example, the three colors for the one cloth are black, blue and brown. They must be interwoven as follows : Black — blue, brown — blue, black — blue, brown — blue, and so on. Suppose the colors required to be used for the other cloth are white, olive and drab. They must be interwoven as follows : White — olive, drab — olive, white — olive, drab — olive, etc. •,03,®3 0,#.,P3®3 07. fi^=Bfo«.a. O =vr^ttt Q =3rovm, (g) -J)ra&. Fig. 926, As the loom weaves both ply at the same time, throwing a shot in each ply alternately, the actual order of weaving in the present example would be as follows: ist pick, black ; 2d pick, white; 3d pick, blue; 4th pick, olive ; 5th pick, brown; 6th pick, drab; 7th pick, blue; 8th pick, oliVi\ and so on, eight picks in the repeat of one combination. The colors printed in italics repre- senting the colors of one ply, and the colors printed in roman repre.sent the colors of the other ply. Fig. 926 illustrates a diagram representing the previously explained method of placing colors in an ingrain carpet. Rules for Selecting the Squared Designing Paper for Ingrain. Carpets. In selecting the squared designing paper for a two-ply ingrain carpet, always observe the pro- portion existing between the number of warp and filling-threads. For in.stance, take a carpet having 1072 ends warp (536 ground and 536 figure) per yard, with 30 picks per inch (i pick ground and I pick figure, or 15 pairs). Then, 1072 -j- 36 = 29II ends of warp per inch. The proportion is as 29II : 30; or, what is practically the same, 30 : 30, showing that the paper must be equally divided, and 8x8 the squared designing paper to be used. Again, take a carpet having 832 ends warp (416 ground and 416 figure) per yard, with 20 picks per inch (l pick ground and i pick figure, or 10 pairs). Then, 832 36 = 23^%, and the proportion is as 23 1 : 20, or as 7!? : 61, practically 8:7; and 8x7 paper may be used. Gauze Fabrics. Principle of Construction. Gauze fabrics form the second main division of textile fabrics, and are characterized by not having their warp-threads resting parallel near each other, as observed in previously explained weaves and fabrics. In gauze fabrics they arc more or less twisted around each other, forming through the different ways of twisting as well as of stopping to do so, different designs. In gauze we find two distinct divisions of warp-threads: The regular warp called the " ground-warp," and the " douping-warp," or the warp used for twisting around the former. The " douping-warp " threads are also known as " whip-threads." In diagram Fig. 927, the structure of a "plain gauze fabric," ~~iry~~ g 'y j l^ — ]\x is shown. Threads indicated by a and shown in outlines repre- yli ^ 9 Vl ^ sent the " ground-warp;" whereas, threads marked d and shown in ■ „ t. „^ . „ black illustrate the " whip-threads." ^ Gauze weaving is done upon a system wholly apart from ^ Fig. 927, ordinar}' and pile weaving. For the reason that we find two systems ^^^j^ o^^ v ' ' of warp-threads in the gauze fabrics we must use two systems, or sets of harness, for operating the warp at the weaving. One set of the harness is known as the " Ground-Jianicss set" (which we will indicate in our following illustrations of drawing-in drafts for gauze weaving by .-^j and the other harness set is technically known as the dojtpi)ig harness set" (which we will indicate through the lecture by B). Before proceeding with the weaving and con- struction of gauze fabrics we will give an explanation of the douping-harness set, and use for explanation the arrangement necessary to produce fabric. Fig. 927, or a single one-sided doup. In diagram Fig. 928 a specimen of a complete doup is shown. In the .same we find a heddle similar to heddles used in regular weaving (see a, b in diagram) and which is known in the present kind of weaving as the " standard heddle." To this standard heddle we find the actual doup adjusted (see d, c in diagram). The doup con- sists of a smooth and strong linen or silk thread which is fastened to the lower part of a common harness frame (see c in diagram), passes then through the upper opening of the standard heddle (see e in diagram Fig. 928), returning to its starting point by passing through the eye of the standard heddle, and thus connecting the upper part of the doup Fig. 92S. ^j^^ standard heddle. Through the part of the doup extending outside of the upper part of the standard heddle to its eye, the whip-thread is passed, (see black dot at place indicated by d in diagram 928 representing its section). Two movements of the doup and the standard heddle contain the entire secret of gauze weaving When the.se are clearly understood by the student well up in designing and weaving the first main division of textile fabrics, the method of constructing the present system will readily explain itself to him. In gauze-weaving, every warp-thread (ground as well as whip-thread) must be drawn, the .same as for common weaving, in the ground harness set; see A, Fig. 929. Next, the whip-thread is passed below the ground-thread through the doup (see B in Fig. 929, illustrating the plan of this method of operation), and with its mate (the ground-thread), through one dent of the reed. Now let us examine the first movement of the doup and its standard heddle, and also with reference to the ground harness set. Suppose we lift the harness frame containing the doup adjusted to its lower shaft, technically known as the " skeleton harness," and so permit the doup to get loose, and consequently allow the whip-thread to be operated on, as in common weaving, by means of the ground harness. (228) 2?9 .0. The whip-thread will in this instance return to its regular position near one side of the ground- warp, as regulated by the drawing in of the warp in the ground harness set (to the right hand side in the present example). Suppose, again, we raise this ground harness and insert a pick in the shed thus formed. During this process the doup will raise, but out of action, behind the reed. Having thus inserted pick number one let us next raise the standard heddle and the skeleton harness, leaving the ground harness set undisturbed. This movement of the harness compels the whip-thread to raise, close to the eye of the standard heddle, drawing the whip- thread below the ground-thread and raising the former on the opposite side of the ground warp- thread, as done in the previous pick. This time the doup will be in position parallel to the standard heddle, whereas the whip-thread will be crossed behind the reed, between the sets of douping and ground-harness. This crossing and raising of the thread to full height of shed in such a short distance will consequently put a great amount of tension on the whip-thread and therefore necessitate two pohits in the method of operation which we will mention briefly. We must have sufficient space between both sets of harness, /. the heddle of the ground harness set in which the whip-thread is drawn and the standard heddle and doup-head through which this whip-thread is passed in rotation. We also must arrange in rear of harness set near the whip-roll an arrangement technically known as " SlackencrT All the whip-threads required to doup are pas.sed over this slackener, which is situated above the regular warp- line after leaving the "whip-roll" of the loom and in their running towards the ground harness set. On the first pick previously ex- plained, this slackener will remain undis- turbed, as no strain is required on the whip-thread, whereas on the second pick explained, this slackener is automatically lowered to bring the whip-thread nearly ^ in the regular warp line in rear of har- ness. This in turn allows the whip-thread to ease up in front, where required, to cross around the ground warp-thread and is raised a short distance by the doup on the opposite side of the ground warp-thread, as compared with the first pick. This slackener for gauze weaving is also technically known as "easer" (by reason of easing the whip-thread when douping). We will later on return to a more detailed illustration and explanation of the same and its arrangement for plain as well as figured work. In diagram Fig. 930, A represents the whip-roll of the loom, b the section of the .slackener, d ground heddle for ground warp-thread, c ground heddle for whip-thread, /"doup, li-i reed, k last end of woven fabric. Thus the line shown in full black, a, d, k, represents the ground-thread, and line in full black, a, b, e, k, represents the whip-thread; both threads "at rest." The object of the present illustration is to explain the principle of the slackener, and therefore we want the doup (^standard and skeleton harness) raised (see f \.o g) as represented by ^. To counteract the strain thus put on the whip-thread, we lower at the same time the slackener (see b to c), giving it position c, at the same time the doup is raised to position .g. Hence the dotted line a, c, e, g, k represents the whip-thread when douping. After inserting the filling by means of shuttle [s], the shed («) closes and the slackener returns automatically to its point of starting, b. In Fig. 93 1 we illustrate a corresponding ground plan to diagram Fig. 930, representing a clear idea of the drawing in of the warp and threading of the doup. Outlined warp-thread «, d, k represents ground warp-thread, thread shown in full black, a, e, f, k, the whip-thread, d and e the ground harness set, / the passing of the whip-thread below the ground warp-thread and li, i the reed. This illustration explains the threading of a whip-thread in a doup situated at the left of the Fig. 930. Fig. 931. 230 Fig. 932. ground warp-thread, but the student will readily apply the same arrangement to the opposite kind of doup by simply reversing the illustration. We will next turn our attention to the designing of various gauze fabrics, and commence with the plain gauze, as illustrated in Fig. 927. In plain gauze all the warp-threads work in pairs — I end "whip" and i end "ground." The entire warp is drawn on harness similar to any other warp. Afterwards the whip-threads are passed below the standard heddles and threaded in the doup (see Fig. 929), which are passed through the standard heddles (see Fig. 928). Fig. 932 represents a different method for threading the doup, occasion- ally used, but which is not as practical as the arrangement of the doup illus- trated in Fig. 928. In diagram Fig. 929 we illustrate the plan of drawing-in ground harness and threading the doup for producing a piece of plain gauze, as shown in Fig. 927- A represents the set of ground-harness (2-harness). B represents the douping set. (Standard and skeleton.) Standard warp-threads are illustrated in outline. Whip-thread is shown in full black. We find, as previously mentioned, every warp-thread threaded first in the ground harness set; next, the whip-threads passed below the ground-warp and threaded to the doup. Examining the plan of the fabric, we find pick i requiring the whip warp-thread raised in its proper position as placed by the ground harness (to the right of the ground warp-thread); therefore this pick will require the raising of ground harness 2 and the skeleton harness, hence loosening the doup for common weaving. Pick 2 calls for the raising of the whip-thread on the opposite position of' pick I (to the left side of the ground warp-threads); therefore we must doup on this pick by raising only the .standard and the skeleton harness, or, in the present example, the entire douping set. Pick 3 = pick i, pick 4 = pick 2, thus 2 picks repeat. In the present example, Fig. 927, we find every pair of warp-threads (i ground and I whip) twist in the same direction • Fig. 933. and having the crossing in the corresponding drawing-in draft arranged from right to left. This crossing can also be arranged in the other direction, see Fig. 933, but will, in the present fabric, be of no advantage to its general appearance, as shown in Fi<^-934. Fig. 934. We will next explain and illustrate the combination of both styles of crossing in the same fabric. For example see Fig. 935. the drawing in of ground harness and arrangement for threading doup : i.st pair, whip-threads Fig. 935- Fig. 936. -i fi 0 6 -6 oun 1"^ • 233 In drawing in and threading doups we arranged two repeats for each section, thus 8 warp-threads in repeat of arrangement of pattern. This method of drawing in ground harness as well as threading of doups will, as shown in the fabric sample, allow us to operate each section f^FiG. 951. 1' Ss^l 2 Stti 1^ r/1 St. i.r 1- ri 01 1 !■ 0 •> ■) 1 J- X X X •)!(• M X X 5!(: 1^' Fig. 950. Fig. 952. independent of the other, thus forming, by arranging the douping for each set for different picks, additional figures in the fabric. Fig. 952 illustrates the harness-chain for fabric and drawing-in draft, just explained. Fig. 954- \ Fig. 953. Fig. 956. Fig. 955. In diagram Fig. 953 the plan of another fancy gauze fabric, produced with two doups, is shown. Fig. 954 illustrates the method of drawing in the ground-harness and the threading of the doups, which in the present example is a right-handed and a left-handed doup for each set. < S. 4* ^ c< *-> >- Ml Kfi CO X <> X •X- X K X X 0 ?!) equal ist set; ground-harness 3 and 4 (A) and doup 2' {B) equal 2d set. Fig. 955 illu-strates another fancy gauze fabric, produced with two sets of doups and upon a general arrangement in two sections. 234 Fig. 956 shows the general arrangement for drawing in ground-harness set as well as the threading of the doups. Four ground-harnesses are used in connection with the two doups. Ground-harness land 2 {A) and doup i' (.5) equal ist set; ground-harness 3 and 4 (yj) and doup 2' (B) equal 2d set. Fig. 957 illustrates the harness-chain for the fabric and drawing-in draft just explained. Fig. 960. ■« i 13 Fig. 961. Fig. 958 illustrates the plan of another fancy gauze fabric, constructed after the foregoing example, using only warp threads i, 2, 5 and 6 from the latter (955). Diagram Fig. 959 illustrates the plan of another fancy gauze fabric. Fig. 960 illustrates the corresponding drawing in of warp in ground-harness and the thread- ing of the whip-threads in two doups (i' and 2'), s b a b a — Fig. 962. Fig. 963. 9- 3 •.«.Ma ■ ■■■■■ ■ ■■■■ ■ ■■■■r.v ■ ■■■■■ ■ ■ ■■nv^« ■■■■■ ■ ■■■■■ ■ ■ ■ ■■■■■ ■ ■■■■■ I ■■■■ J» ■ ■■■■■ ■ ■■■■■ ■ ■■■■ ,V JIMI ■ ■■■■■ I ■■■■■ I ■■■■ III I iiiii I liiii ? i ii I |ji.;.ij|ii?imiii iff ■9. •5. ■ i, = 3: Fig. 965. Fig. 966. L 1. 1. E. threads, and warp-threads indicated by d (shaded in vertical direction) are the whip-threads for the gauze; warp-threads indicated by c (shaded in diagonal direction) are the threads for pro- ducing the ordinary cloth (plain weave in present example). The drawing-in draft shows three different sets of harness used. The set indicated by A represents the ground-harness set for the gauze part; the set indicated by B represents the harness for raising warp-threads interlacing in the ordinary cloth; the set indicated by C represents the douping set of harness for producing the gauze part. Fig. 964 represents the harness-chain necessary for weaving a fabric as shown in Fig. 962. As previously mentioned, figured gauze can also be produced by using two whip-threads against two ground-threads, thus using four ground-harness to one doup. In such an example all four threads must be drawn in one dent. Set ; 2 Fig. 967. Diagram Fig. 965 illustrates a drawing-in draft arranged in this manner, and Fig. 966 shows a corresponding fabric. The interlacing of the plain for the ordinary interwoven part of the fabric can in this example be extended to any figured weave up to i6-harness. Four independent sets of doups are made use of and so the douping can be correspondingly arranged on each pick at will for each indi- vidual doup. By arranging the present style of drawing in ground harness and threading of doup for a 236 "sectional repeat effect" (repeat the drawing in and threading of doup of each four warp-threads two, three or more times before changing to the next four warp threads) novel effects for fancy gauze fabrics may readily be obtained (with a correspondingly large figure). Fig. 967 illustrates the drawing-in draft for a figured gauze on two sets (for illustrating previously mentioned section draws) having four ground harness and one doup for each set (nine repeats in each set). These two sets are also separated by three warp-threads arranged for ordinary weaving, the centre thread of which is indicated as a cord (or a heavy thread, pre- ferably of a different color). If weaving for a certain number of picks or- dinary cloth (plain) with set No. i, and next gauze with set No. 2, changing again afterward, thus ar- ranging for an equal number of picks, set No. i for gauze and No. 2 for ordinary cloth (plain), also separating each of these two changes by a few picks ordinary woven cloth, inserting in their centre a heavy filling (similar to cord in warp), we get a T-m-m m ■ ■ ■ ■ Cord. checker-board effect for design composed of ordinary and gauze weaving as shown in diagram Fig. 968. In reeding the warp for example Fig. 967, leave one, two or more 2nd Biackener. dcnts empty between each four threads (of two whip and two ground); again, when reaching the three ordinary weaving threads, place the cord in a separate dent and each of the other two ordinary weaving threads in the dent as situated on each side and which is occupied by the set of four threads for gauze weaving. For example, if arranging the reeding of the warp, one dent taken to alternate with one dent left empty all over the regular work, we find the reeding at the part where the cord comes in arranged as follows : -<-^4 — o — 4 — o — 5 (4 + i) — I (cord) — 5 (4+1) — o — 4 — o — 4. m-y ■■ ■ ■ ■■■ ■ J ■■■ ■■■ ■ ■ ■ ■ ■■■ ■ ~ i Fig. 969 illustrates a specimen of a harness chain for weaving the present example of fancy gauze. In the same we find two slack- eners used. 1st slackener \.o lower its whip-threads on picks 8, 9, 10 — 14, 15, 16 — 20, 21, 22-— 26, 27, 28. 2nd slackener to lower its whip-threads on picks 44, 45, 46 — 50, 51, 52—56, 57, 58—62, 63, 64. In the beginning of our chapter on gauze we gave the princi- ple of a slackener or easer. We would only state now that for every set of doups which operate the whip-threads at different picks when done on any previous set of doups in the same fabric, we must use a separate slackener ; thus in the examples explained as constructed on two sections, we must use two slackeners. This method of using more than one slackener is increased in practical work, when required, up to three but seldom to four. Diagrams Figs. 97013: and 970;^ illustrate figured gauze effects as produced by harness work. Harness-chain for 14-harness ; 72 picks. Fig. 969. 237 Gauze Weaving Mechanism for Open-Shed Looms. Until lately gauze fabrics, as thus far explained, have been produced only upon looms constructed after the principle known as the "single-acting" method, which is characterized by Fig. 97o«. leveling the entire warp at every pick, and at this leveling point cross the warps so as to produce the twist. It will be proper to mention that this single-acting method for operating the warp- threads only allows a moderate speed which at the present time is insufficient for the requirements of a loom ; hence every manufacturer of this class of fabrics has been anxiously awaiting for Fig. 970(^. a method by which gauze weaving can be successfully executed upon looms built after the principle known as the double-action, giving an increased speed at which the loom can be operated. This gain of speed is owing to the ability of the double-acting loom to .select and 238 v/ithhold certain warp-threads for a certain number of succeeding picks of the shuttle, as the pattern being Avorked may demand. However, the construction of the double-acting loom heretofore employed did not permit of its weaving gauze, because of the inabiHty of the loom to operate a warp-thread so as to raise it for one pick of the shuttle, and then after that pick, lower it and raise it again before the suc- ceeding pick. The Geo. W. Stafford Manufacturing Co., Providence, R. I., are now building a Double- Action Dobbie which overcomes this defect ; hence is capable of weaving gauze with the character- istic high speed of the latter. This is due to the fact that the double-acting loom is adapted to raise a warp for one pick of the shuttle, and then after that pick lower and raise it again before the succeeding pick. The new features of the Dobbie, as thus built by the Stafford Manufactur- ing Co., are the combining of the ordinary full motions of the recurrent or reciprocating harnesses with a novel and peculiar " half-and-reiurn" motion of others of the harnesses when so desired. To gain the half-and-reUirn" motion they use an extra half-stroke lifter (knife), which has half Fig. 971. Fig. 971^. the limit of traverse that the ordinary lifters have. The half-stroke lifter has suitable jacks engaging therewith, which are jointed in the common manner with a connecter co-operating with an operating lever. The half-stroke lifter is reciprocated by a peculiar half-motion device. A second " half-and- return " motion for certain other harness is obtained by the arrangement of a pair of ordinary operating levers with connections to a single harness controlled by the levers working simultane- ously and oppositely or singly. To give a proper understanding of the subject Figs. 971, 971a, 971^, 97 If, 97 1 = doup-harness ; /= doup. Whip-threads are shown in full black, ground-threads are shown outlined. Fig. 975 shows the corresponding crossing as produced in the fabric by using the arrange- ment illustrated in diagram Fig 973. Fig. 976 shows the corresponding crossing as produced in the fabric by using the arrange- ment illustrated in diagram Fig. 974. Fig. 983. I'lG. 9S4. Diagrams Figs. 977 and 978 illustrate the ground plans of using two whip-threads for douping against two ground-threads. Tlie following letters of reference are selected correspond- ingly: = rear harness ; G" = ground-harness; Z> = doup-harness; /= passing of the whip- threads below ground-threads; / = doup. Threads a and b in Fig. 977 = ground warp-threads; threads c and d in Fig. 977 = whip-threads. In diagram Fig. 978 the ground-threads are indi- cated by letters c and d and the whip-threads by letters a and b. Diagrams Figs. 979 and 980 show the corresponding crossings as produced in the fabric by the respective threadings of whip and ground-warp, illustrated in diagrams Figs. 977 and 978. Fig. 977 illustrates the threading of the whip-threads to a doup situated at the left-hand side of the ground-threads. Fig. 978 illustrates the threading of the whip-threads to a doup situated at the right hand side of the ground-threads. Figs. 981 and 982 illustrate two examples of Jacquard ga and gSgb and 990^?, 990^5 and 990^. (Letters of reference for each diagram are selected to correspond.) Diagram Fig. 989^ represents the end view of a loom, clearly showing its improvements. Fig. 989;^ is a longitudinal .section in the line i — 2, Fig. 989^. Figs. 990a, ggob and 990^ are perspective diagrams (as used in the illustrations of their inven- tion), showing the prongs carrying the warp-threads in their different positions. Fig. 989a. Fig. 9896. Referring to letters of reference: A A are the side frames of the loom, B is the main shaft and C the crank-shaft, D is the lathe, a is the breastbeam and b the cloth-roller, E is the warp- beam, e the warp-threads. On the two upright extensions F oi the side frames is a rock-shaft, G, extending from one side of the loom to the other. This rock-shaft carries two arms, g g, having at their outer ends a comb //, provided with downwardly projecting prongs h, which have eyes, /, at their outer ends, through which pass one set of warp-threads, e. Situated below the rock-shaft before mentioned, but having its bearings in the same upright extensions F F, is a rock-shaft, having two arms./y, which carry a comb, K, the prongs k of which project upward. These prongs are provided with eyes, /, through which the remaining warp-threads pass. Rock-shafts G and J are connected in such a manner that when the comb H is raised the comb K is lowered, and vice versa. Rock-shaft G derives its motion from main shaft B, as clearly shown in diagrams Figs. 989a and g'^gb. To regulate the movement of the comb H the crank g is slotted and carries a crank- pin, u, adapted to be adjustably secured therein, so that the rod g"^ can be adjusted either on the crank g or arm g' . The lower rock-shaft y has also an independent sidewise movement, so that the prongs of the comb K \\\\\ have a sidewise motion as well as the vertical motion. Motion is given to the shaft /by a cam, 5, driven from the main shaft. When the prongs of the combs are parted the side- wise movement of the lower comb and its shaft takes place 246 The operation is as follows, reference being made to Figs. 990^, 990*^ and 990^:, as showing the prongs carrying the warp-threads in the different extreme positions during weaving. The eyes in the ends of the prongs of the combs are threaded with the warp-threads c, and the filling is thrown across, as shown in Fig. 990^2, while the combs are in the position shown in that figure. The combs are then parted, as shown in Fig. ggob, which will tie in the filling previously inserted. Another pick is then made, as shown in Fig. 990/^, after which a sidewise movement is given to the lower comb, which causes the warp-threads to twist around each other when the combs come Fig. 990a Fig. 9906. Fig. 990^:. together, as shown in Fig. 990^. The filling is then pressed towards the woven part of the fabric and another pick is made, throwing another filling across. Cross-weaving as Used for the Manufacture of Filtering-bags. Another kind of fabrics (similar to those previously mentioned), which contain the cross- weaving for their principle of construction, are those open-mesh seamless fabrics that are used for filtering-bags for saccharine liquids, etc. Diagrams Figs. 991, 992 and 993 are given to illustrate the method of operation for produ- cing these fabrics, as patented by B. Muench. Fig. 991. Fig. 992. Fig. 991 is the top view of part of a loom, showing the fixed and reciprocating frames; one of them has upwardly projecting needles and the other downwardly projecting needles. Figs. 992 and 993 are cross-sectional views of the harness part of the loom, showing the warps in their different positions. Letters indicating the different parts in the diagrams are used with reference to the following explanations as to construction of these fabrics. The operation is as follows: Two sets of warps, op and 71, are used, one set, 0 p, being used to form the bottom of the seamless fabric in the loom and the set m 71 to form the top of the fabric; the same filling being used for both sets of warps. The warps o are passed through the eyes c of the front row of fixed needles, C, which project downward. The warps n are passed 247 through the eyes c' of the rear row of fixed needles C , which project upward. The warps p are passed through the eyes / of the needles F in the front vertically-movable frame D, said needles F projecting upward, and the warps are passed through the eyes f of the needles F' in the rear vertically-reciprocating frame D', said needles projecting downward. The warps o and p, which are passed through the eyes of the needles of the front fixed and vertically-reciprocating bar and frame, are the series for making the bottom of the seamless fabric, and the warps m and n, which are passed through the eyes of the needles in the rear fixed and vertically-reciprocating bar and frame, are the series for making the top of the seamless fabric. As shown in Fig. 992, the warps tn, n and p are raised and the warps o lowered. The shuttle W \s thrown through the space between the warps when those warps are in the positions shown in Fig. 992, and when the shuttle has passed, the filling rests on top of and across the warps o. After the shuttle has thus been thrown, the warps o and / are crossed by the lowering of the frames D and D' , and thus the filling is held by warps o and p which form the bottom of the seamless fabric. When the warps are in the position shown in Fig. 993 (and the shuttle thrown), the frames D and D' then raised, the warps m and n are crossed, and the filling is held by warps m and n, forming the top of the seamless fabric, and so on. Fig. 993. In order to hold warps and filling in the position in relation to each other in the fabric, it is necessary that the warps be twisted after each shot. This twisting is obtained by reciprocating the frames E and E' laterally, for as each series of warps has part of its warps passed through laterally-reciprocating needles it is evident that by the shifting of the reciprocating needles such warps will become twisted. The frame D is shifted every time the filling has been shot between the warps o and p, and the frame D' is shifted every time the filling has been shot between the warps m and n. Cross-Weaving as Used for Producing Fast Centre Selvages. Cross-weaving is also used in producing fast centre selvages if weaving two or more pieces of a fabric at the same time in the loom. This method of producing such selvages finds extensive use in the manufacture of velvet ribbons, scarfs, and similar fabrics characterized by their narrow- ness. In dress goods and similar abrics, seldom more than two or three widths are put together to be woven in one width on the loom. In reeding for fabrics woven with fast centre-selvages, we must be careful to leave one, two or more empty dents in the place where the fabric has to be cut in strips, or .separated in pieces after leaving the loom. In Diagrams 994 and 995, two specimens of such interlacing for headings are shown. In the same threads, B, shown in black, represents the whip-threads. Threads C, illustrated outlined 248 and shaded, represent the ground warp. Threads indicated A, and shown outHned, represent the ordinary woven part of the fabric. The fiUing is shown outHned in a horizontal position {D). Ground warp-threads C and corresponding whip-thread B must be drawn in one dent. In Diagrams Figs. 996, 997 and 998, illustrations are given of the weaving of such fast centre selvages in double pile fabrics, woven side by side in a broad loom. The method of operation is patented by Messrs. Lister and Reixach. For forming two adjacent fast inner selvages, both in the upper and lower cloth in double-pile fabrics, and so as to form the upper cloth immediately c. c. Fig. 995. u.. err U D Fig. 996. above the fast selvages in the lower cloth, two sets of needles of two needles each are required. The needles in the upper set are placed in a line with the needles of the lower set, and made to point downward, while those in the lower set are made to point upward. Both sets of needles are fixed in slides, which can be simultaneously moved up or down in a fixed frame. The needles, near to their points, have eyes formed through them, and through the eyes of the upper pair the binding-threads must be threaded which are to form the fast selvages in the upper cloth, and through the eyes of the lower pair the binding-threads which are to form the fast selvages in the lower cloth must be threaded. With these needles there are also employed two pairs of thread- 249 eyes, to which a lateral movement can be given from the low shaft. Through the upper pair pass two selvage-warps for the upper cloth, and through the lower pair two selvage-warps for the lower cloth. These two pair of eyes are set one above the other at such a distance apart as to leave space enough for a shuttle to pass to and fro between the warps threaded through them. The points of the upper pair of needles are likewise set at a distance from the points of the lower pair of needles. In the upward and downward movement of the needles their points are brought alter- nately above and below the selvage warp-threads with which the binding-threads, threaded through Fig. 997. ' Fig. 998. the needles, are to be crossed, and when the needles are at one or the other end of their stroke the thread-eyes are made to shog sidewise, so that the warp binding-threads, which receive an up- and-down motion, may be brought to one side and then to the opposite side of the warps, which receive a sidewise movement, and the binding-threads and warps are thus twisted together with a false twist, which, in conjunction with the filling, links them together and forms a fast selvage. Fig. 996 illustrates a side elevation of mechanism required to be used with a single shuttle-loom for forming the fast inner selvages in the two cloths of a double pile fabric, showing the binding and warp-threads in position while weaving the bottom piece. 250 Fig. 997 is a side elevation corresponding to the previous one, except that the binding and warp-threads are shown in position while weaving the top piece. Fig. 998 is a side elevation of the selvage forming mechanism for a two-shuttle loom. Parts of the framework of the loom are illustrated, cut away in the three diagrams to show the needles more clearly. In Figs. 996 and 997 A and are selvage-warps, which are drawn from a reel or bobbin, B; but which also might be taken from the same beam as that upon which the other selvage-warps are carried, or from the main warp-beam. C are the binding-threads, which are drawn from a reel or bobbin, D. The warps A A^ are threaded through the thread-eyes, to which a sidewise shogging movement is imparted. The binding-threads C O are threaded through the eyes of the needles, to which an up and down movement is imparted. The operation is as follows: When the parts are in the position shown in Fig. 996, three picks filling are put into the bottom cloth, and the thread-eyes are during this time shogged sidewise a distance equal to the distance between the needles of each pair. Afterward the needles descend and three picks filling are put into the upper cloth. After this the needles rise and three picks of filling are put into the bottom cloth, and during this time the thread-eyes are shogged back into their former position, and so on continuously. In this way the fast selvage edges are formed in each cloth at a short distance apart from one another, and each cloth can be severed along the small space in between these two .selvage edges. The mechanism shown in Fig. 998 for a two-shuttle loom necessarily differs somewhat from that shown in Figs. 996 and 997, because when two shuttles are thrown simultaneously it is neces-sary to open two sheds for the shuttles to be passed through. THE JACQUARD MACHINE. The Jacquard machine is required for the interlacing of fabrics in which a great number of ends of warps are bound differently in the filling. Every Jacquard machine can be divided into the following parts: I. The frame and the perforated board through which the neck-cords are passed. 2. The griffe and the necessary attachments for lifting the same. 3. The hooks. 4. The needles. 5. The spring and spring-frame. 6. The needle-board. 7. The cylinder, hammer, and batten. 8. The catches. 9. The cards. 10. The Jacquard harness. In Fig. 999 we give a clear understanding of the principle of the construction of a Jacquard machine by means of the sectional cut of one cross row in a 200 Jacquard machine, containing 8 hooks, (representing an 8-row-deep machine), illustrating by it the arrangement of hooks, needles, griffebars, springs, frame for holding the latter, and the needle-board, e, ist hook ; /, 2d hook; g, 3d hook; 4th hook; 5th hook; k, 6th hook; /, 7th hook ; in, 8th hook. These 251 hooks are held in their required places by the eyes of the needles (see place v at hook l) through which the former are passed. The needles rest with their heads a to b, in the needle-board, extending outside, towards the cylinder, for about ^ inch. The rear part of the needle — the loop — is passed between two bars of the spring-frame, n, p, and held by the latter firmly, but with sufficient play for a longitudinal motion for pressing towards their springs. The pin O, is inserted for holding the springs in their places, requiring one pin for each vertical row of needles. If the heads of the needles are pushed backwards, in the direction of arrow, the hooks are also moved. If the needles are not pushed, the upper crooks of the hook will remain in position, as in drawing, over the griffebar ; and raising the latter, will consequently raise every one of these hooks. • i; »s 'i ''i '■B 7a »l X Fig. iooo. E E Fig. iooi. Therefore, if a blank card is pressed against the 208 needles of the machine, used for present illustration, all the needles and hooks will be pushed back out of the way of contact with the grifiebars, thus causing an empty lift when they are raised ; while by pressing with an empty cylinder, or with a card containing as many holes as the machine has needles, and so placed that the holes are exactly opposite the needles, none of them would be moved, and each hook would remain vertical ov^er its griffebar; and raising the griffe will lift every hook. The griffe which has its section of the different bars represented in Fig. lOOO, is shown in its top view in Fig. lOOi. In the drawing, the dark-shaded places, marked f, are the hollow places through which the screw is fastened to the plunger. si«9*«« 9 9*«9»9«e •••«•«••••• 999990 •eQ999ea9e99 99999999 • ®9999999«9«99«99 999999999 •99999«99999e9999 9 9 999«9 99'>i>?^^^ 999999 •9999©990A9 999999999 999999 9999 9 99 999999999 999999 99OS0 00'»9«9 999999999 Fig. 1002. The cylinder around which the cards are working (for operating the needles and these in turn the hooks, neck-cords, leashes and warp-threads) is carried in the batten. This batten has sufficient vibratory motion to enable it to move the required distance away from the needle-board. After coming in contact with the catch, it still moves until the cylinder has performed a complete turn. The cylinder is steadied in the required position by the hammer pressing, by means of a spring, towards the lantern from below. Fig. 1002 represents the cylinder with the lantern for turning the same, by means of the catches mentioned before. The raising of the " griffe," which in turn also operates the other parts of the Jacquard machine, as previously explained, is generally done by means of a lever arrangement. Fig. 1003 represents the perspective view of a 400 single-acting Jacquard machine (W. P.Uhlinger, Philadelphia, builder). 252 Fi^. 1004 illustrates the " Rise and Fall Shed Jacquard " as built by the Geo. W. Stafford Manufacturing Co., Providence, R. I. The Jacquard cards have, for regulating the required raising and non-raising of the hooks, holes punched so as to allow their respective needles to penetrate into the cylinder holes and are interlaced in an endless arrangement; hence, one card is brought after the other in rotation towards the needles. If using a great number of cards in a set, they are made to fold into a " rack." This is done by attaching a wire i to l ^ inches longer than the cards, at the junction of .say every 12th to 20th card. (See c. Fig. 1005, between cards Fig. 1003. indicated by a and b}j Modification of the Single-Lift Jacquard Machine. During the past few years various modifications in building Jacquard machines have been Fig. 1004. introduced. The object of this has been either the simplifying of designing and card stamping or the saving of card paper and labor for special fabrics, as in the " Ingrain Carpet Machines," the " Brussels Carpet Machines," etc. Again, the item of "speed," and conse- quently more production in cloth for a given time, in damasks and similar fabrics, has been sati-sfactorily solved by the construction of the "Double-Lift, Double-Cylinder Jacquard Ma- chine." Another principle of a modification Fig. 1005. 253 over the single-lift Jacquard machine is to be found in the " Double-Lift, Sin^le-C\ linder Jacquard Machine," which has for its object the saving of the warp by operating each individual thread only when required to, by the changes from up to down, or vice versa, in the design or weave, etc. These machines are, in their principle of construction and method of operation, individually explained and illustrated on pages 67 to 72 in my treatise on "The Jacquard Machine." Card Stamping.* As mentioned previously, holes are punched in each individual card, according to the design. This is done for each row at one stroke or revolution of tlje piano card-punching machine. Fig. 1006 illustrates the perspective view of such a machine (operated by belt-power), while Fig. 1006a represents the top view of the " head" (cover taken off ). In the same, the small open spaces for holding the punches for stamping the holes in the cards for the needles, as well as the large opening for holding the punch for stamping the peg holes, are clearly visible. Fig. 1006. If several sets of cards of one design are required for starting a corresponding number of looms, and the first set has been produced by the piano machine, exact duplicates can be obtained by means of the " Repeating Machine." In this machine the entire card is duplicated at one stroke. The Jacquard Harness. To the lower end of the hooks in the Jacquard machine the neck-cords are adjusted. The latter are passed separately through one of the corresponding holes of the perforated bottom board. To these neck-cords are fastened the leashes of the Jacquard-harness, about one-half to one inch above the frame containing the rods which guide the neck-cords vertically, as the hooks are raised and lowered. The different harness-cords are threaded through the "comber-board," or the "journals," in various ways, and are called "tie-ups." After the harness-cords are threaded the heddles are adjusted. *In a chapter on "Preparing and Stamping of Jacquard Cards," comprising pages 85 to 102 of the author's treatise on "The Jacquard Machine," a thorough and complete description, conspicuously illustrated (45 illustrations), of the above subject will be found. 254 In my treatise, already alluded to, the different methods of "tying-up of Jacquard harness" have been classified as follows: I. — Straight-through tie-up. II. — Straight-through tie-up for repeated effects, in one repeat of the design. III. — Straight-through tie-up of Jacquard loom, having front harness attached. IV. — Centre tie-up. V. — Straight-through and point tie-ups combined. VI. — Straight-through tie-up in two sections. VII. — Tying-up a Jacquard harness for figuring part of the design with an extra warp. VIII. — Straight-through tie-up in three sections. IX. — Point tie-up in three sections. X. — Combination tie-up in two sections. XI. — Straight-through tie-up in four sections. XII. — Tying-up of Jacquard looms with compound harness attached. XIII. — Tying-up Jacquard looms for gauze fabrics. XIV. — Tying-up harness for carpets. Each of these methods of tying-up is treated in a thorough manner and is fully illustrated by over one hundred special illustrations: The Comber-board and Methods of Figuring for it. The comber-board is placed in the Jacquard-loom for the purpose of guiding the harness- cords from the neck-cords to their respective position as required by the fabric for operating the heddles (to which they are adjusted on their other extreme end.) There are two kinds of comber-boards in use. a. Comber-boards made of a solid piece of material, either wood or porcelain, or constructed by using wires crossing each other and adjusted in a frame (see Fig. 1007). b. Comber-boards made in strips of either wood or porcelain and adjusted afterwards in a wooden frame (see Figs, loo^a and looyb). Comber-boards Made of a Solid Piece of Material. Before ordering a comber-board, it is necessary to know the texture of the fabric in the loom, and also the number or size of the machine to be used ; for the number of holes per inch in the comber-board is regulated by this. Afterwards, we may, if we choose, arrange the number of holes in depth of the comber-board, according to the number of griffe-bars in the machine (guided by the fabric to be made). We may have eight griffe-bars in the machine, and arrange the comber-board 4, 6, 8, 10, 12 rows deep; or we may have 12 griffe-bars in the machine, and arrange the comber-board 12, 10, 8, 6, 4 rows deep. Rule: The number of holes to one inch in the comber-board must equal the texture of the fabric to one inch in loom. The width and depth of the comber-board are regulated by the width of the cloth required Fig. 1007 255 and by the design to be used. The greater the number of rows in depth the closer they must be; the same is true of the width. It is necessary to take care not to have the comber-board too deep, as the consequence would be a bad shed ; furthermore, we must not have the holes too close together, as in a high texture this would make trouble in the weaving through the catch- ing of the heddles with the warp, and also cause useless chafing of the warp-threads and the heddles. The Changing of Solid Comber-boards for Different Textures. In Jacquard work we generally use the same texture, or as near as possible, as the loom is tied up for ; but changes are unavoidable. If we must reduce the texture of the fabric in a Jac- quard loom tied up with a solid comber-board, we must also reduce proportionally the number of hooks and needles used in designing, and hence the number of heddles used per inch. These heddles will thus be left empty when drawing in the warp. To accomplish this, lift the full machine and throw the hooks not to be used from the griffe-bars, lowering in this way every mail which is not to be used. Sometimes there may be only one, two, three, or four hooks to be thrown off, on account of the design. At other times it may be necessary that one-eighth, or one- fourth, or even one-half, of the whole number shall be dropped for this purpose. Comber-boards Made in Strips and Adjusted Afterwards in a Frame. By these comber-boards which are used to a great advantage on narrow loom work up to 36-inch fabrics, we can change the texture for the fabric ; for the strips composing the comber- FiG. 1007a. ^ ' ^MAf,* ^ * A A 1 « • 44 A a A * « A A * A i 4 4 • 4«« 4 A Cm>M Fig. 1007*. board may be drawn apart, thus changing the high texture to lower. To give a clear under- standing. Figs. 1007a and ioo7<^ are given. Fig. loojb represents an 8-row deep comber-board, a, b, c, d, composed of 10 are set close together. By examining each strip 5 cross-rows of holes will be found, whole number of holes 400. Suppose this comber-board is intended for a texture of 100 ends per inch; this will give for the width of the fabric (shown below, i, k to /, m) 4 inches. In Fig. looya, the comber-board is arranged for a texture of half as many ends per inch, and the 10 strips are arranged accordingly; the empty places between the same size as the strips themselves, and the fabric design below the comber-board is correspond. strips which making the , or 50 holes strips are of arranged to 256 GOBELIN TAPESTRY. Tapestry is neither real weaving nor true embroidering. Though wrought upon a loom and upon a warp stretched out along its frame, there is no filling thrown across the threads with a shuttle, but the filling is worked with many short threads of various colors, put in with a needle. Tapestry runs back into remote antiquity. The Greeks and Romans used tapestry for cur- tains and other hangings; and the use of it for like purposes was common throughout Europe in the succeeding ages. "Arras" was the usual name for hangings of this kind, owing to the excel- lence of the work produced in that town in England. "French tapestry" has long been famous also. Francis I. brought Flemish workmen to Fontainebleau, and the establishment was kept up by his successors. A hundred years later, Colbert, the celebrated minister to Louis XIV., took under his protection a manufactory which had been set up by two brothers, of the name of "Gobelin," originally dyers; and in a very short time the productions of the "Hotel royal des Gobelins" were universally admired. The well-known tapestry which for many generations hung upon the walls of the House of Lords, London, England, and which were destroyed by the fire of 1834, were Flemish, and executed in the reign of Queen Elizabeth to commemorate the destruction of the Spanish Armada. But the culminating point in the history of tapestry was when Rafaelle was employed to make the designs for a series of Scripture subjects, to be hung upon the walls of the Sistine chapel in Rome. Tapestry work is the most costly and effective of the textile manufacture. We will next explain the method of operation as observed in the manufacture of these fabrics during the last three centuries. (Older kinds of tapestries, for example the well-known " Bayeux tapestry" were wrought by the needle on the surface of the cloth and thus are actually produced by embroidering). As mentioned before, the warp-threads are stretched in a frame (loom) in a vertical position for the weavers. The method of interlacing the filling into the before mentioned warp is done after the prin- ciple of the plain weave by means of various numbers of colored filling-threads each guided by a needle. These different colors of filling are arranged after a cer- tain design. For this purpose warp-threads in the required position are pulled by the weaver towards himself with one hand, and with the other hand the required needle (bobbin) block con- taining the color of filling as called for by the design is inserted. Supposing in the present example the weaver pulls towards himself the uneven numbered warp-threads (i, 3, 5, etc.) with the left hand, and inserts the block containing the required colored thread in the direction from left to right, by means of the right hand. Next he pulls the even numbered warp-threads (2,4, 6, etc.) and returns the block before mentioned. In this mannei the weaver continues to entwine one color until a certain part of the design requiring this color is finished. He takes next another color as required by the design and finishes, similar to the before explained method, any place where this color is required. In this manner he continues to treat each color as required by the design. The beat- ing up of the filling so inserted is done by means of a comb. Taking the fabric into consideration in its vertical position it will be seen that there is no interlacing from one color effect to the other; therefore these effects must be sewed together after the embroidering is done. Diagram Fig. 1008 illustrates the method of operation for such a Gobelin. Fk;. 1008. APPENDIX. Analysis of the Various Textile Fabrics and Calculations Necessary for their Manufacture. The analysis of textile fabrics forms a prominent part of the knowledge required in a com- petent designer and manufacturer. In addition to theory a practical experience in the construc- tion of the various fabrics is likewise called for. Thorough analysis consists not only in "picking out" the arrangement of the interlacing of warp and filling (the weave), but also in ascer- taining the materials of which both systems of threads are composed, the process such raw materials must be subjected to before the required yarn or thread is produced, necessary for the construction of the fabric on the loom, as also the various processes commonly designated as finish- ing. The analysis of a fabric is not always required for duplicating the fabric, as in some in- stances it has for its main object only one of the previously mentioned points, as to materials used, amount of twist in yarn, process of finishing necessary, etc. But whichever special point is re- quired to be ascertained, or should a complete reproduction of a given sample be required, it is al- ways best to have a clear understanding (or analysis) of all points. For example : A knowledge of the weave will be the guide for a special analysis as to the materials to use — the amount of twist to put into the yarn — or the finish required, for the harder a weave " takes up" the stronger the warp yarn must be (as to quality of material to use, or amount of twist to be put into the yarn) so as to resist the amount of wear incurred during the weaving. The weave employed in inter- lacing the warp and filling, and the raw materials used in the manufacture of the yarn, will influ- ence the process of finishing required, etc. The complete analysis of textile fabrics can thus be classified under the following eightpoints; I. Ascertaining the Weight per Yard and Ends per Inch in Warp and Filling for the Fin- ished Fabric from a Given Sample. II. Ascertaining the Weave. III. Ascertaining Raw Materials Used in the Construction of Te.xtile Fabrics. IV. Ascertaining the Te.xture Required in Loom for a Given Fabric Sample. V. Ascertaining the Arrangement of Threads in a Sample according to their Color and Counts for the Warp and Filling. VI. Ascerta'ning the Sizes of the Yarns, or their Counts, as Necessary to be Produced Tor the Reproduction of the Given Sample. VII. Ascertaining the Weight of the Cloth per Yard from the Loom. VIII. Ascertaining the Process of Finishing Necessary, and Amount of Shrinkage of the Fabric during this Process. These eight points, when carefully considered, will in most cases produce the required object, "a thorough analysis " or a thorough understanding of the con.struction of the fabric with which the manufacturer has to deal. I. Ascertaining the Weight per yard of the Finished Fabric, and its Finished Texture (Ends per inch in Warp and Filling). Usually the sample given to the designer for analysis is less in length than one yard (of the finished fabric), and generally narrower than the finished width of the cloth ; oftentimes only one or two square inches, or even less, being furnished. Should, however, one or more yards of a (257) i 258 fabric, having its regular width be given, it is easy for the designer to solve the question by weighing the cloths given and dividing the weight thus ascertained by the number of yards in the sample. The result will be the weight per yard of the finished fabric. But when the size of the sample submitted is small (less than one yard) the weight per yard must be found by figuring in proportions. Rule for Ascertaining fro7n a Small Sample [fijiished) the Weight of the Fabric in Ounces for One Yard. Cut your sample to a known size, and divide the number of square inches thus derived into the number of square inches which one yard of the fabric will contain. 1944 square inches f wide fabrics = 54 inches wide. 972 " " f " " 27 " Multiply the result with the weight in grains of your sample and divide the product by 42)7/4 which will give you the ounces per yard for the fabric in question. For example : Suppose you have a f wide fabric. The sample cut, or stamped, with a die, 3 inches by 3 inches equals 9 square inches. Suppose the weight of these 9 square inches is 25 grains. Question : Required the weight in ounces of one yard of cloth, being f wide ? Answer : f or 54 inches wide fabric 54 x 3^ or 1944 square inches. 1944 -^9 = 2l6X 25 — 5400 -=- 437.5 = 12.34 oz. ; thus the weight of the fabric is 12^ oz. Another example. Take a f wide fabric. The sample cut, or stamped with a die 3 inches by 4 inches, equals 12 square inches. Suppose the weight of these 12 square inches is 28 grains. Question : Required the weight in ounces of one yard of cloth to be 27 inches wide. Answer : 27 inches wide fabric =: 27 x 3^ or 972 square inches. 972 12 = 81 X 28 = 2268 437.5 = 5.18 oz., weight of fabric per yard. Table for Ascertaining the Number of Square Inches in any Fabric with a Width of 18 Inches to j"^ Indies. Width of Fabric in inches. Number of square inches Width of Fabric in inches. Number of square inches in one yard. in one yard. 18 648 37- 1332 19 684 38. 1368 20 720 39- 1404 21 756 40. 1440 22 792 41. 1476 2.^ 828 42. 1512 24 864 43- 1548 25 900 44. 1584 26 936 45- 1620 27 972 46. 1656 28 1008 47- 1692 29 1044 48. 1728 30 1080 49- 1764 31 1116 50. 1800 32 1152 51. 1836 33 1188 52. 1872 34 1224 53- 1908 35 1260 54- 1944 36 1296 60. 2160 To Ascertaiji the Finished Texture of the Submitted Sample. For this purpose unravel a few ends of the warp and filling of each system on one side of the sample, and count the number of threads one inch contains (in each system). In the places 259 from which the filHng has been extracted the texture for the warp will be found, and in the places from which the warp-threads have been drawn the filling texture will be found. It is best tp ascertain the texture for each system of threads in at least two different places, so that if found to be the same it will serve as a test for correct work. If found not to correspond, it will require a third counting of the respective threads per inch, so as to ascertain which of the two previous countings is correct. Fabrics having a fancy arrangement with regard to their threads frequently require to have the number of threads ascertained in more than one inch. In some fabrics the texture must be found by counting the number of threads in one repeat of the pattern and then dividing this result by the number of inches these threads occupy in thq fabric. Example. — i8o threads of warp in one repeat of the pattern occupy 3^ inches space in the finished fabric. Question: Find the texture (average). Answer: 180 ^ 3^ = 48 threads, tex- ture of warp in given sample. II. Ascertaining the Weave. This part of the analysis of a fabric is based first of all upon a thorough comprehension of the theory of constructing the various weaves for single cloth, double cloth, etc. It also requires, in dealing with heavy fulled fabrics, or fabrics having the face filling broken during the process of finishing, a considerable amount of patience. Ascertaining the weave implies to the designer that he is to solve from a sample the manner in which both systems of threads, composing the fabric, interlace each other, and this is techni- cally known as the "picking-out" process. An experienced designer will in mo.st cases ascertain the weave necessary for producing a given sample by a mere glance at it, while in fabrics having fine counts of silk or cotton yarn the microscope will assist him in designating the weave without "picking-out." But as such skill can only be arrived at after years of practice and experience we will define the "picking-out" process for the benefit of the unskilled. If it is required to ascertain the weave in a fabric having a nap on its surface, the nap must be carefully removed by singeing it off by holding it over a flame, care being taken not to burn the threads. Next carefully remove the burnt refuse adhering to the structure with a sharp knife. (It is well to have a sharp knife or razor always at hand for this purpose.) Always endeavor to get the samples for "picking-out" sufficiently large, containing at least two or three repeats of the weave, warp and filling-ways, in excess of the amount of cloth necessary for liberating threads in each system, so as to get the proper starting-point for commen- cing to pick-out. If a sample is submitted for "picking-out" which does not contain a complete repeat of the weave, dissect the amount on hand and finish the complete weave in accordance with the instructions given in the theory of constructing weaves. The experienced designer, when he gets a sample for dissection, readily understands which system of threads are the warp and which the filling, but to the inexperienced this will prove the first difficulty which will have to be mastered. To aid in this the following rules are given, which if carefully con-~idered (with reference to the sample given) must greatly assist the novice in solving the problem. If the sample submitted for " picking-out " contains a part of the selvage, the latter will readily indicate warp from filling, for the selvage-threads always run in the direction of the warp. If the threads in one system are "harder" twisted than in the other, the hard-twisted threads are generally the warp system. If the sample submitted for analyzing has what is technically known as a "face-finish" (kersey, beaver, doeskin, broadcloth, etc.), the direction of the " nap" indicates the warp. The "counts" of yarn found used in each system will often assist in ascertaining which is the warp and which is the filling, for in most instances the yarn used for warp is of a finer number than the filling. 260 Fig. 1009. If the fabric has cotton yarn for one system of threads and woolen for the other (as in union fabrics), the cotton yarn is generally the warp yarn. If in the sample submitted for analysis the one system of threads is found to have been sized or starched, and not the other, the former is the warp. If the sample contains " reed marks" (or im- perfections known to the weaver as being caused only by the warp system), such imperfections readily characterize the respective systems of threads. Another guide for distinguishing the warp from the filling is found in the "style" of the respective fabrics submitted for "picking out." In fabrics having a .striped character, or check effects in which the one direction of the lines is prominent compared with the others, the direc- tion of the stripes, or the prominent lines in the check, indicate the warp system. In fabrics composed of two systems of filling (face filling and backing) and one system of warp, the heavy and soft-spun filling, known as the " backing," indicates itself, and thus the system of threads. Fabrics are generally dissected by in- vestigating the method of interlacing the filling into the warp; some fabrics require their weaves to be dissected by ascertaining the interlacing of successive warp-threads in the filling, such as the corkscrews, diago- nals and similar fabrics. Wea\cs in pile fabrics, such as velvets, Astrakhans, etc., are ascertained the quickest by analyzing the body structure. The instrument required for "picking out" is a strong needle with a sharp point. In some instances the microscope is found to be of much service. The work of picking out a sample is mo.st readily accomplished by proceeding as follows :* Clear off the nap or fibres on the sur- face of the sample as previously mentioned. In fabrics without a nap this is, of course, not required. Next unravel sufficient filling on top of the fabric, and warp on the left hand side, to produce two fringed edges of say about to inch in length. If you should desire to save, from the sample sub- mitted for analysis, as much as possible, make straight cuts with the scissors at a distance of about 3/2 to 3^ inches from where you want to stop dissecting threads This procedure is illustrated by diagram Fig. 1009. A-B-C-D, sample submitted for "picking out." Arrow O direction of warp. Arrow 0^ direction of filling. *Use picking out of the filling from the structure in the example given for explanation. Fig. ioio. 261 The cuts in the fabric are shown at the places indicated by r and /. Letter S indicates the place where the first warp-thread and the first pick meet — the point for commencing to " pick-out." After the sample is prepared according to the illustration just given, raise the first pick about xV of an inch with the "picking-out needle." See Fig. loio. Place the sample in the left hand asshown in diagram loi I, next ascertain the arrangement of interlacing pick number i, warp-ways, until repeat is obtained. Every time a warp-thread is found situated above the filling, put a corresponding indication on the respective square of the designing paper (with pencil marks or prick holes with the needle), whenever you find the filling covering (floating over) one, two or more successive warp-threads, leave correspondingly one, two or more successive squares empty in the lateral line of small squares upon the designing paper. After the intersecting of number i pick has been clearly ascertained liberate this pick out of the fringed warp edge and duplicate the procedure with pick number 2, to be fol- lowed by picks 3, 4, 5, etc., until the repeat is obtained. If dealing with a soft-spun filling yarn be careful in raising it, to avoid breaking the thread ; also be careful that after the interlacing of the pick has been ascertained, it is entirely removed so that no small pieces of the thread remain in the fringed part of the warp ; for if such should be the case it might lead to mistakes in examining the next adjoining pick. III. Ascertaining Raw Materials Used in the Construction of a Fabric. In most cases an examination of the threads liberated during "picking-out" with the naked eye will be sufficient to distinguish the material used in the construction of the fabric yet sometimes it is found necessary to use the microscope or a chemical test for their detection. For example : Tests might be required to show whether a certain thread is all wool or whether a certain thread is all silk, etc. For solving such questions, the following methods are given : A common and ready method for ascertaining the difference between animal and vegetable fibres is to burn some of the threads of yarn in a flame. The vegetable fibre is composed of carbon, hydrogen and oxygen, while the animal fibre, in addition to these, contains nitrogen. By burning, the threads used in testing the first mentioned fibre will result in carbonic acid and water, while those of the latter, or of animal fibre, result in combinations containing nitrogen which element readily makes itself known by its peculiar smell or disagreeable odor similar to burnt feathers. Another point which it is well to note is the rapidity with which the thread com- posed of vegetable origin burns as compared with the burning of the thread having an animal substance for its basis. In the latter case, only a little bunch of porous carbon forms itself at the end submitted to the flame, and it does not form a flame as in the case of the former. As in some instances these two tests will be found unreliable, a more exact analysis maybe required. If so, proceed after one or the other of the following formulas: To Detect Cotton or other Vegetable Fibre in Woolen or Silk Fabrics. Boil the sample to b^ tested in a concentrated solution of caustic soda or potash, and the wool or silk fibre will rapidly dissolve, producing a soapy liquid. The cotton or other vegetable 262 fibre therein will remain undisturbed, even though boiling in weak caustic alkalies for several hours, care being taken to keep the samples below the surface of the solution during the opera- tion. If during this steeping process it is exposed to the air, the cotton fibre becomes rotten, especially when the exposed portions are also at the same time brought under the influence of steam. (Any cotton fibres remaining from the testing, if colored, may be bleached in chlorine water, and afterwards dissolved with cupro-ammonia.) Prof. E. Kopp gives the following test : " Wool is only soluble in cupro-ammonia by the aid of heat. Concentrated acids, such as sulphuric, nitric, or preferably hydrochloric, act in the cold upon silk, but not on wool. The dissolving properties of cupro-ammonia on all vegetable fibres, make it one of the most reliable of tests. Cupro-ammonia is prepared by suspending strips of copper in concentrated ammonia in a large flask, tightly corked and occasionally shaken, so as to bring the metal in contact with the oxygen of the air. By degrees a tolerably concen- trated solution of oxide of copper in ammonia is obtained which dissolves cotton, and other vegetable fibres, leaving animal fibres untouched." To Detect Silk from Wool or the Vegetable Fibres. Prof Hummel gives the following process in his treatise on "The Dyeing of Textile Fabrics:" " The best solvent for silk is an alkaline solution of copper and glycerine, made up as follows : Dissolve l6 grams copper sulphate in i^o-i6o c. c. distilled water, and add 8-10 grams pure glycerine (Sp. Gr. 1.24); a solution of caustic soda has to be dropped gradually into the mixture till the precipitate at first formed just re-dissolves ; excess of NaOH must be avoided." This solution does not dissolve either wool or the vegetable fibres and thus serves as a distinguishing test. Still another method is given, as follows: Concentrated zinc chloride, 138° T\v. (Sp. Gr. 1.69) made neutral or basic by boiling with excess of zinc oxide, dissolves silk, slowly if cold, but very rapidly if heated, to a thick gummy liquid. This reagent may serve to separate or distinguish silk from wool and the vegetable fibres, since these are not affected by it. If water be added to the zinc chloride solution of silk, the latter is thrown down as a flocculent precipitate. Dried at 230° to 235° F the precipitate acquires a vitreous aspect, and is no longer soluble in ammonia. Rules for Arranging the Fabric to be Tested and Methods for Ascertaining the Various Percentages of Each Fibre Composing the Thread or Woven Cloth. Cut the sample to be tested to a known size with a sharp pair of scissors, or stamp out the de- sired quantity with a die, of which you know the exact size. Always use the largest sample avail- able and be very accurate in cutting to measure. Next weigh the sample upon a scale (of great ac- curacy) and make a careful memorandum of its weight; then submit the sample to one of the above mentioned tests (adapted to the material to be tested), and dry the remaining fibre. Weigh the latter after thoroughly dry and deduct the weight from the gross weight previously obtained. The remainder will represent the weight of the fibre dissolved by the test. " The ainot(7it of each kind of fibre iii sample is in proportion to the percentage of each fibre in a full piece of cloth." Example : Required to ascertain percentage of cotton and wool fibres in a fabric. Sample stamped with a die 2X4 inches = 8 square inches weighs 24 grains. Suppose the " caustic soda " process for testing is used and the refuse of cotton, dried, weighs 8 grains. Hence : 24 grains gross weight of cloth 8 square inches. 8 " weight of cotton in 8 square inches. 16 " • " " wool " 8 square inches. 263 Or, 8 grains cotton in 24 grains gross weight = 333^ per cent, of 100. 16 " wool " 24 " " " = 662^ " " " 24 " 100 Answer : The cloth given for testing in the present example contains 33^ per cent, cotton and 66^ per cent, wool, or, one-third of the mixture is cotton fibre and two-thirds wool fibre. IV. To Ascertain the Texture of Fabrics Required in Loom. Of all the different points required to be ascertained the present is probably the most difficult to master, in fact, it can only be accomplished after considerable practical experience. To mate- rially aid the novice in this work, it is strongly recommended that he provide himself with a col- lection of different samples of finished fabrics with the given amount of shrinkage of each during finishing. Such a collection he can afterwards use as a guide for ascertaining the texture of similar fabrics. The Shrinkage of a Fabric in Width from Loom to Case (or Finished State). The "setting" of a fabric in the loom, or the reed-space the warp must occupy during the process of weaving, compared to the width of the fabric when finished (ready for the consumer) is regulated by the raw material used, the manner in which the yarn has been produced, and the different processes the fabric is to be subjected to during finishing. Some kinds of woolen fabrics require a large amount of fulling, hence must be "set" wider in the loorn than fabrics having a similar material for their basis but requiring very little or no fulling. For example, billiard-cloth must be "set" nearly twice as wide in the loom as its finished width, while beavers, kerseys, and similar woolen fabrics need to be "set" but about one-half their finished width wider, and fancy cassimeres from one-quarter to one-third. Worsted or worsted and cotton dressgoods mostly require but very little wider "setting" in the loom than the finished width of the fabric calls for. The weave itself has also a considerable influence in regu- lating the shrinkage. These general rules are worthy of consideration : The finer the quality, and the softer the filling is spun, the more the cloth will shrink in width. If the filling is hard twisted, and of a coarse nature, the cloth will have but little tendency to shrink. If the weave has a wide stitching, it will produce a narrower fabric than when the texture is more closely intertwined. The less tension put on the warp during weaving ("take-up") the narrower the fabric will be. In comparing woolen and worsted yarn, the former produces fabrics which shrink more in width than fabrics made with worsted yarn. This result, when produced from the same raw material, is based upon the two different processes of "carding" or "combing" the wool fibre. By carding the wool every fibre, through mixing up in every shape and direction, is twisted in itself, and such fibres always endeavor to resume their original position. By worsted combing the wool fibres are separately united, besides being combined in one thread. Each fibre is its own, as placed in posi- tion for forming the thread, and thus such a thread remains undisturbed in the fabric. The fabric constructed out of such threads will keep wider than if using a wool-spun yarn of equal size and under equal conditions. Shrinkage or Take-up of Warp During Weaving. We must also carefully consider the amount of take-up the warp is subjected to during weaving, and the amount of shrinkage in length the cloth undergoes during the finishing process. The latter point will not come into consideration in the case of fabrics which are ready for the market when leaving the loom. The first mentioned shrinkage, or the " take-up " of the warp during weaving, is different, and varies from fabrics requiring two, three, four or more 264 times the length in dressing than the fabric length woven, to fabrics in which the warp-length dressed equals the fabric length woven or, if any difference, to be very little. The points given in the previous chapter on the shrinkage in width of a fabric also apply to the shrinkage of the fabric in length. The ivan'c and the number of picks per inch are the chief ob- ject in regulating tJie take-tip of tlic zvarp during weaving, for example, a fabric interlaced with a far stitching satin weave (say 8 to 12 harness) will "take-up" very little if any at all, unless we use an unusually high texture of warp and filling. Thus, the oftener a warp-thread intersects the filling in a given distance the greater the amount of take-up required for the warp. For this reason fabrics which have two systems of weaves combined — suppose i-inch wide plain weave to alternate with a 2-inch wide 8-harness satin = 3 inches repeat, 10 repeats in width of fabric — re- quire two beams — one beam to carry the warp for weaving the plain, and one beam for carrying the warp for weaving the satin. This also applies to worsted fabrics made with woolen back-warps. The amount of shrinkage in warp pile fabrics for its pile-warp is considerable. It is regulated by the height of pile required and the amount of wires or loops per inch. Such fabrics may often require their pile-warp dressed four to eight times longer than the piece measures woven. To ascertain the exact percentage of " take-up" for a fabric needs experience and can only be mastered after thorough study of the theory of constructing the different weaves, as well as the nature of the different raw materials, with their various methods of preparations for the yarns, and the vari- ous processes of finishing. V. Ascertaining the Arrangement of Threads in a Sample, According to their Color and their Counts, for the Warp and Filling. During the process of "picking out" a fabric sample, it will be advisable to indicate on the squared designing paper near each filling-thread as picked out, its color or general remarks as to thickness, twist, etc. Also, to indicate the colors and size of the I warp-threads as found in the sample dissected. (For illustration see ^ Fig. loi 2.) By proceeding in this manner it will be found that after a 3 certain number of successive threads in warp and filling have been ti . ^ picked out, the same arrangement of using threads of various colors «g§g|=g|g or counts, or both combined in the sample, repeats over again. g5n«in:";iiT:M^:Bi:~M~:p.^^ This is classified as the "repeat of the pattern." All repeats of a nManB«::iijj ij^ pattern must be similar to each other; thus, if we place two, three or SnS^^Snn5B55 "■■liiuck. more repeats of the sample above each other, they must in every ■ ■IViUBS BBMnSaDMB: i'lirovvn. instance cover itself in color, size or counts of threads, and method Fig. 1012. interlacing. Again, if a number of these repeats are placed near each other in the direction of the warp and filling, they must connect. If patterns are found not to contain this peculiarity, or, in other u ords, " do not repeat," they must be arranged so as to have this peculiarity, or be made to repeat. The arrangement of the warp is known as the "dressing," while the arrangement of the filling indicates the building of the "box-chain" in practical work. VI. Ascertaining the Size of the Yarns (their Counts) Found in Sample, and the Amount and Direction of Twist. The size or thickness of a thread is ascertained generally by comparing the picked out thread with a collection of yarns of the same material and of a known size. For this purpose prepare a collection of woolen, worsted, cotton and silk yarns most commonly used. In fabrics requiring no fulling, or only a very little, such as worsted dress goods, etc , weigh a small sample of the threads and calculate from their length and weight the size of the yarn ; but as a general rule the first given method will be found quick, correct and less troublesome to the designer. Care must 265 be taken to compare threads of which the counts are required to be ascertained with samples of threads of a known size, which have previously been subjected to an equal amount of shrinkage by " fulling " etc.; or, if such a thread cannot be obtained, compare the picked-out thread with the standard threads of a similar material, but take into consideration the process the first mentioned thread has been subjected to during the finishing process of the fabric it was a part of. VII. Ascertaining the Weight of Cloth per Yard from the Loom. This subject, based entirely upon results obtained by previous points, forms the most inter- esting work m the analysis of cloth. Whatever the size of sample may be which is submitted .for examination, and whatever the quantity of yards of cloth to be produced, the weight per yard from loom will form the standard upon which future calculations in manufacturing must be based by figuring in proportion. After knowing the number of threads required in the width of a fabric submitted for analysis, the counts of the respective threads, and the dressing and the shrink- age of the warp in weaving, it will be easy to ascertain the weight of warp yarn required. Example A. Dressing: 4 threads black, 4 run woolen yarn. 2 " blue, 4 " 4 " brown, 4 " 10 threads in repeat. 3,600 ends in full warp, 6 per cent, shrinkage or take up of warp during weaving. Required: Find weight of warp yarn of each kind necessary for one yard of the woven fabric. 100 — 6 = 94. Thus 94 : 100 : : 36 : X and 100 X 36 = 3600 94 = 38.3. Each individual thread requires 38.3 inches length dressed to produce 36 inches interwoven. Hence 3,600 X 38.3 = 137,880 inches = 3,830 yards of warp required to produce one yard of the woven fabric (plus amount of filling required). 3,830 yards 4 run yarn equal in weight 9.575 oz , ten threads repeat of the pattern, thus: 9.575 10 = 0.9575 oz. weight in proportion for each thread, consequently: 4 threads black = 4 X O.9575 = 3.830 oz. per yard. 2 " blue = 2 X 0.9575 = 1.915 " " 4 " brown = 4 X 0.9575 = 3.830 " 9.575 oz. total weight. Answer: The previously given example requires 3.83 oz. 4 run black warp for each yard woven, 1.915 " 4 " blue 3.83 " 4 " brown consequently 9.575 oz. weight of complete warp in one yard woven (3,600 threads 4 run yarn, six per cent, take up of warp). The threads used are not always of the same counts. Two, three or more different sizes of yarn may be called for in a fabric. If such is the case first ascertain the number of yards required of each kind and next their weight. Suppose the previously given example read as follows: Example B. 3,600 ends in warp — 6 per cent, shrinkage of warp in weaving. Dressing: 4 threads brown 2.30s worsted. 2 " blue 2.28s 4 " black 2.32s " 10 threads repeat of pattern. 266 As explained in previously given example, 36 inches woven equal 38.3 inches dressed by- allowing six per cent, take up. 3,600 ends in warp by 10 threads in one repeat = 360 repeats of each thread; thus, 4 threads brown 2.30s worsted = 360 X 4 = 1,440 threads [a). 2 " blue 2.28s " = 360 X 2 = 720 " (i). 4 " black 2.32s " = 360 X 4 = 1,440 " (c). 10 threads in repeat. 3,6oo threads in warp. a. Brown, requires 2.30s worsted = 8400 yards to i lb. 36 : 38.3 : : 1440 : x 38.3 X 1440 36 = 1532 yards of 2.30s brown worsted required. 8400 : 16 : : 1532 : x 1532 X 16 8400 = 2.918 oz. of brown 2 30s worsted required for i yard cloth woven. Blue, calls for 2.28s worsted = 7840 yards to i lb. 36 : 38.3 : : 720 : X 38.3 X 720 ^ 36 = 766 yards of 2.28s blue worsted required. 7840 : 16 : : 766 : x 766 X 16 7840 = 1.563 oz. of blue 2.28s worsted required for i yard cloth woven. c. Black calls for 2.32s worsted =z 8960 yards to I lb. The number of threads are equal to a, thus: 1532 yards of 2.32s black worsted required. 8960 : 16 : : 1532 : X 1532 X 16 ^ 8960 = 2.735 black 2.32s worsted required for i yard of cloth woven. Anszuer: The previously given example requires the following amount of yarns : Brown, 2.30s worsted = 2918 oz. Blue, 2.28s " = 1.563 " Black, 2.32s " = 2.735 " 7.216 oz. weight of complete warp in i yard woven. TABLE OF RELATIVE LENGTHS Of Inches Dressed and One Yard Woven, with Reference to a "Take-up" During Weaving, for 1 per cent, to 50 per cent. Per cent, of take-up during weaving. Number of inches required dressed to produce one yard or 36 inches woven. Per cent, of take-up during weaving. Number of inches required dressed to produce one yard or 36 inches woven. I 36.36 13 41.38 2 36.73 14 41.86 3 37-11 IS 42.35 4 37-50 16 42.85 5 37.89 17 43-37 6 38-30 18 43.90 7 38.71 19 44.44 8 39-13 20 45.00 9 39-56 25 48.00 10 40.00 30 51-43 II 40.45 40 60.00 12 40.91 50 72.00 The next point for ascertaining the weight of cloth per yard from the loom is to ascertain the amount of filling required for one yard. To explain this subject let us continue the example previously given and indicated by A, Suppose those 3600 ends require 72 inches wide setting in reed (allowing i inch for width of 267 selvage on each side), and suppose the fiUing found used in sample submitted for analysis calls for 31^ run black woolen yarn and 52 picks per inch in loom. Question: Find amount of filling required for weaving one yard. 52 (picks) X 72 (width) = 3744 inches filling required for i inch of cloth, or 3744 yards of filling required for i yard of cloth. 3744 yards of run filling (3744 ^ 35°) = 10.697 oz. Anstuer : 10.697 oz. filling required for weaving i yard cloth in the present example. If two, three or more kinds of threads of various counts of fillings are used, ascertain each kind independent of the other. For illustration let us continue example B as previously given for ascertaining the warp. Suppose the width of fabric (including }^ inch selvage for each side) calls , for 64 inches and the arrangement of filling for 6 picks 2.26s black worsted and for 6 picks 2.28s brown worsted = 12 picks in repeat of pattern and 56 picks per inch in fabric. Question : Find the amount of filling required for weaving I yard. 56 (picks) X 64 (width) = 3584 yards of filling required to weave I yard of cloth. Thus: 3584 ^ 2 = 1792 yards 2.26s worsted black {a), and 1792 yards 2.28s worsted brown {b), the filling required to weave i yard of cloth. a. 2.26s worsted (= 7280 yards to i lb.). Thus: 1792 : x : : 7280 : 16 1792 X16 ^ 7280 = 3.938 oz. of 2.26s black worsted required. b. 2.28s worsted (= 7840 yards to 1 lb.). Thus : 1792 : x : : 7840 : 16 1792 X 16 -r- 7840 = 3.657 OZ. of 2.28s brown worsted required. Answer: 3.938 oz. of 2.26s black worsted. ^ 3.657 oz. of 2.28s brown worsted. 7.595 oz. the amount of filling required for weaving i yard of cloth in the present example. The next thing to be ascertained will be the amount of selvage threads to be used, and their respective weight. Suppose example A calls for 30 threads 2 run (woolen yarn) for selvage for each side of the fabric, thus 60 threads for complete selvage. -f 6 per cent, take-up = 63.82 yards of two run selvage, equal to 0.319 oz. of yarn for I yard of woven cloth. For example B. allow 30 threads of 2.20s worsted for selvage on each side of the fabric ; thus 60 threads for complete selvage. + 6 per cent, take up = 63.82 yards of 2.20s worsted = 0.182 oz. of yarn for I yard of woven cloth. Example A. thus requires : 9.575 oz. warp yarn, 10.697 oz. filling, 0.319 oz. selvage threads. 20.591 oz. the weight of I yard of cloth from the loom. Example B. thus requires : 7.216 oz. warp, 7.595 oz. filling, 0.182 oz. selvage threads. 14.993 oz. the weight of I yard of cloth from the loom. After the weight of I yard of the cloth woven is ascertained it is easy to calculate the amount of yarn required for i piece of cloth or any number, by simply multiplying the weight per yard with the number of yards required. 268 For example : Suppose previously given example A to be applied to a fabric 40 yards " from loom." Thus : 9.575 oz. X 40 = 383 oz. = 23 lbs. 15 oz. warp yarn, 10.697 oz. X 40 = 427.88 oz. = 26 lbs. 1 1.88 oz. filling yarn, 0.319 oz. X 40 = 12.76 oz. = 12.76 oz. selvage. 20.591 oz. total, 51 lbs. 7.64 oz. weight for i piece 40 yards long. Proof: 20.591 oz., weight of cloth per yard, x 40. number of yards of cloth required, equals 823.64 oz., 16 = 51 lbs. 7.64 oz. Suppose the previously given example under B applied to the following — Question: Find the amount of yarn required for producing 20 pieces, each 50 yards lon^ from loom, thus: 20 pieces X 50 yards each cut = 1000 yards of cloth required, hence 7.216 oz. X 1000 = 7216 oz. = 451 lbs. 7.595 " X 1000 = 7595 " = 474 " II oz. 0.182 " X 1000= 182 " = II " 6 " 14.993 937 lbs. I oz. weight required for 20 pieces, each 50 yards long, or 1000 yards of cloth woven. Proof: 14.993 oz. weight per yard of cloth X 1000 (number of yards of cloth woven) 14993 oz. 16 = 937 lbs. I oz. VIII. Ascertaining the Process of Finishing Necessary and the Amount of Shrinkage of the Fabric. The shrinkage of a fabric during finishing is regulated by the amount of fulling required. Woolen fabrics, and especially such as are constructed out of soft spun yarn, shrink more than any other textile fabric. In arranging the width of a fabric for weaving ("setting" in reed) we must calculate the amount of shrinkage of the fabric on the loom as well as during the process of finishing. The shrinkage in length of the fabric can more readily be regulated during the finishing process (fulling). Worsted fabrics, which require no fulling — only scouring — shrink very little, while cotton goods, which require only calendering or pressing, etc., do not lose any, and may possibly rather gain, in length. During the process of carding and spinning, oil, water, etc., are taken up by the wool, and during dyeing some of the dye-stuff will remain loo.sely in the yarn. These substances must be removed in the scouring of the cloth; therefore we must allow for a corresponding loss in weight for such fabrics from their relative weight in the loom until the fabric is scoured. The subsequent processes, such as gigging and shearing, will also reduce the previous loom weight of the fabric. Fabrics requiring none of these processes consequently need none of these considerations, while fabrics requiring a starching, calendering or flocking may even gain in weight during such an operation. The shrinkage of fabrics in finishing requires, similar to the two different widths (width of fabric when finished, and its width in reed), to figure in two different lengths during calculations. a the length of the cloth from loom, b its finished length. It will be easily understood that when orders are given for a certain number of yards from a buyer or the commission house, they con- sider the number of yards given as the "finished yards"; therefore the percentage that the fabric shrinks during the finishing process must be added for ascertaining the number of yards required ''from loom',' or woven. Take-up during weaving added, will give us a third length, or the length of warps dressed, while the shrinkage of a fabric in finishing regulates, as previously mentioned, the width of the fabric in loom, in addition to the width of the finished fabric. 269 GRADING OF THE VARIOUS YARNS USED IN THE MANUFACTURE OF TEXTILE FABRICS ACCORDING TO SIZE OR COUNTS. The sizes of the yams, technically known as their counts or numbers, are based for each different raw material upon the number of yards necessary to balance i lb. (avoirdupois), conse- quently the higher the count or number the finer the yarn according to its diameter. The number of yards thus necessary to balance i lb. is known as the " Standard " and varies accordingly for each material. I. Cotton Yarns. Cotton yarns have for the standard 840 yards (equal to i hank) and are graded by the number of hanks i lb. contains. Consequently if two hanks, or 2 X 840 yards = 1680 yards, are necessary to balance i lb., we classify the same as number 2 cotton yarn. If three hanks, or 3 X 840 yards = 2520 yards, are necessary to balance i lb., the thread is known and classified as number 3 cotton yarn. Continuing in this manner, always adding 840 for each successive number, it gives us the number of yards the various counts of yarn contain for I lb. Tabic for Lengths of Cotton Yarns. I From number i to 240s. 1 No. Yds. to I lb. No. Yds. to 1 lb. No. Yds. to I lb. No. j Yds. to I lb. I 840 25 21,000 49 41,160 73 61,320 2 1,680 26 21,840 50 42,000 74 62,160 3 2,520 27 22,680 51 42,840 75 63,000 4 3,360 28 23,520 52 43,680 76 63,840 5 4,200 29 24,360 53 44,520 77 64,680 6 5,040 30 25,200 54 45-360 78 65,520 7 5,Sbo 31 26,040 55 46,200 79 66,360 8 6,720 32 26,880 56 47,040 80 67,200 9 7,560 33 27,720 57 47,880 85 71,400 10 % 10000 II 17600 2?< 4400 eVz 10400 iiK 18400 4800 6U 10800 12 19200 \y. 5200 7 1 1 200 13 20800 3^ 5600 7X 1 1600 14 22400 31^ 6000 12000 15 24000 III. Woolen Yarn — "Cut" System. As previously mentioned, woolen yarn is also graded by the "cut" system. 300 yards is the basis or standard, consequently if 300 yards of a given woolen yarn weigh i lb., we classify it as i cut yarn; 600 " " " " " " I " " " " 2 " and so on, hence the count of the woolen yarn expressed in the "cut," multiplied by 300, gives as the result the number of yards of respective yarn that I lb. contains. Table for Lengths of Woolen Yarns {^Cut Sysieni). (From I Cut to 50 Cut Yarn.) Cut. Yards to lb. Cut. Yards to lb. Cut. Yards to lb. Cut, Yards to lb. I 300 13 3.900 25 7,500 37 11,100 2 600 14 4,200 26 7,800 38 11,400 3 900 15 4,500 27 8, 100 39 11,700 4 1,200 16 4,800 28 8,400 40 12,000 5 1,500 17 5,100 29 8,700 41 12,300 6 1,800 18 5,400 30 9,000 42 12,600 7 2, 100 19 5.700 31 9.300 43 12,900 8 2,400 20 6,000 32 9.600 44 13,200 9 2,700 21 6,300 33 9,900 45 13,500 10 3,000 22 6,600 34 10,200 46 13,800 1 1 3.300 23 6,900 35 10,500 48 14,400 12 3,600 24 7,200 36 10,800 50 15,000 Rule for Finding the Weight in Ounces for a Given Number of Yards of Woolen Yarn, Figured by the "Cut" Basis. This rule is similar to the one given for cotton yarn. Multiply the given yards by 16 and divide the result by the original number of yards for the given "count" of cotton yarn that I lb. contains. Example. — Find weight for 12,600 yards of 40-cut woolen yarn. I2,6ooX 16=201,600. I lb. of 40-cut woolen yarn= 1 2,000 yards. Thus 20 1,600 -f- 12,000=16.8. Answer: x 2,600 yards of 40-cut woolen yarn weigh 16.8 oz. 272 Rule for Finding the Weight in Pounds of a Given Number of Yards of Woolen Yarn, Graded by the "Cut" Basis. This rule is also similar to the one previously given for cotton yarn. Divide the given yards by the original number of yards for the given "count" of woolen yarn (cut basis) in i lb. The result expresses the weight in pounds or fractions thereof. Example. — Find weight of 1,260,000 yards of 40-cut woolen yarn. 40 cut woolen yarn = 12,000 yards to i lb. Thus 1,260,000 -r- 12,000 = 105. Anstuer: 1,260,000 yards of 40-cut woolen yarn weigh 105 lbs. IV. Worsted Yarns. Worsted .yarns have for their standard measure 560 yards to the hank. The number of hanks that one pound requires for balancing indicate the number or count by which it is graded. Hence, if 40 hanks, each 560 yards long, are required to equal one pound in weight, such a yarn is known as 40s worsted. If 48 hanks are required, it is known as 48s worsted, etc. In this manner is found the number of yards for any size or count of worsted yarns by simply multiplying the number by 560. Worsted yarn is, like cotton yarn, produced very frequently in 2-ply. If such is the case, only one-half the number of yards are required to balance the pound. Hence, 40s worsted (technically for single 40s worsted) requires 22,400 yards per pound, and 2.80s worsted (techni- cally for two-ply 80s worsted) requires also 22,400 yards per pound. If the yarn be more than 2-ply, divide the number of yards of single yarn in the required number by the number of ply. Table showing the Number of Yards of Worsted Yarn to the Pound, eitlicr Single or Two-ply, in a7iy Count not exceeding 200. No. Yds. Single Thread. Or, Yds. Two-Ply. No. Yds. Single Thread. Or, Yds. Two-Ply. I 560 280 54 30,240 15,120 2 1,120 i i 560 56 31.360 15,680 4 2,240 3,360 1,120 58 32,480 16,240 6 1,680 60 33,600 16,800 8 4,480 •2,240 62 34,720 17.360 10 5,600 2,800 64 35,840 ! " 17,920 12 6,720 << 3,360 66 36,960 18,480 14 7,840 (1 3,920 68 38,080 19,040 16 • 8,960 { ( 4,480 70 39,200 19,600 18 10,080 ( ( 5,040 72 40,320 20,160 20 11,200 ii 5,600 74 41,440 20,720 22 12,320 n 6, 160 76 42,560 21,280 24 13,440 6,720 78 43,680 21,840 26 14,560 ti 7,280 80 44,800 22,400 28 15,680 1 i 7,840 82 45,920 22,960 30 16,800 8,400 84 47,040 23,520 32 17,920 ^^ 8,960 86 48, 160 24,080 34 19,040 it 9,520 88 49, 280 24,640 36 20, 1 60 (( 10,080 90 50,400 25,200 38 21,280 t( 10,640 92 51,520 25,760 40 22,400 (t 11,200 94 52,640 26,320 42 23.520 (( 1 1 , 760 96 53,760 ; 26,880 44 24,640 (( 12,320 98 54,8So 27,440 46 25,760 tt 12,880 100 56,000 28,000 48 26,880 ( ( 13,440 150 84.000 42,000 50 28,000 ( ( 14 000 200 112,000 56,000 52 29, 120 14,560 273 Rule for Finding the Weight in Ounces of a Given Number of Yards of Worsted Yarn. Multiply the given yards by i6, and divide the result by the number of yards the given " count " of worsted yarn contains balancing i pound. Example: (Single worsted). Find weight for 12,600 yards of 40s worsted. 12,600 X 16=201,600. I lb. of 40s worsted = 22,400 yards, thus: 201 ,600 22,400 = 9. Answer : — 12,600 yards of 40s worsted weigh 9 ounces. Question: (2-ply worsted). — Find weight for 12,600 yards of 2.40s worsted. 12,600 X 16 = 201,600. lb. of 2.40s worsted = 11,200 yards. Hence, 201,600 11,200 = 18. Answer — 12,600 yards of 2-4OS worsted weigh 18 ounces. Rule for Finding the Weight in Pounds of a Given Number of Yards of Worsted Yarn of a Known Count. Divide the given yards by the number of yarns of the known count required to balance I pound. Example. (Single yarn). Question: — Find the weight of 1,260,000 yards of 40s worsted yam. 40s worsted = 22,400 yds. to i lb. Thus, 1,260,000 22,400 = 56%^ lbs. A7tstver: — 1,260,000 yds. of 40s worsted yarn weigh 5634^ lbs. Question: (2-ply yarn). — Find the weight of 1,260,000 yds. of 2.40s worsted yarn. 2.40s worsted = 11,200 yds. to I lb. Thus, 1,260,000-=- 11,200= li2]4. Answer: — 1,260,000 yds. of 2.40s worsted yarn weigh 1 12^ lbs. V. Silk. A. Spun Silks. — Spun silks are calculated as to the size of the thread, on the same basis as cotton (840 yards to one hank, and the number of hanks one pound requires indicate the counts). In the calculation of cotton, woolen or worsted, double and twi.st yarn, the custom is to con- sider it the .same as twice as heavy as single; thus double and twisted 40s worsted (technically 2.40s worsted) equals single 20s worsted for calculations. In the calculation of spun silk the single yarn equals the two-fold; thus single 40s and two-fold 40s (40.2s) require the same number of hanks (40) = 33,6oo yards. The technical expression of two-fold in spun silk is also corres- pondingly reversed if compared to cotton, wool and worsted yarn.. In cotton, wool and worsted yarn the 2 indicating the two-fold is put in front of the counts indicating the size of the thread (2.40s), while in indicating spun silk this point is reversed (40.2s), or in present example single 80s doubled to 40s. B. Raw Silks. — The adopted custom of specifying the size of silk yarns is in giving the weight of the looo yards hank in drams avoirdupois; thus if one hank weighs 5 drams it is tech- nically known as " 5 dram silk," and if it should weigh 8^ drams it is termed " 8 dram silk." As already mentioned the length of the skeins is 1000 yards, except in fuller sizes where 1000 yard skeins would be rather bulky, and apt to cause wa.ste in winding. Such are made into skeins of 500 and 250 yards length, and their weight taken in proportion to the 1000 yards ; thus, if the skein made up into 500 yards weighs 8^ drams, the silk would be 17 dram silk; if a skein made 274 up into 250 yards weighs 4 drams, the silk would be 16 dram silk. The size of yarns is always given for their "gum" weight; that is, in their condition before dyeing. Previous to being dyed silk yarns are subjected to " boiling off," a process taking out the gum or sahva which the silk worm spins into the single thread. In this "boiling off" yarns lose from 24 to 30 per cent according to the class of raw silk used ; China silks losing the most, Eu- ropean and Japan silks the least. The following table shows the number of yards to the pound and ounce from i dram silk to 30 dram silk. The number of yards given per pound in the table is based on a pound of gum silk. Length of Gum Silk Yarn per Pound mid per Ounce. Drams per Yards Yards Drams per Yards Yards Drams per Yards Yards 1000 yards. per lb. per oz. 1000 yards. per lb. per oz. 1000 yards. per lb. per oz. I 256,000 16,000 51,200 3,200 16 16,000 1,000 204,800 12,800 I'A 46,545 2,909 17 15,058 94 1 170,666 10,667 6 42,667 2,667 18 14,222 889 146,286 9,143 6/2 39,385 2,462 19 13,474 842 2 1 28,000 8,000 7 36,571 2,286 20 I2,S00 800 2^ 113-777 7,111 34,133 2,133 21 12,190 762 2^ 102,400 6,400 8 32,000 2,000 22 11,636 727 93.091 5,818 ZVz 30,118 1,882 23 11,130 696 3 85-333 5,333 9 , 28,444 1,778 24 10,667 666 3^ 78,769 4,923 9^ 26,947 1,684 25 10,240 640 3K 73,143 4,571 10 25,600 1,600 26 9,846 615 3^ 68,267 4,267 II 23,273 1,455 27 9,481 592 4 64,000 4,000 12 21,333 1,333 28 9,143 571 ^% 60,235 3.765 13 19,692 1,231 29 8,827 551 aVz 56,889 3.556 14 18,286 1,143 30 8,533 533 53,368 3,368 15 17,067 1,067 RULES FOR FINDING THE EQUIVALENT COUNTS OF A GIVEN THREAD IN ANOTHER SYSTEM. A. Cotton, Woolen and Worsted Yarn. Rule: The counts of a given thread are to the counts of an equal thread (in size) ot a different material, or a thread of the same material but figured after a different ''standard" in the same proportion as the "standard number" of the one to be found is to the " standard number" of the one given. Example i. Cotton — Worsted. Find equal size in worsted yarn to 21s cotton. Cotton standard : Worsted standard. 840 : 560 = 3 : 2. Thus, 3 : 2 : ; X : 21. 3 X 21 = 63 ^ 2 = ixy^. Answer : A thread of 21s cotton equals (in size) a thread of 31 worsted. Example 2. Cotton — Wool (run system). Find equal size in woolen yarn (runs) to los cotton. Cotton standard : Run standard. 840 : 1600 = 21 : 40. Thus, 21 : 40 : : X : 10. 21 X 10 = 210 H- 40 = 514^. Answer: A thread of los cotton equals (in size) a thread of 5 14^-run (wool). 275 Example 3. Cotton — Wool (cut system). Find equal size in woolen yarn (cut basis) to los cotton. Cotton standard : Cut standard. 840 : 300 = 14 : 5. Thus, 14 : 5 : : X : 10. 14 X 10 = 140 5 = 28. Answer: A thread of los cotton equals (in size) a thread of 28 cut (wool). Example 4. Worsted — Wool (run system). Find equal size in woolen yarn (run basis) to 20s worsted. Worsted standard : Run standard. 560 : 1600 = 7 : 20. Thus, 7 : 20 : : X : 20. 7 X 20 = 140 -f- 20 = 7. Answer: A thread of 20s worsted equals (in size) a thread of 7 run (wool). Example 5. Worsted — Wool (cut system). Find equal size in woolen yarn (cut basis) to 15s worsted. Worsted standard : Cut standard. 560 : 300 = 28 : 15. Thus, 28 : 15 : : X : 15. 28 X 15 = 420 15 = 28. Answer : A thread of 15s worsted equals (in size) a thread of 28 cut (wool). Example 6. Worsted — Cotton. Find equal size in cotton to 30s worsted. 2 : 3 : : X : 30 = 60 ^ 3 = 20. Answer : — A thread of 30s worsted equals (in size) a thread of 20s cotton. Example 7. Woolen Yarn. Run System — Cut System. Find equal size in the cut basis of a 6-run thread. 16 : 3 :: x : 6 = 96 ^ 3 = 32. Answer : — A 6-run woolen thread equals (in size) a 32 cut thread of the same material. Example 8. Woolen Yarn. Cut System — Run System. Find equal size in the run basis of a 32-cut woolen thread. 3 : 16 : : X : 32 = 96 ^ 16 = 6 Answer: — A 32-cut woolen thread has for its equal in size a 6-run thread of the same material. B". Spun Silk Compared to Cotton, Woolen, or Worsted Yarn. The basis of spun silk is the same as that of cotton. Therefore, the rules and examples given under the heading of "Cotton " refer at the same time to spun silk. B% Raw Silk Compared to Spun Silk, Cotton, Woolen, or Worsted Yarn. Rule. — Find the number of yards per pound (on table previously given) in raw silk, and divide the same by the standard size of the yarn basis to be compared with. Example 9. Raw Silk — Cotton. Find equal size in cotton yarn to 9 dram raw silk. 9 dram raw silk = 28,444 yds. per lb. Thus, 28,444 840 (cotton standard) = 338. Answer : — 9 dram raw silk equals nearly 34s cotton. Example 10. Spun Silk or Cotton — Raw Silk. Find equal size in raw silk to 38s cotton. 38s cotton = 31,920 yds. per lb. (38 X 840). Refer to table for raw silk, where you will find 8 dram per lOOO yards gives 32,000 per lb. Answer : — A 38s--cotton thread equals- (nearly) an 8 dram raw silk thread. 276 TABLE OF RELATIVE LENGTHS. Of Cotton Yarns by Numbers and Woolen Yarns by Runs. Taking tlie Number as a Basis. 840 yards single Cotton Yarn = i Number. 1,600 " " Woolen " =1 Run. No. I Single Cotton Yarn = |J Run Single Woolen. 4 5 6 7 8 9 10 II 12 >3 14 ■^40 ,5 5i 72V No. 15 Single Cotton Yarn = ~l Run Single Woolen. 16 17 18 19 20 21 22 23 24 25 26 28 3" 9217 9 ST) I2/„ :I2| I3i! 14/^ TABLE OF RELATIVE LENGTHS Of Cotton Yarns by Numbers and Woolen Yarns by Cuts. Taking the Number as a Basis. S40 yards single Cotton Yarn = i Number. ^00 " " Woolen Yarn = i Cut. No. I .Single Cotton Yarn 2 3 4 5 6 7 S 9 10 II 12 13 14 = 2I Cut Single Woolen. ^ 5l " 8f " . iii " 14 If* " 19! " " " 22§ " 25i " 28 sot " 33* " 36I " 39i " N0.15 Single Cotton Yarn ='42 16. " " " =444 17 " " " =47! 18 '• " " =50! 19 " " " =53i 20 " " " = 56 21 " " =581 22 " " = 61 § 23 " " " =64! 24 " " " =671 25 " " " = 70 26 " " " = 72I 28 " " " = 78I 30 " " " =84 Cut Single Woolen. TABLE OF RELATIVE LENGTHS. Of Cotton Yarn by Numbers and Worsted Yarn by Numbers. Taking the Cotton Number as a Basis. 840 yards Single Cotton Yarn = i Number. 560 " " Worsted " =1 Number. No. I Single Cotton Yarn 2 4 6 8 10 12 14 16 18 20 No. i}4 Single Worsted. 3 6 9 12 15 18 21 " 24 27 30 No. 22 Single Cotton Yarn : 24 " " " : 26 " " " : 28 " " " : 30 " " " ■ 32 " " " : .34 " " " : 36 " " " = 38 " " " = 40 " " " = 42 " " " : No. 33 Single Worsted. 36 39 42 45 48 51 54 57 60 63 277 No. 44 Single Cotton Yarn = No. 66 Single Worsted. 69 = 72 ^ 75 = 7S =. 81 = 84 = 87 = 90 = 95 No. 64 Single Cotton Yarn = No. 96 Single Worsted. 66 6S 70 72 74 76 78 80 ICQ 99 102 105 108 1 1 1 I '4 117 120 150 TABLE OF RELATIVE LENGTHS. Of Woolen Yarn by Runs and Cotton Yarn by Numbers. Taking the Run as a Basis. 1600 Yards Single Woolen Yarn = i Run. 840 " " Cotton Yarn = i Number. I Run Single Woolen Yarn = No. i^f Single Cotton Yarn. T 1/ 1/4 tt ■J 8 T 1/ 1 1 It 06 2y it 1 1 I 1/ < t 1 1 ■5 1/ (t tt :t 2 I ( I ( Til ^^ tl if 1 1 , , A 2 47 1 1 it (( ( ( ( < tt tt 7 3/ ,1 ,t 1 1 c 5 5jr ^ t ( tt i6^\ ti (t tt i6H- ti tt 9 1 1 1 1 i7f ( ( it 9'A t i tt 9% t i i8j\ tt tt 9% tt tt 1 1 1 1 tt i8i (( tt 10 I9iT ( ( ( ( tt 10% li '( 19H tf it tt 10 '/z it ti tt 20 ti ii tt loU (I ti tt tl ti II 1< tt tf n tt it tt <( <( « J 1 9 tt tt t( 12 u (1 tt tt 22f it tt tt 278 TABLE OF RELATIVE LENGTHS Of Woolen Yarn by Runs with Woolen Yarn by Cuts. Taking the Run as a Basis. 1600 yards Single Woolen Yarn=i Run. t Run Woolen Yarn. " " iH " " 2 " " 2H " " 2H " " 3 " " 3'X " " 3'A " " " " 4 4'X " " 4/2 " " 4^ " " 5 SK " " s'A •' " 6 6X " " S% " " 300 =1 Cut. = sH Cut. 7 7'X = 9'A 7K = 10% " 7^ = 12 " 8 TTl/ " = 14/^ 8>i = 16 " 8^ T I / II 9 = 18H 9X = 20 " 9>^ = 2lK " 9X = 22% " 10 = 24 " = 26^/^ " = 28 II = 29'A " iiX = 30?^ " IIK = 32 11^ = 33K " 12 = 34K " . — 36 Cut = zvA = 38?^ = 40 = 4i>^ = 42j^ = 44 . = 45^ = 46^ = 48 ==49K = 505^ = 52 = 53>^ = 54% = 56 = 57)^ = 58% = 60 = 61% = 62% = 64 TABLE OF RELATIVE LENGTHS. Of Woolen Yarn by Runs and Worsted Yarn by Numbers. Taking the Run as a Basis. 1,600 yards Single Woolen Yarn = i Run. 560 RUN 1 Single Woolen Yarn = No. 2^ Single Worsted. 2 " " " = 5^ " 3 " " " = 8f " 4 " " " = iif " 4^ " " " = I2f " 5 " " " = 14^ " 5% " " " = 15 " 5'A " " " = 15^ " 5U " " " = i6|- " 6 " " " = 171 " 6X " " " = i7f " 6)4 " " " = i8f " 63/ '• •' " = i9f " 7 " " " = 20 " *' 7'X " " " = 2o4 jA " " " = 2i4 " 714' " " " = 22i " 8 " " " = 22f " 8^: " " " = 23f " ^'A " " " = 24f " 8^ « " « _ 25 Worsted Yarn = i Number. RUN. 9 Single Woolen Yarn = 9X 9A 9H 10 10% 10% II nX iiA 12 I2X I2K 13 I3X i3>^ 1314^ 14 No. 25f Single Worsted. 26f 27^ " 27f 28f 29^ " 30 3of 32} " 32f " ,,4 'I I' 33 r 34f 35 35? 36f " 37I •' 37? " 38* " 39? " 40 " "• 279 TABLE OF RELATIVE LENGTHS Of Woolen Yarn Cuts and Cotton Yarn by Numbers. Taking the "Cut" as a Basis. 300 yards Single Woolen Yam = i Cut. 840 '• " Cotton " =1 Number. I Cut Single Woolen Yarn = No. Single Cotton Yarn. 2 " 5 T << 3 " tt it t i 4 " ( tt If II tt it 5 " ( (( it tt ^t 6 " t <( tt 2^ ti t i ti 7 " ( ( < 2j i i " 8 " i tt 2i ti (C 9 " ( ti 3t\ tt 10 " i i 4 3^ ( ( tt II " ( f ( 3}| tl 12 " C (( 4f (( " 13 " ( 4( *' = 4A ti tt 14 " ( ( ( '* = 5 1 1 tt 15 " (( tt ii 5t\ 1 1 C ( t( 16 " ( i ( ( *' it 10 = < ( u 12 f f i t = 8 (( 14 ( ( ( ( •* 9'A ( t ** 16 1( << a = (( 1 ( 18 l« (( ** = 12 H I ( ** 20 l( *' (( = 13K ( t ( ( 1 1 22 ( i " i< = 14% ( t it 24 1 1 = 16 " 1 1 26 i ( u it ■i7>i (( tt 28 < ( (I it = 18% i i tt tt 30 ** <( = 20 (( ti tt 32 (( = 2I'A ( ( ti it 34 (( = 22% it ti 36 ( i = 24 ( ( i i 38 25K " tt 40 (( <( = 26 it it 42 < < l{ ( ( = 28 it it 44 '* <4 ( ( = 29K 1 ( 46 it ( c (( 30% < ( u tt 48 a ( ( " = 32 (( '* it 50 (( oS'/i ** a ti 52 (( " = 34% t( 54 " (< It = 36 1 ( It ii 56 " (( = 37>3 it » ( ti 58 (( " 38% it ti tt 60 " (( " 40 it ti it 62 (( " Ai'A it tt tt 64 (( ( f = 42% it ti it 66 " " n = 44 ft i i tt 68 (1 '* = .45K i t tt 70 " a •* = 46% 3 tt ** it 76 (f 50?^ 1 1 1 1 tt 78 (( n = 52 tt tt '.t 80 (( f( 53K tt i t tt 82 (( 54% It tt 84 u 56 tt tt 86 ( ( 57K tt t( U 88 58% it tt ti 90 < ( 60 ti ft 92 (( tl 61 '3 ft it ti 94 1 ( 62% it it tt 96 i ( 64 t( 98 (( 65.% It it te 100 66% it tt i< no ( ( n 73K tt tt u 120 t < 80 tt tt 130 f < 86% ft u tt 282 TABLE OF RELATIVE LENGTHS Of Worsted Yarn by Numbers and Woolen Yarn by Runs. Taking the Number as a Basis. 560 yards Single Worsted Yarn = i Number. 1600 " " Woolen " =1 Run. No. I Single Worsted Yarn = .1% Run Single Woolen. 2 ii — T u (( 4 it it T 4 ( ( 6 8 f f « i i a i I t( ^ 1 « 8 (J" i i it 10 if il < ( = -^A — oio ii 12 « « rc T- 1 0 il 14 it ( t ( ( ti 0 (i 16 u << (( i i 18 « a ( ( i ( 20 i( n — 7 (( 22 << (I n = 7tV t ( 24 ( ( ii = 81V 26 n = 9r'o 28 ti i( ( ( = 9rV i i 30 t i ii (f 32 n ii = iitV ii 34 i i i ( = iiiV 36 a a = "xV 38 i ( il i i 40 i ( ii = 14 42 ff it = i4iV 44 1 ( n = i5r\ ft 46 1 ( ti = i6Jj tt 48 it (( = i6iV ti 50 ( ( (C ti TABLE OF RELATIVE LENGTHS Of Worsted Yarn by Numbers and Woolen Yarn by Cuts. Taking the Number as a Basis. 560 Yards Single Worsted Yarn = i Number. 300 " " Woolen Yarn = i Cut. No. I Single Worsted Yarn = Cut Single Woolen. 2 it -It 1 i tl 4 t( it tt = 7/r tt 6 ti = "A tt tt 8 il ft = i4[| tt it 10 tt it = iS}-f tt tf 12 it t( tt = 22/5 tt ft 14 tt = 26x^ tt 16 il = 2911 tt ft 18 a tt tt = 33/5 tt ti 20 tt *i = 37i'r t t 22 it tf it = 4ItV 24 il ti = 44ii tt 26 = 48A tt tt 28 (t ti tt = 52/5 tt tt 30 it tt n = 56 tt 32 tt = 59^1 tt tt 34 tt f = 63xV tt 36 it tt tt = 67tV l< 38 it ti it = 70}f tt tt 40 ft it (t = 74}? tt tf 283 YARN CALCULATIONS. Ascertaining the Counts of Twisted Yarns Cotnposed of Two or more -minor Threads of which the Counts are Known. I. If the compound thread is composed of two minor threads of equal counts and material, the compound thread is one-hah' the count of the minor. Example: 2.60s cotton = single 30s cotton yarn. 2.40s worsted = " 20s worsted. Double and twist 4-run woolen yarn = 2-run single woolen yarn. Double and twist 30-cut woolen yarn = 15-cui: single woolen yarn. II. If the yarn be more than two-ply, divide the given counts by the number of ply. Example : 3.90s cotton = 90 3 = single 30s cotton yarn. 3.60s worsted = 60 3 = single 20s worsted, etc. III. If the compound thread is composed of two minor threads of unequal counts but the same material, the rule for finding the equal in a single thread as compared with the compound thread, is as follows : Divide the product of the counts of the minor threads by their sum. Example A. — Find the equal in single cotton yarn to a two-fold cotton thread composed of single 40s and 60s. 40 X 60 =2400 100 (40 + 60) = 24. Answer: A two-fold cotton thread composed of single 40s and 60s equals a single 24s cotton yarn. Example B. — Find the equal in a single worsted thread to a two-fold worsted thread composed of single 20s and 30s. 20 X 30 = 600 -=- 50 (20 + 30) = 12. Anszver : A two-fold worsted thread composed of single 20s and 30s equals single 12s worsted. Example C. — Find the equal counts in single woolen yarn (run basis) for a double and twist thread composed of single 3-run and 6-run woolen yarn. 3 X 6 = 18 9 (3 + 6) = 2. Anszver : A 3-run and 6-run woolen thread being twisted equals a single 2-run woolen thread. Example D. — Find the equal counts in single woolen yarn (cut basis) for a double and twist thread composed of single 20-cut and 30-cut yarn. 20 X 30 = 600 H- 50 (20 + 30) = 12. Anszver: A 20-cut and 30-cut woolen yarn twisted equals single 12-cut woolen yarn. IV. If the compound thread is composed of two minor threads of different materials, one must be reduced to the relative basis of the other thread, and the resulting count found in this system. (See tables of relative lengths given on page 276 to 282.) Example A. — Find the equal counts in a single worsted thread to a 2-ply thread composed of single 30s worsted and single 40s cotton yarn. 40s cotton = 60s worsted. Thus 30 X 60 = 1 800 90 (30 + 60) = 20. Anszver: Compound thread given in example equals a single 20s worsted thread. Example B. — Find the equal counts in single cotton yarn to a 2-ply thread composed of single 30s worsted and 40s cotton yarn. 30s worsted = 20s cotton. Thus 40 X 20 = 800 60 (40 + 20) = 133^. Answer: Compound thread given in example equals a single cotton thread of number l^}^. Example C. — Find the equal counts in single woolen yarn (run basis) to a 2-ply thread com- posed of single 20s cotton yarn and 6-run woolen yarn. 20s cotton — io>^-run woolen yarn. Thus io}i X 6 = 63 -h- i6^ (lO^ + 6) = 31T. Answer: Compound thread given in example equals a single woolen thread of 3A runs. 2»i Example D. — Find the equal counts in single woolen yarn (cut basis) to a 2-ply thread com- posed of single 40s cotton yarn and 28-cut woolen yarn. 40s cotton =112 cuts. Thus 28 . X 112 = 3136 -h- 140 (28 + 112) = 22t^. Answer: Compound thread given in example equals a single woolen yarn of 221% cuts. V. If the compound thread is composed of three minor threads of unequal counts, but of the same material, compound any two of the mmor threads into one and apply previously given Rule III to this so compounded thread and the third (minor) thread not previously used. Example : A 3-run, 6-run and 8-run thread being twisted together, what are the equal counts in one thread of the compound thread? 3x6 = 18 — 9(3+6) = 2. (A 3-run and a 6-run thread compounded equal a 2-run single thread.) Thus : 2 X 8 = 16 10 (2 + 8) = \h = if. Anszver : Compound thread given in example equals r? run. Example: A 20s, 30s and 40s worsted being twisted together, what is the size of the three-fold yarn ? 20 X 30 = 600 -r- 50 (20 + 30) = 12. (20s and 30S worsted compounded into one thread equal single 12 worsted.) Thus: 12 X 40 =: 480 52 (12 + 40) = gh. VI. If the compound thread is composed of three minor threads of two or three different materials, they must by means of their relative length (see tables of relative length given on pages 276 to 282) be transferred into equal counts in one basis, and afterwards find the size of the com- pound thread by Rule V. Example : Find equal counts in single woolen yarn, " run " basis, for the following compound thread : A 3-run, a 6-run woolen thread, and a single 20s cotton twisted together. 20's cotton equals lo^-run. 3X6 = 18-^-9(3 + 6)= 2. (3-run and 6-run threads compounded equal a single 2-run thread.) Thus, 2 X 10% = 21 I2>^ (2 + iQi^) = ill. Answer. The three-fold thread given in example equals in counts a single woolen yarn of I25 (nearly i^) run. By means of the rules and explanations given it will be easy to ascertain the equal counts in a single thread for a two or three-ply thread, composed of yarns of the same basis, as well as compound threads constructed of different materials. VII. Rule for ascertaining the counts of a thread required to produce with a given single thread a two-fold thread of which the compound size is known. Multiply the counts of the given single thread by the counts of the compound thread and divide the product by the remainder, obtained by substracting the counts of the compound threads from the counts of the given single thread. Example A. — Question: Find size of single yarn required (run basis) to produce with a 4-run woolen yarn a compound thread of 3-run. 4 X 3 = 1 2 ^ I (4 ~ 3) = 1 2. Answer: The minor thread required in the present example is a 1 2-run thread, or a 4-run and a 1 2-run woolen thread compounded into a 2-fold yarn, equal in counts to a 3-run single woolen. Example B. — Question: Find size of single yarn required (worsted numbers) to produce with a 48's worsted thread a compound thread the equal of i6s worsted yarn. 48 X 16 = 768 32 (48 — 16) = 24. Answer: The minor thread required in the present example is a 24s worsted thread, or a 48s worsted thread and a 24s worsted thread compounded into a 2-fold yarn the equal in counts to l6s worsted yarn. 285 Example C. — Question: Find size of single yarn required (cotton numbers) to produce with a 80s cotton thread a 2-fold yarn of a compound size of equal 30s cotton yarn. 80 X 30 = 2400 ^ 50 (80 — 30) = 48. Answer : Tlie minor thread required in the present example is a 48s cotton thread, or 80?; and 48s cotton threads compounded into a 2-fold yarn equal in this compound size to a single 30s cotton thread. VIII. If one of the minor threads is to be found for a 3-ply thread, of which two minor threads are known, use the following Rule: Compound the two minor threads into their equal in a single thread, and solve the question by Rule VII. Example. — Find minor thread required to produce with single 30s and single 60s worsted a 3-ply yarn to equal single 12s worsted counts. 60s and 30s worsted compound = (60 X 30 = 180 90 [60 + 30] = 20) single 20s worsted. Thus 20 X 12 = 240 8 (20 — 12) = 30 jSZTrlTl , \ I J'r^ZrTr'eSl f ^-wn size | \ of which size ■ of which size " 3 ply i IS known. J ^ y^"^"' ^ L is known. j ^ y^"^- ^ Ansiver : The size of the third minor thread required to be ascertained in the given example is single 30s worsted yarn or a 3-ply thread composed of a single 30s, 60s and 30s worsted yarn equals single 12s worsted counts. TABLE OF RELATIVE LENGTHS Between Metric Measure of Length and the Denominations in use in the United States. Metric Denominations and VaUies. I MilHmetre = .ooith of a metre. I Centimetre = .oith " " I Decimetre = .1 1 Metre = Unit of Length. I Decametre = 10 metres. I Hectometre = 100 " I Kilometre == 1,000 " I Myriametre = 10,000 " Equivalent in Denominations in Use in the U. S. 0.03937 inches. 0-39370 3-93708 39.3708 '' or 3.2S09 feet. 393.708 " " 10.9^63 yds. 328 feet I inch, or 109.3633 " 0.62138 miles. 6.2138 The Metre, the Unit of the Metric Measiire (in use in Austria, France, Germany, etc), is the Te7i- Millionth part of a Line drazvJi from the Pole to the Equator. U. S. Measures. Metric Measures. I Inch = 2.5399 Centimetres. I Yard = 0.9143 Metre. I Foot = 3-0479 Decimetres. I Mile = 1609.32 Metres. 286 TABLE OF RELATIVE WEIGHTS Between Metric Denominations and the Denominations in Use in the United States. Metric Denominations and Values. I Milligram = I Centigram I Decigram ' Gram = I Decagram = I Hectogram I Kilogram, or i Kilo,: I Myriagram = .ooith of a gram, .01 " .1 " Unit of Weight. 10 grams. 100 '' 1,000 " 10,000 ' ' Equivalent in Denominations in Use in the U. S. 0.0154 troy grains. o 1543 " 1-5432 " 15-4323 " 134-3235 " 3.5291 oz. avoirdupois. 2.2046 lbs. " 22.0462 " " The Gram, the Unit of the Metric Weights, is the JVeighi of a Cubic CeJitinictrc of Distilled Water at 4° Centigrade. U. S. Measures. I ounce avoirdupois ^ I pound " I grain troy 1 ounce " = I pound " = Metric Measures. 28.34 grams. 453-59 " .0648 gram. 31.104 grams. .3732 kilo. TABLE OF RELATIVE MEASURES OF CAPACITY, DRY AND LIQUID, Between Metric Denominations and the Denominations in use in the United States. I Millilitre = .ooith of a litre, or i cubic Centimetre = I5'432 grain measures, or 0.061 cubic inches. I Centilitre = .oith of a litre, or 10 cubic Centmietres = 0.61027 cubic inches. I Decilitre = .ith of a litre, or o.i cubic Decimetre = 6.1027 cubic inches. I Litre = unit of the measures = i cubic Decimetre = 1.7608 pints. I Decalitre = 10 litres = 10 cubic Decimetres = 2.2009 gallons. I Hectolitre = 100 litres = .1 cubic Metre = 22.0097 gallons. I Kilolitre = 1000 litres = i cubic Metre = 220.0967 gallons. The Litre, the Unit of the Metric Measures of Capacity, Dry and Liquid, is the Volume of a Cubic Decimetre, N INDEX AND GLOSSAKY. PAGE. Alpaca is the name of a thin kind of cloth produced from the wool of the Alpaca, an animal of Peru. Anioniit of JilHug required for one yard of cloih, Ascertaxmn^, ......... 266 Amount of warp required for one yard of cloth, ascertaining, 265 Analysis, is the art of resolving a machine, fabric, material, etc, into its constituents parts. Analysis of the various Textile fabrics , 257 Arrangement of threads in a sample, 2L.sc^xX2S.n\x\%, 264 Arranging the fabric to be tested and methods for ascertaining the various percentage of each fibre compos- ing the thread or woven cloth . 262 y?rraj are hangings of tapestry, 256 Astrakhan is a warp pile fabric, used for ladies' cloakings — trimmings, eic 173 Avoirdupois Weight. One pound avoirdupois is the weight of 27.7015 cubic inches of distilled water at 39.83°/^, the barometer being 30 inches. Relative Weights of Avoirdupois^^ Weights in " Troy ' ' Denomination. A voirdupois= Lbs. oz. Dwt. Grains. I Ton 2922 1 13 8 H ~-\ I cwt. 146 I 6 16 0 iQt. 34 0 6 16 T Lb. I 2 II lA 2 I Oz. 18 I Dr. Relative Weights of Avoirdupois'^ Weights in I ^'Apothecaries" Weight. 3U Avoirdupois = Lbs. oz. Dr. Scr. Gr. ^> I Lb. = I 2 4 2 I Oz. = =r =r I Dr.- = I 1\\ . r* * Backing, the filling which produces by interlacing with warp-threads the lower or bqck structure in a fabric. Basket-weaves are subdivisions of the plam weave, plain, . 42 fancy, 45 Batten is a part of the Jacquard machine; the frame which carries the cylmder in its motion to and from the needle board 251 Binder-warp, the warp threads producing the foundation of a fabric ; interior warp ; this warp is generally not visible in the finished fabric. Used in Astrakhans, velvets, Brussels carpets, upholstery fabrics, etc. Broken Draws, 32 Broken Twills are twill weaves in which the direction of the characteristic twill line is arranged to run partways of the repeat in the weave from left to right, and partways from right to left. Broken Twills are a sub-division of the regular twills, 52 Brussels Carpet, 188 Calculations necessary for the manufacture of the various textile fabrics, 257 Camel Hair is the hair of certain camel.s, and is used either combed or carded. Cam Loom, a loom in which the harnesses are actuated on by cams. Card Stamping. 253 Cashmere, or Kashmere wool, is the fine hair of the Cashmere goat, which thrives upon the Himalaya mountains and surrounding country, in Asia. Cashmere is also used to indicate certain fabrics made of wool or silk warp and goat hair, or fine Merino wool filling. Checkerboard effects in fabrics, produced by the color arrangement, are the combination of Hair line and Tricot effects. See fig. 20. Chenille is a fringed thread used either for filling in the manufacture of rugs, curtains ; or in its first woven state in Trimmings, Fringes, etc. 153 Chenille Cutting Machine. , • 158 (287) 288 PAGE. Chenille Fabrics, as produced by cross weaving • • 244 ChiHchillas are pile fabrics produced by an extra filling ; used for overcoatings 152 Colors. Primary: Blue, Red, Yellow. Secondary : Purple, Orange, Green. Tertiary a : Russet, Olive, Citron. Tertiary b : Brown, Maroon, Slate. Color- Harmo7iy. Every color has its perfect harmony, (contrast,) and also other colors which harmonise with it in different degrees. When two colors are to be used in a textile fabric which do not accord, the proper selection of a third may make a harmonious combination. Comber-board a part in the Jacquard loom ; placed in the latter fjr holding harness cords and heddles in the proper position 254 Combination of different systems of Weaves for one Design • 9° Co>nbination of the Swivel effect in fabiics interlaced with two systems of warp and one or two systems of regular filling m Combination of Weaves for fabrics constructed with one system of warp and two systems of filling, • . 105 for fabrics constructed with two systems of warp and one system of filling. . . . . . 114 Combination Steep- Twills are a sub-division of the regular twills. Their method of construction, . . 67 Combining tiuo systems of filling with one kind of warp, for increasing the bulk of a fabric, . . . 105 two systems of filing zaith one kind of warp, for figuring with e.xtra filling upon the face of the fabric • loS two sysfents of zuarp and one systeni. of filling ior Y>^oA\icAng douhye-ia.ceAia.hnQS, . . . 114 two systems of warp and one system of filing for producing the bulk in fabrics, . . . . 115 Corduroys are pile fabrics produced by an extra filling, i49 Corkscrew Twills are a sub-division of the regular twills. Their method of construction, ... 6S Cb^^ow is the white, downy, fibrous substance which envelopes the seed of variou3 species of the cotton plant, gossypium, belonging to the natural order malvacece. Cotton or other vegetable fibre, how to detect, in woolen or silk fabrics, 261 Cotton Yarns, grading of, 269 Cotton )(?/<<^/^' O'o/'A a fabric produced bj' combining two single cloths into one structure, ..... 129 Double faced Pile carpels, i93 Z^w^A/^ /"//^ /^(?6r;V.s' made with a proportionally higher pile, .......... 210 principles of construction, I94 methods of operation in use for producing <'.(iuble pile fabrics and the different systems of cut- ting the pile threads, 197 Double Plush, i94 Z^w^^/^" 5'a//«.s' are a sub division of the regular Satin weaves. Their method of construction, ... 84 DoHp or doup hcddle, required in gauze weaving to produce the douping or twistmg of the whip threads around the ground-threads, 228 Drafting of Drazuing-in Drafts from Weaves, . . • , 36 Drawer-in, the operative performing the drawing-in of the warp in its harness, ...... 31 Drawing-in Drafts. Specimen of a complete drawing-in order-sheet, ....... 35 Their different div isions, 32 Their principle, 31 289. PAGE. Drawing-in the Warp in its Harness; description of the operation, 31 iS"«^2i'/«/«o- 7zfz7/j are a sub division of the regular twills. Their method of construction, ... 75 Fancy Cassimere, a fancy woolen fabric, used for suitings, trouserings, etc., Fancy Effects as produced by the arrangement of two or more colors in fabrics interlaced with broken twills, 55 as produced by the arrangement of two or more colors in fabrics interlaced with rib and basket-weaves, 48 as produced by the arrangement of two or more colors in fabrics interlaced with twill-weaves, . 22 in Fabrics produced with the plain-weave, 14 Fancy Gauze, combination of plain and gauze weaving, 231 Fancy Twill Weaves, being a sub-division of the regular twills, 80 Figured Double Pile Fabrics, 210 Figured Double Plush produced upon a Jacquard machine containing a stationary and a rising "Griffe," and also a falling "Grate," 214 Figured Effects as produced by the arrangement of two or more colors in fabrics interlaced with Deriva- tive weaves, 93 Figured Imitation Gauze iveaves. Their method of construction, 104 Figured Piqu(', 141 Figured Velvet, 171 Figuring zvith an extra Warp upon the face of a fabric otherwise interlaced with its regular warp and filling, 117 Finished Texture, ends per inch in warp and filling in the finished fabric ; description of the procedure for ascertaining, 258 Five ply Cloth, a fabric produced by combining five single-cloth fabrics into one structure 147 Foundation Weaves, the divisions for grading the different weaves textile fabrics are constructed by, . 13 /vJttr-Z'/y r/o/Zz, a fabric produced by combining four single-cloth fabrics into one structure, ... 147 Frame, technical grading of Brussels carpets, 188 Fringes, 160 Fullifig. The process of felting cloth. Fustians, pile fabrics produced by an extra filling, i49 Gauze are fabrics characterized by not having their warp-threads resting parallel near each other as ob- served in ordinary weaving, 228 Gauze weaving Mechanistn for Open-shed Loo'ns, 237 Gigging. The process of producing a nap on cloths. Gifighani, a fancy cotton fabric. Gobelin Tapestry, 256 Grading of the various Yarns used in the Manufacture of T ?xtile Fabrics according to Size or Counts, . 269 G ranite- Weaves axe vmaves producing in the fabrics they are used for small broken-up effects. Their method of construction, Griffe, a part of the Jacquard machine, . 251 (Jriyfc-ilirt;'^, the constituents of the Griffe, 251 Ground-zvarp, the warp around which the whip-threads are twisted in Gauze weaving. Ground laarp or Body warp, the warp which forms by interlacing with the filling the body structure in pile fabrics. Hair-line, fine line effects (running warp ways) in a fabric. See Figs. 18, 87, 88, 214, 215, 219, 220, 22:. Hander-in, the operative assisting the " Drawer-in " in threadingthe warp in its harness 3I Harness, or harness-shaft, or shaft, the frame holding the heddles in position 31 Heavy Square in Designing paper, practical use of the, 10 Heddles, the same are adjusted to the harness-shaft and have the warp-threads drawn through their eye . 31 Heddles ; Rules for estimating the number of heddles required on each harness. 38 //^'fl'i//^?-0''?. the opening in the centre of the heddle through which the warp-threads are threaded, . . 31 Honeycomb Bedspread, a fabric interlaced with peculiar weaves known as honeycomb weaves. Honeycontb Weaves, their method of construction, 9^ Ingrain Carpet, ^^5 Imitation Gauze Weaves, their method of construction, 102 Imitation Tricot, fine line effects (running filling ways) in a fabric, see figs. 19, 213 and 216. fack, a part of the harness-motion in a loom. facquard Gauze, facquard Harness, ^53 facquard Machine, ^SQ : .290 PAGE. Jersey Cloth, the name of a fabric characterized by its great amount of elasticity. This fabric is mostly produced lay knitting machines. For imitation of Jersey cloth produced upon the regular loom see weave fig. 628. Jute is a native plant of China and the East Indies ; its long fibre, which is of a brown to silver-gray color, is used largely in the manufacture of Brussels and Tapestry carpets, rugs, etc., for the body-ground structure of the fabric. It is distinguished from flax by being colored yellow under the influence of sulphuric acid and iodine solution. The grading of the yarn when spun is done similar to woolen yarn cut basis (300). Lantern, the iron extension put on the cylinder of a Jacquard machine. The cylinder is turned by means of the catches working on the lantern, 251 Lappet Weaving, 123 Lay, Lathe or Batten, a part of the loom. To it are secured the shuttle-boxes and the reed. Leash, two or more harness cords combined and adjusted to one neck-cord. Lei off Mechanism for the Pile warp in Weaving Double Pile Fabrics. 209 Machines for curling warp threads for Astrakhans. 180 Mail, made of metal, forms the centre part of a twine heddle; in the eye of the mail the warp-thread is drawn. Matelasses, a fabric chiefly used for ladies' jackets or mantle cloth. 140 Metric Denominations and those used in the United States, Tables of relative Length, Weight and Capacity between, 285 Mixed or Cross Draws 35 Modifications of the single-lift Jacquard Machine 252 Mohair, the fleece of the Angora goat. It is largely used in the manufacture of light-weight dress goods, which are characterized by their lustre. In pile fabrics, as plushes, velvets, Astrakhans, etc. , of a plain or figured denomination, mohair is frequently used for the " Pile warp," while the ground or body of the fabric is made of cotton. Open shed Loom, the name of a loom which by means of its harness motion changes the position of the harness only when so required by the weave, consequently acts as easy as possible on the yarn ; and this with an additional allowance for high speed. Open shed Loo)ns adopted for Gauze-weaving. 237 Peculiar Character of Gauze Fabrics 231 Picking out or ascertaining the weave 259 File Fabrics are woven articles characterized by a soft covering overspreading the ground-structure of the fabric. 149 produced by an extra filling. 149 produced by an extra warp. 166 Plain-weave, is also known as cotton weave; in this weave, warp and filling cross each other at right angles, and interweave alternately 13 Plain Pique Fabrics . 140 Plush Fabrics (single plush) 168 Point Draws , 33 Point-harness, the technical name for the first and last harness in a point draw. Po/w/ija? 7't6'///j are a sub-division of the regular twills. Their method of consttuclion. .... 80 Process of Finishing necessary and amount of Shrinkage of the Fabric, ascerlaming, 268 Quilts are fabrics used for bedspreads, toilet-covers, etc., made in white, with cotton for material. Tiie design in these fabrics is produced by a visible s' itching in double cloth, 140 Raisers, or warp up, or the warp to be visible on the face of the fabric, 12 Ratine, a filling pile fabric used for overcoatings, 152 Raw Materials used in the Construction of a Fabric, ascertaining, 261 Raw Silks, 273 Reclifiing- Twills or flat-twill weaves, are a sub-division of the regular twills. Their method of construc- tion, 60 Reed, a series of narrow strips of metal, between wiiich tlie warp-threads pass in the loom, ... 39 Reed Calculations, 39 Repp, a fabric showing rib lines in the direction of the warp or filling, or in both systems of threads in the same fabric, . ^4 Rib Fabrics 142 Rib weaves are sub-divisions of the plain weave. Rii> weaves, plain, 4^ - — fancy , 43 291 PAGE. Rib Weaves, figured, 46 oblique, 50 combining plain and oblique rib-weaves, 51 Roller Loom, a loom in whicti the harnesses are actuated on by means of straps passing over rollers. Rules for designing double cloth, 130 Rules for finding the equivalent Counts of a given Thread in another System, 274 Satin Weaves, their method of construction, 25 influence of the twi^t of the yarn upon the fabric produced with the latter, 29 arrangement for commencing the same for special fabrics, 29 Seamless Bags, double-cloth weaving without stitching both cloths, 137 Section Arrangement Draws, 34 Selvedge, selvage, the edge of the cloth, woven in such a manner to prevent ravelling ; also called list 01 listing. Shot about, the alternate exchange (filling ways) of figure-up and ground-up in two-ply ingrain carpet. Shrinkage of a Fabric in width from loom to case, 263 Shrinkage or Take-tip oi wzx^ A\xx\x\%-w&dMm%, 263 Shuttle-race way, the part of the lay on which the shuttle travels to and fro. Silk consists of the pale yellow, buff" colored, or white fibre, which the silk worm spins around about itself when entering the pupa or chrysalis state. Silk, to detect from wool or the vegetable fibres, 262 Sinkers, or filling up, or the filling to be visible on the face of the fabric, 12 Size of the Yarns found ifi Sample, ascertaining 264 Skeleton Harness, the harness frame to which is fastened the doup, 228 Skip Draws, 35 Skip Tzvills are a subdivision of the regular twills. Their method of construction, 63 Slackener or Easer, an attachment on the loom necessary in gauze weaving to ease up the whip-threads when douping, Smyrna Carpets and Rugs are pile fabrics of a special method of construction, made upon the " Hautelisse" loom 221 Spwt Silks. 273 Squared Designing Paper, as used for the different textile fabrics, 9 Standard Harness, the harness frame carrying the standard heddle ; through the latter the doup is threaded 228 Steep Twills, or Diagonals, are a sub division of the regular twills. Their method of construction. . 56 Stitching, technical for the procedure of combining two single-cloth fabrics into double-cloth. Substitutes for Regidar Doups in Gauze weaving 242 Swivel Loom, a loom capable of two different movements ; namely, the swivel and the plain weaving movements iii Swivel Weaving, a method of weaving for producing figures upon fabrics otherwise interlaced with a reg- ular waip and filling ; used in the manufacture of figured dress goods, ribbons, etc 109 Table for ascertaining the number of square inches in any Fabric, with a width of 18 inches to 54 inches. . 258 Table for finding the Satin Weaves most frequently used. 29 Table for Lengths of Cotton Yarns, from No. i to 240s. 269 Table for Lengths of Woolen Yarns (cut basis), from i cut to 50 cut yarn. . 271 Table for Lengths of Woolen Yarns (run basis), from % to 15 run 271 Table for Relative Lengths of inches dressed and one yard woven. . . 266 Table showing the Length of Gum Silk Yarn, per pound and ounce, from i dram to 30 dram silk . . 274 Table shoiving the number of yards of Worsted Yarn (single or two-ply) from number i to 200. ... 272 Tapestry Carpet. 185 Terry Pile, the pile in a fabric in which the loop is left intact 166 Terry Pile Fabrics in which the pile is produced during weaving without the aid of wires, .... 216 Texture, number of warp and filling ends to one inch in a fabric. There are two textures : a, for the fabric from the loom, for the finished fabric. Texture of Fabrics required in loom. 263 Three-ply Cloth, a fabric produced by combining three single-cloth fabrics into one structure, ... 146 Trevette or cutting knife used for cutting (by hand) the pile in warp pile fabrics, 167 Tricot fabrics more or less elastic as compared to other woven articles. Tricot Weaves. Their method of construction 126 Twills, weaves forming fine diasronally running lines in the fabric 16 Tivills having Double Twill Effects, are a sub-division of the regular twills. Their method of construction. 77 292 PAGE. Tit'ill Weaves producing Checkerboaf'd Effects are a sub division oi the regular twills. Their method of construction, 78 Twisted Yarns composed of Tzvoor more mitior Threads of which the Counts are Known, ascertaining their compound counts, " . . 283 Two ply Ingrain Carpet, 225 Velveteens are filling pile fabrics 145 Velvet Fabrics, 168 Velvet Pile, the pile in a fabric in which the 1 'oj; i^ cut, 166 Wadding, or interior filling. Used in the manufacture of Chinchillas, Matelasses, Piques, and similar fab- rics. In the first-mentioned class of fabrics it is solely used for increasing the bulk, while in the latter fabrics it is used to give, in addition, a rich, embossed effect to the design. Weave, ascertaining the, 259 Weight of Cloth per yard from Loom, ascertaining 265 Weight per yard of the Finished Fabric, method in use for ascertaining, 257 Whip thread, or douping warp in gauze. Mhip roll. A part of the loom. The warp passes from the warp-beam around the whip-roll towards the harness. ^f%zV;?^i/'^ Filling Pile Fabrics, used for overcoatings, 152 Wool. By the term wool we comprehend the hairy covering of several species of mammalia, more especi- ally that of the sheep. It is more flexible, elastic and curly than hair. Wool, as used for warp and filling, is either combed or carded, technically known as worsted or wool-spun yarn. Woolen Yarn, "cut system," 271 cut basis, — cotton yarn, table of relative lengths, 279 cut basis, — woolen yam, run basis, table of relative lengths, 279 cut worsted yarn, table of relative lengths, 280 " run system,'' ■ 270 run basis. — cotton yarn, table of relative lengths, 277 run basis, — woolen yarn, cut basis, table of relative lengths 278 run basis, — worsted yarn, table of relative lengths 278 Worsted Yarns 272 Worsted Yarn, cotton yarn, table of relative lengths, 281 woolen yarn — cut basis, table of relative lengths, 282 woolen yarn,— run basis, table of relative lengths, . . 282 Worsted Coatings, a double cloth in which the stitching is arranged to form designs 138, )'an/ Calculations, 283 ^ UCTION IN TEXTILE C MQ? (either person If SO, addrc ^ 'T^^ EXPERT iio The Structure of Fibres, Yarus and Faliiics Being a practical treatise for tlie use of all persons employed in the manufacture of Textile Fabrics. IN TWO VOLUMES BOUND IN ONE. YOL. I. Bein^j; a dt-scription of tlie growtli and manipulation of Cotton, Wool, Worsted, Silk, Flax, Jute, Ramie, Chinagrass and Hemp. YOL. II. Dealing with all manufacturers' calculations for every class of material, also giving minute details for the structure of all kinds of Textile Fabrics. Containing also an appendix of Arithmetic, specially adapted for Textile purposes. BY E. A. POSSELT, Head Master Textile Department Pennsylvania Museum and School of Industrial Art, Philadelphia, Pa. Author and Publisher of "The Technology of Textile Design;" "The facquard Afachine Analyzed and Explained, The Preparation of Jacquard Cards and Practical Hints to Learners of Jacquard Desigtiing," etc., etc. ACCOMF'AKIED BY OVER 4:00 ILLUSTRATIONS. Tiao ]'oliiJ}i€s boutid in one. Otiarto, handsomely bonmi in Cloth. Price, Ten Dollars, including Expressaoc. ABSTRACT OF THE CONTENTS. THE STRUCTURE OF FIBRES AND YARNS FOR TEXTILE FABRICS. COTTON. COTTON, ITS ORDER AND CHARACTERISTICS— GOSSYPIUM BARBADENSE— Sea Island Cotton— Australian Cotton— GOSSYPIUM ARBOREUM— GOSSYriu:\I HIRSUTUM— New Orleans Cotton— Upland Cotton— GOSSYPIUM HERBACEUM— GOSSYPIUM PERUVIANUM— GOSSYPIUM Ri-;LIGIOSUJI— TABLE OF REFERENCE AS TO KINDS, LENGTH OF STAPLE AND DIAMETER OF FIBRES— EXAMINATION OF THE VARIOUS KINDS UNDER THE MICROSCOPE— Ripe and Unripe Cotton— CHEMICAL COJIPOSITION— HARVESTING— CLEANINCi— SEED COTTON CLEANERS OF VARIOUS DESCRIPTIONS— GINNING— SAW-GIN— Improved Brush for Saw Gins— Automatic Oiling Saws— Improved Saw Gin with Device for Grading— MACARTHY-GIN— IMPROVED JIACARTHY OR COMB-GIN— MACARTHY DOUBLE ROLLER-GIN— FEEDERS FOR COTTON-GINS— COTTON SPINNING DEFINED— Mixing, Picking, Carding, Combing Drawing, Slubbing, Roving, Spinning, Doubling, Gasing, Polishing, MIXING — Bale-Breaker— OPENING— Creighton Opener — Opener and First Picking — Exhaust Opener and Breaker Picker — Exhaust Opener Picker and Lap Machine —PRINCIPLE OF PICKING— FINISHER PICKER— PIANO FEED— CARDING— Principle of Carding— Card Clothing- Card Teeth— CARDING ENGINES— ROLLER CARD— REVOLVING FLAT CARDING ENGINES— REVOLVING FLAT CLEARER— TOP FLAT CARD— Fall's Patent Double Rack— COMBINATION CARD— DOUBLE CARDING ENGINES- BREAKER AND FINISHER CARD DEFINITIONS— LAP-WINDER— RAILWAY HEAD— CARD CLOTHING MOUNTING MACHINE— CARD GRINDING— STRIPPING— COMBING— HEILMANN COMB— DOBSON AND BARLOWS COMB— IMBS COMB— RIBBON LAPPER— DRAWING— DRAWING FRAMES— Front and Back, Coiler and Can Stop Motions— Electric Stop Jlotion— SLUBBING, INTERIMEDIATE AND ROVING— SLUBBING FRAMp;— INTERMEDIATE FRAME— ROVING FRAME— SPEEDERS— FLY FRAMES— DIFFERENTIAL MOTION.S— HOLDSWORTH'S DIFFERENTIAL MOTION— TWEEDALE'S DIFFERENTIAL MOTION— SPINNING— COMMON FLY THRO.STLE— RING FRAME— Ring and Ring Traveller — Sawyer Spindle— Rabeth Spindle — Sherman Spindle — Whitin Gravity Spindle — Doyle Separator— Cunimings Separator — Stop Motion for Delivery of Roving — Tension Regulating device for Spindle Driving Bands — MULE — DOUB- LING OR TWISTING— Twisters— Gasing— Polishiug. WOOL WOOL, ITS ORDER, ORIGIN AND CHARACTERISTICS— Its Surface Structure— Comparing Wool and Hair— Natural Color— Staple — Elasticity— Chemical Composition— Tnieness— Soundness— Softness— MUFLONS OR WILD SHEEP — Argali — Big Horn— Aoudad— European Muflon— Rocky Mountain Goat— Prong Horn Antelope— DOMESTIC SHEEP— Its Classifi- cation Upon an Industrial Point of View— AMERICAN BRe;EDS OF SHEEP— Mexican Sheep— Virginian Sheep— Improved Kentucky Sheep— Merino— FOREIGN BREEDS OF SHEEP— Lincoln Sheep— Romney Marsh Sheep— Leicester Sheep— Cotswold Sheep— Oxford-down Sheep— South-down Sheep — Dorset Sheep— Hampshire-down Sheep — Cheviot Sheep — Shropshire Sheep — Black-faced Scotch Sheep, etc. — Fat-runiped Sheep — I'lat-tai ed Sheep — Walachian Sheep — MERINO SHEEP — Characteristics WOOL — Continued. of this Breed — Sorting of the Fleece as doue iu Spain — Saxon Merino — Prussian Merino — Silesiau Merino — Hungarian Merino Poor Results as to English Merino— French Merino — Russian Merino — Introduction of the Merino into Cape Colony— Australian Merino— American Merino- South American Merino- CASHMERE; GOAT— ANGORA (iOAT— CAMEI^S' HAIR— CAMEL- VICUGNA— GlANACO—LtAMA— ALPACA— GRADING OF THE FLEECE, OP. '■VOOL SORTING— Fibres Per Square Inch —Good and Bad Wool— YOLK— SCOURING AGENTS AND THE PREPARATION OF THE SCOURING LIQUOR— Soap- Hard and Soft Water — Heat and Strength for Scouring Liquor — Influence of Scouring Liquor if FMther Too Hot or Too Strong, or Both, Upon the Fibre — Stale Urine — Sodium Carbonate — Potassium Carbonate — Ammonium Carbonate— Ammonia— Sal- Ammoniac—Salt— WOOL SCOURING— Old Style— Modern Wool Scouring— CONSTRUCTION OF WOOL SCOURING MA- CHINES— Rake Scouring Machine — Hydraulic Scouring Machine— Rules for Scouring Wool— WOOL DRYING— Open Air, Screen or Table Wool Dryer — Automatic Continuous Wool Dryer— Combining, Washing and Drying Machines— New Style Dryer— BURRING— CARBONIZING— Carbonization with Sulphuric Acid ; Chloride of Aluminum ; Chloride of Magnesium ; Strong Salt Solution and Acid Vapors— BURRING MACHINES— Self-Feed for Burr Pickers— WOOL DUSTER— Straight Duster— Cone Duster— MIXING— OILING— Oiling by Hand— Atomizing Wool Oiler— Kinds of Oil to Use— Testing Oils— Quan- tity of Oil to be Used— CONSTRUCTION OF THE WOOL PICKER— CARDING— SET OF CARDS— SELF-FEEDING MACHINES— Bramwell Self-Feed— Peckham Feeder— Lemaire Feeder— CARD CLOTHING AND RELATIVE ACTION OF CARD WIRES— Fillett Winding— Clothing With Sheets— FIRST BREAKER CARDING ENGINE— BANK CREEL— ROVING SPOOLER— BACK STAND— BURRING MACHINES AS ATTACHED TO THE FIRST BREAKER CARD— Single Burring Device— Feed Rolls— Single Burring Device With Feed Rolls Attached— Double Burring Device With Feed Rolls Attached- Retainer Roll lor Feeding Attachments to the First Breaker— MF;TALIC BRF;aST— BURRING DEVICE AND MF;TALIC BREAST COMINED— INTERMEDIATf: FEEDINc; MACHINES— Lap Feeding System— Ribbon System— Side Drawing System— Balliug-head—Lap Winder— Backstand-Apperley Feed— SECOND BREAKER— FINISHER CARDING f;nGINE— CONDENSERS — Double Deck Condenser— Single Doffer Condenser — Single and Double Rubber Condenser — Three Doffer Con- denser—Condensing With Rolls, Aprons, or Aprons and Rolls— BOLETTE CONDENSER— B. C. Made With Single Rubbers— B. C. Made With Double Rubbers— Latest Improved Bolette Condenser— GRINDING— TURNING AND COVERING ROLLERS PREPARING WASTF; FOR RE-WORKING— Hard Waste— Soft Waste— RAG OR SHODDY PICKER— GARNETT MACHINE —WASTE DUSTER— SPINNING— MODF:rN SPINNING MACHINERY— MULE— SPINNING MACHINE— RING SPIN- NING—SPINNING MACHINES ATTACHED TO FINISHER CARDS— SINGLE YARN— SPOOLING— TWISTING— RING TWISTER— TWO-FOLD YARN. WORSTED. PRINCIPLE OF WORSTED SPINNING— SELECTION OF THE RIGHT MATERIAL— DIFFERENT METHODS OF MANUFACTURING WORSTED YARNS IN USE— OPERATIONS COMPRISING WORSTED SPINNING, Sorting, Scouring, Drying, Preparing, Combing, Drawing, Spinning— SORTING EXPLAINED— PRp;PARING WOOL FOR COMBING— PRE- PARING BY CARDING AND GILLING— Carding Engines in Use— Backwashing and Gilling Process— Combined Backwashing and Screw-Gill Balling Macliine— PREPARING BY GILLING— Gill Boxes— Preparing Set— Gills, Fallers— Improved Device for Grinding Fallers—COMBI NG— Hand Combing— COMBING BY MACHINES— Cartwright's Invention- Nip Comb- Josue Heil- man— S. C. Lister— G. E. Donisthorpe— LISTER'S NIP COMB— SQUARE MOTION COMB— NOBLE COMB— Dabbing Brushes. LITTLE & EASTWOOD'S COMB— BALLING OR TOP MAKING— Can Finisher— Balling Finisher— DRAWING— Open Drawing— Cone Drawing— French Drawing— OPEN DR.AWING— Can Gill Box— Two Spindle Gill Box— Faller Used in Two Spindle Gill Bo.x — Slubbing — Drawing F'rame — Roving Machine — .Set of Drawing Machinery — Combing of Carpet Yarns — CONE DRAWING— Differential Motion— FRENCH DRAWING- Drawing Frame for the French Process— Set of French Drawing Machinery — First Drawing Frame — Second Drawing Frame— Slubbing Frame— Roving Frame — SPINNING — FLYER SPIN- NING FRAME— CAP SPINNING FRAME— RING SPINNING FRAME— MULE— Difference Between English and French Drawing and Spinning— TWISTING. SILK. SILK, ITS ORDER AND CHARACTERISTICS— THE MULBERRY SILKWORM— Egg, Larva, Chrysalis and Adult— LARVA STATE— COCOON— SORTING— DF;sTROYING THE VI T.ALITY OF THE CHRYSALIS— REELING— French Reel— Lombardy Reel— Serrell's Improved Reel— RAW SILK— CLE.^NING— DOUBLING— SPINNING OR TWISTING— Take-up Attachment— TRAM— ORGANZINE— SILK THROWING— SINGLF: SILKS— SCOURING— BOILED-OFF SILK— SOUPLE SILK— ECRU SILK— SHAKING, GLOSSING AND LUSTREING— WEIGHTING OF SILK— SILK CONDITIONING— CHEMICAL COM- POSITION—WASTE SILK— WILD SILKS— Tussah— BLEACHING— Comparing the Silk from the Bombyx Mori With Wild Silk— CARDING, COMBING, DRAWING AND SPINNING— TEST FOR DISTINGUISHING SILK FROM OTHER FIBRES— ILLUSTRATIONS SHOWING THE DEVELOPMENT OF THE EGG INTO LARVA, CHRYSALIS AND ADULT. FLAX. FLAX, ITS ORDER AND CHARACTERISTICS— CHEMICAL COMPOSITION— FLAX PLANTED FOR FIBRE— FIBRES MAGNIFIED— PULLING— RIPPLING— RETTING— STEEPING-POLES— GRASSING— DEW RETTING— COLD WATER RF'TTING— SCUTCHING— Hand Scutching— Hand Break— Gavel Holder— Scutching Board— Machinery Scutching- Power Breaks — Power Scutchers — Improved Machine for Scutching Flax — FLAX SPINNING, Roughing, Hackling, Spreading, Carding, Drawing, Roving, Spinning- ROUGHING DEFINED— HACKLING— HACKLING MACHINE— DOUBLE ACTING HACKLING MACHINE— SORTING— SPREADING— SPREAD BO.ARD— GILLS— CARDING— BREAKER CARDING ENGINE —FINISHER CARD— COMBINATION CARD— COMBING— DRAWING— DRAWING FRAME— ROVING FRAME— LINESYS- TEM— SPINNING— WET SPINNING FRAME— DRY SPINNING FRAME— DRAWING OF LINE AND TOW DURING SPINNING— REELING. JUTE. JUTE, ITS ORDER AND CHARACTERISTICS— Fibres Magnified— Best Place of Growth— STEEPING, BEATING, WASH- ING, DRYING— JUTE SPINNING— Crushing Machine— Softening— Jute Line — Hackling, Spreading, Drawing, Roving, Spinning— JUTE TOW— CARDING— Breaker Card— Finisher Card. RAMIE. RAMIE, ITS ORDER AND CHARACTERISTICS- ITS PLACE OF GROWTH— DECORTICATING— METHOD AS PRAC- TICED BY THE NATIVES— THE USE OF THE FIBRE— ITS CULTIVATION— STATUS OF THE RAMIE INDUSTRY— F;ngland's Opinion of Ramie— MACHINES AND PROCESSES FOR DECORTICATING RAMIE AS EXHIBITED AT THE LATE P.ARIS EXPOSITION— AN AMERICAN MACHINE FOR DECORTICATING ILLUSTRATED AND EXPLAINED. CHINAGRASS. CHINAGRASS, ITS ORDER AND CHARACTF.RISTICS— FIBRES MAGNIFIED— STATUS OF THE GROWTH OF THE PLANT IN CHINA— METHODS OF DECORTICATING— MACHINES FOR PREPARING AND SPINNING. HEMP. HEMP, ITS ORDER AND CHARACTERISTICS— PLACE OF GROWTH— Manila Hemp— Piedmont Hemp— Russian Hemp— ITS BEST METHOD OF CULTIVATION— AMERICAN GROWN HEMP— Male and Female Hemp— POWER BRAKE— SPINNING— THE USE OF THE FIBRE FOR TEXTILE PURPOSES. CALCULATIONS. GRADING OF THE VARIOUS YARNS USED IN THE MANUFACTURE OF TEXTILE FABRICS, ACCORDING TO SIZE OR COUNTS. Kxplauatiou of their basis. Tables for ascertaining lengths (number of yards per pound) for the different counts. Twisted Yarns. Rules for fiuding the weight in ounces or pounds for a given number of yards of single yarn of a known count. Rules for ascertaining this weig. Different counts or materials. TO ASCERTAIN THE COUNTS FOR A Y.\RN REQUIRED TO PRODUCE A CERTAIN GIVEN WEIGHT (expressed in ounces) PER YARD CLOTH WOVEN, THE PICKS PER INCH AND THE WIDTH OF WARP IN REED BEING GIVEN. TO ASCKRTAIX THK COUNTS FOR A YaKN, TO A GIVKN NUMBER YARDS OF CI.OTH WITH A GIVEN WEIGHT EXPRESSED IN POUNDS. TO FIND THE PICKS PER INCH FOR A CLOTH IN WHICH COUNTS OF YARN, LENGTH OF CLOTH TO BE WOVEN, WIDTH IN REED AND AMOUNT OF MATERIAL TO BE USED ARE GIVEN. a. Dealing with oue counts of yarn. , b. Dealing with two or more kinds of filling of different counts, the repeat of pattern being short. c. Dealing with two or more kinds of filling of different counts, and of a long and varied arrangi-ment of pattern. TO FIND YARDS OF CLOTH WOVEN, A GIVEN AMOUNT OF" YARN ON HAND WILL PRODUCE. TO CALCULATE THE AMOUNT AND COST OF MATERIALS USED IN THE CONSTRUCTION OF FABRICS, OR PRACTICAL APPLICATIONS OF WARP AND FILLING CALCULATIONS. To FIND TOTAL COST OF MATf;rIALS USED IN THF; CON.STRUCTION OF" A FABRIC. />'. TO I INI) THF; COST PER YARD OF FINISHED CLOTH. f,xami'lf;s : fancy cassimere | WORSTED SUITING [ Length of warp as dressed, and length of cloth woven COTTON DRE;sS GOODS [ and finished, being given in yards. WOOOLEN TRICOT SUITING J WORSTED SUITING ) Length of cloth woven and finished to be ascertained FANCY CASSIMERE by percentage. FANCY COTTON DRE;sS GOODS 1 <^i\i"& a practical application of calculating for different ) " take-ups " of warp during weaving. TO CALCULATE THE TOTAL COST OF MANUFACTURING. A. FOR A PIFX'E OF CLOTH. B. PER Y.\RD FINISHED CLOTHr EXAMPLES: WORSTED SUITINC ;— BF;aVF:r OVERCOATING— CARPETS. THE STRUCTURE OF TEXTILE FABRICS. TO .\SCERTAIN THF; PURPOSF; of wear FOR THE FABRIC. TO ASCERTAIN THIi N.\T' 'RE OF THF: RAW MATERL^LS. COUNTS OF YARN REQUIRED TO PRODUCE: A PERFECT .STRUCTURE OF CLOTH. TO FIND THE NUMBER OF ENDS IN COTTON, WOOLEN, WORSTED, LINEN AND SILK YARNS, WHICH WILL PROPERLY LIE SIDE BY SIDE IN ONE INCH, to find the diameters for the various yarns by their counts. TABLE giving the relative diameters of COTTON YARNS from single 5's to 2 / i6o's. fABLFC giving the relati\e diameters of SPUN SILKS form 5's to 8o's in single or any ply. T.\BLF: giving the relative diameters of WOOLEN YARNS (RUN SYSTEM) from 1 run to 10 run. TABLF; giving the relative diameters of WOOLEN V.\RNS (CUT SYSTEM) from 6 cut to 50 cut. TABLf; giving the relative diameters of WORSTED YARNS from single 5's to 2/ i6o's. table: giving the relative diameters of RAW SILKS from 20 dram to i dram. table; giving the relative diameters of LINEN YARNS from lo's to ioo's=2/5's to 2/200's. TO FIND THE DIAMETER OF A THRF;aD BY MEANS OF THE GIVEN DIAMETER OF ANOTHER COUNT OF YARN. TO FIND THE COUNTS OF YARN REQUIRED FOR A GIVEN WARP TEXTURE, BY MEANS OF A KNOWN WARP TEXTURE WITH THE RESPECTIVE COUNTS OF YARN GIVEN. a. If dealing with one kind of yarn. 6. If dealing with two (or more) kinds. INFLUENCE OF THE AMOUNT AND DIRECTION OF TWIST OF YARNS UPON THE TEx:TURE OF A CLOTH. TO FIND THE AMOUNT OF TWIST FOR A YARN, IF THE COUNTS AND TWIST OF ANOTHER YARN OF THE SAME SYSTEM ARF: GIVFCN. INFLUENCE OF THE WE.AVE UPON THE TEXTURE OF A FABRIC. TO FIND THE TEXTURE (ENDS PER INCH) FOR A F.\BRIC. TO FIND THE TEXTURE FOR A NKW WEAVE FROM A GIVEN PERFECT STRUCTURE, USING THE SAME COUNTS OF" YARN FOR BOTH F.\BRICS. TO CHANGE THE WEIGHT OF A FABRIC WITHOUT INFLUENCING ITS GENERAL APPEARANCE, AND TO FIND THE NUMBER OF ENDS PER INCH IN THE REQUIRED CLOTH. table; SHOWING WEAVES WHICH WILL WORK WITH A UNIFORM (STANDARD) TEXTURE OF THF; COM- MON TWILLS r etc. 3, 3, SELECTION OF THE PROPER TEXTURE FOR FABRICS INTERLACED WITH SATIN WEAVES. SELECTION OF THE PROPER TEXTURE FOR FABRICS INTIJRLACED WITH RIB WEAVES. a. Warp effects. d. Filling effects. r. Figured rib weaves. SELECTION OF THE PROPER TEXTURE FOR FABRICS INTERLACF;d . WITH CORKSCREW WEAVES. SELECTION OF THE PROPER TEXTURE FOR FABRICS CONSTRUCTED WITH ONE SYSTEM WARP AND TWO SYSTEMS OF FILLING. SELECTION OF THE PROPER TEXTURE FOR FABRICS CON.STRUCTED WITH TWO SYSTEMS OF WARP AND ONE SYSTEM OF FILLING. SELECTION OF THE PROPER TEXTURE FOR DOUBLE; CLOTH FABRICS. ARITHMETIC. (SPEC/ALL)- ADAPTED FOR TEXTILE PURPOSES). ADDITION— SUBTRACTION— MULTIPLICATION— DIVISION. PARENTHESIS OR BRACKETS— PRINCIPLE OF CANCELLATION. COMMON FRACTIONS, definition, addition, subtraction, multiplication, division. DECIMAL FRACTIONS, definition, addition, subtraction, multiplication, division. SQUARE ROOT— CUBE ROOT. AVER-A-GF: AND percentage:— RATIO— PROPORTION— ALLIGATION. U. S. MEASURES— METRIC SYSTEM OF MEASURES. Addres.s all orders to E. A. POSSELT, Publisher, '^15'4 N. ^Ist street, Pliilaaelpliia. LIST OF ILLUSTRATIONS TO The Structure of Fibres, Yarns and Falirics Being a practical treatise for the uae of all i)ersons employed in the manufacture of Textile Fabrics. IN TWO VOLUM"eS~BOUND IN ONE. VOL. I. — Being a description of the growth and manipulation of Cotton, Wool, Worsted, Silk, Flax, Jute, Ramie, Chinagrass and Hemp. VOL. n. — Dealing with all Manufacturers' Calculations for every class of material, also giving minute details for the structure of all kinds of Textile Fabrics. Containing also an appendix of Arithmetic specially adapted for Textile purposes, and a complete Dictionary on Textile subjects in its Glossary. BY E. A. POSSELT, //cad Master Textile Drpartntcnt Pennsylvania Musciun and School of /ndustrial Art, Philadelphia, Pa. ; Author and Publisher of " The Technology of Textile Design ; ' " The Jacquard Machine Analyzed and Explained, The Preparation of facquard Cards and Practical /Tints tj Learners of Jacquard Designing," etc., etc. LIST OF /LLUSTJJAT/O/^S TO VOL. /. Fig. Cotton. PAGE I Fig. PAGE 1 Gossypium Barbadense 2 Sea Island Cotton Plant 3 Gossypium Herbaceum (Indian Species) 4 Gossypium Herbaceum (European Species) 5 Illustration of Length of Staple of Sea Island, Up- lands, Peruvian, Egyptian and Indian Cottons. 6 Sea Island Cotton Magnified 7 Upland Cotton Magnified 8 Sural Cotton Magnified 9 A. Unripe Cotton F'ibre ; B. Half-ripe Cotton Fibre ; C. Ripe Cotton Fibre, Magnified 10 Transverse Sections of Ripe Cotton Fibres 11 Transverse Sections of Unripe Cotton Fibres 12 Structureless Cotton Fibre Magnified 13 Transverse Sections of Cotton Fibres After Treat- ment with Caustic Alkalies j Side Elevation of Seed Cotton Cleaner / Central Longitudinal Section of Cotton Cleaner f End View of Seed Cotton Cleaner I Vertical Longitudinal vSection of Seed Cotton \ Cleaner I Discharge Spout or Guide of Seed Cotton [ Cleaner Vertical Sectional View of Seed Cotton Cleaner... 20 Sectional View of Saw-Gin 21 Perspective View of Brush for Saw-Gin Inside Elevation of Portion of a Bristle-Holder for a Saw-Gin Brush Trans\'^rse Section of a Bristle-Holder for a Saw-Gin Bru.sh End Elevation of Brush Cylinder Device for Oiling Saw-Gins f Improved vSaw-Gin for Discharging Cotton in I Two or More Qualities j Detailed Drawing of Brush and Condensing [ Roll for Improved vSaw-Gin 2S Sectional View of Macarthy Gin 29 r Perspective View of Improved Macarthy cr J Comb-Gin 30 1 Sectional View of Improved Macarthy or [ Comb-Gin ^i Perspective View of Macarthy Double RoUer-Giu (CONTIN 13 13 14 14 15 15 15 15 16 16 16 16 16 16 17 17 17 18 18 19 19 19 19 20 20 21 21 22 UEO ON 32 f Automatic Self-Feeder for Cotton-Gins 22 \ Perspective Views of Feed-Regulators for 33i 34 Self- Feed 22 35 Side Elevation of Feed-Regulator for Cotton-Gins 23 36 Perspective View of Bale-I5reaker 23 37 Side Elevation of Crightou Opener 24 38 Plan of Crigliton Opener 24 39 Perspective View of P^xhaust-Opeuer, Breaker- Picker and Lap-Machine Combined 25 40 Perspective View of Another Exhaust-Opener, Picker and Lap-Machine Combined 26 41 Diagram Illustrating the Principle of Picking... 27 42 Perspective View of Finisher-Picker and Lap- Machine Combined 28 43 f Section in Detail of Piano- Feed 29 44 - Rear View of Piano-Feed 29 45 ( Regulator for Feeding 29 46, 47 Diagrams Illustrating Principles of Actions of Card Clothing 30 48, 49 Diagrams Illustrating Mode of Making Point- ed Card Teeth 30 50 Diagram of Roller-Card 31 5 1 Diagram of the Method of Action of Workers and Clearers in the Process of Carding 31 52 Diagram of the Working Parts of a Revolving Flat Carding Engine 32 53 Perspective View of Revolving Flat Carding Engine (.American Build) 33 54 Perspective View of Revolving Flat Carding Engine (Enghsh Build) 34 55 Sectional View of Setting Arrangement for Re- volving Flats 35 56 Front View of Setting Arrangement for Revolv- ing Flats 35 57 Revolving Flat Clearer for Revolving Flat Cards 36 58 Perspective View of Top Flat Card, provided with the Falls Patent Double Rack 36 59 Diagram of Combination Card 37 60,61 Perspective Views of Combination Card 38, 39 62 Perspective View of Lap Winder 40 63 Perspective View of Railway Head 40 64 Illustration in Detail of Railway Head 41 NEXT PAGE) Fig. page Fig. 65 Perspective View of Card Clothing Mounting Machine with Tension Apparatus 42 66 Perspective View of Traverse Emery Wheel Card Grinder 43 67 Traverse Emery Wheel Card Grinder placed to a Carding Engine for Grinding Doffer and Swift. 43 68 Perspective View of Card Grinding Machine for Top Flats and Rollers 43 69 Diagram of Working Parts of the Heilmann Comb 44 70 Perspective View of Dobson and Barlow's Comb.. 45 71 Diagram of Working Parts of the Inib's Comb.... 46 72 Perspective View of Ribbon-Lapper 47 73 Diagram Illustrating the Principle of Drawing ... 48 74 Perspective View of Drawing-Frame (English Build) 49 75 Perspective View of Drawing-Frame (American Build) 50 76 Section of Working Parts of Drawing-Frame, also of Front, Back and Can Stop-Motions 50 77 Perspective View of Drawing-Frame with Electric Stop-Motion 52 78 Perspective View of Slubbing- Frame (Fly-Frame system) 53 • 79 Perspective View of Intermediate Frame (Speeder System 54 80 Perspective View of Roving Frame (Flyer Sys- tem) (American Build) 54 81 Perspective View of Roving Frame (Flyer Sys- tem) (English Build 1 55 82 Perspective View of Spindle and Flyer of a Speeder 56 83 Perspective View of a Flyer for Fly Frames 56 84 Diagram of Holdsworth's Differential Motion 57 85 Perspective View of the New Differential Motion 58 86 Diagram of Working Parts in a Common Fly- Throstle 59 87 Perspective View of a Ring-Traveller 60 88 Perspective View of a Ring for Ring-Frames 60 89 Perspective View of Ring- Frame 60 90 f Elevation of Sawj'er Spindle 61 91 Section of Sawyer Spindle 61 92 Elevation of Rabeth Spindle 62 93 J Section of Rabeth Spindle 62 94 ' Elevation of Shennau Spindle 62 95 vSection of Sherman Spindle 62 96 Elevation of Whitin Spindle 63 97 [ Section of Whitin Spindle 63 98 Perspective View of Doyle's Separator 63 99 Perspective View of Cumming's Separator 64 100 Diagram of Stop-Motion for Delivery of Roving in Spinning Frames 65 Plan View of a Tension Regulating Device for Spindle-Driving Bands 66 Perspective View of a Portion of a Tension Regulating Device 66 103 Perspective View of a Mule Illustrating its Method of Operation 67 104 Diagram Illustrating the Building-Up of a Cop... 67 105 Perspective View of Improved Mule 68 106 Perspective View in Detail of Headstock of Mule 69 107 Perspective View of Ring- Twister 72 Wool. 108 Lock of Wool 73 109 Wool Fibre Showing Wave of Crimp 73 I ID F'ibres Greatly Magnified, Showing their Serrated Surface 73 111 Fibre Bent to Clearly Show Scales 73 112 Scales of Fibres Interlocking 73 113 f Wool Fibre Treated with Caustic Soda to lUus- < trate Serations Distinctly 74 114 ( Transverse Section of Wool Fibre 74 115 C Hair Treated with Caustic Soda to Illustrate -j Serrations Distinctly 74 116 ( Transverse Section of Hair 74 (CONTINUED ON PAr-E 17 Untrue Wool Fibres 78 1 8 Epithelial Scales, Serrated by Treatment with Sul- phuric Acid 79 19 j Illustrations showing the 20 ( Influence of Sulphuric Acid Upon Wool Fibres 80 21 Argali 81 22 Big-Horn or Rocky Mountain Sheep 81 23 Aoudad or Bearded Argali 82 24 Rocky Mountain Goat 82 25 American Merino 84 Lincoln Sheep 84 Fibre from Shoulders of a Well-Bred Lincoln Sheep 84 Fibre from Britch of a Well-Bred Lincoln ■j Sheep 84 Fibre from Shoulders of a Poorly-Bred Lin- coln Sheep 84 Fibre from Britch of a Poorly-Bred Lincoln [ Sheep j Leicester Sheep I Fibres from the Leicester Sheep Cotswold Sheep (English Breed) 85 Cotswold Sheep (American Breed) 86 Fibres from the Cotswold Sheep 85 ( Oxford-Down Sheep 87 ( Fibres from the Oxford-Down Sheep 87 f South-Down vSheep 87 I Fibres from the Choicest Part of Fleece of a ■{ South-Down Sheep 87 I Fibres from the Coarsest Part of Fleece of a I South-Down Sheep 87 Cheviot Sheep 87 ( Fat Tailed Sheep 88 / Fibres from the Fat Tailed Sheep 88 44 Walachian Sheep 88 45 Spanish Merino (with Fleece Graded) 89 46 Saxon Merino 90 84 85 85 47 Fibres of Botany Wool from the Choicest Part of Fleece 91 Fibres of Botany Wool from the Coarsest Part of Fleece 91 American Merino 91 Fibres from the Choicest part of Fleece of an American Merino 91 Fibres from the Coarsest Part of Fleece of an American Merino 91 Cashmere Goat 92 Fibres from the Cashmere Goat 92 Angora Goat 93 Fibres from the Angora Goat 93 j Vicugna 94 / Fibres from the Vicugna 94 Llama 94 ( Alpaca or Paco 95 t Fibres from the Alpaca 95 Domestic Sheep with Fleece Graded 95 J Wool Fibres Before Scouring 97 t Wool Fibres After Scouring 97 Healthy Wool Fibre 98 Wool Fibre Treated with Alkaline Carbonates 98 Wool Fibre Treated with Boiling Water 98 68 Rake Scouring Machine 100 69 Hydraulic Scouring Machine loi 70 Hydro-Extractor 103 71 Perspective View of Screen or Table Dryer 103 ( Side Elevation of Screen or Table Drj-er 103 / End Elevation of Screen or Table Dryer 103 r Side Elevation of an Automatic Continuous I Wool Dryer 104 Isometric Perspective View of Automatic Cou- [ tinuous Wool Dryer 104 76 Sectional View of Automatic Continuous Wool Dryer 106 77 Wool Dryer for Carbonizing Purposes 107 78 Penspective View of Burr-Picker 109 NEXT PAGE)' Fig. page I'g Section of Burr-Picker no iSo Section of JUirr-Picker in i8i Section of Self-l'"e«ed for lUirr-Pickers, Mixiug- Pickers and Scouring Machines H2 1S2 Perspective \'ie\v of Straight Duster 112 183 Perspective View of Cone Duster 113 184 Principle of Mixing 114 185 f End Elevation of an Atomizing Wool-Oiler 115 - Plan of Oiler Section of an Atoniizintr Wool- I Oil.r 115 1S7 Perspective View of Wool-Picker 116 188 Persjiective View of Another Wool-Picker 117 5S9 Woolen Yarn Magnified 118 190 Method of p'eeding Breaker Cards liy Hand 118 191 Automatic Method of Feeding Breaker Cards 118 192 Perspective View of Bram well Self- Feed 119 193 I Perspective View of Peckhani Automatic Feed- ) er [Receiving End] 120 194 '] PersDccti ve View of IVckliani Automatic Feed- (_ er [Distributing End] 121 195 1 Perspective View of Leniaire Feeder 121 196 / Sectional View of Lemaire Feeder 122 197 Card Clamp 122 198 Hammers 122 199 Cart Ratchet 122 ioo First Breaker Carding Engine with Self-Feed Attached 122 201 Second Breaker Carding Engine with Bank- Creel and Balling-Head 123 202 Finisher Carding Engine with Apperly Feed Attached 123 203 Illustration, with Explanation in Detail, of a First Breaker Carding Engine 123 204 Sectional View of a F'irst Breaker Carding Engine 124 205 Action of a Worker aud Stripper Upon the Mate- rial 124 206 Perspective View of a Lap Winder 125 207 Perspective View of a Back-vStaud 125 208 Perspective View of a Single Burring Device 126 209 Sectional View of a Single Burring Device 126 210 Perspective View of F'eed Rolls 126 211 Sectional View of Feed Rolls 126 2!2 Perspective View of Single Burring Device with Feed Rolls Attached 127 213 Sectional View of a Single Burring Device with Feed Rolls Attached 127 2:4 Perspective View of Double Burring Device with F'eed Rolls Attached 127 215 »S actional View of Double Burring Device with Feed Rolls Attached 12S 216 Sec'tional View of Retainer Roll Attached to a First Breaker Card 128 217 Metallic Breast 129 218 Burring Machine and Metallic Breast Combined... 129 219 Roving Spool 131 220 Detailed Illustration of Double Deck Condensing 131 221 1 Principle of vSingle Doffer Double Rubber Con- densing 132 222 ( Perspective View of the Rubbers 132 223 ( Principle of Single Doffer Single Rubber Con- densing 132 224 ( Perspective View of the Rubbers 133 225 Perspective View of a Finisher Carding Engine with a Three-Doffer Condenser Attached 133 226 vSectional View of a Finisher Carding Engine with a Three-Doffer Condenser Attached 134 227 Condensing by IMeans of Aprons 134 22S Condensing by Means of Apron and Roll 134 229 vSectional View of Bolette Condenser with Single RuTjbers 136 230 f Sectional View of Bolette Condenser with { Doublf Rubbers 137 231 I Perspective View of Bolette Condenser with I Double Rubbers 138 232 Perspective View of Latest Improved Bolette Condenser 138 (CONTINUED PAGB 233 Sectional View of Latest Improved Bolette Con- denser I3g 234 Card-Grinder and Turning-Lathe Combined 140 235 Iniproved Traverse Emery Wheel Card-Grinder 140 236 Perspective View of Shoddy-Picker 142 237 Perspective View of Garnett Machine 142 238 Sectional View of ( jarnett Machine 143 239 Penspective View of Waste-Duster 144 240 Front View of Mule 145 241 Rear View of Mule 146 242 Right-Hand Side View of Mule 146 243 Bancroft Mule 147 244 j Front View of Spinning Machine 148 245 I Back View of vSpinning Machine 148 246 Spinning Machine Attached to Finisher-Card 149 247 Spooler 150 248 Ring-Twister 150 249 Bobbin-Winder 151 Worsted 250 Worsted Thread [Magnified] Made Out of Long and Strong Fibres 152 251 Worsted Thread [Magnified] Made Out of Fine and Short Fibres 152 252 Perspective View of Worsted Carding Engine 153 253 Sectional View of Worsted Carding lingine: 154 254 Combined Back Washing and Screw-Gill-Balling Machine 154 255 Preparer 155 256 Faller 155 257 Improved Device for Operating Fallers 155 258 Hand Comb 157 259 General View of Lister's Nip Comb 158 260 Sectional View of Lister's Nip Comb 158 261 Another Sectional View of Lister's Nip Com!) 159 262 Carrying-Comb for Lister's Nip Comb 160 263 Another View of Carrying- Comb for Lister's Nip Comb 160 264 A Third View of Carrying-Comb for Lister's Nip Comb 160 265 Front View of a Faller for Lister's Nip Comb 160 266 Top View of a Faller for Lister's Nip Comb 160 267 Square-Motion Comb 161 268 Noble Comb [Empty Machine] English Make... 161 269 Noble Comb [Filled Machine] American Make... 163 270 Balling Machine 163 271 Diagram of Circles of Noble Comb 164 272 Perspective View of Dabbing Brush and Sectional View of its Motion 165 273 1888 Comb 166 274 Little and Eastwood's Comb 166 275 Balling F'inisher 167 276 Can-Gill Box 168 277 Double F'aller for Can-Gill Box 168 278 Two-Spindle Gih Box 168 279 Faller Used in Two-Spindle Gill Box 168 280 Six-vSr indie Drawing Frame 169 281 Roving Machine 169 282 Diagram of the Principle of French Drawing 170 283 Method of Operation of Back, Porcupine and Front Rollers 170 284 Drawing Frame, French Sy.stem 171 285 Diagram of the Principle of Fly-Spinning 172 256 Cap Frame 173 257 Principle of Cap Spinning 173 28S Elevation of Bates Spindle 173 289 Section of the Bates' Spindle [Except the Spindle Itself] 173 290 Principle of Ring Spinning 173 291 Principle of Mule Spinning 175 Silk 292 Mulberry Silk Worm 176 293 Cocoon 176 294 Chry.salis 176 N NEXT PAGE) Fig. pack 295 vSectionof Cocoon 177 296 Silk Thread as Placed by the Worm 177 297 Motl 177 29S Silk Thread Magnified-. 178 299 Plan of French Reel 179 300 Section of PYencli Reel 179 301 Improved Lombardy Hand-Reel 180 302 Side View Partly in Sec- I tion j iSi 303 Plan View of a Portion | of the I iSi 304 Sectional Elevation of )■ Latest Improved a Portion of the | Silk Reeling Machine 181 305 Electric Devices of the I 182 306 vSectional Plan of Parts | of the J 182 307 Diagram of a Cleaning Device for Raw Silk 183 308 Transverse vSection of Take-Up Attachment for Spinning Frame*- 184 309 Hydro Extractor 185 310 Stringing Machine 186 311 I/Ustreing Machine 186 312 Tussah Silk [Magnified] 188 .^s Illustrations showing the gradual development of the ] igg EKg (or Seed I into I.arva (or Worm) Chrysalis (or Cocoon) \ and Adult (or Mothi | 190 Flax. 313 Flax as Planted for F'ibrc 191 314 F'lower of Flax 191 315 Seed Boll — a. Cut, d. Uncut 191 316 Flower Cut Lengthwise Through Centre 191 317 Fibres Magnified 191 318 Haiid-Rrake 194 319 Gavel-Holder 194 330 Scutching- Board 194 321 ) 322 \ Different Patterns of Scutcliing Knives 194 323 J 324 ( Power-Brake 194 325 •< Another Style of Power-Brakf 194 326 ( Improved Power-Brake 194 327 j Power-Scutcher 194 328 ( Another Style of Power-Scutcher 195 Fig. 329 Side View. 330 End View 331 Plan of 332 Part Side View in Detail. j Improved Power- 333 Part Plan View in detail ( Scutcher 334, 335, 336, 337 Transverse Sec- | tions of Parts of j 338 Hackling Machine 339 Double- Acting Hackling Machine 340 Spread-Board 341 Top View of Fallers and Working-Screws 342 Side View of Working-Screws 343 Modus Operandi for Raising Falleis 344 Front View of a Faller and Section of Working- Screws 345 Carding Engine 346 Comh)inatioii Card 347 Drawing Frame 348 Roving Frame 349 Flyer 350 Line System 351 Wet Spinning Frame 352 Diagram Showing the Difference of Spinning Either Warp or Filling 353 Dry vSpinning FVame 354 Reeling Jute. 355 Plant 356 Fibres Magnified 357 Top View of Crushing Machine 358 vSectional View of Crushing Machine 359 Table for Carding Engine Ramie. 360 Plant ; 361 Plan View of a Decorticator 362 vSide elevation of a Decorticator 363 Fearnought China Grass, 364 Plant 365 Fibres Magnified Hemp. 366 Plant 367 Fibres Magnified PAcr, •• 195 .. 196 196 196 197 198 199 199 200 200 200 200 202 203 204 205 205 205 206 207 208 208 209 209 210 210 212 213 217 217 218 219 219 220 220 LIST OF ILLUSTI^ATIONS JO VOLUjVIE II. FIG. PAGE For the Purpose of Ascer- taining texture to Use for the construction of Textile Fabrics 5S 1 Woolen Thread Magnified'] 2 Worsted Yarn Magnified | 3 Mohair Magnified [" 4 Cotton Yarn Magnified | 5 Silk Yarn Magnified J 6 Diagram of Fabric Having Warp and Filling Twisted in the vSame Direction 65 7 Diagram of Fabric Having Warp and p-illing Twisted in Opposite Direction 65 8 t Twill 66 4 9 Plain Weave 66 10 Diagram 11 Complete Weave !• of the 12 Section 13 Diagram 14 Section !■ of the*—, 15 Complete Weave 16 Complete Weavo ^ Twill 67 Twill 67 17 Diagram 18 Section -of the Twii 19 Complete Weave 20 Diaerram \ of 20 Diagra 21 Section the^ 67 Twii: 6.! FIG. PAGE 22 Plain Weave 68 23 ~ Twill 69 24 3 Twill 70 25 Twill 70 26 ; Twill 71 27 Twill 72 28 Seven-Leaf Satin [Warp for Face] 75 29 3 Rib Weave Warp Effect 76 30 "* - 3 Rib Weave Warp EflFect 76 31 Figured Rib Weave 76 32 Nine Harness Corkscrew 77 33 Figured Corkscrew 77 34, 35- 36 37, 38, 39, 40 Weaves for Fabrics Construtced with Two Systems of filling and one System of Warp ". 77. 78,79 41, 42, 43 44 Weaves for Fabrics Constructed with Two Systems of Warp and one Svstem of Fill- ing 79- 80. 81 45, 46, 47, 48 Weaves for Double Cloth FaVics..82, 83, 84 BOTH VOLUMES ARE BOUND IN ONE QUARTO, HANDSOMELY BOUND IN CLOTH. PRICE, TEN DOLLARS, INCLUDING EXPRESSAGE. Address all orJers to E. A. POSSELT, Publisher, 2152 N. Twenty-First Street, Philadelphia. ^^Please tiand this oircultir to friends or employee's and send for a ne-w circular. THE LEADING WORK ON TEXTILE MANUFACTURING. The STmicTDBE of Fhwes, Ymms P FmrniiiS. Being a Practical Treatise for the Use of All Persons Employed in the Manufacture of Textile Fabrics. IN TWO VOLUMES BOUND IN ONE. VOL. I. Being a Description of the Growth and Manipulation of Cotton, Wool, Worsted, Silk, Flax, Jute, R.amie, China Gias-^ and Hemp. VOL. M. Dealing with all Manufacturers' Calculations for Every Class of Material, also Giving Minute •Details for the Structure of all kinds of Textile Fabrics. Containing also an Appendix of Arithmetic, specially adapted for Textile Purposes. By E. A. POSSELT, Consulting Expert on Textile Designing and Manufacturing, iProfefSor of the Advanced Study in Textile Designing and Lecturer on the Structure of Fibres and the Manufac- 1 ture of Yarns and Fabrics at the Textile Department of the Pennsylvania Museum and School of Industrial Art, Philadelphia; Author and Publisher of "The Technology of Textile Design," " The Jacquard Machine Analyzed and Explained, The Preparation of Jacquard Cards and Practical Hints to Learners of Jacquard Designing," etc., etc. Two Volumes Bound in One. Quarto, Handsomely Bound in Clotli. Price, $10, including Expressage. Published by E. A. POSSELT, 2152 N. 21st St., PhiladelDhia, Pa., And Sampson Lowe, Jlarston, Searlc & Rivington, Limited, St. Dunstan's House, Fetter lane, Fleet St., London, Eng. COMJlEtiTS OF SOME OF THE LEAWJIG TEXTILE lliPiUFACTUaEHS ON THE WORK. (All o( which have been received entirely unsolicited by the author.) From the Treasurer of a leading Worsted Mill. SAXOJV WORSTED COMPAJYY, Franklin, Mass., Feb. 28, 1891. Mr. E. a Posselt, 2152 North Twenty-first Street, Philadelphia. Dear Sir : — You may please send to us five (5) niorecopies'of yournew book, " The Structure of Fibres, Yarns and Fabrics." This will maVe six copies in all, for which we will send you check. We trust the work will meet with the sale which it deserves The composition of such an extensive and yet accurate work certainly earns for you the thanks and appreciation of all interested in textile industries. Yours, etc., I. G. LADD, Treasurer. From the Superintendent of a Western Woolen Mill. BOMAPARTE WOOLEK MILL, Bonaparte, Iowa, Feb. 9, 1891. E. A. Posselt, Esq., Philadelphia. Dear Sir: Your book, "The Structure of Fibres, Yarns and Fabrics," received 4th inst., and have enclosed draft $10.00 on New York in payment of same. J have delayed for a few days before writing you in order to give myself time to look through the work. I must say that I have always received from you sterling value fcr my money, and your present work is no exception to the rule. It more than meels my expectations, and I shall find it very helplul to my.self It will be simply invaluable to the young man learning the art of iwoolen manufacture, who has to rely on himsell too often and get little encouragement from those around him. To such a one the second ivolume will prove a veritable mine of information. Wishing you much success, I am, yours truly, ^ W. R. DREDGE, Supt. ■From the Superintendent of our largest Eastern Woolen Mill. ASSABET MAJVUFACTURIJVG CO., Maynard, Mass., Feb. 2Jf, 1891. E. A. Posselt, Philadelphia. Dear Sir :— EncloFed I hand you money order for $\o.oo to pay for the copy of " Structure of Fibres, Yarns and Fabrics " you sent me, and which is satisfactory. Yours respectfully, WILLIAM H. MAYNARD, Supt. An Extract of a Letter from Messrs. Thompson Bros., MAJYUFACTURERS OF WOOLEJY HOSIERY, Milroy, Pa., March 25, 1891. [Sent by Messrs. Thompson Eros, to Henry Carey Baird & Co., who forwarded it to me for reference.] Many thanks for the superb book you send on Textile Fibres and their manipulations. It is excellent. ^ ^ Yours, etc., THOMPSON BROS. (Continued on next page.) From an American Silk Manufacturer. Office of BRIDGEPORT SILK CO., Bridgeport, Conn., March 11, 1891. E. A. PossELT, Esq. Dear Sir : — Please find enclosed amount of bill for last publication sent me. I now have all your works up to date, and sincerely wish you luck with your last excellent effort. What next? Send circular. Respectfully, F. M. PATTERSON. ■ _ • y FROM A LOOM BOSS. Jamestown, JV. Y. a26 Winsor Street:), April 22, 1891. Mr. E. a. Posselt, Philadelphia. Dear Sir : — Please find enclosed money order . . (for books send). I am well pleased with the books. The book " Technology of Textile Design " and the book " Structure of Fibres, Yarns and Fabrics " I would not be without for their weight in gold. Please acknowledge receipt and oblige yours truly, T. D. DOUGLASS. FROM BRAZIL. Caxias, March Jf, 1891. Mr. E. A. Posselt. Dear Sir : — Have received the books " Structure of Fibres, Yarns and Fabrics," " Technology of Textile Design," "The Jacquard Machine," and am much pleased with them. Yours truly, ROBERT D. WALL. Office of RATS WOOLEJY CO., Franklin, Mass., March 19, '91. E. a. Posselt, Esq. Dear Sir : — I have purchased more than $25.00 worth of books on manufacturing before purchasing yours, and can truthfully say " Fibres, Yarns and Fabrics," is worth double all the others are. I am yours, JOSEPH ALDRICH. From a New Hampshire Woolen Manufacturer. MASCOMA FLAJVJVEL COMPAJYY, M. E. George, Sup't, Lebanon, JY. H., May 1, '91. E. A. Posselt, Philadelphia. Dear Sir: — Enclosed please find check for payment of enclosed bill for copy " Structure of Fibres, Yarns and Fabrics." Was much pleased with book, it is well worth the money to an experienced manufacturer, and many times its cost to beginners in the art of manufacturing. If I could have had such a work in my younger days of manufacturing, it would have learned me many points that I had to work out by study, observation and experience, attended with more or less mistakes on my part and expenses otherwise. M. E. GEORGE, Sup't. From the Agent of an Eastern Machine Shop. PET TEE MACHIJVE WORKS (CoUon Machinery), J^ewton, Upper Falls, Mass., Jan. 29, '91. E. A. Posselt, Esq. My Dkar Sir ; — We are in receipt of your " .Structure of Fibres, Yarns and Fabrics." It is indeed a great work, and makes a beautiful and instructive volume. Very truly, F. J. HALE, Agent. From the EATOJV RAPIDS WOOLE.JY MILLS, Eaton Rapids, Mich., Aug. 28, '91. E. A. Posselt, Philadelphia. Dear Sir : — I have further examined the books purchased of you, " Structure of Fibres, Yarns and Falmcs " and " Technology of Textile Design," and find them just what I wanted. Yours truly, WM. A. HORNER. FROM CAJVADA. Hamilton, Ont., May 21, 1891. To Mr. E. a. Posselt. Dear Sir: — When I was living in Magog, Quebec, I sent for two of your books. I am well pleased with them and would not be without them for ten times the money. HARRY MARSH, 143 Picton Street, East. From a Felt Manufacturing Company. THE ACME FELT CO. ( Paperniakers' Felts), Albany, JV. Y., Ma,y 29, '91. Mr. E. a. Posselt, 2152 North Twenty-first Street, Philadelphia. Dear Sir : — Book, " Structure of Fibres, Yams and Fabrics," received. Very much pleased with it. Yours respectfully, THE ACME FELT CO. (Continued on next page.) PROriDEJVCE WORSTED MILLS. Pj'ovidence, R. I., July 9, '91. \ My Dear Posselt: — I have your latest work, "Structure of Fibres, Yarns and Fabrics," and I assume, in my opinion, it is the lit work of the kind ever published. H. SHERIDAN. r A. PossKLT, Esq., Piiiladelphia. t Dear Sir : — 1 have your new work on " Structure of Fibres, Yarns and Fabrics," which I think is excellent. ■ Yours truly, GEO. D. RICE, Jr., of Tuft's College, Mass. '\. E. A. Posselt, Philadelphia. Dear Sir: — I have read your book on " Structure of Fibres, Yarns and Fabrics," and confess to feel greatly interested in it from its tructive nature, etc. Yours truly, JOHN E. ANDREWS, 75 Pearl Street, Charleitown, Mass., (With Macullar, Parker & Co., Boston, Mass.) A COUPLE OF SPECIMENS FROM THE LEADINS TEXTILE JOURNALS OF ENGLAND. What the TEXTILE RECORDER, of MANCHESTER, ENG., says: "he Structure of Fibres, Yarns and Fabrics." 2 vols. Pjy E. A. Posselt. London: Sampson Low & Co. Philadelphia: E. A, Posselt. Mr. E. A. Posselt is known throughout the textile world as the author of "The Technology of Textile Design," undoubtedly the ist complete treatise on designing and weaving yet published, and which has reached its third edition. He is the Head Master of the xtile Department of the Pennsylvania Museum and School of Industrial Art, Philadelphia, and the author of many textile text-books, lading The Jacquard Machine Analyzed and Explained," and " The Preparation of Jacquard Cards and Practical Hints to Learners facquard Designint;," but in the present work he has surpassed all his former efforts. It is no exaggeration to say that of modern works the structure of fibres, yarns and fabrics the book under notice is the most comprehensive. It is true that there are many high-class )ks in special departments of great excellence, which deal more fully with the details of specialties, but there is not one that takes a vey in its pages of the subject as a whole, and to which the student can resort for trustworthy information as does this new work. Volume I is a description of the s^rowth and manipulation of cotton, wool, worsted, silk, flax, jute, ramie, China grass and hemp, e treatise on cotton commences with a botanical description of the cotton plant, and carries the reader through every stage of its nipulation until the cloth is ready for the market. The various processes of manufHCture are clearly and succinctly described, and each p is illustrated with engravings of the machines from the works of the English and American makers of the highest reputation. Wool I 1 its manufacture are treated in the same exhaustive manner. An illustration is given of every wool producing animal, accompanied by 56 notes of its habitat and value In this section a very large number of engravings of American machinery is given, which should eive the attention of Yorkshire and Continental makers. Worsted forms a separate section, and is dealt with in a similar manner to ol. No work has yet been published giving so full and concise an account of silk from the eggs of the silkworm to the finished article, e entire process of the manufacture of flax is described, and sufl^cient attention is given to jute, ramie, China grass and hemp. Vol. II deals with calculations of manufactures for every class of mateiial, and gives minute details of all kinds of textile fabrics. It ms an advanced study to the author's work on the art of designing and weaving. The calculations are exhaustive, but it is only fair to that there are other works published in a separate form of equal merit. The advantage of the publication of this volume is that the dent has in one book complete information on the entire range of his studies on the subject. A treatise on Arithmetic specially adapted textile purposes is given in an Appendix, and is a useful addition to the work. Nothing seems to have been omitted that comes bin the compass of the book, for combined with an excellent Index is a Glossary, giving explanations of the most frequently used hnical terms, so that at once a searcher can ascertain, either from the pages ot the book or from the Glossary, the meaning of any hnical term in connection with fibres, yarns and fabrics. More need not be said to direct attention to a book which should be in the ■ary of every textile institute, and in the hands of teachers of textile classes, as well as in factories and mills, where as a book of ;reiice it will be invaluable. What the IRISH TEXTILE JOURNAL, of BELFAST, IRELAND, says: 'he Structure of Fibres, Yarns and Fabrics." By E. A. Posselt, Head Master Textile Department, Pennsylvania Museum and School of Industrial Art, etc. London: Sampson Low, Maiston, Searle & Rivington, Ld. This truly superb work leaves nothing to be desired in respect to the extent and comprehensiveness of its details. It is, as described, a ctical treatise, in two volumes, for the use of all persons employed in the manufacture of textile fabrics. The first volume gives a description the growth and manipulation of cotton, wool, worsted, silk, flax, jute, ramie, China grass and hemp and embraces a full and technical :ount of the cultivation, preparation and treatment of all these raw materials in the most complete form. This is followed by an laustive account, under each head, of the several appliances for the preparation and spinning of these various fibres into yarn, the whole ng profusely illustrated ; and machinery by leading firms in England and the United States is also figured in great variety. In the fiax I tion the plant is described and illustrated, its various stages of cultivation, retting, scutching, etc., both home and foreign, bein^ fully ated. This is followed by a description of the preparinfj and spinning machinery, the various frames being shown by carefullif printed ctrotype blocks. The second volume deals with calculations for manufacturers for every class of material, and giving minute details for ■ structure of all kinds of textile fabrics. There is an Appendix of Arithmetic specially adapted for textile purposes, and a Glossary of chnical Terms. Over 400 illustrations fill this work, which will be found invaluable to spinners and manufacturers, as well as to technical dents. Mr. Posselt has compiled a work which will be a standard one in the schooh of instruction ; and, from the practical knowledge ich he possesses in the manufacture not only of yarns but cloth, and his thorough knowledge of textile designing and the Jacquard chine — upon which he has written a special work — he is eminently qualified to deal with all questions of this kind; and the volumes ier notice bear testimony to his great research and erudition. A FEW EXTRACTS FROM THE LEADING TEXTILE JOURNALS OF AMERICA. What C. H. Clark, Esq., Editor and Proprietor of the TEXTILE RECORD, Philadelphia, Pa., says: |he Structure of Fibres, Yarns and Fabrics." E. A. Posselt's New Book. Beyond dispute, Mr. E. A. Posselt, principal of the Philadelphia Textile School, is the foremost writer upon this continent upon s jects appertaining to the processes of textile manufacture. He has had, what few Americans obtain, thorough and systematic training 1 theory in a European textile school of the first class, and long and varied practice in European and American mills. To all this he (Continued on next page.) adds years of experience as a teacher and the prestige of successful authorship. That his qualification as an expert authority upon textil sul'jjects is fully recognized, is proved, first, by the fact that his advice is constantly sought by textile workers of all classes in mills frot Maine to Texas, and from the further fact that his woriis already published are in active demand from all parts of the country. Mr. Posselt has prepared, and now ofifers to the public, a new book, which is, in truth, two volumes included in one cover. It i entitled " The Structure of Fibres, Yarns and Fabrics," and it contains more than 400 illustrations. The result is a comprehensive trea tise upon the nature, origin and qualities of the various fibres in common use, and upon the methods employed in preparing them for th' service of man. The mere reproduction here of an abstract of the contents would occupy three or four of these pages. We may say however, that the author, beginning with cotton, devotes the whole of Volume I to decriptions of the character, growth and manipulatioi of the fibres, including wool, worsteds, silk, flax, jute, ramie, China grass and hemp. The illustrations accompany the descriptive text ii such a manner as to give perfect clearness to the author's meaning. Where processes are dealt with, the principles and the methods o operating the various machines are fully explained, so that the man who chooses to study the text may learn 7oky certain things are done as well as ko-M they are done. It is no uncommon thing in American mills that workmen are efficient in practice without clear acquaintance with the underlying principles. But mastery of principles is of high importance with respect to the attainment of excellence in practice and Mr. Posselt's book gains its value from the fact that it deals with both theory and practice, applying the former admirably to tht latter. The second part or volume of the work deals with calculations for every class of material, for all the operations in the mill to whicl arithmetic may be applied, and contains minute instruction respecting the structure of every variety of textile fabric. The fullness anc lucidity of this portion of the work are such that it is diflicult to perceive how any textile worker, owning the book, can be at a loss tc solve any puzzhng question which may present itself, without going further. The work includes, not solely the author's own notions o the daily needs of the textile manufacturer, but his acquaintance with those needs as supplied by the questions propounded to him bj practical men in the thousands of letters that have come to him, in the past years, from all parts of the United States. The mill that shall place this volume where it can be consulted by the workmen will be fully equipped to meet almost every emergency that may preseni itself. We venture the assertion that possession of the book is necessary to the right equipment of any American factory that is engaged in the production of textile fabrics. The Appendix to the work contains that portion of the science of arithmetic which bears upon the various problems presented and worked out in the book. This is intended for the service of the many bright workmen who have not had opportunities for acquiring good education in their early years — and the class is much larger than is commonly supposed. The Appendix also includes a Glossary of Textik Terms, which is, in truth, ft dictionary of the textile industry. It is full, and, so far as we can determine, accurate and satisfactory. The price of this work is gio.oo, and it cannot be regarded as great when the dimensions of the volume and the fullness of the information are considered. What Jos. M. Wade, Esq., Editor and Proprietor of WADE'S FIBRE AND FABRIC, Boston, Mass., says: We have received from Mr. E-. A. Posselt, of Philadelphia, a copy of his new work, entitled " The Structure of Fibres, Yarns and Fabrics," a treatise for the use of those employed in the manufacture of textile fabrics. The work is in two volumes, iMund in one. The book is a quarto, and is printed on very heavy book paper, in a clear type. It is unusually complete and shows very deep research on the part of the author in compiling and arranging the work. Among the illustra'ions are some of the most popular machines of the day, which are not only illustrations and descriptions, but locate the manufacturers of such machines. It is a work that should be in every mill office in the United States, and if eveiy overseer could possess a copy, he would be vastly benefitted thereby — that is, if he read and studied the contents as he should, because it is doubtful if as much valuable matter in as condensed a form could be had anywhere. There is hardly a subject connected with the manufacture of fabrics that is not treated, so that it is practically an encyclopedia for the manufacturer and the practical men engaged under him. To give a proper notice of this work would require an entire copy of Fibre and Fabric. It is strongly bound in cloth and put up in a very durable fonn. What the BOSTON JOURNAL OF COMMERCE says: "The Struciure of Fibres, Yarns and Pabrics." By E. A. Posselt. Published by the author, 2152 North Twenty-first Street, Philadelphia, Pa. Price, $1000, including expressage. All of Mr Posselt's works rank among the first in the technology of textile manufacturing. The present one is superior to any of his previous publications in the range of subjects and in the elaborateness of their treatment. Mo work approximates it in real value to the American textile manufacturer. It is in two volumes, bound in one, and accompanied by over 400 illustrations. What the AMERICAN WOOL, COTTON AND FINANCIAL REPORTER, Boston, New Yorl( and Philadelphia, says : " The Structure of Fibres, Yarns and Fabrics " is the title of a very comprehensive and carefully prepared work, published by E. A. PossKLT, 2152 North Twenty-first Street, Philadelphia, Pa. The two volumes, which are handsomely bound in one in quarto form, contain over 400 illustrations, which, tocether with the admirably written descriptive articles, contain, it would seem, all the information which one can possibly ask for regarding the subject- matter of the work, the treatment of which from beginning to end reveals a vast amount of careful study, painstaking reseaich and experience. I'he illustrations and descriptions of the origin and characteristics of cotton, wool and materials used, the kinds of cotton, the different breeds of sheep, the manipulations of the raw materials and the various proeesses so intelligently treated in the first volume are unsurpassed. • , • r Volume II is built upon the author's former work on designing and weaving, "Technology of Textile Design," and with it forms the most complete encyclopedia on textile work thus far published in the English language. No doubt there are points and suggestions from the leading manufacturers of this country closely interwoven with the author's work, but such will only increase the value of the book to the manufacturer and student, who, sooner or later, it would seem, must use it for reference. Mr. Po>stl[, the author of the work, is head master of the textile department of the Pennsylvania Musuem and School of Industrial Art Philadelphia, Pa., and is also author and publisher of "The Technology of Textile Design," a work on the Jacquard machine, etc. The present volume is sure to be regarded as authority. It has cost the author a great deal of money, time and also health, yet the price charged for it (?Io) is really less than the work is worth. The present edition is now running towards its end, and there is very likely to be a second edition, which will be an exact duplicate of the present, and will be sold at an advanced price. Hence parties to whom money is ati object in the purchasing of a book, will do well to order now at the cheap rate of $10 for the complete work. ADDRESS ALL ORDERS TO B^^Complete Circulars on this work, as well as my former works on Designing and POSSELT, PubUSher, Weaving and the Jacquard Machine, sent postage- free upon application. 2152 N. Twenty-first Street, PHIIvADELPHlA., F»A.. Silk Plush Looms, Mohair Plush Looms, Worsted Plush Looms, ^^HESE Looms are a great success. The Fabric may be cut in Loom or out of Loom as desired. I am building a Loom that is especially adapted for SILK ; also a MOHAIR and WORSTED LOOM. =ALSO BUILDERS OF= PATENT RAW ^TOCK MUm MACHINES, WILLOWS, PICKERS, REELS, Etc., SHAFTM HANGERS AND PULLEYS. Call on or Address for Full Particulars, rr\' R. H. PATTON, Proprietor, 226 Chestnut St., Philadelphia. Manayunk, Pa. 293 P ATENTS, flOWSON & HOWSON . TTOWSON &' HOWS ON, ATTORNEYS- AT-LAW AND SOLICITORS OF PATENTS with offices in the cities of PHILA- DELPHIA, NEW YORK and WASHINGTON, D. C, attend to Patent Law business, in the Courts, and before the Patent Office. They solicit Patents and register trademarks a?id labels in the United States and ift foreign countries ; prosecute and defend iifringement and other suits relating to patents, trademarks or copy- rights in the Courts ; exatnine into, and give re- ports and opinions upon, questions as to the nov- elty of inventions, the validity of patents, etc., and attend to Patent Law business in all its branches. CHARLES HOWSON, HENRY HOIVSON, HUBERT HOIVSON. iig S. Fourth Street, PHILADELPHIA, PA. 38 Park Row, NEW YORK. giS F Street, WASHINGTON, D. C. Washing, Drying and Burring Machinery. BURR CYLINDERS, LICKER-INS, METALLIC FEED ROLLS, DOFFER COMBS, METALLIC BREASTS, GARNETT MACHINERY, GARNcTT PICKERS, EXHAUST FANS, WOOL DRYERS, Etc., Etc. All kinds of Shafting Appliances, Millwrighting, etc. WORKS AND OFFICE; Hancock Street, above Lehigh Avenue, PHILADELPHIA, PA. DESIGN PAPER IN SIZES, FOR- Woolen, Cotton, CS^rpet and upholstery MILLS. E. I=OSSEI_iT, 2152 N. Twenty -first Street, Philadelphia, JAMES HUGHES. JOHN RUSSUM. HUGHES & RUSSUM, PROPRIETORS Mutual M achine W^rks, BUILDERS OF LOOMS, BEAMING MACHINES, ETC. With all the latest Improvements, Oxford Hedge Streets, FRINKFORD, PHILlDELPHIiL. Special attention given to Repair Work, which we will furnish promptly and at reasonable prices. ORDERS BY MAIL WILL RECEIVE PROMPT ATTENTION. 294 ESTABLISHED 1848. OF EVERY DESCRIPTION FOR Cotton, Woolen, Silk and Worsted Machinery. OAK LEATHER BELTING. ALSO MANUFACTURERS OF Bobbins, Spools, Shuttles and Skewers Machine Cards and Specialties. GENERAL MILL FURNISHERS. No. 113 Chestnut Street, Ptiiladelphiia CORRESPONDENCE SOLICITED. < O Q < a o <^ JOHN ROYLE & SONS, straight Street, Essex Street, and Ramapo Ave. P. DOBBIES, QUILLERS, WARPERS, DOUBLERS, TWISTERS, REEL SPINNERS, COVERING MACHINES. 295 THOMAS HALTON, 2627 mutter Street, Philadelphia, MANUFACTURER OF RISE M DROP SHED JACQUARD For "Worsteds. Of the most approved construction, working with a double cam on crank-shaft of the loom, consequently a saving of power. Can be applied to any loom of any make. (The most perfect machine in the market.) Also, builder of Im- proved DOUBLE- LIFT, DOUBLE- CYLINDER JAC- QUARD for weaving Turkey-red goods and table covers of all de- scriptions. No wear on cards, as the cylinders run only half speed. (Speed — 145 picks per minute for 70-inch wide fabrics. Production — 25 yards per 10 hours Jacqoard Promptly attended to and satisfaction guaranteed. Send for Circular. IMPROVED Machine Figured Double Velvet and Plush Fabrics, Being the only perfect Jacquard for these popu- lar fabrics in the market. (See pages 213 to 215 of this book.) IMPROVED PATENT DOUBLE-LIFT, SINGLE- CYLINDER JACQUARD. Can be applied to any loom. This machine has come into general use amongst upholstery and tapestry goods manufac- turers, being the best machine for both fine and heavy goods. These ma- chines operate easier on the yarn and thus permit the use of an inferior grade of yarn, with the best results. Maker of Brussels Jac- quard Carpet Machines, Piano and Witch Ma- chines, Comber - boards, Lingos, Etc. Address all communications to the works, Ix^-uLtter Street, ZPliiila-delpliia,. 296 Established i860. Telephone Call 495^- I. A. HALL & CO. Reeds, Harnesses AND General Weavers' Supplies, Nos. 30 and 32 Division Street, PATERSON, N. J. Reeds and Harnesses for Ribbons and Dress Goods of all kinds, for Silk Manufacturers, a specialty. Improved Cop Winding Machines — Winds Direct from Skein to Shuttle— No Bobbins Used. Successor to A. J. GULP & CO., MANUFACTURER OP Cotton, Woolen and Worsted MACHINERY, No. 2427 Mascher Street, PHILADELPHIA. IMPROVED BOBBIN WINDING — DIRECT FROM SKEIN TO SHUTTLE BOBBIN— SAVES SPOOLING. Upright Spindle Patent Bandless Machine for Hosiery. UPRIGHT AND SECTION WARPING MILLS, YARN BUNDLING PRESS, BEAMING MACHINES, CARPET ROLLING MACHINES, WARP SPLITTING MACHINES, BOBBIN WINDERS, SPOOLERS, ROLLERS, WRINGING ARMS, DYE STICKS, LOOM JACKS, LOOM TREADLES, LOOM RODS, CRANK ARMS, PICKING STICKS, BOBBIN WHEELS, Etc. JACOB WALDER II 188 RIVER STREET, Paterson, - N. J., 3f)t/r. of all kinds of Reeds, Harnesses, Lingoes, Mails, Shuttles and Quills. —DEALER IN— Weavers' Materials in General Plush and Velvet Reeds a Specialty . eXGel^ioi^ loom po WORl^^, PATENTEES AND SOLE MANUFACTURERS OF ADAMSONS' Flexible Bevel Dent Reeds. REINFORCED WITH SOLDER. ESPECIALLY DESIGNED FOR WEAVING FINE WORSTEDS, WOOLENS AND FANCY COTTON GOODS. You will save expense in your Weaving Depart- ment by using Our Patent Flexible Dent Reeds, in preference to any other make. They cause no "Streaky" Goods, cause no friction on Warp Threads, less broken Yarn, no Reed-Rowy Goods. These Reeds are more durable, and are in every way an improvement on the ordinary kind. Prices as low as the best work of Makers of the Common Reed. Please place with us a trial order, and you will adopt them. Excelsior Loom Reed Works, EDWARD ADAMSON, Prop., PAWTUCKET, R. 297 GILBERT LOOM CO., BUILDERS OF oo2vi:s For Woolens, Cotton, Carpets, Wire, Cane, Velvet Plush Also, Patenteci Special Finishing Machiinery for Measuring, Dotabling and Folding, Perching and Burling. works: 1 86 UNION STREET and 36 N. FOSTER STREET, WORCESTER, MASS. = NO YELTIES.— = MASON-BUTLER DROP-BOX LOOM. Simple - Dur^5.tle - Convenient - Quick-I(unnin5. GUARANTEED UNSURPASSED. CARDS NEW MULE. ...^^^^ SPINNING MASON ^"-^^ FRAMES 1VIACHINE WORKS, COTTON MACHINERY. TAUNTON MULES ""^--.^ MASS. LOOMS HEW FRAME, MASON HIGH-SPEED SHEETING LOOM. Hew, Improved, Heavy, Convenient, with Great Range. Silk Loom. Duck Loom. Seamless Bag Loom. 298 L. S. WATSON & CO., Leicester, Mass., MANUFACTURERS OF WATSON'S PATENT MACHINE WIRE MEDDLES. Guaranteed to be perfectly adapted to Weaving all kinds of Cotton, Woolen and Worsted Fabrics, Fancy Cotton, etc., etc. .Superior Harness Frames furnished promptly. Also manufacturers of Hand Stripper Cards of every description. Fall Eiver, Mass. nijxOxOx2v£xs For Com aid UlMmi c5c CO.' MAKERS OF The Seaconnet Mills, of Fall River, wove in 301 days of 10 hours 14,329,219 yards of 64 x 64 goods on 928 of our "High-Speed Looms," a daily average of 51 X yards per loom per day. 299 THE CAMBRIA SHAFTING AND MACHINE WORKS. -MANUFACTURERS OF- Textile Macliiery, Slafliig, Haigers, Pillefs, Comliis, Elc. e above Cut represents our Improved Cop AVlndiiig Machine. Much Saving in Stock, Better Results in Woven Cloth, Etc. Write for Particulars. CHARLES C. KLEIN, - - Marshall & Cambria Streets, - ■ PHILADELPHIA, PA. CHAS. M. McCLOUD & CO., 216 Chestnut Street, Plniladelplnla, IMPORTERS AND MANU FACTURERS SILK NOILS YARNS, white and fast colors, FOR Cloths, Upholstery and Dress Goods. Spun Silks, Tinsels and Fine Cotton Yarns and Warps. SellirLg Agents for MALCOLM MILLS CO. Chenilles, Tinsel Twists and Threads, Sewing Cotton, Polished Threads and Cords, Fancy Twists in Worsted Silk and Cotton. 300 CROMPTON LOOM WORKS, WORCESTER, MASS. THE ORIGINAL AND MOST EXTENSIVE WORKS FOR THE BUILDING OF CARPET, FANCY WOOLEN, COTTON AND SILK LOOMS IN THIS COUNTRY. The Crompton Cam Loom With " 1886 " box motion is superior for Flannels and Blankets, and is built of any desired width and Shuttle- Box capacity, and with two, three, four and five -leaf cam. The Crompton Silk Loom Is excellent in design and operation, and has patent special devices particularly adapted for the wants of Silk Manufacturers. The Crompton Gingham Loom Is the STANDARD for Ging- hams and similar goods. It is made with four or six boxes at one end, or four boxes at each end, and with two, three and four -leaf cam. It has many patent improvements. The Crompton Jean Loom Has a fixed reputation for Kentucky Jeans, etc., etc. The Crompton Improved Close-Shed "1886" Fancy Loom. The BEST for Worsted and Fancy Cassimeres. It is of twenty - seven harness ca- pacity, four boxes at each end, and patent automatic let -off and safety filling stop-motions. The "1886" Box motion is a positive crank and differential lever movement ; any of the com- partments of either series of Shuttle Boxes are com- manded at any pick. Single or Double Beam arrange- ments as desired. Crompton's Improved Comb on the Noble Principle Is freely admitted by ex- perts to be, in many re- spects, the BEST Comb yet produced. In workman- ship, character and produc- tion, it competes with any Noble Comb made. In price it cannot be underbid. Is adapted for either coarse or fine wool, and is fur- nished with a bailer, or a can coiler, or spout for a stationary can, as may be desired. The main driving and smaller shafts are steel . The circles are of choicest construction and guaran- teed in every respect. Crompton's New Ingrain Carpet Loom. Crompton's New Ingrain Carpet Looms. THE attention of manufacturers of Ingrain Carpets is called to the consideration of a new Carpet Loom just put on the market. It carries four (4) shuttles boxes at each end of the lathe ; any one of the series at each end can be brought into line with the shuttle race at any pick. The Jacquard is of the most approved con- struction and moves the warps kindly. The let off and take-up motions bring out perfectly matched goods. On two-ply work, it makes sixty (60) yards per day. The apparatus for moving the boxes cannot be surpassed for its simplicity and efficiency. This loom has no equal in speed and simplicity from four (4) to seven (7) colors. CROMPTON'S UPHOLSTERY LOOM, With Improved. "1886" Box Motion, is Capable of High Speed and Nice Adjustment for its Special Line of Goods. Philadelphia Exhibition Rooms. Echo Mills, Hancock Street, above Lehigh Avenue, WHERE THE CROMPTON LOOMS MAY BE INSPECTED. ( Ocrrespo3n.d.eiice Solicited.. ) 301 QUAKER CITY DYE-WORKS CO. Oxford, Howard & Front Streets, PHILADELPHIA. New York Office, 99 Franklin Street, Watson Building, Room 10. DYERS AND FINISHERS OK WORSTED COATINGS, Woolen and Cotton Dress Goods, Jersey Cloths, Stockinettes, &c. DYERS OK WORSTED, mm AND COTTON SKEIN YARNS, SLUBBING AND WOOL. i Dyeing, Drying and Finishing Machinery, FOR COTTON, WOOLEN WORSTED GOODS. TENTERING MACHINES, Clamp and Pin Chain. SINGEING MACHINES, (Gas and Plate.) JIGGERS. WASHING MACHINES, Dolly and Open. PADDING MACHINES. CRABBING MACHINES, Single, Double and Treble. DYE KETTLES, with Small Engines attached. CALENDERS AND MANGLES, with Paper, Cotton and Husk RoUs. HANK YARN DRYING MACHINES, (Hartman's Patent.) DRYING MACHINES, with Horizontal and Vertical Frames, and with Copper and Tinned Iron Cylinders. H. W. BUTTERWORTH & SoNS, York and Cedar Streets, - - Philadelphia, Pa, LOOM PICKER COMPANY, BIDDEFORD, MAINE, Manufacturers of RAW HIDE AND LEATHER LOOM PICKERS, Including many styles of raw hide pickers of which we are the only manufacturers, such as the Parker Patent Drop Box Picker which has no plug in the shuttle strike, can not break off at the head nor work loose around the rod hole, and is guaranteed to be more durable than any other drop box picker made. Also Scoops, Centre Scoops, Pressed Centres, Feathered Feet Bows, and all other English styles which have heretofore been imported. loom: harnesses, Both single and double knotted, made of the best twine and stock, and finished in the most thorough manner, making them of guaranteed superior quality. ENGLISH PICKER LEATHER. This leather is better adapted for picking purposes than any other. We have the same kind and quality which is used almost exclusively in England for this purpose, and will send sample on application. ILLUSTRATED CATALOGUE AND SAMPLES OF OUR WORK MAILED ON APPLICATION. 303 THE TEXTILE RECORD Contains more Original Practical Matter than any other Textile Journal. Papers on practical Processes for the Woolen Manufacturer, the Cotton Manufacturer, the Dyer and Bleacher, the Calico Printer, the Knitter, Etc., Etc., Etc. RICHIY lUl'STRATED ARTICLES ON NEW TEXTILE MACHINERY. It is the only periodical in the World that fully represents the Knitting Industry. SUBSCRIPTION PRICE. $3.00 PER YEAR. The Best European Correspondence. Able Editorials on Industrial Questions. New Processes Translated from French and German Technical Presses. ■jSjii'- - pit ^^^^ ^^^^ The TEXTILE RECORD Confessedly Ranks First Among American Journals as the Representative of the Great Textile Industries. The Textile Record Hand-Books. No. 1. Practice in Wool Carding, - - - - 50 cts. \A„y..„f„r$i.oo; .hefo„r,$i.75. " 2. Practice in Finisliing, 50 cts. (™= p^^^i^'i Ha„d- Books ' ever published, and the cheapest. " 3. Practice in Weaving and Loom Fixing, 75 cts. y Sent post-paid on receipt of price " 4. Practice in Cotton Carding, - - - 75 cts / ^''^ The volumes are small enough to go in the pocket. The prices of technical textile books are usually very high. These have been issued for the uses of workingmen, and the prices put at very low figures. THE TEXTILE RECORD, 425 Walnut Street, Philadelphia. 304 UNIFORM IN SIZE WITH THIS BOOK AND BY THE SAME AUTHOR THE JACQUARD MACHINE ANALYZED AND EXPLAINED: With an Appendix on the Preparation of Jacquard Cards & Practical Hints to learners of Jacqnard Designing WITH 230 ILLUSTRATIONS AND NUMEROUS DIAGRAMS. Hy E. A. I'OSSEIiT, Mead Master, Textile Department, Pennsylvania Museum and School of Industrial JLrt. This book, quarto, handsomely bound in cloth, will be mailed, postage prepaid, to any address, upon receipt of Price $3.00. ABSTRACT OK THE CONTENTS. History of the Jacquard Machine. The Jacquard Machine— General Arrangement and Appli- cation. Illustration of the different parts of the Jacquard Machine —Method of Operation, etc. The Jacquard Harness — The Comber-boards. Tying-up of Jacquard Harness. I. — Straight-through Tie-up. II. — Straight-through Tie-up for Repeated Effects, in one Repeat of the Design. III. — Straight-througli Tie-up of Jacquard Loom, having Front Harness attached. IV. — Centre Tie-up. V. — Straight-through and Point Tie-ups Combined. VI. — Straight-through Tie-up in Two Sections. VII. — Tying-up a Jacquard Harness for Figuring Part of the Design with an Extra Warp. VIII.— Straight-through Tie-up in Three Sections. IX.— Point Tie-up in Three Sections. X.— Combination Tie-up in Two Sections. XI. — Straight-through Tie-up in Four Sections. XII.— Tying-up of Jacquard Looms with Compound Har- ness attached. XIII. — Tying-up Jacquard Looms for Gauze Fabrics. Modifications of the Single Lift Jacquard Machine. I. — Double Lift Single Cylinder Jacquard Machine. II. — Double Lift Double Cylinder Jacquard Machine. III. — Substitution of Tall-cords for Hooks. Tying-up of Jacquard Harness for Two-ply Ingrain Carpet. General Description of the Construction of the Fabric, Straight-through Tie-up. Point Tie-up. APPENDIX. Preparing and Stamping of Jacquard Cards. Dobby Caid-Punching Machines. Piano Card-Stamping Machines. Stamping of Cards. Repeating Jacquard Cards by the Positive Action Repealer. Lacing of Jacquard Cards. Lacing of Jacquard Cards by Hand. Lacing of Jacquard Cards by Machine. PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING. Squared Designing Paper for the different Textile Fabrics executed on the Jacquard Machine. Selection of the Proper Brush for the different D De- signing Papers. Colors used for Painting Textile Designs. Preservation of Textile Designs Sketching of Designs for Textile Fabrics to be executed on the Jacquard Machine. Methods of Setting the Figures. Size of Sketch Required. Enlarging and Reducing Figures for Sketches. Transferring of the Sketch to the Squared Designing Paper. Glossary Outlining in Squares. Rules for Outlining in Squares Inside or Outside the Drawing Outline. Illustration of a Sketch — Outling on □ Paper — Finished Design — Fabric Sample (Single Cloth). Designs for Damask Fabrics to be executed on a Jac- quard Loom, with Compound Harness attached. Designs for Two-ply Ingrain Carpet. Designs for Dressgoods Figured with Extra Warp. Designs for Figured Pile Fabrics. The Shading of Textile Fabrics by the Weave. ABSTRACT OF COMMENTS OF THE LEADING TEXTILE PRESS ON THIS WORK. It is a thoroughly practical work, written by one who is master of the business in all its various branches. Boston, Mass., November 19th, 1887. Wade's Fibre and Fabric, Boston. The work is well gotten up, and with its explanatory illustrations, cannot fail to be of great service both to the student and the advanced weaver. New York, N. Y., November, 1887. The Manufacturers' Review and Industrial Record, New York. This work has long been a serious need in textile mills, and amongst designers and card stampers, and we predict for it a wide circulation. Tributes to its value have reached us from most prominent manufacturers in the country. Philadelphia, Pa., November, 1887. The Philadelphia Carpet Trade. The most important addition ever made on this side of the Atlantic to the literature of the textile industry, etc. Philadelphia, Pa., September 15th, 1887. Textile Record of America, Philadelphia. It is a great work, and is a credit to the author, etc., etc. The Bulletin of the Philadelphia Textile Association, now the Manufacturer. Philadelphia, Pa., October ist, 1887. It is the only work in the English language that treats exclusively on the Jacquard Machine. No designer who wishes to be up in his vocation should be without it. Boston, Mass., November 5th, 1887. Boston Journal of Commerce. This work may be obtained from the Author, E. A. POSSELT, 2152 North Twenty-first Street, or HENRY CAREY BAIRD & CO., Industrial Publishers, Booksellers and Importers, 810 Walnut Street, Philadelphia, or SAMPSON LOW, MARSTON, SEARLE & RIV- INGTON, Limited, St. Dunstan's House, Fetter Lane, Fleet Street, London. 305 Patented Aug. 21, 1888. STAFFORD'S Patent iBqiiali/.lng Spring Jack Is constructed so that the weight on harnesses is reduced in lifting, making great saving in power. Can be applied to any Loom or motion. WE LEAD THEM ALL. Patented Aug. 21, 1888. Horizontal Lever. Double-action Dobble. 12 to 25 harness capacity. GEO. W. STAFFORD MFG. CO., PROVIDENCE, R. I. To THE Textile Manufacturers, Greeting: — Your attention is called to the superior advantages of our special machinery for fancy weaving, for producing any class of goods that can be woven upon a loom. Upward of eight thousand looms fitted up by us in the United States is a sufficient guarantee of our ability to fulfill all we promise. DOBBIES OF ANY CAPACITY. JACGlUARD MACHINES UP TO 1200 HOOKS, Single or Double Action, also Rise and Drop Shed for Worsteds. Patents--June 7, 1887, and Aug. 21, 1888. 12 to 25 harness capacity. Compact, easy Single-action tahedding Engine, working, reliable. 12 to 30 harness capacity. 306 Patents— June 7, 1887, and Aug. 21, ; Instruction Given in Weaving Any Class of Goods, AND SATISFACTION GUARANTEED. GEO. W. STAFFORD MFG. CO., 5 POINT STREKT, StaM Comber-Board, COMPOSED OF WIRE. Will Not Wear Out, Does Not Cut Harness. A LARGE NUMBER IN USE. Patented September 6, 1887. 307 Schaum Sl Uhlinger, 1080-1038 New Market Street, Philadelphia, Pa. MANUFACTURERS OF RIBBON, TAPE AND WEBBING LOOMS, LATEST IMPROVEMENTS. NEW PATTERNS. CIRCULAR BATTONS, For Ribbons, Fringes, Tapes, Gimps, Suspender and Goring Web, etc. STRAIGHT BATTONS with one, two, three or four Banks of Shuttles. Our Battons are made on a system which insures accuracy in all details of construction ; we use only the best materials and produce the best Batton in the market. Write us for estimates, it will pay you. JACQUARD MACHINES, With any desired number of hooks. Applied to any manufacture of loom. Harness Tied up for all Figured Weaving. A FULL LINE OF WEAVERS' SUPPLIES: Malls, Lingoes, Heddles, Harness Twine, Compart-Boards, Glass Rings, Shuttle Eyes, &c. If you contemplate manufacturing figured goods, write to us for information, or send us samples of the goods you desire to make and we will furnish you estimates for a complete equipment, including Jacquard Machines, with harness tied-up, designs made, cards cut, etc. Sixteen years practical experience in this line of business enables us to give our customers the best results with the least expense. Schaum & Uhlinger, 1030-1038 New Market Street, Philadelphia, Pa. 308 Patents— June 7, 1887, and Aug. 21, Rise and Drop Shed Jacquard, Specially adapted for Heavy Worsteds and Cloakings. 400 to 600 hooks capacity. Sateen Debbie. 3 to 13 Shades. More goods can be produced than with cams (1200 in use). Instruction Given in Weaving Any Class of Goods, AND SATISFACTION GUARANTEED. GEO. W. STAFFORD MFG. CO., 5 POINT STRKBT, Stafford Comber-Board, COMPOSED OF WIRE. Will Not Wear Out, Does Not Cut Harness. A LARGE NUMBER IM" USE. Patented September 6, 18S7. Schaum & XJhlinger, 1080-1038 New Market Street, Philadelphia, Pa. MANUFACTURERS OF RIBBON. TAPE AND WEBBIN6 LOOMS LATEST IMPR NEW PATTERNS. Date Due GIF For Ribbons, Fringe BATTONS with onr on a system which in- materials and produ will pay you. With any desired nu_ Harm Mails, Lingoes, Hedd- :)NS, Veb, etc. STRAIGHT Our Battons are made a ; we use only the best rite us for estimates, it INES, / manufacture of loom. V eaving. ES: -Rings, Shuttle Eyes, &c. If you contemplate manuiacLuxmi; u^uicia gwOv^io, vmuv^ uO us for information, or send us samples of the goods you desire to make and we will furnish you estimates for a complete equipment, including Jacquard Machines, with harness tied-up, designs made, cards cut, etc. Sixteen years practical experience in this line of business enables us to give our customers the best results with the least expense. Schaum & XJhlinger, 1030-1038 New Market Street, Philadelphia, Pa. J - p_ UHLINGER Wop MACHINISTS, ^ to 3S B. Canal St., FHUa. Dobby card-JPuncbltis ^ This machine is built for punching Jacquard or Dobby Cards of the strongest pasteboard, punching the wliole card at one revolution or stroke. Alter the keys are set, any number of duplicates can be punched. It is well constructed, simple, and a most effec- tive machine. Ribbon Looms. Tape Looms. Snspender looms. Fringe Looms. Single Lift Jacquard Ma- chines. Double Lift Jacqaard Ma- cMnes. Raise and Drop SM Jac- qaard MacMnes. JACQUARD MACHIKH. ■>ods of all kinds, from the lightest to the heaviest, . Single lift, double lift or raise and drop machines, idy to set on looms of any make. Our raise and o weaving the finest silk and worsted goods. UHI^IIVGER'S IMPROVEID RIBBOI9 I.OOSI. 3 3125 00027 1334