®hp i. H. IfItU ICthrara Nortii (Taroltna ^tatf llmupraitg TSII19O M97 Tex . 1 ib This book is due on the date indicated below and is subject to an overdue fine as posted at the Circulation Desk. 3- !ili^ APn2 9 19 7 6 ' Digitized by the Internet Arciiive in 2010 with funding from NCSU Libraries http://www.archive.org/details/treatiseonartofwOOmurp TREATISE ARTOF WEAVING, &c. &c. MJ* yd. / ' /J()/- TREATISE ART OF WEAVING, ILLUSTRATED BT ENGRAVINGS. CALCULATIONS AND TABLES THE USE OF MANUFACTURERS. BY JOHN MURPHY, AUTHOR OF THE SIANUFACTURER AND WEAVER'S COMPANION, AND OF CLOTH MANUFACTURE, AND OTHER ARTICLES IN THE ENCTCLOPEDIA EDISENSIS. SECOND EDITION, REVISED AND ENLARGED. GLASGOW: PUBLISHED BY BLACKIE, FULLARTON, & Co. EAST CLYDE STREET; AND ARCHIBALD FULLARTON & Co. BLAIR STREET, EDINBURGH. 1827. GLASGOW: I'RINTED BY E. KHULI. & SON, East Clyde Street. PREFACE. It were vain to search for the origin of Weaving amidst the darkness of remote ages, although there can be no doubt of its having an equal claim to antiquity with any of the other arts, which contribute either to the necessaries, the comforts, or the luxuries of the human race. In the state of nature, the wants of man are comparatively few, and are usually supplied by the most simple and obvious means ; yet there is scarcely a nation or tribe to be found in the savage state, however rude or uncultivated, who have not some notions of interweaving fibrous substances into cloth, either for ornament or use ; and many of the productions of these people display no common degree of ingenuity. It is not, however, till nations have emerged from a state of barbarism, advanced considerably in civili- zation, and begun to indulge in the pleasures of luxury, that the useful and ornamental arts are cultivated with assiduity, and brought to their most refined state of per- fection. The Egyptians were the first civilized people of whom riiere are any authentic records, and to them the neigh- bouring nations were chiefly indebted for their knowledge in the arts and sciences: among which was the art of Weaving, especially of fine linen, for which they were widely famed. The Israelites, in particular, as appears from the book of Exodus, had acquired an extensive know- 5^^, 133427 IV PREFACE. ledge of the useful and ornamental arts, during their abode in that land; for we find, not long after their departure thence, the names of Aholiab and Bezaleel, tlie greatest artists of their time, associated with the graver, the em- broiderer, and the weaver, in preparing the ornaments for the tabernacle. The Greeks were likewise greatly indebt- ed to the Egj-ptians for their knowledge, both in the arts and sciences; and of them they learned the culture of flax and weaving of linen. The Romans, again, borrow- ed many of the useful arts from the Greeks, and spread a knowledge of them as far as they carried their victorious arms. With respect to the processes or manipulations of Weaving as conducted by the ancients, nothing satisfac- tory can be gathered from history, although it is highly probable that they were either the same, or similar to those at present practised by the natives of India. One thing, however, is certain from their fables and sculp- tures, that the Egj-ptians, Greeks and Romans, spun their yarns with the distaff and spindle : and it has been remarked that these simple implements have been used for spinning in all the coimtries which have been discovered by navigators for the last three centuries. They are still employed by the natives in the East Indies; and they were common in Scotland in the middle of the last cen- tury. That the art of Weaving was unkno%vn in Britain be- fore the Roman invasion, at least for the purposes of clothing, will appear fi'om the following curious picture of its inhabitants at that period, drawn by the great poet Milton. " At Caesar's coming hither," says he, " such likeliest were the Britons, as the writers of those times and their actions represent them, in courage and warlike rea- diness, to take advantage by ambush or sudden onset, not inferior to tlie Romans, nor Casibelan to Caesar, in wea- PREFACE. V pons, arms, and skill of encamping, embattling, Ibrtifying, overmatched ; their weapons were a short spear and light target, a sword also by the side ; their fight sometimes in chariots, fanged at the axle with iron scythes, their bodies most part naked, only painted with woad in sunchy figures, to seem terrible as they thought ; but if pinched by ene- mies, not nice of their painting, to run into bogs up to their necks, and there stay many days, holding a certain morsel in their mouths no bigger than a bean, to suffice hunger : Their towns and strongholds were spaces of ground fenced about -with a ditch, and green trees felled overthwart each other ; their buildings within were thatch- ed houses for themselves and their cattle: In peace the upland inhabitants, besides hunting, tended their flocks and herds, but with little skill of country affairs ; the mak- ing of cheese they commonly knew not ; wool and flax they spun not; gardenery and planting, many of them knew not; clothing they had none but what the skins of beasts afforded them, and that not always; yet gallantry they had, painting their own skins with several portraitures of beast, bird or flower." After the Romans had obtained a footing in Britain, they established a woollen manufactory at Winchester for clothing their army, and also taught the natives the art of Weaving and the culture of flax. The Saxons after- wards introduced the manufacture of several kinds of cloth, chiefly for domestic purposes; among which is said to be the weaving of^ counterpanes. Little farther is known of Weaving in Britain till early in the fourteenth century, when Jack of Newbury introduced tlie manufacture of broad woollen cloth, which was after- wards protected and encouraged by King Edward III., and which has ever since been the staple of England. The following extracts, however, from Anderson's Progress of the Arts and Sciences, and others, will exhibit the state of yi PBEFACE. the cloth manufacture in Europe from this period till the end of the seventeenth century, when a new era may be said to have commenced in the history of the arts in Britain. ANNO. 1209. Venice gains the silk manufacture from Greece. 1248. A company of wool merchants settle in London. 1253. Some fine linen made in England. The latter end of this century the better sort of people wore woollen shirts: the most considerable citizens save not above one hundred li\T.*es for a daughter's portion. But now, says Lafflamma, we wear linen. The women wear silk gowns, some of which are embroidered with gold and silver. Table linen was scarce in England. 1305. The city of Louvain in Flanders, with the adjacent villages, were said to contain above an hundi'ed and fifty thousand journeymen weavers. 1327. The first broad cloth made in England by Jack of Newbury. 133 J. King Edward III. resolves to promote a woollen manufactory in England, and to this end brings seventy families of Walloons into England. 1336. Two Brabant weavers settle at York with the king's protection ; as it may prove, said the king, of great benefit to us and our subjects. 1337. Laws enacted for encouraging the woollen manufao- ture in England. Holland gains part of said manufacture from Flan- ders and Brabant. 1339. Looms set up in Bristol for woollen cloth. 1348. Norwich eminent in the worsted manufacture. French fashions introduced into England. ^351. Foreign weavers numerous in London. PREFACE. Vll ANNO. 1376. Woollen cloth made in Ireland. 1380. The city of Louvain loses its manufacture, by an insurrection of the journeymen weavers. 1386. A company of linen weavers established in London. 1390. Coarse cloth made at Kendal. 1398. Foreign woollen cloth first prohibited in England. 1436. Coventry eminent for the woollen and cap manu- facture. 1455. Some silk manufacture carried on by women in England. 1488. Woollen cloth not to be exported until fully dressed. 1519. Spain loses her woollen manufacture, which she has not been able to regain to this day. 1521. France first gains a silk manufacture. 1533. Hemp and flax ordered by statute to be sown in England. 1537. Halifax in Yorkshire commences the woollen manu- facture. 1549. King Edward VI. encourages foreign protestants to settle in England, viz. Walloons, Germans, French, Italians, Polanders and Switzers, wjio much advance manufactures and trade. 1567-8 Persecutions of the protestants in France and the Netherlands, under the Duke of Alva, drive many of them into England, where they establish a variety of manufactures. 1582. Value of woollen cloth exported from England, £200,000 annually. 1590. Manufacture of sail cloth first introduced into England. 1597. Logwood, by law, forbid to be used in dyeing, but afterwards found to be of great use. 1608. Silk worms brought into England. 1614. Dyeing cloth in the wool first invented. B P' Vin PREFACE. ANNO. 1619. Tapestry work first introduced into England. 1 620. Broad silk first manufactured. 1622. The woollen manufacture in a declining state. 1624. The Dutch make woollen cloth to the amount of £25,000 a-year. 1641. Ireland spins linen yarn for Manchester, who re- turns it to them made into cloth. 1643. Bow dye or scarlet first made. 1646. The French begin their manufacture of fine woollen cloth, under the patronage of Cardinal Mazarine at Sedan. 1650. The worsted manufacturers of Norwich incorporated. 1654. The fine broad cloth of England sent to Holland to be dyed. 1663. Forty thousand men, women and childi^en employ- ed in silk throwing, in and near London. 1666. Burpng in woollen established by law. 1667. Dyeing and dressing woollen cloth perfected in England, by one Brewer from the Netherlands. 1668. The Scots send linen yarn to England. 1670. The wear of muslins fii'st introduced. The linen manufacture began to be encouraged in Ireland, where it is very considerable. 1685. Seventy thousand refugees came from France on the revocation of the edict of Nantz, (by which edict the protestants there enjoyed the public and free exercise of their religion) and settle in Great Britain and Ii'eland, bringing with them the bless- ings of industry, and an extensive knowledge in many manufactures yet unknown there ; of these two thousand are supposed to have gone to Ire- land. The whole number, who, for conscience' sake, quitted their native country, are said to have been 800,000 ; they distributed themselves in PREFACE. IX Holland and Brandenburgh, whei'e they erected the fabrics of cloth, serges, stuffs, druggets, crapes, stockings, hats, and all sorts of dyeing ; and among them were goldsmiths, jewellers, watchmakers and carvers. Many settled in Spit- talfields, London, where they erected the manu- facture of silk, and helped to people the suburbs of Soho and St. Giles ; by them was introduced the art of making crystal, which was entirely lost to France. 1696. A law to prevent the exportation of English wool, and the importation of Irish. Hemp, flax, linen, thread and yarn from Ireland, admitted duty free. (This law gave rise to the now happy state of the linen manufacture in Ire- land.) From these extracts it will appear that Britain and Ire- land were first indebted to the bigotry and persecuting spirit of the continental powers of Europe, in the sixteenth and seventeenth centuries, for many of the useful arts which they now enjoy, and which laid the foundation of some of our most extensive manufactures. The cloth manufacture made little progress in Scotland till after the Union, when it was gi-eatly promoted by the fostering care of the Board of Trustees, which was estab- lished by charter at Edinburgh, in the year 1727, for pro- tecting and encouraging the Scotch manufactures and fish- eries. The greater part of the goods manufactured in Scotland, however, were made of linen yarn, till about the year 1759, when a branch of the silk trade from Spittal- fields, London, was established at Paisley, where it was brought to such perfection, especially in the more light and fanciful kinds, that in a short time, Paisley silks not only rivalled those of the south, but had a preference in all die X PREFACE. markets in Europe; and this laid the foundation of that extensive knowledge of fancy weaving, for which the trades- men of Paisley have since become so famous, and which is now spread over the west of Scotland. About the same period, the increasing demand for cot- ton goods, induced several individuals to attempt a more ample supply of yarn, to meet an extension of this branch of manufacture; but all without success till the year 1767, when Richard Hargreaves, a weaver in Lancashire, invent- ed the cotton jenny, which, though at first it contained only eight spindles, was afterwards enlarged, so as to con- tain 20, 30, and even 80. And about two years after this invention, Sir Richard Arkwiught improved the spinning of cotton stUl farther, by the application of water for the moving power, &c. ; together with the addition of rollers, and other modifications of the machinery. The extension of this rising manufacture now became so rapid, that it would soon have felt a serious check, had not the disco- veries in chemistry wliich were made about the same time, come in to its aid, particularly in the processes of dyeing and bleaching ; by the latter of which, the manufacturer was enabled, instead of a process of some months, to bring his goods to the market in the course of as many hours after they came from the loom. Tliese inventions and disco- veries, together with the improvements in calico printing, the discharging of colours, particularly of Turkey red for Bandanaii, the application of steam for the moving power, and innumerable other discoveries in mechanics and che- mistry, which would fill a volume to give in detail, have contributed, within the last forty years, to raise the cotton manufacture to a state of perfection and extent unknown in the history of commerce. Havinir thus given a short account of the progress of weaving in Britain, from its first introduction to the pre- sent time, it may not be improper to add a few words with PREFACE. XI respect to the subject itself, and the work which is now ofFered to the public. The art of Weaving naturally di- vides itself into a number of separate or distinct branches, differing so materially in principle, that an experienced tradesman in one branch, is often as much a stranger to some of the others, as any other mechanic ; while at the same time, the constant demand for novelty and variety, to give life and vigour to our commerce, and to maintain a competition with foreign rivals, render a general know- ledge of the art, in all its parts, of the utmost importance both to the manufacturer and operative tradesman. But as this great object is scarcely attainable by practical ap- phcation, it can only be supplied through the medium of the press. From this consideration, therefore, the present work was first undertaken ; how far it may be found to an- swer this important end, time, and an enlightened public, only can determine. In the fancy weaving department of the work, the dif- ferent branches of the art have been explained under their respective heads, and arranged in the most simple and na- tural order that presented itself after much study and re- flection; and their general connexion and dependence on each other as a system, have been exliibited and illustrated in such a manner, that any person of moderate acquaint- ance with the art, may, with a little attention, easily com- prehend the whole ; and be able to apply the principle of any one branch, to the extension and improvement of ano- ther, so as to give the greatest diversity to his patterns. In this new and improved edition of the work, every attention has been paid to the silk branches of vi^eaving, which, since the reduction on the importation duty took place, has become an object of general interest among the manufacturers of fancy goods in this country. On revising the work, the fundamental branches of weaving, applicable to this manufacture, have been pointed out, and a consider- able quantity of new matter introduced, chiefly to explain Xli PREFACb. the method of weaving those fabrics and textures which have been brought into the trade since the pubhcation of the first edition. Among these will be found Canton crapes, Turkey gauze and piquet stripes, Turkey gauze harness', on the newest and most approved construction ; likewise Kamschatka or Chenille shawls, &c. And, in order to em- brace every improvement in the draw loom department to the present time, a description of Cross's machine, or counter- poise harness, with illustrative engravings are given, and also an engraving and description of the new French draw loom for superseding the draw boy, which has been intro- duced into this country since Cross's machine was made public. And to render this work still more complete, an elegant engraving of the power loom and dressing macliine, with a minute description, are added; together v/ith a beautiful engraving, representing an Indian family employed in the different processes of the cotton manufacture. The thirteenth Chapter, which may be bound by itself, is more immediately intended for the use of the manufac- turer. It contains a number of tables to facilitate calculation : the rules, however, which are there laid down, will not only explain the principles on which these calculations are founded, but will be useful, if committed to memory, when tables are not at hand. The prices of cotton yarn also, in this edition, have been extended to embrace the general trade. The years 1825 and 1826, have exhibited extremes in the rise and fall of cotton yarn, which are not likely to be exceeded in this country for a long time ; and therefore, these tables have been adapted to the present state of our manufacture, with a sufficient allowance for any contingent rise or fall in the prices. The Author cannot close this preface without expressing his warmest acknowledgments to the Honourable Board of Trustees, Edinburgh, for their liberal Donation towards defraying the expenses of its first publication. CONTENTS. CHAPTER I. Page. Construction of Loom Mountings, Draughts and Cordings, Substitutes for Treadles, — — 1 CHAPTER n. Tweelingv Regular Tvfeels, Satin Tweels, Fancy Tvveels, Turned or Reversed Tweeling, — — 22 CHAPTER m. Lined Work, _. ^ ^ -^ 47 CHAPTER IV. Dornick and Diaper, — — — — 66 CHAPTER V. Double Cloth, 96 CHAPTER VL Manufacture of Corduroys, Velvets, Thicksets, &c. .~~ 115 CHAPTER VIL Crossed Warps, Gauzes, Nets, and Lappets, — 135 CHAPTER VIII. Spotting, Common Spots, Paper Spots, AUover Spots, Brocades, Cut Stripes, and Seeding, — „„. 196 Xiv CONTENTS. CHAPTER IX. Page. Flushin", Dumb Seeding, Flushed Stripes. Checks and Borders, Flushed Nets, and Dumb Flowers, — 252 CHAPTER X. Compound Mountings with their Draughts and Cordings, 280 CHAPTER XI. Of the Draw Loom, Draw Loom Patterns, and Flower Lashing, — • — — — ■ 303 CHAPTER Xn. Of the Power Loom, — — — — 397 CHAPTER XHL Calculations and Tables connected with the Art of Weaving, 401 Table L Of Linen Yarn, _. ™ — 405 IL Cotton Yarn, — — — 410 III. Showing the Spyndles and Hanks m any nuniW of Pounds and Ounces of Copes, — 414 IV. Showing the number of Splits in different Setts and Breadths of Reeds, — — 424 V. Showing the Comparative Setts of English Reeds, 427 VI. and VIL For INIaking Caaming Tables, 436-37 VIII. Warp Table, ^ .-^ ^ ^ 456 IX. Weft Table, ^ ~~ .^ .^ 468 X. For finding the Quantity of Weft on any number of Lashes, and at different Breadths, — 482 XI. Showing the quantity of Cloth on any numbei of Lashes at 50 and 60 Shots in an inch, — 484 XII. Cotton Yam Lists, ^ ^ .^489 A TREATISE ART OF WEAVING. CHAP. I. Construction of Loom Mountings. SECT. I. OF THE SEVERAL PARTS OF A MOUNTING. The art of Weaving, with respect to its elementary principles, may be divided into the six following branches, namely, plain texture, tweeling, double cloth, spotting, flushing, and crossed warps ; for, to one or other of these, or to some of their combinations, may be referred every variety of texture or ornament which is produced in the loom. All the diversity of which these fundamental branches are susceptible, arise from the mode in which the threads of warp are separated, or the sheds opened, to receive the woof The apparatus or mountings which, in ordinary cases, are employed for this purpose, consist of heddles variously arranged on shafts, and connected to an assemblage of levers, which are put in motion by the weaver's feet. Pat- terns, however, which are too extensive to be conveni- ently woven on this principle, are executed in the draw loom, in which eveiy diversity of ornament may be pro- duced, and the range of the pattern carried to any prac- ticable extent. A 1 D. H. HILL LIBRARY North Carolina State College -^ ART OF WEAVING. The heddles, which constitute the essential part of a inountinfT', are of variovis consti'uctions : some are clasped, as represented at A, fig. 1, piate 1 ; others are made with eyes as at B in the same tig. and those employed in cross wea^•ing have half heddles attached to certain parts, to assist in crossing the threads of warp. The clasped hed- dles are chiefly in use for plain fabrics, or where little mounting is necessary. The thread of warp enters between the clasps where the dot is placed in the fig. ; and, should the yarn be weak or soft in the undressed state, the clasps, when drawn together, prevent it, in a considerable degree, from being unequally strained behind the mounting. The eyed heddles are chiefly appropriated to fancy mountings, as the eye passes with more facility over any obstructions that may remain on the warp after it is dressed. AMien eved heddles are intended for the lishter fabrics of cloth, one single knot of the twine is sufficient to form the eye as represented in the fig. ; but for the stouter fa- brics, such as the general run of customary weaving, the eye requires two knots to prevent it from shpping. Each leaf of heddles is fastened to two shafts, one above and one below, by means of cords called the maitland cords, or backings, on v\-hich they are knotted at the pro- per distances for the given set of reed, though, for some kinds of coarse cloth, they are made to shift along the cords, to suit different sets of reed, or to produce a variety of pattern by the same mounting. In fancy mountings, how- ever, when adapted to any particular pattern, it is more advantageous to have each portion of the heddles cast or knotted on the cords opposite those spaces of the cloth which they are respectively to weave.* ♦ The twine of which heddles are constructed is made of linen yarn, cotton, silk, or worsted, according to the species of ^vo^k on ^sbich they are to be employed. Tvrine made of linen yarn, which is now chiefly confined to R-arps CONSTRUCTION OF LOOM MOUNTINGS. 3 The levers which are employed for raising and sinking the leaves, in most of the branches of fancy v/eaving, are coupcrs, long marches, short marches, and treddles. In of the sanne material, or for the constvuction of harnesses, is jnade of tiuee threads or ends laid together and \vell twisted. It is M-ound on a reel 90 Inches in circumference, and tied in cuts which should contain 120 threads ; but owing to waste and the diminution occasioned by twining, it seldom exceeds 110. Heddle makers usually make their calculations by the hank, which is four of these cuts, equal to the fourth part of a spyndle of single yarn. Cotton twine, which is now in general use for cotton and linen warps, is composed of five ends twisted together, and made up into cuts and hanks of the same length as the linen twine : but as the cotton runs somewhat longer than the linen, the cut will contain about 120 threads. Heddle twine made of silk is usually called liesh, and is for the most part employed for silk warps, or for the doups and bcad-lanis in cress ^veaving. Liesh, however, is now made of cotton yarn for the last purpose, and consists of 6, 9, 12, and sometimes even of 15 ends or plies. These ends are first made into strands of 2, 3, i, or 5 threads each, and then three of these strands twisted together make the 6, 8, 12, and 15 ply liesh respectively. Worsted twine has been employed for the same purposes as the linen and cotton twine, though not to any gi'eat extent. There is no precise rule for adapting the grists of heddle twine to tije dif- ferent grists of warp ; for this in a great measure will depend on the fabric of the cloth, as well as the opinion of the ■\veaver. Mr. Alexander Peddle, in- deed, has given a table for this purpose in his book on weaving; but, as it is well known that tlie grists or fineness of warps, for the same fabric of cloth, vary as the squares of the reeds, and his grists of twine are computed simply as the number of the reed, it is evident that, when the grist of the twine is suitably adapted to one set of reed, the greater the difference between this and any other set, the more will the grists of the twine and warp be at variance. For example ; — according to Mr. Peddie's table, if 8 oz. twine suit 600 heddles, 4 oz. will make heddles for 1200 of the same fabric. This proportion is simply as the number of the reed. But were the grist of the twine to vary as the grist of the warp, it would be as 6X6=36:8:: 12X12=144:2, reciprocally, that is, only iialf the weight Mr. Peddie makes it. 4 ART OF WEAVING. fig. 2, plate 1, which is a view of a four leafed tweel mount- ing, A are the coupers, B, the long marches, C, the short marches, and 1, 2, 3, 4, the ends of the treadles, as seen from the back of the loom. As the coupers A have the bolt or fulcrum i between the weight and power, they are termed, in mechanics, levers of the first order ; and, as the centre of motion is generally from one-third to two- fifths of the whole coupers from the weight to be raised, or where they are connected to the leaves by the cords n n, the power will be increased in the same proportion. Again, as the power, which is the pressure of the foot on the treadles, acts on the long march B between the weight and prop or bolt m, this march is said to be a lever of the third order ; but instead of giving an increase of power, this lever dimin- ishes it in proportion as the ti^eadle cord is tied towards the bolt. The long march therefore is applied merely for the pur- pose of changing the direction of the power, or raising the leaf to which it is connected by pressing down the treadle. When any treadle is connected to the short march C on the side of the cords a farthest from the bolt, the march becomes a lever of the second order; but when tied be- tween these cords and the bolt, it is then a lever of the third order, and diminishes the power in the same manner as the long march. The short march, however, is neither intended to increase the power nor change its direction, but to afford the means of connecting a number of treadles to the same leaf, while the power is exerted constantly on its centre. The ends only of the treadles 1, 2, 3, 4, can appear in this view of the mounting. When their centre oi motion, or heel bolt, is placed either below or behind the weaver's seat, they are levers of the third order; and, therefore, the farther back he works with his feet, the greater effort is necessary to open the sheds. In heavy mounted looms, however, it is found advantageous to re- CONSTRUCTION OF LOOM MOUNTINGS. 5 verse the position of the treadles; and then the weavei works upon the ends farthest from the bolt, which gives liim a considerable increase of lever power, although at- tended with a deeper tread. SECT. II. DRAUGHTS AND CORDINGS. A draught and cording, draught and tie, or draught and tie-up, as it is termed in different manufacturing districts, is a small plan of the leaves and treadles of a mounting, on which are represented the order or succession in which the warp threads are drawn through the heddles, and the leaves pointed out which are to be raised and sunk by each treadle. The annexed figure is the draught and cording of a four leafed tweel, coiTesponding with tlie mounting at figure 2, plate 1. No. 1. d c b a I 1 A 2 2 B 3 3 c 4 4 D I 2 3 4 In this plan the spaces marked A, B, C, D, represent the leaves, and those marked a, b, c, d, which cross them at right angles, the treadles. The figures 1, 2, 3, 4, on the leaves, show the succession of the draught, or denote that the first thread of warp is taken through a heddle on the leaf A, the second, on the leaf B, the third on C, and the fourth on D, and this is said to be one set O ART OF WEAVING. of the pattern, or once over the draught. 'Die cj'phers on the spaces a, b, c, d, show what leaves are raised by each treadle, respectively, while working over the pattern ; the blank squares, at the same time, exliibiting such as ai^e sunk. Tliis distinction, however, is merely arbitrary, for in some instances it is more convenient to mark the sink- ing cords, and leave the raising ones blank, as is usually the case in cordings for jacks or stocks and pulleys. It is pretty generally understood, however, that the raising cords are marked on cordings for coupers and marches, and the sinkino; ones left blank, unless sometliing to the contrary be mentioned. In the present example there are marks on the treadle d, .where it crosses the leaves C and D, and blanks where it intersects A and B : the two former leaves, therefore, are raised, and the two latter sunk by this ti'eadle, to open die first shed. Tlie same is to be understood of the other treadles of this, or any other plan of cording which is not otherwise described. The figures on the treadles likewise show the order in which tliey are wrought over to produce this tweel. When the succession in which the thi'eads of warp are drawn through the leaves is exhibited by numbers, as is usually the case in complex di-aughts, it is e\'ident that the highest number will show how many threads, or at least heddles, are in one set of the pattern. Sometimes, hoAv- ever, to save room, the threads are represented by small lines drawn across the leaves, as at N fig. 3, where each line denotes a single tliread, or what is dra-mi into each heddle. In some branches of weaving, also, it is found convenient, for the same reason, to mark a whole draucrht over a certain portion of leaves, with one straight line, as at O in the same figure. If we suppose the warp of any web to be divided uito two equal parts, namely, those portions which are dra\\Ti, CONSTRUCTION OF LOOM MOUNTINGS. 7 respectively, on the back and front leaves of a plain mount- ino-- then, that half which belongs to the back leaf will consist of the odd numbers 1, 3, 5, 7, &c. begiiuiing with number 1 on this leaf; and the even numbers 2, 4, 6, &c. will, of course, be drawn on the front leaf. In whatever manner, therefore, the draught of any pattern may be diversified, be the number of leaves what it may, provided an odd and an even number be not drawn on the same leaf; if a raising cord for each leaf that contains the ever^ numbers, be put on one treadle, and the reverse of this cording be put on another treadle; then, these two treadles wrought alternately will convert all the warp in the draught into plain cloth. This observation will be found useful in many cases, especially where the draught is much diversified, as will appear in many of the examples o-iven in the course of this work. ^ In the preceding, and all other plans of cording whose draughts run straight over the leaves, and the order ot treading is in the same regular succession over the treadles, the raising marks will form one complete set of the pattern on the cording plan: for as, in the specimen already given, the mounting produces a biassed stripe of flushing when the treadles are wrought over in the order of the figures 1, 2, 3, 4, each shot of woof passing, alternately, over and under two threads of warp, the raising marks will be found to assume a similar form on the treadles d, c, and /;; but at the leaf A and treadle «, the run of the stripe appears to be interrupted. As the same set of leaves, however, must repeat the pattern, the raising mark which seems to be wanting on the back part of the mounting is brought forward by passing the two leaves B and C, their common distance, to the leaf D, and forms a part of the succeeding stripe. This will more obviously appear by repeating the cording, as in the annexed figure. 8 ART OF WRAVINCr. No. 2. 1 1 1 1 1 1 1 1 1 1 1 1 2 2 1 1 1 1 3 3 1 1 1 1 4. 4 . : U : ; : ; ; : : : : : : : : : : I : 1 : 2 : 3 : 4 : n The preceding remark requires particular attention, especi- ally in making cording plans of considerable extent; for even in this small specimen it is obvious, that, wherever the run of the pattern breaks off at one side of the plan, it must be contmued on the succeeding leaves and treadles at the opposite side. This will also be sufficiently exemplified in the plans given under fancy tweeling. The form of the draught and cording here described is common in the manufacturing districts of Scotland and north of Ireland ; but in England their construction is some- what different, which it will be necessary here to explain. Instead of marking the order of the cbaught and cord- ing on the spaces, as in the preceding example, the Eng- lish weaver puts liis marks on the lines, which thus become the representatives of the leaves and treadles. The follow- ing specimen, which is the draught and cording of the four leafed tweel already explained, wiU enable the reader to understand any draught and cording of this form that mav occur. CONSTRUCTION OF LOOM MOUNTINGS. 9 Thus. -^ No. 3. Or thus. u ^e-^ A. -5- ?^f 1 ^f AVhen two or more species of weaving ai*e combined in the same web, the draught of each kind is drawn, in spaces, on its respective mounting, and the cords are placed on the treadles so as to open the compound sheds. But this part of the subject will be better understood after the fun- damental branches of weaving have been explained. SECT. III. MOUNTING WITH COUPERS. Plate 1. In all looms mounted \vith coupers, except those for crossed wai-ps, each leaf has its couper, and its long and short marches : in cross weaving, every vipper shaft has its couper and long march, and every under shaft has its short march. The coupers are placed in the frame D, fig. 2, called the top-castle, or heddle bearer, which rests on the side rails of the loom /, ?, and are kept in a horizontal position, during the process of mounting, by means of another small frame, known by the name of the mounters or justers. The end of each couper, which is placed immediately over the centre of the loom, is connected to the upper shaft of its respective leaf by the bow-cords n, w, which, in general, are tied at the distance of about one-fourth of the breadth of the web from each side. The other ends of the coupers B 1 10 ART OF WEAVING. project over the web, towards the side of the loom, imme- diately above the ends of the long marches, to wliich they are respectively connected by the cords e. The long and short marches are fixed on their centres by small bolts, into the march frame w, at the opposite side of the loom. The short marches are tied to the under shafts of their respec- tive leaves, likewise in a horizontal position, equally dis- tant from the leaves and long marches, and at a sufficient distance from both, to prevent their coming in contact when the sheds are opened. When the weaver has arrived at this stage of his pro- cess, which is invariably the same in all looms mounted on this principle, he proceeds to tie up the treadles agree- ably to the plan of the intended pattern. For this purpose he places his cording before liim, and observes which are the raising, and which the sinking cords on each treadle. He commences with the first treadle, to which he connects all the leaves which have the raising marks, by their long marches, and all the othei's, by their short marches. Thus he proceeds M-ith the other treadles, until the whole are tied up. For example, in the plan of mounting already described, there are raising marks on the treadle d where it crosses the two leaves C and D; consequently the long marches of these two leaves must be tied to tliis treadle. But, as there are no marks on the squares where the leaves A and B cross it, sinking cords, as formerly mentioned, are understood; and th refore this treacUe is connected, di- rectly, to the short marches of these two leaves. In the same manner the long marches of the leaves B and C, and the short marches of A and D, are all connected to the treadle c ; and so on with the remaining treadles. All these connexions are formed by running knots, termed snitches, known to every weaver, by which any part of the mounting may be tempered to the artist's satisfaction. CONSTRUCTION OF LOOM MOUNTINGS. 11 SECT. IV. MOUNTING WITH JACKS. The method of mounting looms described in the last section is general, and may be applied to any number of leaves that can be practicably employed. There are other methods, however, which, though more limited, are found more advantageous in some particular branches of weaving. The method of mounting with jacks, which is now to be explained, is of this description, and is generally adopted for weaving plain textures, and in some of the smaller tweel mountings. Fig. 4 is a front view of a loom mounted with jacks, adapted to a plain fabric. A is the heddle bearer, which, as in the last mounting, is supported by the side rails or capes of the loom, which are seen in section at ^, i ; B, the two leaves of heddles; u, v, the two pairs of jacks, suspend- ed from the heddle bearer by their centres ; n, two small rods in the under doups or bows of the two leaves, respectively. When these rods are drawn up to the clasps of the heddles by the handle o, the clasps are opened, and the threads of warp are permitted to pass through them without obstruc- tion. At X are two spring shafts which form the connec- tion between the under shafts of the heddles and their re- spective short marches y. G is a part of the march frame, and t, t, are the ends of the treadles. By examining the fig. it will appear, that each jack is connected by one end to one leaf, and by the other, to another ; so that it would seem that one jack at each side of the loom would be sufficient for a plain fabric : but it is usual to employ two jacks at each side of these mountings, for steadiness, one crossing the other, \/hich, when the loom is at work, move always in opposite directions. There are other methods of mounting jacks, principally with a view to facilitate the shifting back of the heddles ; one of which is very common, that is, by what are termed turn- ]2 ART OF WEAVING. biers, for slackening the hedcUes above when requisite; out the method given in the dra■^ving is the most simple, and at the same time equally convenient with any of the others. Fig. 5 shews the manner in which the jacks are con- nected to the leaves of a four leafed tweel. / Ih tkis pian thctloublo lines A B and C D represent one oct of jack. ! > , n ectcd to the iGa - vca of a four - loafed tweel. ' In this plan the double lines A B and C D represent one set of jacks, which are connected to their respective leaves at the points on which they terminate. The leaves a b and c d represent another set of jacks, shorter than the former, which are suspended from the heddle bearer,' or tumbler, if employed, a little farther down ; but their connexions with the leaves are reversed, so as to move in contrary directions, when at work. The small jacks are added merely for the purpose of keeping the leaves steady when they are raised and sunk, as formerly noticed. It has been ah'eady observed, that there are no raising marks necessary in mounting with jacks, the blank squares, only, pointing out the cords to be tied to the treadles ; but if a plan of cording be made on purpose for jacks, the sinking cords are marked, and the blank squares, of course, signify nothing. As the marks, therefore, on Fig. 5 denote sinking cords, the sheds wliich each treadle produces will stand as under. Treadle 1 sinks the leaves B. and D. and raises A. and C. 2 A D. B C. and 4 B C. A D. Jacks are also employed sometimes in the higher mount- ed looms ; but as it is necessary to have two jacks for each leaf at both sides of the web, for the reason already stated, so many jacks would render the mounting difficult to ad- just in the event of the smallest derangement. Besides, by CONSTIIUCTION OF LOOM MOUNTINGS. 13 the nature of this mounting, when any leaf is sunk, the leat connected to the other end of the jack must be raised ; and therefore, in the present form, jacks can only be applied when one of the leaves with which it is connected is raised and the other sunk, whereas, in the method of mounting with coupers, any one or more leaves may be raised or sunk, independently of all others, which renders this me- thod of general application. Jacks are, however, sometimes mounted in such a man- ner that any leaf may be raised or sunk without affectino- any other, Avhich is eifected by fixing a small screw pulley into each end of the jack, and connecting the leaves over these pulleys ; but it is seldom these contrivances are put in practice. SECT. V. MOUNTING WITH STOCKS AND PULLEYS. This simple apparatus is chiefly employed by customary weavers for strong fabrics, to which it is better adapted than either of the preceding ; not only on account of its being equally steady, but because it is capable of sustaining considerably more stress. Like the jacks, however, it is very limited with respect to the power of raising and sink- ing the leaves, though some contrivances have hkewise been introduced to obviate this objection. At A, fig. 6, is exhibited a method of mounting a three leafed tweel on this principle— « is a section of the heddle bearer, to which the cords c and d are fixed. The upper shafts of the three leaves are seen at b ; and these are connect- ed by the pulleys in the manner represented in the fig. To the under shafts 1, 2, 3, of these leaves, are connected the three treadles, in the same manner as seen in fig. 4. As each treadle sinks only one of these leaves in forming the sheds, while the other two rise, it will appear, that when the leaf No. 1 is sunk by the treadle, it will raise the 14 ART OF WEAVING. double pulley e, together with the two leaves 2 and 3. But as 2 is a fixed pulley, it will follow from mechanics that, when the leaf No. 1 sinks, for example, two inches, Nos. 2 and 3 will thereby be raised, with the pulley e, only one inch. Again, when No. 2 is sunk two inches, the double pulley e will be drawn down half an inch, by which No 1 is raised one inch, and No. 3 will, of course, rise one inch and half to be on a level with No. 1, so that when No. 2 sinks two inches, Nos. 1 and 3 actual- ly rise only one inch as m the first shed. As the leaf 3 has the Yery same connexion with No. 1. that No. 2 has, it is evident, that when it is sunk two inches, the others will, as in the former cases, be raised one; and therefore these three sheds will be equal, although the sinking leaf passes through double the space of the risers. In some speeies of weaving, however, this inequality in the two parts of the shed would be a very material objec- tion ; but as it is necessary, in stout fabrics, to have the up- per part of the shed slacker than the under part, to allow the woof to go on more easily, and for which the yarn beam is commonly raised higher than the cloth beam, this becomes rather an advantage. o Fig. 7 is a stock with two pulleys, mounted for a four leafed tweel. Its draught and cording, with the manner in which the leaves are connected, are marked in the fol- lowing plan. No. 4. ■0| |0 A 1 A |0 0| A 3 A 1 OjO B 2 B 0|0 1 B 4 B 4 1 3 2 1 1 CONSTRUCTION OF LOOM MOUNTINGS. 15 Here the two back leaves A, A, are connected by a cord passing over the undermost pulley, and B, B, by another over the upper pulley. Now, it is evident, that when the treadle 1 is pressed dow^n, it will sink the threads 1 and 2 of the draught ; when the treadle 2 is pressed down it will sink 2 and 3; treadle 3 sinks 3 and 1; and 4, 4 and 1, which is one set of the tweel. Had the draught been straiifht over the leaves as in No 1, it would onlv be ne- cessary to exchange the pulley cords of the two centre leaves. A tweel damboard may be woven by a stock and four pulleys, as in the following scheme. No. 5. 1 4 1 1 I 1 3 . 2 2 2 2 3 3 3 1 . . . 4 4 4 1 1 . . . I 1 1 2 . . 2 2 2 3 . 3 3 3 1 2 4 4 4 4 3 4 12 3 4 1 i In this plan the figures at B are the draught, and those at A refer to the number of the pulleys : that is, the two centre leaves marked 1, 1, are connected together over the first pulley, 2 and 2, over the second, 8 and 3, over the third, and 4 and 4, over the fourth. The ciphers on the treadles may denote either raising or sinking cords; but this plan will be better understood after tweeling has been explained. It has been already observed, that eyed heddles move back over the warp, when requisite, without any obstruc- 16 ART OF \VEAVING. tion. Clasped heddles, however, must be slackened when set back, either from above or below, to relieve the threads between them. This is effected when the mounting will permit, by pressing down the upper shafts ; but when the leaves are fixed above, as in the case of stocks and pulleys, the under shafts are raised for this purpose. Fig. 8 is another method of mounting looms en a simple principle, which, though it does not come with propriety under stocks and pulleys, may Ije noticed here, as it is chiefly employed by customary weavers for extending the variety of sheds. It consists of two sets of coupers a, ff, for each leaf, one connected to the other as represented in the fig. Tliese coupers are connected to their respective leaves by the cords b : and the cord e passes from the cou- per through the centre of the warp to the short march r, to which it is tied. The treadle x is also tied to the short march ; so that when the treadle is pressed dovvn, it raises the outward ends of the coupers, and consequently tlie leaf to which they are attached. V v are two weights sus- pended from the other shafts, for sinking the leaves after beinjT rabed. As there are no sinking connexions in this mounting, the sheds are formed merely by raising the leaves. It is therefore necessar}- that the eyes of the hed- dles should be situated so low, that when the lay is put back to the proper position for throwing the shuttle, tlie warp may be all close to the race-rod. SECT. VI. ARBANGEMEXT OF TREADLES. In manv branches of fancy weaving, the raising marks on the ti'eadles of the cording plan, foiTn either the whole, or part, of the pattern to be produced, when the treadles are placed in their natural or progi^essive order, as in the preceding examples. This position of the treadles is some- times veiy convenient for exhibiting the relation between CONSTRUCTION OF LOOM MOUNTINGS. 17 the cording plan and the sketch of the figure on design paper ; for the former very often conveys a pretty correct idea of the latter. But were the weaver to adopt this ar- rangement in practice, he would either be under the neces- sity of working over the treadles with one foot, or his legs would be often crossing in a very awkward manner, while sliifting from one treadle to another, by which his opera- tions would be greatly obstructed. DifFei'ent methods of placing the treadles of a mounting liave, therefore, been adopted in the various branches of weaving, to obviate this inconvenience. In spot mount- ings, and such other varieties as have portions of their grounds woven plain, the plain treadles are usually placed in the centre, and those which are destined for the figured part, at each side, as nearly as possible, in equal portions. In tweels, and all the varieties in which the order of tread- ing is straight over the treadles ; if the treadles are num- bered as in the foregoing examples, it is plain, that the right foot, when it commences the tread, will work on all the odd numbers, and the left, on the even ones. Suppose, therefore, all the odd numbers to be placed together at the right side, and the even ones at the left ; then, the treadles may be corded so that the treading may either commence at the centre and proceed outward, or at the outsides, and work toward the centre; or, wliich is frequently the case, that one foot may commence at the outside and the other at the centre, and both work towards one side. For ex- ample, if we take the treadles of an eight leafed tweel whose progressive order would be 1, 2, 3, 4, 5, 6, 7, 8; then, in order to work them with both feet without crossing, they may be arranged in any of the following orders : 8, 6, 4, 2, 1, 3, 5, 7. 2, 4, 6, 8, 7, 5, 3, 1. 8, 6, 4, 2, 7, 5, 3, 1. c 1 18 ART OF WEAVING. These arrangements are further exemplified under fancy tweeling. In some of the other lands of weaving, such as victories, crapes, &c. where one treadle works against a number, the left foot usually rests on that treadle, and the right works over the others in all their variations. In other cases, when only part of the treadles can be wi'ought alternately, as in velveteens, &c. two or more successive treadles are placed together, either for the right or left foot, at pleasure, and the weaver treads these in succession with one foot, and then works the others alternately. In some cases however, additional treadles are employed, to make the treading equal. In other instances, such as tweels with an odd number of leaves, all the treadles are placed in their natural order, and the weaver works over them all with one foot; or, when the treading returns in the same regular order, as in lined work, he works over the treadles from one side with one foot, and from the other side with the other. It frequently occurs, likewise, that one or more leaves are to be raised, occasionally, along vnth some of the leaves which form the principal sheds of the ground. In such cases, the treadles of these occasional sheds may be omitted, by screwing a small piece of wood, such as a piece cut off the end of an old shaft, to the point of the principal treadle, and applying to it the treadle cords of these additional leaves. These attached pieces are called tongues; and Avhile the weaver continues to work the ground, he keeps his foot on the principal treadle only; but when the additional leaves are to be raised, he slips his foot forward on the tongue, and presses it down along ^vith the treadle. CONSTRUCTION OF LOOM MOUNTINGS. 19 SECT. VII. SUBSTITUTES FOR TREADLES. In all the preceding methods of mounting looms, it will be observed, that every shed must have its particular trea- dle ; although the same shed may frequently occur in the course of weaving a pattern. There are, however, many kinds of fancy goods woven with leaves, in preference to the draw-loom, the patterns of which are so extensive, that, to employ the full complement of treadles, would not only embarrass the weaver, but, in many cases, be utterly imprac- ticable. So far, indeed, has the predilection for leaves prevailed in some branches of weaving, that, in order to comprise as many as possible in a small compass, the hed- dles are made of different depths, and their respective shafts raised, one tier above another, to a sufficient height to pre- vent them from touching when the sheds are opened. Thus, for example, were a mounting to consist of ninety leaves, which is not uncommon for some of the finer kinds of silk patterns woven in England, and the shafts made about one eighth part of an inch thick, the whole, by arranging them in three tiers of thirty shafts each, might be comprised in about the space of five inches. Before the invention of machines for opening the sheds of large mountings, the place of greater part of the trea- dles was usually supplied by a draw-boy. If the loom was mounted with coupers, the ends of all the coupers of those leaves which were to be raised to form each shed, were connected to a cord which descended at the side of the loom, and passing through a hole in a horizontal board, which regulated the distance of these cords, had a weight appended to keep it straight, and sink it after being raised. Each shed of the pattern, therefore, had its respective side- word; and the whole were arranged in a straight line in the hole-board, in the same order as the sheds of the pat- 90 ART OF WEAVING. tern occurred ; so that the draw-boy had only to pull them in succession, along the board, as the sheds were required by the weaver. If, to save room, pulleys had been em- ployed instead of coupers, then, it is evident that the cords passing over the pulleys must have been selected, and tied to the side-cords ; though, in this case, a small tail would be necessary, as in the common draw-loom. This simple mode of arranging the cords, which thus opened the numerous sheds of the most extensive patterns woven vnth leaves, is inserted, merely, to convey to the reader a distinct idea of the general principle on which a great varietv of machines have been constructed, to super- sede the use of a draw-boy in the different branches of weaving : for, however much these machines may vary in their forms, or to whatever species of weaving they may be peculiarly adapted, still it must be kept in view, that all the leaves which would have been raised by any particular treadle, must be here selected, and raised by the moving part of the machinery. It will only be necessary in this place, however, to illustrate the preceding observations by a description of one of these machines of the most approv- ed construction; reserving the farther consideration of this subject till tliose branches of weaving shall have been treated of to which this species of machinery is usually ap- plied. Fig. 9, plate 1, is the front view of a machine called the parrot, from the pecking motion of that part which pulls the side or knot cords. The ends of the coupers are seen at A, and are numbered from 1 to 10 inclusive. The knots, or more frequently beads, wliich are catched by the parrot e, appear on the cords at a a ; which cords are ar- ranged in a straight line, and kept at equal distances by the two hole-boards B, B. At CC are the leads or weights appended to the knot-cords, which are, in the present ex- ample, tliirteen in number. The pajfrot e is moveable CONSTRUCTION OF LOOM MOUNTINGS. 21 along the square axle o, and is turned round by pressing down the treadle z, which is attached to the wheel D by a cord round its rim. The cord w is fastened to the parrot; and, after passing through a hole in the wheel D, it is wound about the inner part of the wheel a:, which is turned by the hammer E working in its teeth. Whenever, there- fore, the weaver has occasion to shift the parrot from one knot-cord to another, the hammer E is raised by a treadle, and, falling by the weight attached to it, the cross wire y catches one of the teeth and moves it one tooth round. Thus the length of each tooth nmst be such that the fork of the parrot will move exactly the distance of one bead from another. Fig. 10 is a side view of the parrot, as it is mounted for a double row of knot-cords, which are neces- sary when the sheds of a pattern are numerous. Fig. 11 is a view of the wheel D, with the hole z, through which the cord w runs. Fig. 12 is a front view of the wheel x. p is another wheel on the same axle, but moveable on its axis, m and w are two studs which regulate the number of sheds in the pattern : for, when the wheel x, which is fixed on the axle o, brings the index or handle q, by means of the stud 7)1, round to the catch s, which takes place al- ways at the end of the pattern, the catch s is raised out of the teeth, and the weight t, fig. 9, draws back the parrot until the stud n comes round to the handle q, which it dis- places, and allows the catch s to fall again into the teeth of the wheel where the pattern is to recommence. From an attentive view of fig. 9 it is easy to perceive how the cou- pers and knot-cords are connected for each shed. For example, were the 3d, 5th, and 6th leaves to be raised for the first shed, each of these coupers would be connected to the knot-cord No. 1, at <7; and so for every other shade of the pattern. SS ART OF WEAVING. CHAP. II. Tweeling. V-zOULD any advantage have been proposed, either to the manufacturer or operative tradesman, by entering into a detail of the processes of weaving plain cloth, this branch of the art, both on account of its simplicity and extensive use, is the first in order which ought to have claimed our attention. Since, however, it is not the manual processes of weaving, but the textures and ornamental decorations of cloth produced in the loom which are to be investigated in- this work, it is unnecessary to take any farther notice of the plain texture in this place, than as it stands in relation to the other branches of weaving. In the texture of plain cloth, each thread of woof passes over and under a thread of warp, alternately; and two leaves of heddles, only, are requisite to produce this effect. Tweeling, however, takes a greater range with respect to the intervals at which the threads of warp and weft are in- terwoven ; and these intervals increase and vary in propor- tion to the number of leaves employed, and the order in which they are raised and simk. Next to plain texture, tweeling is the most extensive in its application to every branch of the cloth manufacture : it not only serves as a ground on which other decorations are woven, but it forms, purely on its own principles, some of the most beautiful patterns which can be produced in the art of weaving. The number of tweels, which may be woven by varying the succession of the draught, plan of cording, or order of treading, is very extensive ; but they may, for the sake of distinction, be treated of under the following heads, namely, biassed or regiilar tweels, broken or satin tweels, and fancy tweels. TWEELING. 23 SECT. I. REGULAR BIASSED TWEELS. In the biassed tweels, the small stripes of flushing, form, ed by the intervals at which the warp and woof are inter- woven, run obliquely across the cloth ; which is effected by drawing the warp threads in regular succession over the leaves, as formerly explained, and working over the treadles in the same order, one leaf only being raised or sunk by each treadle ; although it is understood in this, as well as the other branches of weaving, that the smallest number of leaves is raised, and the greatest sunk, when practicable. The first variation or change from plain cloth is the three leafed tweel, in which every third thread is raised in suc- cession, the weft passing over the other two. This is some- times termed the blanket tweel, and sometimes the fustian tweel, from being frequently employed in weaving these fabrics. The four leafed tweel flushes the weft over three threads of warp, and is only interwoven at the fourth. The five leafed tweel flushes the weft over four warp threads, and sinks it under the fifth ; and so of any higher number of leaves ; for here the leaves only extend the range of flush- ing, by which the resistance that the warp naturally op- poses to the weft is proportionally diminished. For this reason tweels frequently take their designation from the number of leaves employed in weaving them ; though sometimes, from the name of particular kinds of cloth to which they are most commonly adapted. The following plans, and their corresponding figures on design paper, will sufficiently explain this species of tweel- ing, as the number of leaves in the mountings rise pro- gressively from that of the plain texture to the six leafed t^veel ; and, as the order of dra^ving in the warp, tying up the treadles, and working over them, are uniformly the same, whatever number of leaves may be employed, the principle may be extended to any higher mounting. 24 ART OF WEAVIXG. No. 1. Fi^. 1. No. 2. Fiff. 2. No. 3. Fi£. 3. 1 1 H 0| I 2 2 II I I 1 2 2 0| 1 1 A I I I I I -2 2 21 1 2 I 1 .3'3 4. I 3 I 2 I 1 3 3 C 0| I I i ^-t No. 4. Fiij. 4. yo. 5. Fifj. 5. I roi T 1 1 2 2 2 2 B :ioi i_L o| M_L 3 3 4 4- 0| 3 3 4 4 5 5 |0 5 5 4 13 12 11 0| 6 I 5 I 4 I 3 I 2 I 1 6 6 In the plan No. 1, the two leaves A and B are for plain texture, and the additional leaves C, D, E, F, form, respectively, the plans of the three, four, five, and six leafed tweels. The corresponding figures 1, 2, 3, 4, 5, plate II. show the intervals of these textui'es, and the rela- tion which they have to each other. Notwithstanding the general directions given in the pre- ceding chapter relative to the arrangement of treadles, there are some particular cases to which these instiiictions will not apply. These will be occasionally taken notice ot as they occur in the course of the work. In the three leafed tM'eel, for instance, when woven with three treadles, the weaver must work them all with one foot, to avoid crossing his legs in an awkward manner; but when five treadles are employed, he can use his feet alternately with- out embarrassment, as will appear by the annexed plan. TWEEHNG. 85 No. 6. |o 1 1 1 1 2 2 2 6 0| 3 3 3 4 2 3 3 1 The following is a plan of the same tweel woven with six leaves, which is employed in some species of English manufacture. No. 7. 1 1 4. 4 2 2 3 3 3 3 "0 "i' "2" 5 6 6 3 1 The five leafed tweel is sometimes woven with one foot, and sometimes with both, though only five treadles are employed; but to make the treading of the feet alternate without interruption, eight treadles are necessary, as undei'. No. 8. No. 9. I 1 2 2' 3 3, 4 4 3 5 3 3 4 2 1 10 8 6 4 9 2 7 3 3 1 D. H. HILL LIBRARY Norfh Carolina State College 26 ART OF WEAVING. In working No. 8, the weaver presses down the treadle 1 with his right foot; and, as it rises, he shifts the toe ot the same foot upon the treadle 2, which he next presses down : then he works treadle 3 with his left foot, treadle 4 with his right, and treadle 5 with his left; consequently, he is ready to place his right foot again on treadle 1 ^\-ith- out crossing his legs. This method of treading is frequent in working velveteen patterns ; and the weaver is said to hop with his right or left foot, according to the side on which the two successive treadles ai'e placed. With eight treadles, however, the weaver can employ his feet alternate- ly witliout interruption, as marked in No. 9. Regular tweels are chiefly employed when a variety of colours are to be displayed, and in such fanciful patterns as are formed by the tweel reversed. SECT. II. BROKEN OR SATIN TWEELS. In the regular tweels, the flushing has the appearance of a series of small diagonal or oblique stripes on the cloth ; but when the succession of treading or plan of cording is changed, so as to raise the leaves at intervals of one, two, or more from each other, the tweel is said to be broken ; and the flushing no longer runs obliquely, but is variously chequered, according to the disposition of the raising cords, or the order of treading. It is to be observed of satin tweels, that some are per- fect in respect to the intervals at which the leaves can be raised, and others are imperfect. When the leaves can be raised regularly, at intervals of one, two, or more fi'om each other, the tweel is said to be perfect ; but imperfect, when the nmnber of leaves does not admit of this arrange- ment. Tliis -nill be illustrated by the following plans and observations. The lowest tweel that can be broken is that of four leaves, which is usually called the TV/EELING. SATINET TWEEL. No. 10. Fifif. 6. Straight. Draught. Alternate. |0 1 1 1 2 3 |0| 3 2 Oil 4 4 4. 3 2 1 4 3 2 1 FIVE LEAFED SATIN TWEELS. 0. 11. Fig. 7. , No. 12 IN 1 1 1 1 |0 2 |0 2 1 3 i 3 0| 4 1 4 1 3 Oj 5 5 4 3 2 1 5 4 3 2. 1 No. 13. 1 2 3 4 3 3 4 3 2 1 SIX AND SEVEN LEAFED TWEELS. No. 14. Fiff. 8. No. 15. Fiir. 9. 27 — I 1 2 2 3 3 4 " 4 3 5 I u 6 6 G 5 4 3 2 1 7 :, 7 6 5 4 3 2 1 28 ART OF WEAVING. EIGHT AND NINE LEAFED TWEELS. Fi^. 10. No. 16. 1 1 2 U 3 4- 5 6 7 8 8 7 6 5 4. 3 •2 1 No. 17. 1 2 3 •t 5 6 7 U 6 9 9 8 7 6 5 4- 3 2 1 SIXTEEN LEAFED SATIN TWEEL. No. 18. - ] 2 3 4 o 6 V 8 6 9 10 11 12 13 i 14 - 1 15 1 u 16 16 |15 14|13 12 11 lu 9 fe 7 6 5 4 3 2 1 TWEELING. 29 In these plans the treadles are arranged in their natural or progressive order, to point out more distinctly, by the raising marks, the intervals at which the leaves are raised. In the satinet straight draught, for instance, the raising cord for the first treadle is on the back leaf 1. The leat 2 is passed, and another raising mark is placed on the leaf 3. The leaves 4 and 1 are next passed, and the third rais- ing mark is placed on the leaf 2. The leaf 3 is now pas- sed, and the fourth raising mark is placed on the fourth leaf It now appears that, in course of tying up these treadles there must be two leaves passed over between cording the treadles 2 and 3, and that none can be sunk between 4 and 1 : consequently, in this mounting, the leaves cannot be raised at equal intervals ; and, therefore, it is one of the imperfect tweels. Among the five leafed tweels No. 11 will be found to raise each alternate leaf throughout the whole pattern; and that Nos. 12 and 13 pass two and raise the third without interruption; conse- quently, the five leafed tweel is perfect by each of these methods of cording. The six leafed tweel is subject to imperfections similar to that of four leaves ; but the seven leafed tweel is perfect, either by passing one or two leaves, as in the five leafed tweel. Eight leaves make the tweel perfect by passing two, and raising the third ; and this is the lowest perfect tweel that can be woven with an even number of leaves. The nine leafed tweel is perfect by raising each alternate leaf Ten and eleven leaves admit of every third leaf being raised without interruption ; and also, the eleven leafed tweel may be broken, by raising every second leaf; but twelve leaves make an imperfect tweel. Thirteen leaves make the tweel perfect, by raising either every second or every third leaf: fourteen perfect, by raising every third. In the fifteen leafed tweel, either one or three leaves may be passed ; and, in that of sixteen, wliich is frequently employed in weaving some kinds of 50 ART OF WEAVING. fiiie silks, either two or fotir may be passed, and the third or fifth raised. From this general view of the regular and broken tweels, it may be observed, that any odd number of leaves above five "will require an inconvenient number of treadles to al- low the weaver to work them with both feet; they are, therefore, usually wrought with one. Tlie three leafed tweel is extensively employed in weaving stout fabrics, such as blankets, fustians, 8cc. The fom leafed biassed tweel is usually appropriated to the imitation harness work, diaper, and several species of silk. The four leafed broken tweel, beside the piu-pose already mentioned, is much used in the coarser kinds of diaper, called dornick. The five leafed satin tweels, of which No. 13 is usually selected, is applied to diaper and the coarser setts ©f damask ; and the eight leafed broken tweel is appropriated to the finer kinds of damask and Canton crapes. It may be farther remarked, that all rweel mountings of an odd number of leaves, except that of three, which does not admit of being broken, \n]l produce perfect tweels, it being among the even numbers that imperfections are found. The effect of a few of these tweels on design paper, will be seen by referring to the figures in the plate. SECT. III. FANCY TWEELS. In all the preceding tweels, whether regular or broken, only one leaf is raised by each treadle, all the others being sunk; by which means the greater part of the weft is thrown to one side of the cloth, and of the warp to the other. Of what are here denominated fancy tweels any number of leaves may be raised at pleasure, and a variety of flushing interspersed with plain texture, produced, in proportion to the extent of the mounting, and the order in wliicli the leaves are raised. TWEELING. SI The lowest of these tweels that occurs is that of four leaves, or double jean, formerly noticed. This mounting admits of no more than three varieties in tweeling, name- ly, the regular or biassed tweel, the broken or satinet tweel, and the double jean or serge tweel, in which two leaves are raised and two sunk by each treadle : for, were any other arrangement made of the cording, it would only change one or other of these tweels to the opposite side of the cloth. As this mounting, however, is very much em- ployed, as well for plain as for tweeled fabrics, it may be of use to subjoin plans of the cordings which produce these textures, both when the draught is straight over the leaves, and when it is alternate. N'o. 19. Fig. 11. 1 |0 1 |0 2 0| 3 o\ 4, 2 1 4 2 3 1 No. 20. 1 3 2 4 2 1 i< 2 3 1 32 ART OF WEAVING. In No. 19, the warp is drawn in I'egular succession over tke leaves, and the cording of the tAveel is adapted to prac- tice. As plain fabrics are generally woven with four leaves instead of two, to prevent the heddles fi'om being too much crowded together, the warp is commonly di'awn on alter- nate leaves, as in No. 20. The following examples will show how an endless variety of pattern may be produced in fancy tweeling, the number of leaves is increased, and the plan of cording varied. As the eight and ten leafed iweels are in frequent use, both in the cotton and silk manu- factures, some of their principal varieties are subjoined. In those of eight leaves both the pattern and treading plans of cording are given, which will serve to illustrate the observa- tions formerly made on the subject. Under the word pattern the cording exhibits one complete set of the tweel, and under treading will be found different methods of ar- ranging the treadles. To show the effect of any of these plans on design paper, it is only necessary to fill a corre- spondent number of squares, equal to the number of squares in the cording plan ; and by repeating the plan on each side, both the run of the pattern, and the joinings will be exhibited. Tliis will be obvious, by comparing the few examples on design paper with their respective cordings. It may further be observed, that varieties may be produced as long as the raising marks are fewest in number on the treadles : but when they exceed the sink- ing ones, the pattern resulting has every chance to be the same as some of the preceding ones thro^^Ti to the opposite side of the cloth. TWEELING, FIVE LEAFED FANCY TWEELS. No. 21. Fi 3 2 I 5 4 3 2 1 SIX LEAFED FANCY TWEELS. No. 23. Fig. 14. No. 24. Fig. 15. 0| 1 1 o| 1 0| 2 |0 1 3 0| 1 1 t' 1 4 |0 1 5 0| II 0| 6 I G 5 4. 3 2 1 6 5 4 3 2 1 No. 25. No. 26. Ficr. 16. ^11 1 1 1 1 2 1 1 |o 3 1 iO|0 4 1 0|0| . 5 1 0- 0| 1 G 1 G 5 4 3 2 1 6 5 4 3 2 1 SEVEN LEAFED FANCY TWEELS. No. 27. No. 28. 1 ^ 1 1 ! - jo 2 jo 1 "0 ^ f 1 3 1 4 |o u U 0| 5 d" 0| 1 6 0^ 1 ' ~ r~ ^ " ! V G 5 ^^ 3 -^ 1 7 6 3 4 3 2 1 1 34 ART OF WEAVING. No. 29. No. 30. 1 |0 0| "0""" 2 3 1 4 |0 5 1 6 i 7 j 7 6 5 4 3 2 1 7 6 5 4 3 2 1 1 EIGHT LEAFED FANCY TWEELS. No. 31. Fig. 17. PATTERN. TREADING. "0" 1 ! " 2 <' 3 |0 4 1 5J 6 7 8 8 7 6 5 4 3 2 1 8 6 4 2 1 3 5 7 No. 32. Fiff. 18. I U" 2 3 4 0' 'W 5 6 7 8 T 6 8 5 4 3 2 1 8 6 4 2 1 3 5 7 TWEELING. No. 33. 35 No. 34. |0| 1 0| |0 2 1 1 3 1 1 4 |0| 5 0| 1 6 0.0 1 1 7 1 |0 8 8 7 6 3 4 3 2 1 8 6 4 2 7 5 3 1 No. 35. o| 1 1 0" 1 1 2 "0" 1 1 3 1 1 4 loio 3 1 1 6 1 1 7 1 8 1 8 7 6 3 4 3 2 1 2 4 6 8 7 3 3 No. 36. 1 |0| |0 2 1 1 1 3 1 — 4 0| |0| 1 |0| 1 3- 0| |o — "0" 6 0| 10 1 7 o| 8 1 8 7 6 3 4 3 2 1 2 4 6 8 7 3 3 1 36 ART OF WEAVJNG. TEN LEAFED FANCY TWEEL8. No. 37. Fi2. 19. io| 1 0| 1 1 i |o 2 1 3 — |0 "0" — . 4 5 6 7 8 9 10 10 9 8 7 6 5 i 3 2 1 No . 38. Fig. 20. 0| 1 10 2 o| 3 4 o |0 6 7 |o 8 9 10 ~9" 8 7 10 6 5 4- 3 2 I No. 39. Fi2. 21. |o 1 |0| 2 |o 3 i0|0 4 IT 010 o 1 1 6 1 1 7 1 0| s 1 9 0|0 10 1 10 :.' 8|T 1 1 n 5 4 3 2 1 TWEELING. 37 No. 40. No. 41. -^-^— — 31IoTo_M_oj_ oToj_9_L_LojZII 10 7 6 l^L :i"~n I L 5 14 13 10 58 ART OF WEAVING. jS'o. 43. 1 1 1 2 3 4 5 6 7 8 1 1 1 9 1 1 1 10 10 1 9 1 S 1 7 1 6 1 5 1 i 1 3 1 2 1 1 1 No. 44. 1 1 2 3 4 5 6 7 8 9 10 10 9876543 2 1 No. 45. 1 1 1 2 1 3 1 4 [0 5 1 6 "0" 1 1 — — - 7 8 1 -r — - 9 10 10 9 8 7 6 5 4 3 2 1 TWEELING. No. 46. S9 1 i 2 I 3 4 5 6 7 8 9 10 i 10 98765432 1 TWELVE LEAFED FANCY TWEELS. No. 47. Fisr. 22. 1 1 1 |0| 1 |0|0|0| 1 2 3 0000 000 4 5 6 I 7 0000000 8 1 9 1 1 1 10 0| 1 1 1 11 |0 0|00 0|00|0 12 12|11 10 19 8 7 6 5 4|3 2|1 No. 48. |0 1 1 |0 1 1 1 1 1 2 1 i 1 1 3 00 |0|0|0|0 4 1 1 1 1 1 5 1 1 1 1 6 1 1 1 1 7 "0" 1 I 1 1 8 1 1 |0| 9 1 1 1 1 10 1 1 1 1 11 1 1 1 1 1 12 12 11 10 9 8 1 7 6 1 3 1 4 1 3 1 2 1 1 49 ART OF WEAVING. All the runiiing tweels may be converted into waved patterns, merely by working over the treadles from side to side, alternately, or in a zig-zag manner, and the waved sti'ipes thus formed will rim by the length of the cloth. Diamond draughts, which vrill be explained in the next chapter, will produce waved patterns, running across the cloth, by working the treadles straight over in one dii'ec- tion, as in the running tweels. Other varieties will be had, by making a little variation in the draughts, as m the pillow tweel, wliich will be found among the following examples. WAVE. STOCKINET. No. 49. ¥m. 23. No. 50. Fiff. 24. 1 1 2 2 3 3 1 i 4 i 3 5 9 2 6 8 1 7 1 2 3 4 WAVE. No. 51. Fiff. 25. 1 1 2 3 4 5 6 7 8 9 10 10 9 11 8 12 13 6 14 5 15 4 16 3 17 S,c. 2 20 1 19 TWEELING. TWEEL FOB PILLOW CASES OR BED TICK. Fig. 26. No. 52 No. 53. HERRING BONE. No. 54. Fig. 27. 10 5 1 9 6 2 12 8 3 11 4 4 2 3 1 Fig. 28. No. 55. No. 56. 41 1 10 5 1 2 9 6 2 3 12 8 3 4 11 7 4 4 1 5 3 2 6 2 6 3 1 5 4 4 3 2 1 1 5 1 2 7 3 3 8 6 4 4 2 4 6 10 3 7 2 8 1 5 9 4 2 3 1 No. 57. Fiss. 29 and 30. 11 5 12 10 6 4 15 13 9 7 3 1 14 8 2" 6 5 4 3 2 1 Treading of Fig. 29. 4 5 6 3 2 1 Treading of Fig. 30. 42 ART OF WEAVING. SECT. IV. TURNED OR REVERSED TWEELING. In all the regular and broken tweels, the greatest pro- portion of the weft is thro^vn to one side of the cloth, and of the warp to the other. In a five leafed tweel, for ex- ample, if the warp were one colour and the weft another, and as there is always one leaf raised and four simk, it will follow, that four-fifths of the weft will appear on the upper side of the cloth, and of the warp, below. But were the plan of this cording reversed, four-fifths of the warp would be thi'own to the upper side, and of the weft below. Chang- ing the appearance by the weft from one side of the cloth to the other in this manner, is called turning or reversing the tweel, and is of very extensive application in different branches of weaving, particularly dimities, diaper, and damask, which will be explamed in their proper places. Suppose, therefore, that a piece of cloth were to be wo- ven in tweeled stripes, one stripe the reverse of the other, two setts of tweeling leaves would be necessary; and the plans of cording, on the ti-eadles, wovdd also be the reverse of each other. The first of these tweels, in respect to the number of leaves, is the dimity cord, which is merely the three leafed tweel turned, a plan of wliich is subjoined, both for cording and treading. DIMITY CORD. No. 58. Cording. Treading. 1 1 1 1 1 |0 |0 2 2 2 1 i 0| 3 3 3 |0 01 |0 1 1 1 1 1 "1 2 2 2 |0 1 1 3 3 3 |0 1 3 2 1 6 4 2 3 1 5 TWEELING. i3 In the above plan the first nine tlu-eads of warp are drawn on the back set of leaves, and the other nine on the front set. Under the word cording, the raising marks are so placed on the back leaves as to flush the weft on the up- per side of the cloth, and on the front leaves, to throw up the warp. In the right hand plan, the cording is adapted to practice, which, as formerly observed, requires five treadles to make the treading alternate. The patterns, in these fabrics, are formed and regulated entirely by die quantity of warp drawn on each set of the leaves. PLANS OF THE REGULAR AND BROKEN TWEELS, REVERSED. No. 59. Regular. Satinet or Broken Tweel 1 0| 111 1 1 1 2 2 2 1 1 1 3 3 3 1 1 4. 4 4 111 00 2 2 2 000 333 00 000 444 000 4 3 2 1 4 3 2 1 FIVE LEAFED REGULAR AND BROKEN TWEEL STRIPES. No. 60. Regular. Broken. 111 2 2 2 3 3 3 4 4 4 5 5 5 111 2 2 2 1 3 3 3 1 4 4 4 1 5 5 5 1 5 4 3| 2 1 5 4 3| 2 1 J 44 ART OF WEAVING. These examples will sufficiently show the nature of turned tweel stripes : and the varieties may be increased at pleasure, by additional leaves, and by varying the size of one or both stripes. But to convert tweeled stripes into checkers, or alternate squares, another set of treadles is necessary, in order to throw the flushing of each stripe from one side of the cloth to the other. The following plans will show, by in- spection, how this is effected. FOUR LEAFED TWEEL DAMBOARD. No. 61. Fig. 1. Plate i,. |0 0|| 11111 01 1 2 2 2 2 2 1 1 3 3 3 3 3 1 |0 4 4 4. 4 4 1 11111 2 2 2 2 2 1 1 ||0|0| |0 3 3 3 3 3 1 |0 1 4 4 4 4 4 ! 14- 3 2 1 1 4 3 ^IMI 1 1 1 Here it will be observed, that if the treadles at A be wrought four times over, or equal to the number of draughts in each space or stripe ; and again, the treadles at B, as often, it will be obvious that two rows of squares will be produced, one row the reverse of, and bosoming with the other ; and by repeating this operation, the pat- tern will assume the appearance of a checker board, or, as it is commonly termed, a tweel damboai'd. TWEELING. 45 DICED SATINET. No. 62. 0|| 1 1111 00 0|||0 2 222 00|||0 3333 000|0| i i -I 4< 0| 1 1 1111 |0|0 0| 222 2 |0| 00| 3333 |0|00 1 4.444) 1 4 1 3 2 1 1 -4 3 2 li 1 1 FIVE LEAFED REGULAR TWEEL DAMBOARD. No. 63. 111 2 2 2 3 3 3 4 4 4 3 3 3 111 — 0" 2 2 2 3 3 3 4 4 4 3 3 3 3 4 3 2 1 3 4 3 2 1 FIVE LEAFED BROKEN TWEEL DAMBOARD. No. 64. 0| 111 0| 2 2 2 0| 3 3 3 1 4 4 4 0|i 5 3 3 1 111 0000 222 |00 00 333 10 000 444 0|0 000 333 |3 4 3 2 1 3 4 3 2 |1 II 1 1 1 I 1 4(5 ART OF WEAVING. In making plans of cording for reversed tweeling, of which considerable variety may be produced, particular care must be taken to avoid placing the I'aising marks of the different sets or divisions close together at the joinings: for, were this not attended to, part of the flushing of one division might be extended over another; by which the lines that divide the parts would not be distinctly defined ; or, in the language of diaper weavers, the divisions would not cut. This will be better understood by comparing the following plan, with No. 61 above, in which it will be observed, that there is a raising mark on treadle 1, right hand set, for the back leaf of the front mounting, placed immediately contiguous to the raising marks on the back set, which continues the flushing of the back division into the front one, making an unevenly side similar to the teeth- ing of paper spots. And if the same figure be inspected with attention, it will be found that there is no possible way in which these divisions can be joined, but the flusliing of one division Avill run into the other, both by the warp and weft. The most simple rule to find if these cordings be correct, is to fold one division over the other in both directions; and if the raising marks in one compartment or division, fall exactly on the sinking marks of the other, this imperfection will be avoided. No. 65. — 1 0|0 1 1 1 1 |0 0! 1 1» 2 2 2 0| 1 1 1 1 3 3 3 1 1 1 1 1 4 4 4. 1 1 |o I 1 1 _JOI 2 2 2 o| 1 3 3 3 1 1 4 4 4. 4 3 2 1 4. 3 1 2 1 1 LINED WORK. 4? CHAP. III. LINED WORK. SECT. I. FroiAI the preceding examples of fancy tweeling, the tran- sition to hned work is short and easy. Instead of the straight, or over and over draughts of the former, hned work patterns are usually woven widi what is termed a diamond di'aught : that is, a draught wliich runs straight over the leaves from the back to the front, but returns, in the same order, to the back leaf again for one sett of the pattern; forming a zig-zag figin-e on the upper edges of the shafts. Sometimes, hoAvever, patterns of this kind are woven in more complex draughts, which will be ex- plained in the sequel. The treadles, also, when placed in their natural or progressive order, are wrought from side to side alternately, in the very same order of succession as the draught. ^Vllatever variety, therefore, is adopted in die cording plan, one sett of the pattern will, by the preceding arrange- ment, be nearly double the extent by the warp, of that produced by a single di-aught ; but the additional part will be inverted. And as the treadles are also twice m-ought over, the figure will again be nearly doubled by the weft ; the latter part, which is formed by returning back over the treadles, being likewise inverted : so that a square or diamond figure is commonly produced, each side of which is equal to the plan of the raising marks on the treadles. These patterns Avould be exactly four times the dimensions of those arising iVom the single draught, were two threads of warp drawn upon each leaf throughout the pattern ; but, 48 ART OF WEAVING. in iveneial, those patterns turn upon a single thread at the points, both in the warp and weft ; so that there is only one thread drawn on the back leaf, and one on the front leaf, while there are two on each of the intermediate ones. The same is to be observed of the treading, which will be obvious from the following examples. The smaller mountings of this kind produce but a very limited variety of patterns, commonly a small diamond or lozenge figure, with a dot or speck in the centre, which gives it the resemblance of an eye : hence these figures are generally denominated bird-eye patterns. When the mountings, however, extend to eight leaves and upwards, they admit of considerable diversity in flushing, tweeling, and plain texture, deviating from the formal figures of the bird-eye, and which now assume the appearance of what is called lined work. No. 26, fig. 8, is an example on which the blank squares represent raising cords. BIRD-EYE TATTERNS. No. ] . No. 2. Plate 2. Fig. 31. Fig 32. 1 1 (>: 6 2 6 2 5 3 6 3 4 4 4 3 2 3 6 1 4 ^ 1 2 6 ' No. 3. Fig. 33. No. 4. Fig. 34. 1 1 8 2 8 2 7 3 7 3 "0" — 6 4 6 4 3 o 5 4 6 3 7 2 8 1 5 * 6 3 7 2 8 1 LINED WORK. No. 5. No. 6. Fig. 35. Fig. 36. 1 8 2 7 3 6 4. 5 5 4 3 2 1 6 7 8 ,43 ^67 2 1 8 No. 7. Fiff. 37. No. 8. Fig. 38. 1 1 1 10 10 2 1 0| 9 3 1 0| 1 8 4 1 |0 |0 7 5 1 0| 6 Oil 6 7 4 8 3 211 9 10| P 5 4 3 ^789 2 1 10 No. 9. No. 10. Fig. 39. Fig. 40. |0 1 1 |o 1 10 2 1 1 1 9 3 1 1 1 8 4 0|0| 0| 7 5 0| 1 1 1 fo" 1 6 6 5 7 4 3 2 8 9 10 1 6 5 7 4 3 2 1 8 9 10 No. 11. No. 12. 1 1 10 2 1 9 3 |0 8 4 jo 7 5 1 6 1 6 5 4 3 2 1 7 8 9 10 „ 5 4 3 2 1 ** 7 8 9 10 49 50 No. 13. Fig. 1. ART OF WEAVING. LINED WORK PATTERNS. Plate 3. No. 14. Fiff. 2. ^ 1 1 1 1 1 14 2 |0 |0 1 13 3 1 1 12 4 1 1 11 5 1 1 ^0 10 6 0.0 1 1 9 7 1 1 1 8 1 1 J. 7 6 5 4 3 2 1 ^ 9 10 11 12 13 14 a 7 6 5 4 3 2 1 '^ 9 10 11 12 13 14 No. 15. Fig. 3. No. 16. Fiff. 4. 1 1 '0 1 _ 1 14 2 1 000 0| 13 3 0| 00 000| 12 4 0|0000 00 |0 11 3 0|00 00 00 10 6 00 0|00 000 97 00 0| 8 1 8 7634321 ^7634 3 2] 9 10 11 12 13 14 * 9 10 11 12 13 14 No. 17. No. 18. 00 00 1000 0|0 00 14 200 00| 013 30 00 |0 000 12 4 000|0 000 115 0000| 000 10 6 0000| 00 97 0000 |0 00 8 000 0| -,7654321 „7654321 " 9 10 11 12 13 14 ** 9 10 11 12 13 14 LINED WORK. 51 No. 19. No. 20. 1 14. 2 13 3 12 4. 11 3 10 6 9 7 8 a 7 6 5 4. ® 9 10 11 12 3 2 1 13 14. a 7 6 3 4. ® 9 10 11 12 3 2 13 14. 1 No. 21. No. 22. "5" ~ 1 b ^1 14 2 ^ 1 13 3 12 4, 11 3 10 6 9 7 it 8 7 6 9 10 5 11 4. 12 3 13 2 14 1 8 7 9 6 10 3 11 4 12 3 13 2 14 1 No. 23. Fio-. 5. 1 18 2 00000 00 17 3 0000 00 16 4 13 3 14 6 13 7 12 8 11 9 10 10 98763432 1 11 13 13 14 13 16 17 18 52 ART OF WEAVING. No. 24. Fis. 6. -0" |0|0 1 "0 1 |o 18 2 0| 1 17 3 |0| 16 4 1 i 15 5 0" 1 1 14 6 1 13 7 12 8 1 11 9 |0 1 10 9 8 j 7 6 5 ^" 11 12il3 14 15 4 3 2 1 16 17 18 No. 25. Fiff. 7. - |0 1 10 18 2 17 3 0| 1 1 16 4 1 1 |o 15 5 14 6 13 7 12 8 11 9 10 1 10 9 11 8 12 7 13 6 14 5 15 4 16 3 17 1^ il8 1 No. 26. Fis. 8. "0 1 1 |0 1 6' 1 1 1 18 2 1 1 17 3 1 16 4 ~ 1 15 5 GO 14 6 13 7 12 8 1 11 9 1 10 10 i 9 8 7 6 ^" 111 12 13 14 5 14 3 2 1 15|16 17 18 LINED WORK. No. 27. 55 1 18 2 17 3 "0" 16 4 15 5 14 6 13 7 u 12 8 11 9 10 10 9 11 8 7 12 13 6 3 4-32 1 14, 15 16 17 18 No. 28. |0 1 1 IB 2 17 3 16 4 15 5 "0" 14 6 13 7 12 8 11 9 1 10 10 9 11 8 12 7 13 6 5 14 3 2 ] 1 14 15|l6 17 18 1 i No. 29. '0 1 1 L_ 18 2 . 0|0 b 17 3 ■ 16 4 J5 5 14 6 13 7 . J^ 12 8 10 9 11 11 9 0| |0| 1 10 8 7 12 13 6 5 14 15 4 16 3 2 1 J" 17 18 j S4t ART OF WEAVING. No. 30. 1 18 2 1 17 3 16 4 15 5 14 6 13 7 0| 0| 12 8 1 |0 11 9 1 1 1 10 1 ,f, 9 8 7 6 5 4 ^" 11 12 13 14. 15 16 3 17 2 18 1 1 TWELVE LEAFED PATTERNS. No. 31. Fig. 9. 1 22 2 21 3 20 i 1 19 5 18 6 17 7 16 8 15 9 1 14 10 0|0 II |0| 1 Oj 13 11 0| |0| 1 jOj |0 1 2 ,„ 11 10 9 8 7 6 5 4 ^'^ 13 14 15 16 17 18 19 20 3 2 1 21 22 No. 32. Fiff. 10. 1 1 0| 1 22 2 21 3 Oj 20 4 1 •■19 5 1 18 6 |0| 17 7 |0| 1 16 8 10 1 15 9 0| Oj 14 10 1 1 13 11 |0 1 12 12 11 1019 8 17 13 14)15 16 117 6 18 5 4 3 2 19 20I2I 22 1 LINED WORK. 5SP No. 33. Fig. 11. 1 1 22 2 21 3 20 4 19 5 18 6 17 7 16 8 15 9 14 10 13 11 12 ,g 11 10 9 8 ^^ 13 14 15 16 7 17 6 5 4 3 2 1 18 19 20 21 22 No., 34. Fig. 12. 1 10| |0| 1 1 |0| 1 . 1 1 22 2 1 21 3 20 4 19 5 18 6 j 17 7 1 16 8 15 9 14 10 13 11 12 12 11 13 10 13 9 8 15 16 7 17 6 5 4 18 19 20 3 2 1 21 22 FOURTEEN LEAFED PATTERNS. No. 35. Fig. 13. 1 1 1 II 1 1 0|0 1 II 26 2 1 |0 jOj II 25 3 1 1 1 1 II 24 4 II 0|0| II 23 5 1 Oj L0|| 22 6 |0 II 21 7 r 1 oil 20 8 1 10 Oil 19 9 10 II 18 10 1 II 17 11 (00 II 16 12 1 II 15 13 1 oil 14 1 14 13 15 12 11 16 17 10 18 9 (i 19 20 7 21 6 5 |4 22 23 124 3 2 111 25 26 II 1 56 ART OF WEAVING. No. 36. Fig. 14. "o" 1 Oil 1 1 II 26 2 1 II '^-^ 3 1 II 24 4 1 11. 23 5 1 II 22 6 1 II 21 7 1 C il 20 8 1 0|| 19 9 1 11 18 10 i 1 0|| 17 11 -0- 1 II 16 12 1 1! 15 13 1 II 14 14 1 13 12 11 10 9 8 7 6 15 16 J 7 IS 19 20 21 22 5 4 ^3 2 23 24 25 26 Ml II No. 37. 1 0|0 Oil 1 1 OJ Oil 26 2 II 25 3 F — ^ II 24 4 Oil 23 5 II 22 6 Oil 21 7 II 20 8 |0 oil 19 9 1 li 18 10 1 III 0| 0| II 17 11 0,1 |0| 10 |0 oy 16 12 1 0| |0 1 0| 11 15 13 0| |0| 0| jO |oy 14 , 13 12 11 '■ 5 16 17 10 18 I.'. 8 20 |7 121 6 5 22 23 4 3 24 25 2 111 26 y LINED WORK. 57 No. 38. 1 0|0|0|| 0|0 ||o|| oil I 00|0|||00| 0||||0 II 26 2 00i||0|0 1 |0||0| 0||25 3 1 |0 0| 1 1 |0| |0 Oil 24, i 1 1 1 II 23 5 1 II 22 6 00 00 000 0|| 21 7 '0 II 20 8 II 19 9 ! II 18 10 1 0|| 17 11 ! 0|0 Oil 16 12 i 1 0|| 15 13 1 OOOJO 0000 II 14 j ,. 13 12 11 10 9 8 7 6 5 4< 3 2 1 II '* 15 16 17 18 19 20 21 22 23 24, 25 26 || ! No. 39. FijT. 1.5. 1 1 . 1 30 2 1 29 3 1 28 4 1 27 5 26 6 25 7 24 8 23 9 1 22 10 1 21 11 1 20 12 1 "0" 1 19 13 i 0- 1 i8 14 1 iV 15 1 16 1 |,6 15 17 18 13 19 12 11 20 21 10 22 9 23 8 24 7 23 6 26 5 4 27 28 3 29 2 30 1 1 58 ART OF WEAVING. No. 40. 1 1 II 1 1 1 II 30 2 1 1 II 29 3 1 1 II 28 4 1 1 II 27 5 |0 Ol*^ 00 II 26 6 1 1 II 25 7 1 1 II 24 8 1 1 II 23 9 1 1 II 22 10 1 1 Ojl 21 11 1 1 II 20 12 1 1 II 19 13 1 1 II 18 14. 1 1 II 17 15 1 1 II 16 ,^ 15 14 13 12 11 10 9 8 7 6 5 4. 3 2 1 || "' 17 18 19 20 21 22 23 24 25 26 27 28 29 30 || No. 41. Fiff. 16. 1 0| 0| |0|0| 1 II 1 |0 |0 |0| |0|0 1 II 38 2 — 15" OjO 1 1 1 1 |0 1 II 37 3 0| 0| 1 1 1 1 OjO II 36 4 0| 0| II 1 1 II 35 5 |o jo 1 1 1 1 1 II 34 1 Oj |0| I 1 1 J II 33 7 1 |0| |0|0 |0 j 1 II 32 8 1 1 |0| |0 01 I 1 II 31 9 1 1 1 1 1 1 1 1 1 1 1 1 II 30 10 1 1 jO |0 |0 1 |0|0| 1 1 oil 29 11 |0 Oj 1 |0|0i 0| 1 II 28 12 Oj II 27 13 1 II 26 14 0| ] II 25 15 1 II 24 10 1 0|| 23 17 j 0|| 22 18 |0 Oil 21 19 1 , 1 II 20 1 20 19 21 18 17 16 15 22 23 24 25 14 13 12 11 10 9 26 27 28 29 30 31 8 7 (3 5 4 .32 33 34 3.5 36 3 |:i 37 \:iH 111 ■ il LINED WORK. 59 No. 42. fO|| 0|| 0000 \ &\ H 1 1 1 1 1 jo II 38 2 1 1 1 1 1 1 II 37 3 1 1 1 1 1 II 36 4 1 1 j 1 1 II 35 5 1 II 34 6 1 II 33 7 0|| 32 8 1 II 31 9 1 II ?0 10 I 0|| 29 11 I II 28 12 1 [0 "5" II 27 13 |0 II 26 14 |0 II 25 15 1 II 24 10 1 II 23 17 0) II 22 18 (0 1 II 21 19 1 1 0|| 20 ,.f. 19 18 17 16 15 14. ^^ 21 |22 23 24. 25 26 13 12 11 10 9 8 27 28 29 30 31 32 7 6 1 5 4 3 2 1 II 1 33 34 135 30 37 38 jj | No. 43. 1 0\ II i 1 I |0 0|| 38 2 |0 1 0|| 37 3 0| 0|i 36 4 1 II 35 5 ^~~ II 34 6 II 33 7 ir 52 g II- 31 sr ,0 0|| 30 10 II 29 11 II 28 12 II 27 13 II 26 14 0^|[ 25 15 ■ II 24 16 If 23 17 If 22 18 11 21 19 0' II 20 20 ^^ ^® r" 21 22 |17 |23 16 15 24 25 14 13 26 27 12 11 28 29 10 30 9 8 7 31 32 33 6 5 4 3 2 34 35 36 37 38 lu- ll 60 ART OF WEAVING. SECT. II. DOUBLE, TRIPLE, &C. DRAUGHTS. These examples will be suflScient to apprise the reader, of the great variety of figures that can be woven on lined work, especially by the larger mountings. All these figures, however, are produced by the diamond draught; and, like those in fancy tweehng, arise, solely, from differ- ent arrangements of the raising cords upon the treadles. But, as the resources of fancy weaving are inexhaustible, various other changes will be effected in these figures, merely by diversifying the order or succession of the draught, independently of the position of the raising cords. As every extension of the di'aught in this manner, however, enlarges the figure in a duplicate proportion, that is, as the square of the number of threads in one set of the draught, such patterns, when the leaves are numerous, will occupy a considerable space on design paper ; and there- fore, to save room in the plate, only a few specimens, upon a small scale, can be added. These specimens, however, will sufficiently unfold the principle on which these varie- ties are produced, and wliich may be extended to the larger mountings, at pleasure. The following figure is a plan of what is usually called a double draught, and which is only the diamond draught inverted. DOUBLE DRAUGHT. No. 44. Fig. 17. 1 5 1 11 5 1 6 2 14 10 6 2 7 3 13 9 7 3 8 4 12 8 4 1 2 3 4 /) 6 '' u 11 10 9 ** 15 14 13 12 16 17 18 LINED WORK. 61 , The double draught, whatever plan of cording is adopted, always produces two square or diamond figures, one with- in the other, which are again imbosomed by others of the same kind, formed by the inverted part of the draught. The following is a plan of the double draught upon six leaves, the cording of which is the same as No. 26, in fancy tweeling, and No. 9, among the bird-eye patterns. No. 45. 17 11 1 23 18 16 10 2 24 19 15 9 3 25 20 14 8 4 26 21 13 7 5 27 6 ~5 22 12 6 28 4 3 2 1 7 8 9 10 11 12 13 14 15 16 17 22 21 20 19 18 28 27 26 25 24 23 A triple draught enlarges the dimensions of these pat- terns still farther; producing, in general, three similar concentric figures, which are all imbosomed by others of the same kind, where the draught is inverted, as repre- sented in fig, 18. The following is a plan of this draught on a scale of four leaves, with one leaf raised and three sunk; but it is evident from the preceding examples of lined work, that much diversity will arise here also, by vary- ing the arrangement of the raising cords on the treadles. TRIPLE DRAUGHT. No. 46. Fig. 18. 1 19 15 9 5 1 2 22 18 14 10 6 2 3 21 17 13 11 7 3 4 20 16 12 8 4 1 5 9 15 19 2 6 10 14 18 22 3 7 11 13 17 21 4 8 12 16 20 6^ ART OF WEAVING. From this example it wili appear, that any i»iflT#be** of concentric figures may be formed, by repeating the draught any number of times over the leaves in one direcdow, and returning in the contrary direction as often : so that, should the draught diverge from the centre of tlie cloth toward each selvage, and the treading continued to the same extent, the pattern would be one great figure, com- posed of concentric squares, whose dimensions and variety would depend on the number of leaves, and the arrange- ment of the raising cords. A*iother method of diversifying the draughts of lined work patterns^ is, by dividing the leaves into two equal portions, and drai\ing a few sets of the diamond draught on each portion, alternately. This arrangement throws the group of small figures produced by each set of leaves, into alternate squares, somewhat resembling the damboard pattern. It is customary, however, to introduce an odd leaf into these mountings, immediately between the two divisions, which serves as a point leaf to bothvsets. The following plans will illustrate these remarks. ALTERNATE DIAMOND DRAUGHTS* No. 47. Fig. 19. o 3 1 1° h K 1 ^o o o| \ /\- 1 o o c 1 o 1 W ^ ^ ' O o \l \ / 1'LL 1 ( 3 I 3 2 1 II 4 3 2 111 4 3 2 1 II 4 3 2 1 Sometimes the reversing of the tweel is omitted altogether by one of the divisions ; by which the several members of the pattern are separated from each other, and are formed into distinct spots or figures, as in the annexed example. No. 7. Fig. 10. 4 1 14 1113 3 111 11 13 113 1 11 2 1 2 12 12 2 1 2 1 1 I 3 1 1 1 3 4 1 kc 78 ART OF WEAVING. No. 7. FULL MOUNTING. oil oil 1 |0|| 1 1 |0|| V II II |0| II 1 |0| II II II 0| II II II II 1 II II "o" Ojl 0|| 1 0\\ 0|| 0||0 oil |0 II II II II 1 II II ||0 ||0 1 11 II II II 1 II II II II 1 II II II II 1 II II II II 1 II II oil oil o|o oil oil II ||0 |0 0|! II II ||0 o| oil II II ||0 0|0 ||0 II u 3 2 1 II 4 3 2 1 11 4 3 1 2 i || 4 3 2 1 || These examples are all confined to the four leafed regular tweel, for sake of convenience, as formerly noticed ; but it is very easy to substitute any other tweel for this that may be desired, as will be evinced by the foUoi^-ing example, which is pattern No 3, Fig. 6, woven by a tweel of five leaves, commonly called the diaper tweel. No. 8. Fig. 6. lo 101 oil oil oil !l 11 II II oil II oil oil j 5 14 13 12 1 II 5 4. I 3 I 2 I 1 II 5 I 4 I 3 I 2 I 1 II 5 0^ 4 13 2 I 1 DORNIC AND DIAPER. 79 When a border is added to any of these patterns, either for table linen, or shawls, it is only necessary to vary the draught of the bord from that of the body; and when working the cross borders, the weaver follows the same or- der of treading as this part of the draught. Fig. 1 1 is a pattern of this kind, the cording plan of which is subjoined; the treading of the body and border being the same as their respective draughts. DIAPER BORDER. No. 9. Fig. 11. BODY. BORD. ^ |0|0| I 2 2 I 2 4 2 ^^n n~ |0|0| 2 2 22 2 22 2 2 1 1 TT 0|||0| 2 2 2 2 22 2 2 2 1111 |0 I I I 4 2 2 4 2 4 12 1 It has hitherto been understood that diaper patterns are always woven with treadles; but it will be obvious, that, when a five leafed tweel is employed, all the patterns of above three sets of leaves would require so many treadles as would render the operations of the weaver very difficult, if not impracticable. To obviate this difficulty, the mounting represented in Figs. 13 and 14, plate 1, has been invented; by which, with five treadles only, or what are requisite for one set of the tweel, any pattern to the extent of thirty- five leaves, or seven sets of a five leafed tweel, may be easily produced. In Fig. 14, which is a front view of this mounting, C is the top castle or heddle bearer, D, the leaves of heddles, which, in this example, amount to 20, or four sets of the five leafed tweel. B, is a set of coupers, one for each leaf, to which it is connected by the cord ?% and on which the raising cords are tied. There are no sinking cords in this mounting, as the warp lies on the race rod in the same man- 80 ART OF WEAVING. iier as in the mounting Fig. 8. The ends of these coupers, with their raising cords, are seen at B, Fig. 13. E, Fig. 14, is another set of coupers, equal in number to the form- er, and to which they are respectively connected, for the purpose of raising the opposite ends of the shafts by the cords, w. — 1, 2, 3, 4, 5, are the ends of a set of upper treadles, or rather marches, one for each leaf of the tweel ; a side view of which will be found at A, Fig. 13. Each of these levers is connected to a treadle below, by means of the cords z, which pass down through the warp, and are kept in a vertical position by the hole board a\ m and n are weights which sink the shafts after they have been raised to form the sheds. The following plan will show how the coupers B, are connected to the levers A. No. 10. X 0||x 0||x 0||x oil X liO ♦' - liO X II - II oil X 0||0 X 0||0 X 0||0 X 1 '^ll xli ^11 x|| |0 X 0||0 X 0||0 X 0||0 X oil Here the crosses, or marks X, point out where the tight cords i are tied to the levers A, Fig. 13, and the ciphers denote slack cords which are tied to the small rings a ; the blank squares denoting that no cords are necessary at these intersections of the coupers and top levers. Hence it will appear, that there is one couper of each set, con- nected to each lever A, by a tight cord, and one couper of each set that has no connexion whatever with these levers ; and also, that there are three coupers of each set that are tied to the small rings a. From these rings, cords pass down through the levers A, and up through the box g, where they are tied to another set of levers, the ends of wliich appear at e. These levers are again connected to DORNIC AND DIAPER. 81 another set hy to which the bobs or handles / are appended. Fig. 15 is a horizontal plan of the box g. On the cords by which the bobs are suspended, are knots, which, passing down through the board A, when the bobs are drawn, are prevented from returning, by being put into a narrow cut in the board, as represented at Fig. 16. Now, if we suppose all the bobs to be disengaged from the board k, it is evident that, when any one of the treadles a, e, I, o^ u, are pressed down, there will be only one couper of each set sunk, namely, that which is connected to the top levers A, by the tight cords ; and, consequently, when the weaver works over the treadles «, e, z, o, i^ a. tweel will be produced of one thread raised and four sunk j for the coupers which are connected by the slack cords, and; those which have no cords, will not be affected by the levers A. Again, were all the bobs drawn down, and the knots fixed in tlie box A, it is obvious, that all the connecting cords would become tight; and, of course, when the under treadles were wrought over, all the coupers in the mounting would be sunk, and their respective leaves raised, except those which have no connexion with the levers A ; and thus a tweel would be woven with four leaves raised and one sunk, which is the reverse of the other. Hence it will ap- pear, that when any one or two of the bobs are pulled down, the sets of leaves with which they are connected will produce a tweel the reverse of those which are left ; and by this means, any pattern, to the extent formerly mentioned, may be woven by this mounting. Thus, for example, were the pattern Fig. 9, to be woven by this mounting, and by a five leafed tweel : then, the cording on the coupers Bj Fig. 13, plate 1, may be the same as in the preceding plan. No. 1 ; and the draught and cording, as in No. 6, binding plans. Now, as each of the bobs or handles 1, 2, 3, 4, Fig. 13, is connected to its respective division, and two 82 ART OF WEAVING. divisions raised for each set of sheds ; it follows, that two of these handles must be pulled down each time the weaver has occasion to change from ore set of sheds to another. In weaving the pattern above quoted, therefore, the weaver pulls down the bobs 1 and 2, because these tv\'o bobs cor- respond with the two back divisions, on which there are raising marks where they cross the first treadle. He then works once over his treadles below, as there is only 1 mark- ed on the binding plan. For the second change of sheds, the bobs 1 and 4 must be pulled do\\Ti, these being con- nected with the back and front diN-isions, and the treadles, likewise, are to be once wrought over. For the third change of sheds, the bobs 3 and 4 are pulled, agi-eeably to the marks on the binding plan, and the treadles gone once over : and so on till he comes to the eighth change of sheds, where there is 2 marked on the treadle; which indicates that here he must work t\\ice over the treadles : and so of the others. The process of weaving diaper by the back caam will be explained when we come to treat of the draw- loom. The following is a plan of the four leafed tweel for dornic. ]So. 11. 1 X II 1 X II 1 1 1 X II 1 1 X II x|0||0 |x 0||0| |x|0||0| |x Oli Ox |0||0 x| 0||0|x| |Ol|0|x| Oil X 0| ||x 0|0 ||x|0|0| ||x|0|0 II Another plan for the five leafed tweel. The cording on the coupei's B, Fig 13, is adapted to this plan. No. 12. 0| |0|x|0|10| |0|xlO|lO| |0| X 1 II 1 10|x|0|10| 1 o|x|o:i 3t|0|0|0| |lx|0|0|01 l|xIO|0| .0 1 llxj 0!0|0| |lxlO|0|0| II 0|0 x|0|0||0|0 x|0|0||0| 0|x 1 II 1 1 X 1 1 II 1 1 X 1 1 II 1 1 1 X II 1 1 1 X II 1 0|0| ) S II 1 010|0|xt| |0 1 1 x 11 OJxIOl |0||0|x|0| 1 Oil 1 x|0 |0||0| X 1 1 1 II 1 x 1 1 II DORNIC AND DIAPER. S3 This is the most perfect plan of the five leafed tweel; but it will be observed, that the mark X for the tight cord falls on the centre of the middle treadle, which should also have been a blank space. To obviate this, the tight cord is so fastened that the w^eaver can use it as a tight or slack cord at pleasure. The following collection of patterns will be found use- ful, not only for dornic and diaper, but in several branches of the cotton and silk manufacture, such as crapes, flushed borders and robes, dumb flowers, Turkey gauze, &c. which will be exemplified under their proper heads. A COLLECTION OF DIAPER PATTERNS FROM TWO TO SEVEN DIVISIONS. No. 13. Fiff. 3. No. 14. I I 313 31 |0| I 115117 i |0| 1110 111 |0| 144122 No. 15. Fig. 4. No. 16. |l)"j j 2 251522 |0||81113~3 I 0~r3" 13223 131 |0|44 1119 No. 17. No. 18. i"0T~"| 5" 5 1 1 1 5 5 I 0"] I 1 5 1~5" I "0 i 5151151") |0|1515 No. 19. No. 20. I I 5 2"~I~2~~2 r 2 I I I I 1 1 1 4 1 ~V . I I 2 12 ""5~~2 1 2 I I Q I 1114 1 FT No. 21. No. 22. I I 111181111 10 |0| I 444111 "|0| 11166 1114 4 I |0| 444111 FOR THREE DIVISIONS. Two Divisions Three raised. No. 23. raised III 4 4 4 I. I |0] jo I I 11 2 112 1 4 1 1 1 I I I ( I I I 111 141 2 1 1 2 1 1 1 I I I I 84 ART OF WEAVING. No. 24. 01 I I 18 1 1 8 1 JOJI 3113 133 13113 01 I 1 1 3 1 1 No. 25. 11 4 4 11 1113 13 111 5 3 5 5 No. 26. I I \ ~T~ 13 3 1 1 2 12 1 ~r~ lOIOI 1113113 111 3113 111 0|0i|~l 12121 12 31 I No. 27. o[ I I ~r i 1 2 112 1 T r 0|0| 11 11 2 2 11 11 I 2 11 2 12 11 2 No. 28. 3 113 3 1 3 3 3 3 3 3 1 3 3 1 1 3 PATTERNS FOR FOUR DIVISIOKS. No. 29. 13 3 1 1 3 3 1 — 111 11 111 11 111111 1 1 3 3 13 3 1 1 No. 30. I 141 m nrr 22 22 22 1 4 1 22 11 114 11 11 2 12 2 12 11 11 212212 11 11411 11 DORNIC AND DIAPER. No. 31. 85 | 0|{ 1 1 1 212 212 1 11 22 22 11 1 ^1 If |0| I 2 11 22 22 1 1 2 212 212 2 11 I I I 1 1 1 313 11 1 3113 1 1 1 I I I 1 1 1 3113 111 313 111 No. 32. Ojlll 2224 4222 0'|"0~M~| 11 113 " """ ^ 3 11 11 jojoji 11 11 3113 11 11 "l~~l"6'm 1 I 1 1 3 2 3 i 1 1 1 No. 33. 1 3 5 1 0111 111 33 1111 1111 3 3 1111 0|||| 1 1 313 1 1 No. 34. 5 5 I I I 1 13 3 1 2 1 2 1 1 0|0| I 11111 3113 1 3 1_1_ 3 11111 1111212 13 3)111 No. 35. I I 2 1 15 3 1 12 1 11113 3 1111 I I I I 1 1 11 112521 1 II 1 I rO~ 1 1 2 13 11113 1 2 I TI No. 36. 12 12 2 12 1 1 112 2 2 2 11 . 11 13 3 1 11 1 1 1 3 1113 1 1 No. 37. I I I I 2 2 2 2 1 2 12 2 12 0|ri {22 22 sT dlOl I 14 "^ 4" •fl ART OF WEAVING. No. 38. Oil 121 512 3 15 12 1 I I |0| 1 11 13113 3 115 1 11 1 11 1 i 3 11115 11 11 11 11 51213 11 11 No. 39. ,11115 1 15 1 1 1 1 15 11 5 1 1 i 1 15 5 13 3 1 1 1 11 5 3 3 5 11 No. 40. I I I I 1 1 1 3 6 3 1 5 6 Oil 1 I 515515 5 13 5 15 0| I I \o 11 35 11 115113 11 1153 No. 41. "^ I I I I 1 3 5 1 3 I 3 i j I I I 1 5 113 1 5 113 1 OOIJI 3 113 1 31 13 1 "01011115 1 5 13 3 1 No. 42. I i 1 3 6 3 1 1 I I I I 111 315315 111 2112 11 11 2112 0|0| I I 11 1 4 1 14 1 11 No. 43. , 4 4 4 4 2222 11 11 2222 1 5 15 5 13 1 3 6 3 No. 44. 1 4 J 1 114 1 11111 15 51 11111 11 11 1 1 5115 1 1 11 11 L_ 1 1 11 111 11 1 1 DORNIC AND DIAPER. m No. 45. ||Q[0|1 45 12154 011131111311 0|0|||11 1 1 1 1 3 1 1 |0|0|| 23 11 1132 PATTERNS FOR FIVE DIVISIONS. No. 46. Ill 5115 1 1 1 13 1 3 1 |00|0| 3 3 3 33 3 33 1 OJOJ 33 3333 33 1 |0| 3 3 3 3 33 3 3 No. 47. I II I I 0|0|0| 1112 2 111 0|0| I 1 1 2 2 2 2 1 1 11 2 12 2 12 11 |||||3 11 55 11 11 53 11 3 No. 48. I I I I I 1 2 2 1 12 2 1 1 2 2 I I I I I 2 1 12 2 1 12 2 1 12 OJ^I I I I 5^ 3 1 3 |0|0| I I 3 3 I I I I I 1 3 15 1 5 5 1 No. 49. 1 4 4 4 1 2 2 2 2 2 2 1 5 113 3 15 1 3 5 3 3 0| 3 13 3 113 u ART OF WEAVING. No. 50. |||0J0J_1 1 2 2 2 2 1 1 0] 1 2 2 2 2 1 0|0| I I I 11 1 5 g 1 11 IJLLI_l "~|0|0| I 1 1 1 1 1 1 1 1116 111 1 No. 51. I I |0| 2 12 1 1 2 12 TT~I |o 2 2 2 2 I 3 1 3 1111 3 1 5 |0|0| |_ 1 1 1 1 1 1 3 3 3 113 1111 3 113 PATTERNS FOR SIX DIVISIONS. No. 52. 1 1 1 2 2 1 1 2 1 2 1 1 2 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 No. 52, CONTINUED. 2 2 2 12 1 1 2 2 1 1 11 11 2 112 111 111 2 1 1 I No. 53. Ill 222 1 1 1 1 1 1 1 11 11 11 1 1 11 11 11 1 1 1 11 11 1 1 8 1 1 11 11 1 DORNIC AND DIAPER. No. 54. 4 4 2 2 2 2 3 3 3 3 3 3 3 1 1 1 3 3 3 1 1111 1 3 13 12 2 No. 54, CONTINUED. 4 4 2 2 2 2 3 3 3 3 1 3 3 3 3 3 3 1 2 13 14 1 55 No. ~ 1 11 4 4 4 4 1 1 i 1112 2 2 2 2 2 2 2 11 1 ^ 1 1111 3 1 1 3 1111 1 1111 3 11 11 3 1111 OJO 11 11 311113 11 11 1 1 1 1 3 ] 5 1 1 1 No. 56. 1 4 2 2 3 2 2 3 1 S 1 000 3 3 11 8113 11 — 3 3 113 3 11 1331 212 212 No. 56, CONTINUED. 2 2 3 2 2 3 3 3 3 3 13 3 1 M 90 ART OF WEAVING. PATTERNS FOR SEVEN DIVISIONS. No. 57. 1 1 I 1 1 2 4 2 1 1 1 1 1 1 2 22 2 1 1 1 ] ] 212 2 12 I I 1 11 1 11 1 1 1 11 1 1 1 1 1 1 2 2 2 2 1 1 1 1 1 No. 58. 1 1 1 ojoi 1 1 1 10 1 4 4 2 2 2 2 0|0|0|0 1 1 111 111 |0|0|0 1 1 2 12 2 4 2 2 12 1 |o|o 1 1 112 2 2 2 11 1 1 |0 II 1 1 1 II 1 1 2 12 2 12 1 1 11 11 11 11 No. 59. 11 11 2 2 2 2 1 1 1 1 1 I 1 1 111 111 1 00 22 22 22 000 33 33 33 1 11 11 11 No. 60. 1 11 1 1 11 1 1111 11 11 11 11 11 1 11 1 11 1 JDORNIC AND DIAPF.R. 91 No. 60, CONTINUED. 3 1 s r 1 1 31 13 1 1 1 3 113 1 1 1 1 3 1 1 1 1 3 1 1 1 1 3 11 1 11 3 1 11 1 No. 61. 1 1 3 13 1 3 3 1 3 3 1 111 111 33 1 1111 3 1 1111 3 1 11111111 13 No. 61, CONTINUED. 3 1 3 3 3 3 3 3 3 111 111 11 11 11 3 1111 1 11 11 13 1 11 1 121213 1 11111111 No. 62. ; 1 1 1 11 1 1 1 1 11 2 12 11 11 2 2 11 12 2 2 2 1 11 11 2 2 2 2 11 11 92 ART OF WEAVING. No. 63. " 0|0| 11 1 1 2 2 |0| 1 I "0 112 12 2 4. i 1 12 2 2 2 II 11 2 12 2 II 11 1 111 No. 63, CONTINUED. 1 1 2 2 1 1 2 1 2 1 1 1 2 1 I 1 1 11 No. 64. 1 1 1 i 1 2 2 o 1 1 1 2 12 2 4 — 1 1 1 2 12 2 1 11 2 2 2 ' 1 11 1 111 J No. 64, CONTINUED. 1 1 2 2 1 1 2 2 1 2 2 1 1 _2 1 I 1 1 11 DORNIC AND DIAPBB. n No. 65. — 2 4 2 2 ~0" 2 12 2 4 2 11 2 2 2 2 0" 2 12 2 12 1111 No. 65, CONTINUED. 2 2 2 1 2 1 1 2 2 2 2 2 2 12 2 12 11 11 No. 66. 3 3 3 3 3 113 12 12 1 12 1 113 113 1 113 3 1 2 13 3 1 No. 66, CONTINUED. 3 3 3 3 3 113 12 12 1 1 2 1 1 11 3 113 FT" 1113 3 11 2 1 3 3 1 2 9% ART OF WEAVING, tl No. 67 5 1 11 1 3 1 11 1 3 1113 1 13 1 1 13 11 1 13 11 No. 67, CONTINUED. 1 1 1 1 1 ] 1 1 1 1 1 1 1 1 1 No. 68. 11 13 1 4 4 4 1111 11 1 2 1 113 3 113 3 113 3 No. 68, CONTINUED. 1 3 1 1 1 1 1 1 4 4 1111 I IJ 2 1 3 3 3 3 1 1 3 3 3 3 1 1 13 3 13 3 1 1 DORNIC AND DIAPER. ,^ No. 69. 1 12 1 OOJO 11311311 1 113 3 11 1 2 13 3 12 1 3 3 1 3 3 1 3 13 No. 69, CONTINUED. 3 3 3 3 11 11 3 1111113 3 3 3 13 3 13 Note. The Cordings of all these plans may be varied as in the example given page 80, and the number of leaves or divisions to be raised, will dcpwd on the kind of weaving to which they are to be applied. 96 ART OF WEAVING. CHAP. V. DOUBLE CLOTH. JLhis is one branch of fancy weaving, which has hitherto lent but little aid towards the extension of the cotton or silk manufacture ; having been almost exclusively confined to the manufacture of carpets and quiltings. There seems, however, little room to doubt, were this branch of weaving more generally known among our manufacturers, that it might be applied, with considerable advantage, in the fabrication of various species of cotton and silk goods; especially of such as are in request for warmth and durability. Double cloth is, for the most part, composed of two similar fabrics, generally plain, which are interwo'ven at various intervals, and formed into a diversity of figures, agreeably to the design of the pattern to be produced. Tliis is the method usually pursued in carpet weaving. Sometimes one of the fabrics is superior in quality to the other, as in quiltings ; in which the superior fabric is called the face, and the inferior, the back. It will therefore be necessary, in explaining the principles of this branch of weaving, to take these two methods separately into con- sideration : and, in discussing the former, the reader would do well to keep in view the plans and descriptions of diaper weaving, given in the last chapter, to which the mountings and processes of weaving double cloth bear a strong analogy. DOUBLE CLOTH. 97 SECT. I. DOUBLE CLOTH BY THE JUNCTION OF TWO EQUAL FABRICS. In oi'der to render this species of weaving as perspicvious as possible, let us take, for example, the warp of any plain fabric, one thread of which is blue, and the other white, alternately , and let us suppose this warp to be drawn through a common four leafed set of plain heddles, in the usual way. Then it will appear fi*om the following plan, that, when the draught commences with a blue thread, all the other blue threads will be drawn on the two back leaves at 3, 5, 7, &c. and all the white threads, as numbered 2, 4, 6, &c. will be drawn on the two front ones : and, farther, that by the proper application of a pair of treadles, this mounting will produce the following varieties : — First, When the two back leaves are raised and sunk alternately with the two fore ones, and white weft thrown across, the whole fabric, which is plain cloth, will be form- ed into very small blue and white stripes : and if a shot of blue and a shot of white be thrown in alternately, a cor- responding check will be produced. These sheds will be opened by the two treadles marked A. Secondly, If the two fore leaves were constantly sunk, and the back leaves raised alternately, it is plain, that, by throw- ing in blue weft, all the blue warp would be woven into a uniformly blue fabric, leaving all the white warp unwoven below. This would be the effect of the two treadles marked B. Thirdly, And, vrere the two back leaves constantly raised, and the two front leaves raised alternately, a white fabric would be produced, by throwing across white weft, leaving out the blue warp, above. See the treadles marked C. Fourthly, All the blue warp is sunk, and white cloth woven, by the treadles D ; and 98 ART OF WEAVING. Fifthly^ The white warp is all raised, and blue cloth produced by the treadles E. No. 1. 1 5 1 Blue. I 1 7 3 Blue. 1 6 2 White. » 1 8 4. White. 1 2 3 A. ] 4 3. 5 c 6 7 1 8 1 1 9 |10| 1 D. E. ' By consulting this small scheme, it will be manifest, that each of these webs may be woven separately and distinctly from the other, either when the white or the blue warp is uppermost; but the manner in which they are woven to- gether, and made to pass through each other, at pleasure, will appear from the following plans : — No. 2. White above. s w ^ s 2. ^ p* c: ffi CO a- No. 3. Blue above. 0| 1 1 Blue. 1 3 3 Blue. 1 2 2 White. 1 1 4 4 White. 7 9 8 1 10| to to H- t- 5 to 3 6 to >— 4 ^ s 51 W !♦ * Ht § » CO CO ^ ^ 5* p- If this plan be examined with attention, it will be found, that, in No. 2, where the white warp is above, when the treadle marked 10 is pressed down, one blue leaf is raised and the other sunk, while all the white warp is raised above the shuttle ; and therefore, one shot of blue weft is thrown into this shed, to form the blue fabric. When the treadle DOUBLE CLOTH. 99 8 is pressed down, it raises one white leaf and sinks the other; while, at the same time, all the blue warp is sunk quite clear of the shuttle : into this shed the first white shot is thrown. The treadle marked 9 reverses the blue shed, keeping the wlxite warp still above ; into this shed the second blue shot is thrown: and the treadle 7 sinks all the blue warp, and reverses the white shed for the second white shot. The numbers on these treadles refer to those on the plan No. 1. By following this process, the two webs would be woven quite distinct from each other, the white web above the blue one ; but when the set of treadles at No. 3 are employed, the two webs will change places, and the blue web will now be above, as mil appear by comparing the raising marks upon the treadle plans. Hence, if one shuttle only were employed for both webs, so long as the weaver contmued to work upon one set of treadles, the two webs would still be distinct except at the selvages, where they would be united by the weft. After this manner are the hempen pipes woven, which have been lately adapted in France, to the fire engine; likewise the wicks for the patent lamps, &c.* Plaits or folds are sometimes woven in the loom upon the ends of muslin plaids, or the borders of garments, as part of their ornament. This is effected by working, on a pair of treadles, about a half, three-fourths, or a whole inch, » The weaving of double cloth may be applied to many other useful purposes, as w«U as to articles of curiosity. It was on the principle of double cloth that Mr. David Anderson, Damask Manufacturer, Glasgow, lately wove a shirt with a fine friU, double stitched neck, shoulder straps, and wrist bands ; also gussets, buttons, button holes, &c. with the Royal Arms emblazoned on the breast The whole of this production was executed entirely in the loom, with- out the smallest aid of needle-work. This shirt was presented to His Majesty George IV. who was graciously pleased to express his high satisfaction with ♦he ingenuity of this performance, and through the Right Hon. Lord Sidmouth, His Majesty's Secretary of State, remitted Mr. Anderson ^oO. Another specimen of Mr. ANDERSON'S ingenuity in this line is deposited in the Hun- terian Museum, Glasgow. 100 ART OF WEAVING. according to the size of the plait ; the treadle being corded in the same manner as any of the sets B, C, D, or E, in No. 1 : and this small piece, which contains only half of the warp, is drawn forward by the reed to the face of the original cloth, each half of the warp being on a separate roll. Sometimes both portions of the warp are woven separately in this manner, for a small space, and a number of ends of coarse yarn thrown in between theuj, forming a fine bold cord, covered on both sides with the cloth. The treadles either of No. 2 or No. 3 would produce this effect. If the treadles No. 2 are wrought over a certain number of times, throwing in blue and white w^eft alternately, and the treadles No. 3, as often, blue and white stripes will be produced, running across the web; but, when the two warps are to be raised, so as to form clieckers or alternate squares, another set of leaves must be added, and a certain portion of the warp drawn upon one set, and an equal por- tion on the other, alternately; and these portions, on each set, must be drawn in the very same order as in the preced- ing plan. The annexed scheme will make this plain. No. 4. Fig. 1. Plate 4. White above. Blae above. 10 |0 Oil 3 1 Blue. II 0|0 II 7 3 Blue. oil |0 II 6 2 White. ! 0||0 1 II 8 4 White. ! j Oil II 1 oil 0| If 5 1 Blue. 7 3 Blue. 1 II o|o oil 6 2 White. 1 ^ 110 o| oil 8 4 White. 4 3 2 ll 4- 3|2 111 Blue II White above. || above. A. II B. In this plan we see that a portion of the two warps is drawn jointly on the back set of heddles marked A, and DOUBLE CLOTH. 101 another portion on the front set B, alternately, agreeably to the intended size of the checkers : and farther, that the raising cords are so disposed, that, when the set of treadles A, is wrought over any number of times, according to the number of draughts in each checker, the leaves at A w^ill produce a square of double cloth with the white above, and the leaves B will produce another square with the blue above : and also, that when the treadles at B are wrought over, in the same manner, the leaves A will throw the blue cloth above, and the leaves B, the w hite above ; and thus the checker pattern is produced by double cloth. If these examples are compared with those of the reversed tweeling, the similarity which subsists between these two branches of weaving will become apparent ; and by revert- ing also to the instructions and examples laid down in the preceding chapter, it will be easy to perceive, that, with a little attention to the arrangement of the raising cords, all that boundless variety of pattei-n which is woven on diaper, may also be produced by double cloth : for it is merely substituting one set of double cloth leaves, with its respective treadles and cording, in the latter, for each set of the tweeling apparatus in the former. And hence it will be obvious, that all patterns woven by two divisions, or sets, such as Fig. 1, 2, 3, 4, Plate 4, will have their cordings the very same as in No. 4 ; the diversity of figure arising solely from the succession of the draught and treading, and there- fore can require no further explanation. It will be proper, however, to insert one example, to show how diaper, or any other patterns which require a greater number of divisions, may be adapted to double cloth, and for this purpose, let the binding plan of No. 6 be resumed, with the cording of Fig. 9. 10€ ART OF WEAVING. No. 5. Fio;. 9. 1 Q \ 2 2 \ 3 3 1 2 d '/ |0 11 2 2 1 111 2 c 3 ± 1 11 3 3 1 1 1 1 » J- 1 14 1 1 1 1 a 1 1 1 I 1 1 1 2 2 S 2 3 3 4 a 1 b 1 c 1 d Now, the foil mounting for this pattern upon the double cloth principle Trill be as follows ; in which, the better to dis- tinguish the two webs, the raising mai'ks of the blue warp are denoted by B, and those of the white warp, by w. DOUBLE CLOTH. ios (Jt C5 s _td 1^ iZ i7 — _cc w DC g g fed — IS g _w _w _td w *^ s = _g g T g g g g 5 _td w td CO w— s s W s s s _s_ g s T g _W s s _td w CO g 'g g g g td C35 g "i" to — e g 1 — i_ 1 "g" _td _s_ _0d W ^ J. to 5! re _ w 2 S' (tl g w re s ? = = = — w re •j __ SI 0> 104 ART OF WEAVING. In this plan, the draught is the same as in the diaper mounting; with this exception only, that in the diaper, each straight line over the leaves of the different divisions, represents the vv^arp threads as drawn straight over these leaves, whereas, in this, they are drawn in the order of the figures, 1, 2, 3, 4, as at x. It is farther to be observed, that, by following the succes- sion of treading marked on the binding or general plan. No. 5, the weaver works once over the set of treadles marked D, by which all the white warp on the divisions A and B will be woven above, and all the white warp on the divisions C and D will be woven below, raising the blue cloth to form the figure, and this is effected by throwing in a blue shot on the treadle 1, a white one on the treadle 2, a blue one on the treadle 3, and a white one on the treadle 4. He then works once over the treadles C, once over B, once over A, once over B, once over C, and once over D, all in the same manner as at first ; after which he continues to work twice over the treadles A, twice over B, three times over C, and four times over D ; and so forth, agreeably to the succession of the draught ; all which, it is presumed, will be plain from an attentive perusal of the plan. It may be further observed, that by applying the raising cords as in the diaper examples, No. 3, 4, 5, and 6, the corresponding figures 5, 6, 7, 8, plate 4, will be produced, in all of which, the shaded parts of the figures show where the blue cloth is raised above the white, to form the pattern. In this manner, patterns may be woven in great variety, and might be applied with good effect, in the manufacturing of shawls, bed covers, and other fabrics, in which durability and a display of colours are desirable qualities. DOUBLE CLOTH. 105 SECT. II. OF THE JUNCTION OF TWO UNEQUAL FABRICS. This species of double cloth is chiefly confined to the fa- brication of quil tings, or Marseilles, which are manufactured in considerable quantities in England, and printed for vest pieces. The mounting of a quilt consists of a set of plain hed- dles, usually four, for the face, and a number of stitching leaves, proportionate to the range of the pattern, for the back; and these produce all the variety of figure in the design. The stitching leaves are frequently adapted to diagonal and diamond patterns, although they may be made to produce any other fanciful figures, at pleasure ; and the range of pattern, as in other branches of fancy weaving, may be enlarged beyond the power of leaves, or until the application of a harness becomes necessary. Quiltings are generally woven in reeds of the Manchester and Bolton count, which contain a certain number of beers, or porters, in 24^ inches. The warp and weft of the face are considerably finer than those of the back; and two threads of the face and one of the back are drawn into the same interval of the reed. If we take, for example, a No. 36 reed, that is, 36 beers on 24| inches, the warps and wefts, as noted below, will make a pretty good quilt, or Marseille. For the face, No. 36 7 T-. 1 , , c warps. For the back, 26 J Face, No. 46 7 ^^ft^. Back, 36 3 In weaving these fabrics, there are two shots of the fine, and two of the coai'se weft thrown in alternately. One shot of the fine stitches the back and face together, and one shot 106 ART OF WEAVING. of the coarse is thrown in between the back and the face, clear of both fabrics ; and this is called the wadding. The other coarse shot goes into one of the sheds that works the back, so that when eight shots of weft are woven, four go to the face, two for wadding, and two are thrown into the two alternate sheds of the back. The following plan will show the construction of a Marseille mounting : — No. 7. DIAGONAL gUILT. 1 1 * ^ 1 . . w 1 . . 1 !0 |. .|.|. A |0 1 . .| .) . B 8 16 a 2 6 10 14 b 4 12 c 3 7 11 15 d 13 e 9 / 5 S 1 h In the above plan, A and B are the two leaves for the face, and o, r, w, x, the stitching or back leaves. The treadle b opens one shed of the face and sinks all the warp of the back; and this treadle works alternately with the treadles e, J", g, h, which open the other shed of the face, and, at the same time raise, each one of the back or stitch- ing leaves. The treadles a and c open the two sheds of the back ; while, at the same time, they raise all the warp of the face above the shuttle. The treadle d opens the shed for the wadding, by raising the face and sinking the back. By tracing over the figures that point out the order of treading, it will be found, that the first and second shots, which are fine, are thrown into the face ; but, at the first tread, the stitching leaf x is raised, by which the back and face are tacked together. The third and fourth shots are DOUBLE CLOTH. 107 coarse ; the former goes for wadding, and the latter is the fust shot of the back. The fifth and sixth shots are fine, which are wrought into the face ; but the former has the back leaf w raised, by which the back is again stitched to the face. The seventli and eighth shots are coarse ; the for- mer goes for wadding, and the latter forms the second shot of the back : and thus any pattern may be woven at pleasure, according to the succession of the draught on the stitching leaves, and the order in which they are raised. Although the preceding plan is given in the most concise form of which it is susceptible, in order to render the prin- ciple of this species of weaving as perspicuous as possible, yet, in practice, the weaver would find it very awkward to shift his right foot from each of the stitching treadles to the wadding one, while his left is engaged with a different suc- cession on the tlu-ee others. To obviate this, a wadding trea- dle, with the same cording, is usually placed, alternately, with a stitching one ; by which an-angement, the succession of treading, for the right foot, will be in a regular or progres- sive order over the treadles. Tliis arrangement is common in practice, and is therefore adopted in the following examples. No. 8. A DIAMOND gUlLT. 1 _ 1 1 • 1 ~0 .1 . • . 1 • 1 1 IT 'W . |.|. .|.|.|.|-|.| • 1 .1 .1 .1 .| .1 .1 .1 .1 8 2 4 11 9 7 5 3 1 16 6 12 13 24. 10 14 18 22 20 15 17 19 21 33 108 ART OF WEAVING. No. 9. WAVED QUILT. No. 10. DIAMOND gUILT. 1 II 1 1 • II 1 - i 1 . . 11 1 . • . 1 1 • • • II 1 1 1 . • . • II 1 1 1 1 II 1 1 1 U 1 1 . 1 . 1 ■ 1 . 1 . 1 . 1 . 1 II . 1 • 1 ■ 1 . 1 • 1 • 1 . 1 • 1 • 1 • 1 • 1 . 1 . 1 1 -1 -1 .l r -1 -1 II •! -1 -i -1 -1 •! -1 -1 -1 -1 -1 .1 -1 1 CORDING OF No. 9 AND 10. 1 8 16 21 32 40 48 2 6 10 14 18 22 26 30 34 38 42 46 4 12 20 28 36 44 25 23 27 21 29 19 31 17 33 13 33 13 37 11 39 9 41 7 43 5 43 3 47 1 DOUBLE CLOTH. 109 No. 11. DIAMOND OUILT WITH FOUR FACE LEAVES. 1 0|0 13 7 1 1 1 16 10 4 ^' 0| 0| 14 8 2 17 11 3 12 1 15 9 10 18 6 a 8 16 24 2 6 10 11 18 22 12 20 13 11 15 9 17 7 19 5 21 3 23 1 To prevent the repetition of the wadding treadle, a stick, moving on its centre at the left is sometimes laid across, a little above the stitching treadles, and connected to the wad- ding treadle, which is placed at the right. As the weaver works along the stitching treadles, whenever he has occasion to sink the wadding one, he has only to shift back his heel on this stick, and press down the treadle, without moving his foot either to the right or left. SECT. III. OF TWEELING DOUBLE CLOTH. Although tweeling, however extensively it may be other- wise employed, is seldom applied to double cloth, yet, as there is great room here for a display of ingenuity, especially in the manufacture of shawls, plaids, bedcovers, &c. it will be necessary to show how the several varieties of this kind of texture may be produced. It has been ah-eady observed, that four leaves, two for each set, are required to weave double cloth of the plain texture. If, therefore, one set of tweeling leaves be siibsti- tuted for each set of the plain ones, it will be obvious, that 110 ART OF WEAVING. every variety of pattern that can be produced on the plain texture, can hkewise be effected on tweehng. The follow- ing plan is for the three leafed tweel. No. 12. 1 I w 1 3 w 1 5 w 1 2 b 1 4 A 1 6 b 6 5 4 3 2 1 Suppose the warp on the three leaves marked w to be white, and that on the three marked b to be black; then white weft thrown in on the three treadles 1, 3, 5 ; and black on 2, 4, 6, will make the white cloth above and the black below : and if these two webs be made to pass through each other at different intervals, patterns may be produced in the same manner as explained in section 1st. This mounting makes the one web pure black and the other pure white; but if the two colours of weft be different from the warp, then we may throw the greater proportion of either one or both warps outward, or of one or both warps inward ; and thus a variety of coloui's may be displayed, in a manner that at present is not very common. As it would require, however, a great number of leaves and treadles to weave but a very limited pattern on this principle, even with the economical plans of the diaper, this style seems to be peculiarly adapted to the draw loom ; under which head the subject of tweeling double cloth will be farther illustrated. In the meantime it may be of use to insert a few plans, to show how these various changes may be effected on a imi- form ground. Suppose, therefore, the warp of one web to be purple, and of the other, green ; and that they are to be DOUBLE WORK. Hi wefted with two colours of weft, the one red and the other yellow: then, among others, we may have the followinsf varieties : — No. 13. Yellow weft shows below. Red weft shows above. 1 Pur. 3 Pur. 5 Pur. 7 Fur. 6 2 Gr. 0' "0 4 Gr. 6 Gr. 8 Gr. 8 7 6 5 4 3 2 #> C« CO N) to — 1 »- p- M- i-u "^ '"' e* *< W g pi ^ ^ >< 1= % © p. o Su c ^ ^ ^ a. a. (3. a. o. sn. Cu ? « p p p p p No. 14. 1 1 1 Pur. 1 3 Fur. Fur. Pur. Purple warp |o 5 shows below. — 1 7 2 Gr 4 Gr. Green warp 6 Gr. shows above. 8 "7" 8 Gr. 6 3 4I 3 2 1 No. li 1 1 Pur. 1 3 Pur,. 3 Pur. 7 Pur. 2 Gr. 4 Gr. 6 Gr. 1 8 Gr. 8 7 6 5 4)3' 2 1 Purple Warp shows below. Red weft shows above. 112 ART OF WEAVIWG. No. 16. |0 1 Par. 3 Pur. 1 5 Pur, |0 7 Pur. IT 2 Gr. ^0 4 Gr. 6 Gr. 8 Gr. 8 7 6 5 4*3 2 1 YelloM- weft shows above. Green warp shows above. The weft of Nos, 14, 15, and 16, is inserted in the same order as in No. 13. It will also be found by examining the cording of No. 13, that three-fourths of the red weft will be flushed over tiie green warp on the upper side of the cloth; and, also, that three-fourtlis of the yellow weft is below the purple warp on the under side : so that the greatest portion of each weft will be displayed on the surfaces of the cloth, while the two warps will be nearly concealed in the centre. In No. 14, this order is reversed, and the two warps appear to most advantage : and so of the other examples. Double cloth is also woven for the purpose of making pillow cases, to avoid the seams at the selvages ; a plan of the mounting of which is as folio v/^s : — No. 17. 1 1 1 1 0| 1 1 3 0|0| 1 5 |0| 1 7 1 1 1 2 1 1 1 4 1 1 1 6 1 1 1 8 8 6 4 1 2 1 7 5 3 1 | DOUBLE CLOTH. 113 All that is to be observed in this mounting is, that the tweel of one web may run in the contrary direction from the other, so that no interruption may appear at the selvaoes. Were this not the case, the tweel at each selvage would re- semble what is usually termed the herring bone. Nearly allied to double cloth, is a kind of tweel which shows two different colours of weft on the cloth, one on each side, and which are chiefly employed in the manufacture of silk stuffs. The two following plans are examples of tliis species of tweeling : — No. 18. J±I_M I I ioiQi r o|o| |oi I 6 5 I 4 I 3 \~2Trf S ^ S ^ 5 ^ CO * M " 02" g* CO 3* M tf C/2 Mo. 19. 0( |0 1 I iQ| oi m —r 8 I 7 I 6 I 5 I 4 I 3 I 2 I 1 j In No. 18, which may be called a three leafed double tweel, the white weft will appear to most advantage on the upper side of the cloth, while in the loom. The same is to be understood of No. 19, which is a four leafed double tweel. On this principle many of the goods manufactured at Spittalfields are woven ; and also a fabric which is an imi- 114- ART OF WEAVING. tatioii of what are called Angola shawls. These shawls have their warps of strong cotton yarn, generally double, and twisted, or what is called net warp, and the weft is sometime? cotton rove, and sometimes woollen, one "half white and the other gray ; a shot of each colour being thrown in alternately as in No. 19 : the fom' leafed tweel being commonly em- ployed for this pui-pose. Wlien the fibres of the rove are raised in the process of dressing, they form a fine long shag, somewhat resembling felt. This plan, however, can only produce a plain fabric, of two different coloui's, one on each side: but when figiu'es are formed on these shawls, agreeably to any particular pattern, recourse must be had to the draw loom, when they take the name of double dumb flowers, or double damask, under which head they will be farther explained. If the rove is to appear on one side only, the other side may be woven plain, and common weft thrown in. This will be effected by the annexed plan of mounting. No. 20. 1 11 2 2 3 3 4 4 4, 8 2 7 5 3 1 6 CORDUROYS, VELVETS, THICKSETS, ^C. 115 CHAP. VI. THE MANUFACTURE OF CORDUROYS, VELVETS, THICKSETS, 4^c. As this branch of manufacture has never been carried to any great extent in Scotland, where, consequently, it can be but little known, some account of the several processes which are employed to bring these goods from the yarn to the finished state, will not, perhaps, be uninteresting to the in- telligent reader. The setts of reed in which corduroys, velvets, velveteens, &c. are generally woven, are Nos. 32, 34, 36, and 38 : that is, 32, Sec. beers, of 19 dents or splits each in 24| inches. It is usual, however, to fill only about 33 beers, of 19 dents, of a 34 reed, and about 35 beers of the 38 reed, for cordu- roys ; but velveteens have from one beer upwards more than coi-ds, on account of being more liable to shrink by the bi'eadth, in the subsequent processes. The web, or piece, is generally wai'ped about 58 yards in length ; and, when finished, will stand about 56, or 66^ yards. The wai^p of a 34 reed, for example, is No. 32 mule yarn, doubled and well twisted; and two of these double ends make a splitful or dent. The weft, which is about No. 22 or 24, is thrown in single. There is a kind of cotton velvet, for ladies' pelisses or mantles, which is woven in No. 50 reed, or 50 beers in 28^ inches ; the wai'p of which is No. 62 doubled, and weft No. 52 single. These warps are all well dressed, and dried by running a hot iron over them, before they are put into the loom. The weaver is not paid by the ell, or yard, as in other branches of weaving, but by the quantity of weft he throws into the 116 ART OF WEAVING. web. For example, weft about Xo. 24 is generally paid 21 d. per pound, weaving and winding. In these, as in some of the other species of fancy weaving, considerable ingenuity'' is displaj'ed in the production of pat- terns, which, in general, exhibit a variet}' of flushing pecu- liar to themselves. This will be ob'v'ious fi-om a perusal of the specimens subjoined to these descriptions. The ground, or back, as it is generally termed, is sometimes plain and sometimes tweeled. In the former case it is called a tabby or plain back, and in the latter, a jean or Genoa back ; and the jeans are single or double, according as they are woven in a three or four leafed tweel mounting. Tlie flushing, which is afterwards cut up to form the ridges, is thrown in, and interwoven with the gi'ound at various intervals ; and upon this depends all that diversity of pattern which we see in these fabrics. A few examples vdW illustrate these obser\'a- tions. A PLAIN, oil TABBY BACK VELVET. * No. 1. 3 1 5 2 6 i 1 6 I 4 j 2 I 3 I 1 If we examine this plan, we vn]l find that the treadle marked 1, or the first in the order of treading, will raise all the odd threads, 1, 3, 5, m the cbaught, and the treadle marked 4 will raise all the even ones : consequently, these two treadles, wrought alternately, will produce plain cloth ; or, in other words, they will work the ground or back. The other three ti'eadles are for the flushing By tracing over the treading it \\'ill be found, that there are two shots of the CORDUROYS, VELVETS, THICKSETS, S^C. 117 flushing thrown in for each shot of the ground, which are marked 2, 3, 5, 6, in the succession of treading ; the treadle 6, being the same as 3, is added merely to keep the treads alternate, when both feet are employed on the treadles. 11)6 following plan is an example of a SINGLE JEAN BACK VELVET CORD. No. 2. 1 1 ! 2 3 4 5 6 8 6 4 2 3 1 12 14. 7 5 10 15 13 16 11 9 In this plan, the treadles on which the figures I, 3, and 6, are marked, are for weaving the back, it being the single jean, or three leafed tweel : but as each shot of the flushing weft floats over five threads of warp, and is only interwoven widi the sixth, two sets of tweeling leaves are necessary, .in order to extend the draught to that range. In the present example we also find, that there are ten shots of flushing weft thrown in for six of the back ; and these ten shots are interwoven with the warp threads 3 and 4 in the draught, and the flushed space afterwards cut up by the plough. The following example shows how the draught and cord- ing of a three leafed tweel are distributed on four leaves; the ground ti-eadles beina; 1, 3, and 6. 118 ART OF WEAVING. GENOA BACK VELVERET. No. 3. 4 1 3 2 1 6 3 8 12 6 14 4 7 10 13 16 2 5 13 3 11 1 9 A foiir leafed tweel adapted to six leaves. DOUBLE JEAN CORD. No. 4. II 1 1 1 2 1 7 3 8 4 1 3 1 6 2 4 6 8 3 T^ 7 5 In this plan of corduroy, it will be observed, that there are eight threads of warp, or two sets of a four leafed tweel drawn upon six leaves, to which the cording on the treadles 2, 4, 6, 8, will be found to correspond. Out of these eight threads, only the two, numbered 5 and 6, are interwoven with the flushing, leaving six for the furrow. Now these two threads, 5 and 6, form the base or centre of the ridge, after the flushing is cut on each side, and raised by the pro- cess described farther on. From these, and the following collection of patterns, con- sidered the best of their kinds in present use, the reader will CORDUROYS, VELVETS, THICKSETS, S^C. 119 be enabled to form some idea of the methods by which the varieties in this branch of weaving are produced, to pursue which any farther, in this manner, would only be losing time, as the most complex pattern in this collection, may be analyzed, by tracing the ground and flushing separately. reiJR PATTERNS OF THICKSET CORDS, TABBY BACK. No. 5. No. 6. 5 3 1 3 1 4 2 3 9 7 2 10 8 6 6 4 6 4 2 3 1 6 4 2 3 1 5 i No. 7. No. 8 RSI 8 t |0 6 3 1 D 6 4 0| I 4 2 " 5 2 110 9 7 7 3 1 1 1 10 8 6 6 4 2 3 5 1 6 4 8 3 1 5 VELVERET. VTtLVETo No. 9. No. 10. 4 2 S 3 5 3 1 10 6 14 X ( 9 7 4 8 I 10 8 6 ART OF WEAVING. FOUR JEAN BACK THICKSETS. No. 11. No. 12. |0 1 1 1 |0 1 |0 ! 2 1 1 2 1 3 1 3 Lo^ 4 1 4 \o 5 1 5 o| 6 0|0 6 8 6 4 2 3 1 4 215 3 1 12 14 7 10 13 16 5 15 11 9 8 12 6 10 11 9 7 No. 13. No. 14. 1 1 |0|0| 1 — |0 2 1 |0| 2 1 3 |0| i 3 4 JOIOI 4 5 1 |0| o 6 0|0| 1 6 !l2 1 I 6 1* 4 7 10 13 16 2 5 la 3 11 1 9 ' 8 12 6 14 4 7 10 13 16 2 5 15 3 11 I TWO TABBY VELVETEENS. No. 15. No. 16. 1 |0| 1 0| I 1 1 1 2 1 3 1 10| 3 0| 5 1 1 1 4 1 2 1 1 1 5 1 4 1 1 1 6 1 6 427531 4 2 7531 8 6 ] 8 G CORDUROYS, VELVETS, THICKSETS, (§'C. 12\ FOUn JEAN BACK VEI.VETEENSo No. 17. No. 18. 1 1 1 1 I 1 2 1 2 1 3 1 3 OOJO 4 0|00 4 jo 5 1 5 0|00 6 0|0 06 733421 753 2 41 1 9 8 6 9 8 6 No. 19. No. 20. 1 01 1 1 1 |0 1 1 : Olio 3 1 1 1 0| 31 1 "0 1 5 1 1 1 1 5 i OT 0|0 2 0|||00| 2] "0 10 0| 4 0|0||0| 4 1" |00 6 0||0|0|6 1 753241 7534 2 1 9 8 6 9 8 6 In these four plans, it will be observed, that the treacling is not wholly alternated ; for, in Nos. 17 and 20, the treadles 1 and 2 are placed together, at the right side, and therefore must be wrought in succession by the weaver's right foot. The same will be observed of the treadles 2 and 3 in Nos. 18 and 19, which are placed to answer the weaver's left foot. In the former case, he is said to hop with his right foot, and in the latter with his left. 2 12^ ART OF WEAVING. CORDS. OUEEN S GORD. \o. 21. CORDED VELVET. No. 22. 1 7 3 1 0| 1 II 11 9 3 1 1 10 4 o| |o II 13 7 5 |0 9 5 |0| OjOj 14 8 2 1 8 6 2 1 1 0| 1 12 10 6 4 6 4 2 3 1 ■5 6 4 2 3 1 5 JEAN BACK VELVET CORD. No. 23 DOUBLE king's cord. Xo. 24. |0| 1 jo 1 1 1 oioj jO J 1 1 1 1 1^ 1 2 |0i 1 2 |0|0| 1 GjO-j ^OfO 1 3 |0 Oj 1 1 3 * 0|0| 1 4 1 ! 5 10|0| 5 1 8 6 1 6 0) 1 j 6 1 4 2 3 1 2 4 .8 12 1 3 1 1 IS 14 7 5 11 9 € ! 71 5 10 15 10 11 1 9 13 1 16 - 1 NEW DOUBLE JEAN CORDS. No. 25. No. 26. M 1 5 1 1 ri 1 1 6 2 2 1 1 1 3 7 3 ■ 1 4 6 4 |0 7 o 0| 8 6 8 6 41 2 7 5 10 9 3 1 8 6 4 2 7 5 10 1 9 3 1 COIIDUROYS, VELVETS, THICKSETS, S;C. 123 OLD DOUBLE JEAN CORDS. No. 2T. No. 28. |0 3 1 3 1 6 6 ~0~ — 7 7 2 2 3 3 8 4 8 4 4 8 2 6 7 5 3 1 8 .6 4 7 10 2 5 9 3 1 TABBY CORD IN THE EIGHT SHAFT DRAUGHT, FLOATING 6 AND 4. No. 29. 1 1 9 1 |0| 10 2 1 1 1 3 _l_ © © 0|0| 0|0| 12 6 |0 1 11 |0 1 7 3 1 |o 8 4 6 4 2 3 3 1 AN EXCELLENT EIGHT SHAFT CORD, FLOATING 5 AND 7. No. 30. 1 23 21 17 13 3 |0 26 18 14 10 6 1 9 11 |0 22 2 1 01 16 8 1 23 13 ; 28 24 20 12 4 37 19 117 3 4 8 2 6 7 3 3 1 V24. ART OF WEAVirsG. A SEVEN SHAFT CORD. No. 31. lOj 1 |U| 7 1 1 i 1 |0 8 2 ! I'M 1 1 12 9 6 3 1 0|0| [0 10 4 i 0| 1 |0|0 11 1 |0| jO 5 |0|0i |0 10 8 1 6, 4, 2 3 i 1 12,14 7 3;ll 9 10 15 13 16 17 The above cord stands round and fuiishes well ; and by adding the shot 17, below the hne on the treadles, it will take on more weft. The same is to be understood of any other treading, \\hich is marked in this manner. LITTLE EIGHT SHAFT CORD. No. 32. 1 9 1, 1 10 2 1 o 1 12 1 6 ' 1 11 i 1 7 3 i 0| 8 4 i 8 6 7 5 1 1 1 10 1 9 ; : j 12 In! ; CORDUROYS, VELVETS, THICKSETS, (^C. 125 OLD MUD, OR ADDINGTON CORD. No. 33. 9 1 6 10 2 5 12 ! 6 u 11 7 3 8 4 8 6 4 7 10 2 5 9 3 1 This should be woven in a 38 i-eed. NEW MUD, OR ADDINGTON CORD. No. 34. 9 1 10 2 5 12 6 11 7 3 8 4 8 6 4 7 10 2 5 9 3 1 MELLOR's union CORD, FLOATING 8 AND lO. No. 35. 18 14 10 6 19 15 7 3 1 2 11 j 12 17 13 9 5 20 16 8 4 8 6 4 7 10 2 5 9 3 1 12 11 126* ART OF WEAVING. When the shots 11 and 12 are added, this cord will take 10 oz. weft to a yard. This is a round top cord and finishes well. OLD CONSTITUTION CORDS. No. 36. No. 37. 0|0| 1 1 1 1 9 1 OjOl i 1 1 1 1 1 1 1 10 2 1 1 1 1 1 0|0||0| 1 5 0|0||0|| 0| 1 1 I |0 12 0| 1 1 1 1 |0|0||00| 6 |0|||0|0 1 1 1 1 0(0 11 1 1 1 1 10 1 1 1 1 1 7 3 1 1 1 1 I OJIOJI |0 8 4 0|!0||| 864.5 2 31 8645 2 31 10 9 7 10 9 7 NEW CONSTITUTION CORD. No. 38. ITiis cord has a round top, and when woven in a 38 reed, will take 10 oz. weft per yard. 'W 18 14 10 6 2 17 9 1 15 3 13 5 19 11 7 20 16 12 8 4 8 6 4 7 10 12 2 5 9 11 3 1 CORDUROYS, VELVETS, THICKSETS, S^'C. 127 NEW hunter's cord. No. 39. b L_ «! 13 9 5 1 1 o| z 1 |0 15 4 0| 14^ 6 |0 12 8 liL — 10 ^\' I 15 11 7 3 W 4 6 12 2 5 8 11 3 9 7 1 13 14 This is a 16 end cord, for a 34 reed; but, when the two shots 13 and 14 are added, it will do for a 38 reed, and take more weft. NEW BANCr-UP CORD. No. 40. Mil 17 13 9 5 1 1 1 1 \ 2 20 4 18 6 "0 "0" "d" 16 8 i4 10 l)" — 12 19 15 U 7 3 To" ^ 12 4. 9 2 7 5 3 11 I 14 13 128 ART OF WEAVING. NEW IIMPERIAL CORD. No. 41. 14 10 6 2 13 9 5 1 IT 3 4 12 __ — 11 15 7 6 16 8 8 6 4 7 10 2 5 9 3 1 This is a very finishes M'ell. round top cord, and 12 11 NINE SHAFT CORD, RAISING THE TUFT SHAFTS TOGETHER. No. 42. 28 22 16 — 26 23 17 20 <^ 30 24 29 « 13 23 19 o| 27 21 18 8 12 G 14 4 7 10 13 16 81 2 3 13 17 3 11 1 9 CORDUROYS, VELVETS, THICKSETS, S^C No. 42, CONTINUED. 129 13 7 1 u 8 2 10 4. 14 5 9 12 6 3 EIGHT SHAFT CABLE CORD. No. 43. "o" 17 ]3 9 5 1 2 20 + 1« 6 16 8 U 10 12 19 la 11 7 3 10 4. 6 12 5 11 14 2 8 13 3 9 7 1 TEN SHAFT CABLE COBD. No. 44. 17 13 9 5 1 ; 6 2! 19 16 11 7 3 8 4 10 \-2 U 16 18 20 "10 4 6 2 3 3 7 1 12 8 11 9 130 ART OF WEAVING. THE BOLD CABLE CORD. No. 45. |0| 1 1 1 |0| 34 30 26 22 18 1 1 33 1 1 31 |0 1 29 27 25 23 21 35 19 36 31 28 24 20 B 6 1 4 iO 2 5 9 3 1 7 : 12 In, i i 17 No. 45, CONTINUED. 14 10 6 2 11 13 15 16 12 8 4 CORDUROYS, VELVETS, THICKSETS, c^C. 131 FINISHING CORDUROYS AND VELVETS. Velvets and corduroys, after they come out of the loom, have their flushed parts cut up, the former into a uniformly smooth surface, and the latter into ridges. The piece is spread, for this purpose, on a long table, and the person who conducts this process runs the point of a sharp instru- ment, called a plough, along each furrow, or centre of each flushed stripe. The piece is then exposed on a table, to the action of a pair of strong brushes, which are driven across the ridges by machinery, with a reciprocating motion. At each end of the table is a roller, on one of which, the cloth is wound before the operation, and the other, with a very slow motion, receives it as it comes from the brushes. The use of this process is to raise the pile, and form the cut flushing into ridges above those parts which are incorporated with the warp. When the piece has passed through this machine, the loose fibres are singed off, by drawing its surface over a cast- metal cylinder made red hot. The piece is then immersed in hot water, and rubbed well with a hand brush ; after which it is dried, singed, and again put through the brushing machine ; all of which operations being repeated three times in the same order of succession. The piece is next put into a tubful of hot water, with which are mixed a little vitriol and pearl ashes. This ley is called a chemic. When it is taken out of the chemic, it is spread on the grass, where it lies two or three days, when it is again put through the chemic, and rubbed well with the hand brush, to remove any fire stains or brown spots that may be remaining. Two or three days more exposure to the air on the green, will prepare it for dying the darker colours; but for the lighter shades, it will require a little more bleaching. 132 ART OF WEAVING. PROCESS OF DYEING CORDUROYS, &C. The utensils used in dyeing these fabrics upon a small scale, are a pan or boiler as large as the half of an oil pipe, a scoop, or tin laddie with a long handle, and several tubs of a size sufficient to hold a piece and as much liquor as is requisite to woi'k it in. Then, for dark olive, take one scoopful of fustic, and one scoopful of shumac, and two scoopfuls of log\^'ood cut small. Fill the pan nearly full of water, into which put the fustic, and boil it for an hour fully. Boil the shumac and log- wood separately in the same manner, and put their respec- tive liquors into separate vessels for use. Dissolve a quart of copperas in about 20 quarts of boiling water. Dissolve also, a quart of blue vitriol in the same quantity of hot water in another tub. This done, take 9 scoopfuls of the fustic liquor, seven scoopfuls of the shumac liquor, and one scoopful of the logwood liquor, and mix them well together in a tub. Wet the piece which is to be dyed, thoroughly in warm water, to make it take on the colour evenly, then work it well in the above mixture for about an hour, turning it round regularly upon a small wench. Take some warm water in a tub, and add to it one quart of the copperas liquor. Work the piece in this for about half an hour. It is next washed clean in hot water, and then soaked and rinsed Avell in a tubful of the fustic liquor taken by itself; after which, it is again put through the dye mix- ture as at first. If the cloth is for a dark colour, more logwood is now added to the first mixture. Take some warm water in a tub, and add to it one quart of the copperas liquor, and one quart of the blue vitriol liquor ; in this it is well worked, and afterwards washed in warm water. It is now run through a tubfiil of the fustic liquor, adding fresh liquor, if necessary. CORDUROYS, VELVETS, THICKSETS, S^'C. 133 These operations are to be repeated as often as is requisite to give the piece the intended shade of colour. They are in general repeated five times. The tubs are all emptied, and a new mixture of the dye colours prepared, as at first, be- fore the last operations ; previous to which, it must also be well soaked in the fustic liquor. In this last dye liquor, the shumac is omitted ; and, when the shade is to be dark, the logwood prevails ; but when light, the fustic. After passing thi'ough the dye liquor for the last time, it is wrought in hot water mixed with a quart of the vitriol liquor to green it. Wash it now well in warm water, and it is finished. To give the piece a glossy appearance, and raise the pile, it is rubbed over with bees wax, and afterwards polished with a smooth stone. TO DYE A LEAD COLOUK. Take a scoopful of shumac liquor, a scoopful of fustic liquor, and about a quarter scoopful of logwood liquor, mix them well together, and add water till the tub be about half full. In this the piece is to be well wrought. Take half a tubful of warm water, into which put a pint (half a quart) of copperas liquor. Put the cloth through this, and after- wards wash it in warm water, and it is finished. TO DYE A SILVER DRAB. Take two scoopfuls of fustic liquor, and one of shumac liquor, mix them well with warm water till the tub be about half full, then dye the piece. Work it well again in about half a tubful of warm water mixed with a pint of copperas liquor, after which, wash it well in warm water. Sometimes two or three drops of the oil of vitriol are added, the last time it is washed. 134> ART OF WEAVING. Such are the processes commonly employed to prepare these goods for the market; though of late, some of the smaller patterns are sold in the uncut state, especially those which are woven in the power looms; not, however, by the yard, but at so much a pound weight, which is a great inducement to make a substantial fabric. PLUSH VELVET. Plush velvet or shag, is woven on a principle something different from any of the preceding fabrics. It consists of two warps, one called the main warp or ground, which is commonly made of hard silk, and the other, the pile warp. These warps are beamed on separate rolls, the latter being placed below the former. WTien the heading or end of the piece is woven, the weaver raises the pile warp, which is drawn on a separate leaf from the ground, and into this shade he introduces a wire, which is longer than the breadth of the cloth. A few shots of the ground is woven and another wire intro- duced, and so on with a third wire. In each of these Avires is a gi'oove, along which, the weaver runs the point of a sharp instrument called a truvet, which cuts the pile, and relieves the wires in succession. The first wire, therefore, when thus relieved, is again put into the fourth pile shed, and after a few shots of the ground are woven, the second wire is inserted into the fom'th pile shed ; and this operation is repeated till the piece is finished. The pile warp is conunonly made of softer silk than the warp, or of a fine kind of goat's hair, and the surface of the shag is afterwards cut evenly and smooth with a pair of shears. On this principle, is woven that fabric which is made into liats. CROSSED WARPS. CHAP. VII. CROSSED WARPS. 135 This branch of weaving comprehends all that variety of texture whose warp threads, or any portion of them, do not lie parallel to each other in the cloth, but are either twisted together like a cord between the shots of weft, or otherwise crossed in front of the reed. SECT. I. PLAIN GAUZE AND ITS VARIETIES. This is the most simple, as well as the most extensively useful branch of cross-weaving; and as it may be consider- ed the basis of all the other varieties, a minute description of its mountings and process of weaving will be necessary, especially as no idea of the other branches can be rightly formed without some previous knowledge of its principles. The mounting of a plain gauze consists of two back leaves of common heddles, two plain front leaves, called standards, and two half leaves, called doups. The two back leaves are placed about three inches behind the standards; and the half leaves are placed, one behind the upper half of the back standard, and the other in front of the under half of the fore standard. Hence, the former of these half leaves is usually denominated the upper or back donp, and the latter the under or front doup. Each half heddle, bow, or doup, of the upper half leaf, passes through the under part, 136 ART OF WEAVING f)i below the clasp of its respective standard; and each doup of the under half leaf, passes through the upper part of its standard, as represented in Figs. 2 and 3, plate 5, where C is the back standard, and 1 its doup; and D is the front standard, and 2 the under doup. Fig. 1 of the same plate, is a front \'iew of the fore mounting of a gauze, the back leaves being omitted, a shows the position of the under doup shaft, ee, the shafts of the fore standard, i is the shaft of the upper doup, and oo the shafts of the back standard; 7/;, X, are weights suspended from the half leaves, to keep tliem tight to their standards in the cross shed, or when the doups and standards are m the position represented in Fig. 3, and to relieve them when the open shed is formed as in Fig. 2. Fig. 4 is the draught and cording of a plam gauze. A and B are the back leaves or back mounting. C and D the two standards, 1 and 2 the upper and lower doups. Two treadles only are necessary for plain gauze : but when plain texture is required, another treadle is added for that pur- ];ose. In this plan the treadle for the cross shed is marked c, that for the open shed o, and the plain treadle is marked p. The same letters placed at the ends of the shots of weft in the specimen of cloth annexed, refer to the treadles which open their respective sheds. TO DRAW OR ENTER A GAUZE. It has been already noticed, that each doup of the half leaves 1 and 2, pass through the opposite parts of their res- pective standards. They are kept in this position until the warp be entered, by round rods, which are introduced into then- loops or bows, as represented by the dots in the Figs. 2 and 3. The draught. Fig. 4, contains three spHtfuls of gauze warp, one thread of which bemg marked i, and the other o, tlie first thread /, of each splitful, is taken through the CROSSED WARPS. 157 under part, or below the clasp of a heddle on the back leaf A, and the other thread o, is taken through the upper part, or above the clasp of a heddle on the back leaf B ; so that both these leaves can produce only one shed. When the whole of the warp is drawn through the back heddles in this manner, a new lease is formed in their front, for the pur- pose of drawing the warp again through the front mounting. One shed of thijs lease is obtained by raising the leaf B and sinking the leaf A with the hand. The other shed is forced through the leaves from the rod which is in the contrary shed behind. When the new lease is thus obtained, the yarn roll with the back leaves are suspended, in the usual way, to the top of the loom, and the entering commences anew through the front mounting. The thread i, which was drawn through the under part of the leaf A, and which is the first that occurs in the lease, is again taken through a doup of the half leaf 1, in the same opening with the rod above men- tioned, or where the dot is placed in the Fig. The other thread o, which passes through the upper part of the leaf B, is, in like manner, taken through a doup of the half leaf 2, facing the former doup, between the standards: and this finishes the draught of one splitful. This process is to be repeated until all the warp is entered; after which, the rods that were between the mountings, and those in the doups, ai'e taken out. In this process it may be observed, that the threads i and o are not actually crossed in the drawing ; for, as the thread i is taken through the back heddle to the right of the thread o, and is afterwards drawn through the upper doup which is on the left of it, these two threads will naturally cross each other between the mountings, the thread i above the thread o, when the warp is stretched in the loom. To effect this, it is only necessary to set aside the fore doup and standard in drawing each splitful, until the thread i be taken 138 ART OF WEAVING. into the upper doup, after which the thread o will come into its proper place. But it is more expeditious, when the under doup is picked out, to put die middle finger of the right hand through the loop of it, and then the fore finger of the same hand into the loop of the upper doup ; then the person who gives in the warp has only to put the first thread t on the fore finger, and the thread o on the middle finger, of the person who draws in the warp, and he takes both thi'eads through at one time. Wrhen any portion of the warp is to be woven into the plain texture, such as the selvages, stripes, or borders of handkerchiefs, it is drawn without being crossed between tlie mountings ; that is, the thread i is drawn through the under part of the leaf A, and the thread o through the upper part of the leaf B, as in the gauze part; but the thread i is afterw^ards drawn through the under doup 2, and tlu*ough the upper doup 1, parallel to each other. The doups and standards here described have been long in use, and are still employed on occasions; but another form has been recently introduced, which is considered an improvement in gauze weaving. The standard is made with an eye instead of the common clasp, and one half of the doup runs through it, the other half, or side, being either above or below the clasp, according as it is in the fore or back standard. This will appear by consulting Fig. 5 ; in which the dots point out where the warp threads pass through the doups. The round rods which were used in the doups of the former mounting, are unnecessary in this, as the clasps of the standards are always in the loops of the doups, and keep them sufficiently open. The warp is taken through this mountins in the same manner as the former, observing to keep the doups slack, that they may be easily taken through their standards. These standards are considered to possess several advan- tages over the others, particularly in taking off the friction CROSSED WARPS. 139 when the cross shed is forming, although the weaver should employ both of his feet on the treadles, which is not the case in the first form. The eyed standards also prevent the doups from falling out of their places when any of the warp threads are broken, which, in the other mounting, fre- quently occasions some trouble and breakage before they can be replaced. As it is customary to make use of four leaves of heddles in weaving the finer setts of plain cloth, to prevent the friction occasioned by crowding too many of the clasps to- gether ; so in gauze weaving it has been found advantageous, for the same reason, to cast the upper halfs of the fore stand- ards, and under halfs of the back standards on two shafts ; by which means the doups are more scattered, and pass each other much easier than in the other mountings. Mountings made in this manner are said to have clifted standards. TO MOUNT A GAUZE. Gauze is commonly mounted with coupers, long and sliort marches, which have been explained in the first chapter; although jacks be sometimes employed for the back leaves. Each upper shaft has its respective couper and long march for moving it, and each under shaft has its short march; and all these connexions are formed in the manner already described. This done, it only remains to tie up the treadles and apply the doup weights. By referring to Fig. 4, Plate 5, it appears that there is a dot where the treadle c crosses the standard D, and a cross where the same treadle crosses the standard C. The dot shows that the standard D is raised by this treadle, and the cross, that the standard C is sunk. A cord is therefore taken from the long march of the leaf D, and another from the short march of the leaf C, to this treadle, the blank squares denoting that no connexions are there necessary. 149 ART OF WEAVING. On the treadle o there is a raising mark for the standard C, and anotlier on the back leaf B, while there is a cross or sinking mark on the standard D, and another on the back leaf A ; which indicate that the t«'o former are raised, and the two latter sunk bv this treadle. On the treadle p there is a raising mark in the upper do up 1, and a sinking one on the under doup 2. These connexions are therefore all formed in the same manner as on the first treadle. When a gauze web is justly mounted, the plain shed should stand a little open, generally from a half to three- fourths of an inch, that the doups may be kept clear of each other, or to allow them sufficient time to pass from the slack to the tight state before the succeeding shed is opened. This is effected by raising the back doup and standard a little, by the snitches above, and depressing the front doup and standard in the same manner, and tempering all the foot cords accordingly, before the justers are taken down. It is observable in the gauze mounting, that, as the under half leaf has neither conper nor long march, nor the upper one a short march, no connexions can be formed by these means between them and the treadles. As the open shed, however, is formed merely by the two back leaves, the doups being all slack; and the cross shed, by the two standards, the doups being tight. See Figs. 2 and 3, these changes are regulated by two small weights suspended from their respec- tive marches, as represented in Fig. 1. The weight w is suspended from the short march u of the under doup, and Ls tied to a small piece of Mood c, commonly a piece cut off an old bobbin, -ohich rests in the open shed on the fi'ont long march ; but in the cross shed, the whole of the weight is ti'ansferred to the short march w, by which the doups are kept tight to their standards. In like manner the weight v is suspended from the third short march, counting from the front, which is connected to the back standard, and is tied to a similar piece of wood which rests occasionally on the tliird CROSSED WARPS. 141 long march, or that which is connected to the upper doup. Hence it follows, that in the open shed the back standard is raised, which takes the whole of the weight, by means of its short march, off the long march of the upper doup, which is thus left in the slack state. In the cross shed, how- ever, the back standard is sunk, which leaves the weight wholly on the long march of the upper doup, and keeps it in the tight state. Hence it is evident, that when the back leaf A is sunk, and the leaf B raised. See Fig. 4, a shed is formed by these leaves; and as the back standard is likewise raised and the front one sunk, which take all the weight off their res- pective doups, these doups will be slack and crossed by the action of the warp, as represented in Fig. 2, and the thread i will sink on the right of the thread o. But when the fore standard is raised and the back one sunk, which is effected by the treadle c, the weights are all upon the doups, which keep them close to their standards; and therefore the thread i is now sunk on the left of the thread o, which forms the gauze textvire represented in the Figure. As the warp which is drawn on the upper doups always sinks, and that on the under ones constantly rises in weaving plain gauze, it will follow, that the plain treadle, wrought alternately with either of the other two, will produce plain cloth. But as the selvages are generally woven plain, which is effected by drawing them without crossing, the cross treadle, which reverses the motion of the standards, must be chosen for this purpose. This will evidently appear by comparing the few shots of plain, in the specimen before us, with the gauze twists. The back and front mountings of a gauze, should stand about three and a half to four inches separate, that the cross shed may be freely formed, without straining the warp. Particular attention is also necessary in adjusting the doup weights ; for, if they were too light, the doups would project thro'agli the standards jn the cross shed, and produce a con- 142 ART OF WEAVING. siderable deal of attrition, with a grating noise which is known among tradesmen by the name of crunchhig: and were the weights too heavy, they would draw the doups backwards through their standards and strain the warp. Should the rubbing and noise continue after the web may be considered justly mounted, they will often be removed by shifting the cord which connects the under doup shaft to the first short march, a little to one side. There is no rule for determining the precise weight which is to be applied to each half leaf; for this will, in general, depend on the quan- tity of warp in the web, and the distance at which the weight is suspended from the centre of motion. These are the mountings which are in common use for weaving plain gauze, or when little other mounting is re- quisite ; but there are other methods of producing the gauze twist which require explanation, as they are occasionally adopted in different kinds of fancy weaving- And first, of WEAVING GAUZE BY THROUGH-PUTS. The original method of weaving gauze, at least that by which it was woven in Paisley before the doups were introduced, was by a mounting similar to that now in use for weaving the false spider net. This mounting consisted of a back leaf of eyed heddles, and the two standards C and D, Fig. 6, with two under doups facing each other, and connected together between the stand- ards by an eye, where the bead is placed in the present Fig. One thread of each splitful was drawn through the eye of a heddle on the back leaf, and passed between the standards immediately above the eye. The other thread had no back heddle, but was drawn through the eye which connected the doups. In weaving gauze by this mounting, the thread which was drawn on the back leaf was sunk at each tread, while the ART OF WEAVING. 143 other thread was raised to the right and left of it, aUer- nately, by the standards. Thus, by raising the standard C and sinking D, the doup 1 was tight, and the other, 2, being slack, yielded to the motion of the rising standard, by which the thread in the eye of the doup was raised to the left of that in the back leaf. By raising the standard D and sinking C, the threads in the doups were raised to the right of those on the back leaf, and so on alternately. Plain texture was produced by sinkmg both standards and raising the back leaf for the plain shed, which could be re- versed by any of the other two. These doups and standards were known by the name of through puts : they have long ago been superseded by the doups and standards formerly explained, though they are now employed for spidering, which will be treated of m its proper place. WEAVING GAUZE BY A BEAD LAM AND STANDARD. This momiting, which is sometimes employed for the gauze part of nets, consists of two back leaves of eyed heddles, a standard and an upper half leaf of doups, which are called bead lams, from their having small glass beads in their loops or bows, to avoid the friction of the warp pass- ing through them. Fig. 7. is a plan of this mounting, in which m and n are the back leaves, b the standard through which the bead lams pass, in the same manner as in the other gauze mountings. The two threads o and i which pass through the same in- terval of the reed, are drawn through the eyes of the hed- dles on the back leaves m and n ; and the thread i is after- wards taken through the bead x of its respective bead lam or doup. The thread o has neither doup nor standard. The open shed of this mounting, or slack state of the bead lams, is shown by the three splitful of warp marked A, Fig. 7. and the bead lam .r, one seen passing below 144 ART OF WEAVING. the threads o, and rising to the right, as represented at A, Fig. 8. which is an elevation of the bead lams and ap- paratus for working them. This shed is opened by rais- ing the back leaf tn and sinkuigf w, the bead lams being slack, and yielding to the warp. The cross treadle sinks the two back leaves, by which all the warp is taken down to the race rod: at the same time the bead lam shaft b is raised, the lams being tight: and consequently, the threads i are now raised to the left of the threads o, as represented at B. See Figs. 7 and 8. As that half of the warp which is drawm through the bead lams, is forced up in forming the cross shed, while the other half remains on the race rod; to prevent it from being too much strained at this tread, it is beamed on a separate roll, and slackened more than the other, when the cross treadle is pressed down. Sometimes the standard is omitted, which reduces the mountings to two back leaves and a single half leaf of bead lams; but the taking in of the warp, and the opening of the sheds, are the very same as when the stand- ard is employed. In this method of weaving gauze, it will be observed, that, in forming the open shed, the bead lams must be so much slackened as permit them, not only to sink to the race rod, but to rise again to the upper part of the shed, after passing below the other thread of the same split. The bead lams are therefore made considerably deeper than the doups formerly described; and nearly double the perpendi- cular range is given to the bead lam shaft. Fig. 8 is a view of the apparatus for giving this additional range, which consists, simply, of the two short marches a and b, with then- centres reversed. The under shaft p is connected to the imder shaft d, by the two cords v and tf, which are call- ed bridles. The under shaft is tied to the short march b in the usual way, which is again connected by the cord i/ to the other short march ?^ the centre of which is at the op- CROSSED WARPS. 145 posite part of the loom ; and this last march is tied to the treadle t. In every other respect, the shaft /?, when the standard is employed, is mounted like the upper doup of a common gauze : and when the standard is omitted, the bead lam shaft is mounted with a couper and long march, to the latter of which, a small weight is suspended, to keep tlie lams moderately tight. It is now plain, that when tlie treadle t is pressed down, the perpendicular range of the shaft p will be increased, in pi'oportion as the cord y is tied nearer to the end of the lowest march ; and consequently, when a greater range is required, it is only necessary to shift the cord y toward the right, and the contrary when it is less ; by which means, any proposed range may be obtained by the same sinking of the treadle. By this simple apparatus, the great range is likewise given to the bead lam shaft of the catgut, whicli will be explained further on. It may likewise be observed, that the gauze warp is twisted the contrary way by this me- thod, from what it is by the common mounting, which is necessary to be taken notice of in applying it to some spe- cies of fancy weaving. The plain shed of this mounting is produced by sinking the back leaf m and raising w, the bead lams being slack ; and this shed is reversed by the cross one. This method of weaving gauze, especially when the standard is omitted, can only be applied when the weaving motions are very slow, as in several varieties of nets, or other extensive mountings : for it must be obvious, that un- less the lams are allowed sufficient time to pass from the open or slack, to the tight state, before the succeeding sheds be opened, they will constantly be getting entangled among themselves, and either break the warp, or otherwise obstruct the weaver's progress. 146 ART OF WKAVfNG. WEAVING GAUZE WITHOUT THE UPPER DOUP AND STANDARD. The most approved construction of the gauze mounting, however, where several sets are requisite, is by omitting the upper doup and standard, and making use of eyed heddles for tlie back leaves. Fig. 9 is a plan of this mounting, in which m and n are the two back leaves, 1 the under doup, and A its standard. The threads i and o are drawn thi-ough the eyes of the heddles on the back leaves as in the preced- ing mounting. The thread i has neither doup nor stand- ard ; but o is drawn thi'ough the under doup 1 , in the very same manner as in the full mounting. To produce the gauze t%\'ist by this mounting, the cross treadle c sinks the two leaves m and n, by which the whole of the warp is taken down to the race rod, and the shed is opened by raising the standard A with the doups tight. The open treadle o sinks m and raises w, while the doups are slack, and yield to the shed formed by the back leaves, as in the common way. Tlie plain treadle p raises the leaf w, sinks n, and sinks the doup and standard. As the warp threads, however, which are marked o, have more stress to bear while the cross shed is forming, than the others, they are beamed, as in the foregoing case, on a separate roll, which is allowed to yield freely to the tread. This roll is usually placed before the other. REVERSING THE GAUZE TWIST. In compliance with the general practice of entering a gauze web into the common mounting, the first thread which is drawn on the back leaf is crossed to the left above the other thread of the same splitful ; but the same mount- ing, with the very same cording, will produce a gauze equally good, although this order of drawing in the warp should be reversed. Thus, the first thread i, Fig. 4, mav CROSSED WARPS. 147 be drawn through the dipper part of a heddle on the leaf B, and again through the under doup 2 ; and the other thread o may be taken through the under part of a heddle on the leaf A, and crossing above i to the right, pass again through the upper doup 1 : and this draught and cording will pro- duce a gauze differing in nothing from that in Fig. 4, but that the twists on the warp are thrown the contrary way. Fig. 10 is an example of this method of weaving gauze, in which one splitful is drawn in the common way, and the other reversed, alternately. This variety in gauze weaving is sometimes introduced with good effect, especially if the two threads in each split be of different colours. LINO, OR LINAU. This species of gauze is woven merely by treading the plain and open treadles, of the common gauze mounting, alternately with the cross one: that is to say, the cross treadle is pressed down for every second shot, and the other two alternately. A specimen of the lino is given in Fig. 4, and the order of treading is marked by the letters o, c and /), opposite to the shots of weft which are respectively tlirown into the open, cross, and plain sheds. PIQUETS. The variety of gauze generally known by the name of piquets, are simply plain gauze, omitting every third or fourth splitful of warp. They are woven in fine reeds, leaving the third, fourth, &c. interval empty; by which, two, three, or more splitfuls of warp run together in a stripe. Piquets are frequently ornamented like the gauze with spotting, spidering, lappeting, &c. Piquets, however, are at present woven on silk in the form of turkey gauze, of which an example will be given under that article. 148 ART OF WEAVING. RIDDLES. The warp of these run in stripes in every respect hke the piquet, and they are checked by throwing in one or more sheds of plain occasionally, as in the lino. These grounds are also frequently ornamented with spotting, lap- peting, &c. and are generally used for the bosoms of hand- kerchiefs, &c. VEINING. This is the production of a single gauze mounting, which is frequently added to that of gauze or plain ground, as a species of ornament. It is often applied as guards in plain cloth, where there are a few intervals of the reed empty, which are to be afterwards ornamented with the needle for trimmings, &c. The warp of a vein is only crossed at every fourth, sixth, &c. shot ; the intermediate shots, which are alternate in the ground, being all thrown into one shed, forming, to appearance, only one coarse shot. Veins are also woven in small stripes along with lappets, victories, &c. which undergo no additional process. See an example of veining, along with gauze and plain texture in Fig. 1 1, Plate 6. CATGUT Is another light fabric, resembling gauze, and is woven nearly in the same manner as that by the bead lams. The only difference between gauze and catgut is, that the warp of the latter receives half a twist more between the shots of weft than that of the former. There are two ways of producing the catgut twist : one by two back leaves of eyed heddles, and a bead lam shaft CROSSED WARPS. 149 and standard ; the other by two back leaves and the bead lams, omitting the standard. Fig. 11, Plate 5, is a plan of this mounting, with the bead lam and standard, exhibiting both the open and cross sheds. The open shed of this mounting is formed by raising the leaf A and sinking B, while the standard C is raised and the lams slack; which, passing round the threads o, are raised by the threads i to the upper part of the shed, as re- presented in Fig. 12. This shot is pointed out in the speci- men of cloth annexed to the plan, by the weft shot o. The cross treadle c raises both of the back leaves, and con- sequently, the whole of the warp ; and the shed is opened by sinking this standard with the lams tight. While this shed Ls forming, the bead lams x, with their threads ?, repass below the threads o, and, after again crossing above them, sink to the bottom of the shed on the right side, close to their standards, or in the tight state. The weft shot c dis- tinguishes this shed in the specimen of cloth. Thus, by working these two treadles alternately, the warp tlireads are twisted and untwisted half a turn more than the common gauze warp, as will plainly appear by examining the Figs. The plain treadle p reverses the cross shed, sinking all the warp by the back leaves, and opening the shed by raising the standard with the bead lams tight. The bead lam shaft and standard are mounted in the very same manner as represented in Fig. 8 ; and the necessary range is given to the bead lam shaft by shifting the connecting cord 9/ to the right or left, until it be accurately ascertained. Fig. 13 is a plan of the catgut mounting without the standard, consisting only of two back leaves and a single shaft of bead lams. The warp is taken through the back heddles, which are also eyed, in the same manner as the former ; but as the standard is here omitted, the bead lams have to take half a turn more round the threads z, than in 150 ART OF WEAVING. the preceding mounting. This will appear by inspecting Fig. 14. To produce the open shed by this mounting, the leaf A is raised and B sunk; at the same time, the bead lam shaft 1 is sunk, to slacken the lams. In this shed, therefore, it will appear by Fig. 13 and 14, that the bead x, with its thread o, passes both under and over the other thread i of the same split, and then sinks to the bottom of the shed, at the left side of it. In the cross shed, both back leaves are sunk, which consequently, take all the warp down to the race rod ; and the shed is opened by raising the bead lam shaft, by which the thread o is twisted round i in the contrary direc- tion, and raises at last above the shuttle to the left of it, as in Fig. 14. The weft shots at o and c. Fig. 13, will show these crossings and recrossings of the warp. Plain cloth is woven by the two back leaves, the lams being always slack. The treadles p and o are therefore wrought alter- nately for this purpose. It is farther to be observed, that all these bead lam shafts and standards are mounted with doup weights, as explained in the plain gauze. Although the catgut was one of the principal textures in the silk manufacture, it has never yet been introduced with much advantage, in the manufacture of cotton. The ori- ginal design of the gauze twist, seems to have been, to keep the weft shots of light fabrics at a due and regular distance from each other, so as to render the grounds sufficiently transparent, without the danger of making them thicker in one part than another, or to prevent the weft from running or crowding on the warp, as the lighter kinds of book-mus- lins are apt to do : and what is equally probable, to keep those spaces square, or nearly so, which are formed by the intersections of the shots of weft ^^■ith the splitfuls of warp. But the silk warps, of which gauze was mostly made in Scotland, being too fine and smooth to offer the necessary resistance to the weft or shoot, to produce this effect, it may CROSSED WARPS. 151 he naturally supposed, that the additional part of twist given by the catgut mounting has been applied merely to pre- serve this transparency, and proportional distances between the warps and wefts. Cotton and linen warps, however, oppose greater resist- ance to the weft than silk ; and therefore, by sleying them lighter or thronger, these fabrics may be easily made to suit any market. The catgut twist, however, may still be more advantageously applied in some kinds of cotton goods than the gauze. It has been already employed for veining, as the additional twist is better adapted to compress those shots of weft together which are thrown into the same shed, and give them the appearance of a single shot or cord. It might also be extended to purles, victories, and some other varieties, whicli only require the warp to be crossed at certain intervals. SECT. II. FANCY GAUZE. In the preceding section, the different methods of pro- ducing varieties of gauze, by one set of mounting, have been minutely explained : it remains in this to show how a diversity of pattern may be woven by increasing the num- ber of mountings, as in the other branches of weaving. The patterns which are to be treated of under this head are formed by combining either plain texture, or flushing, with gauze, as a ground. By the former of these methods, are woven those varieties which are known by the several names of purles, victories, crapes, and Turkey gauze; by tlie latter, chambries, gauze tweels, and Trafalgars. GAUZE \ND PLAIN TEXTURE. ' There are two methods of producing patterns on this principle : the one, by a single set of back leaves and two 152 ART OF WEAVING. or more sets of doups and standards ; the other, by one set of front mounting, and additional sets of back leaves. The former of these methods is usually employed when two sets only are necessary ; the latter, when the mounting is more extensive. PURLES. Fig. 1, Plate 6, is the plan of a mounting with two sets of doups and standards. It consists of the two back leaves A, B, and the two front sets C, D, which are the same as for the plain gauze. The warp is drawn into the back leaves in the usual way, and two splitfuls are drawn alter- nately on the two front sets. The treadle 1 forms the open shed of both mountings ; treadle 2 produces the plain shed by the set of doups and standards C, and the cross one by the other set D. Treadle 3 reverses this cording ; the set C forming the cross shed, and the set D the plain one. The cross sheds of both sets are formed by treadle 4, and both plain ones by treadle 5. All these sheds are pointed out by the numbers of the treadles at the ends of the shots in the specimen. It will be observed, that, in weaving plain gauze, by doups and standards, the upper doup thread sinks to the race rod in both sheds, and rises only in the plain one. That is to say, it sinks in the cross shed to the left of the under doup thread, and in the open one, to the right of it : consequently, plain texture can be woven by either of these sheds formed alternately with the cross one. \Vlien, therefore, this species of patterns are woven by additional fi-ont sets, the open shed, which is produced by the two back leaves, extends to all the warp, and, of course, is formed both in the gauze and plain parts : and as the upper doup threads lie on the right of the others in the plain parts, the twist is given by the cross treadle. CROSSED WARPS. 153 When the patterns, however, are woven by additional back sets, the cross shed is common to both in the gauze and plain parts : and as the upper doup threads are now on the left of the others in the plains, the warp is crossed or twisted into gauze by the open shed, and reversed by the cross one. Fig. 2 is the plan of a mounting for the same pattern as the former, woven with two sets of back leaves. Tlie leaves of one of these sets are marked 1 and 2, and of the other, 3 and 4 ; the front mounting being the very same as in com- mon gauze. One half of the warp is drawn on the back set 1 and 2, and the other, on the set 3 and 4, two splitfuls on each alternately. But it must always be observetl in mountings of this kind, that whatever back set any splitful of warp is drawn on, the first thread is always on the back leaf, and the other on the fore leaf of that set. The hed- dles of these back leaves are made with eyes, as they both raise and sink the warp occasionally. The warp is taken through the front mounting in the same manner as that of a plain gauze. The treadles 1, 2, and 3, weave the checker at a, 1 and 5 the plain cloth at b, and 1 and 4 the gauze at c. Hence it will appear, that the treadle 1 opens the cross shed over all the warp, this treadle having no con- nexion with any of the back leaves ; and, consequently, it produces one of the sheds in each variety in the specimen, and is pressed do^Ti for each alternate shot. The treadle 2 slackens or relieves all the doups from their standards; but that part only of the warp which is drawn on the leaves 1 and 2 is crossed, or rather, returns from the cross to the open state, so as to produce the twist ; the other half being converted into the plain shed by tlie contrary motion of the leaves 3 and 4, The treadle 3 operates on the front mounting in the very same manner as the treadle 2, but exactly reverses the motion of the back leaves, which, cou- sequently, changes the gauze stripe into plain, and the u 154 ART OF WEAVING. plain into gauze. When the whole web is woven plain, the upper doup and standard are raised, and the under ones sunk, as in weaving lino ; and this is effected by the treadle 5, which is also wrought alternately with the treadle 1, as will appear in the specimen. The treadles 4 and 1, as ob- served above, convert the whole of the warp into gauze, which is represented at c. It is therefore evident, that the weaver, when working with both feet, must keep his left foot on the treadle 1 in all these varieties, which he works alternately with any of the other treadles he may have oc- casion to employ. VICTORIES. By thus combining gauze and plain cloth, in different ways, arise that species of fancy gauze, called victories, which were manufactured some time ago in great quantities and variet}'. Their most predominant appearance is a num- ber of small gauze spaces, interspersed with plains ; some- times checked by the weft, at others, thrown into small alternate checkers, though not always square. Some of these patterns were woven by one set of gauze mounting and a plain stripe, the gauze parts resembling lino ; others, by two sets of gauze mounting, making these small gauze spaces alternate, the plains consisting of three or five shots, succeeded by the key shot, or by a few shots of gauze. These spaces or stripes of gauze were sometimes separated by a cord of coarse yarn, or more frequently by two split- fuls of warp drawn into two adjacent intervals of the reed, while the other intervals were alternately full and empty. These varieties were frequently increased by the addition of another gauze mounting for veining ; whence these patterns were called veined victories. CROSSED WARPS. 155 CRAPES. \Vlieii three, four, or more sets of gauze mounting are thus employed to form figures of plain on a gauze ground, such patterns have assumed the name of crapes, although the crapes which are manufactured for mournings are of the plain texture, and the crisped appearance is given them in the process of dressing, after they are out of the loom. Fig. 3 is the plan of a crape, woven with four sets of gauze mounting, although, as formerly observed, only four back sets are necessary. The draught is in regular succes- sion over the back sets of the mounting, and the pattern is that of a diagonal or biassed stripe, gauze and plain alter- nately, as represented in the Fig. The back sets are mark- ed 1, 2, 3,. 4, and the front mounting, as already noticed, is the same as that of a plain gauze. The cross treadle 1, "vrorks alternately with the treadles 2, 3, 4, 5, for the crape, "with treadle 6 for plain gauze, and with treadle 7 for plain cloth. This will be plain by examining the cording on the back leaves; for, wherever a dot is marked on the fore leaf of any set, and a cross x 5 on the back leaf, that set works gauze by that treadle on which they are placed; and where the cross is on the fore leaf, and the dot on the back one, plain cloth is produced. As in diaper weaving, the utility of the binding plan was shown, in representing all the varieties of the di'aught and cording on a small scale; so in this, and several other branches of weaving, this contracted plan will be found equally advantageous : for if we suppose one leaf substituted for each set of the present mounting, and the gauze parts re- presented by raising marks, the draught and cording will be found the very same as the four leafed tweel, No. 1, page 5» Hence it is evident, that every variety of pattern which has been exhibited in tweeling, lined work, or diaper, may 156 ART OF WEAVING. be produced on crape, by taking such draught and cording for the binding plan, and substituting the gauze sets accord- ingly. For Example. — Suppose it were required to weave the pattern. Fig. 30, plate 2, on crape. Here the binding plan will be the same as the draught and cording No. 57, page 41, which is here inserted, that it may be the more readily compared with the crape draught. BINDING PLAN. j" r-"-i 0|0 1 1 1 1 II II 1 "0" 0" 0| 1 1 1 1 1 1 1 1 1 5 6 3 2 i 1 CRAPE PLAN. X X X 1- i 1 X X X 1- 1- 1 1 X X X 1- |. 1 1 ^ X X 1- 1 i 3 1 6 3 2 1 In this example the gauze parts only are corded, which is effected by placing the sinking mark on the back leaf of each set, and the raising mark on the fore one. The plain CROSSED WARPS. 157 cording is added by filling up the vacant spaces with the marks reversed; that is, the crosses on the fore leaf of each set, and the dots on the back ones, as in the follow- ing plan : — - X |x |. 1 — X X 0" X X X X 0- 1 1 |. 1- X X ^ 1 1 X X X 1- |. X X - 1 1 X X X 1- X X X 1 1 4 5 6 3 2 1 The cross treadle has no marks on the back leaves. The following example will show how diaper patterns may be woven on crape. It is the draught and cording of Fig. 9. Plate 4. BINDING PLAN. 12 2 13 3 1 11 2 2 .11 1 11 1 1 3 3 .1 1 11 1 1 4 .1 11 1 1 2 2 1 2 2 1 1 3 3 1 1 4 a b ^C. 158 ART OF WEAVING. CRAPE PLAN. |0 |o 1- X 1 III II _x|x|0 X I O'l X II II J 1 1 1 1 1 II x|x III II II X 0" X II 1 III Ml X II 1 III Ml — X X "0" X 0" II 1 - 1 II 1 X II 1 1 II 1 4c- 2 4 6 8 10 12 14 1 13 d The treading on the treadles a, b, c, d, is the same as the draught with the cross treadle pressed down for every second shot. 7 a 5 3 6 U c The draught here, to save room, is only that part of the binding plan, from a to b. In these examples, the two leaves of each set are placed together, that the method of cording may be more distinctly pointed out. But it is considered preferable by some to have all the back leaves placed together behind, and all the fore ones in their front. The draught and cording of Fig. 3, Plate 6, with the leaves arranged in this manner, will stand as below. |0 X X X X 1 1- 1 I. |. — X X X "0" I. |. X 1- 1- X X t 1 1 X X 1 1 X X 1 1 X X 1 1 2 c 2 3 4 5 CROSSED WARPS. 159 Here it will be observed, that the raising marks on the fore leaves form the exact cording of the common four-leafed tweel, while the sinking cords take the very same form on the back leaves. TURKEY GAUZE. This variety of fancy gauze is woven on the same prin- ciple, nearly, as crape. In the Turkey gauze, however, there are sometimes three, four, five, and even six threads in one interval of the reed, which are all twisted together in the gauze parts; but when they are spread out in the plain parts, they form a more solid and substantial fabric than can be produced on crape. Turkey gauze has a very beautiful appearance when wo- ven on silk: for the natural elasticity of this substance allows it to expand, and fill the interstices of the plain parts, while it is easily compressed into a fine transparent fabric by the gauze twist. Cotton yarn, however, does not possess this property in such a high degree as silk ; and therefore, the attempts which have been made to introduce it into the cot- ton manufacture, has not been attended with that success which was to be desired. Fig. 4, Plate 6, is the plan of a Turkey gauze mounting for two sets, and three threads in the split. The back leaves of one set are numbered 1, 2, 3, and those of the other set, 4, 5, 6. The two front mountings are on the principle ex- plained in section 1st, for omitting one of the doups and standards. The shafts marked o i, are the under doup and standard for one set, the upper or back doup and standard being omitted ; a and e are the upper doup and standard for the other set, the under ones being here omitted. When, therefore, the cross shed of the set o i is formed, the cross thread is sunk by the back leaf, and raised by the doup and standard on the right of the other two threads. But 160 ART OF WEAVING. when the open shed of this set is produced, the doup is slack, and the cross thread is raised by the back leaf on the left of the other two. The cross shed of the set a e is opened by raising the cross thread by the back leaf, and sinking the standard with the doup in the tight state on the left of the other two; and the open shed is formed by sinking the cross thread by the back leaf, while the doup is slack ; and consequently, the thread sinks on the right of the other two. The cross shed, therefore, of both sets are formed by the treadle marked 1, and the open one by 2. The treadle 3, wrought alternately with 1, produces plain tex- ture ; and the treadles 4 and 5 are corded so as to make plain with one set, and twist with the other alternately, when wrought along with treadle 1. It was formerly observed, that when gauze is woven by omitting the upper doup and standard, the warp of the un- der doup was beamed on a separate roll from the other, that it might be slackened a little while the cross shed was form- ing. The same observation must be applied to the warp of the upper doup in this mounting, as these two threads act independently of each other, and have more stress to bear than the other two threads of the same splitful. Fig. 5 is the plan of a mounting for weaving a two set Turkey gauze with four threads in the split. This mount- ing, however, has only one front set ; for the altei-nate changes from the twist to the plain are effected by the back leaves. When the two centre treadles are employed, the splitful marked e is twisted : for the treadle 1 raises the cross thread by the doup and standard, in the tight state, on the right of the other three, while they ai'e all sunk ; and the treadle 2 raises the same thread by the back leaf, on the left of the other three, the doup being slack. The remaining cords are so placed, that the splitful a makes plain cloth. Again, when the two outward treadles are wrought, the splitful a is twisted ; the cross thread being raised and sunk CROSSED WARPS. I6l in the very same manner as in the other, while the splitful e is woven plain. This will obviously appear by comparing the raising and sinking marks on the treadles, with the draught. It is to be observed, however, that here the cross thread is warped round the other three, as if they were only one cord; but in Fig. 4, the two threads which have no doup, are raised and sunk alternately, whether the tex- ture be gauze or plain. The same effect may be produced by the mounting Fig. 5, by changing the raising and sink- ing marks on the back leaves. Fig. 6 is the plan of the same kind with five threads in the split. As the principle, however, is the very same as that of Fig. 5, any further description v/ill be unnecessary. 162 ART OF WEAVING. w H O CROSSED WARPS. l63 In this plan, A is a set of ground or plain leaves, on which there are two threads for each split ; B are the figure leaves, which are corded for a diamond spot; C are the piquet leaves, corded to make a barley-corn spot ; and G a, fore doup and standard, the same as in common gauze, but divided into two, or clifted, to avoid friction. The raising cords produce gauze, and the sinking ones, or blanks, the figure. The threads on the leaves B and C, are called whip ; one thread of which twists round two of the ground, making three threads to the split. That is, the thread a on the leaf at C, rises at one shot in its present position, and at the next in the position at a, on the leaves G, when working gauze ; but in weaving plain texture to form the figure, it raises and sinks alternately, in the position at C. There is another variety of this kind of gauze, with four threads in the split, in which the threads are twisted by pairs in the gauze parts, while they are woven separately in the plains. The specimens which I have seen of this fabric, which is said to be of Russian manufacture, were made of linen yarn, and employed for wine rubbers. This texture appears to be woven by taking two threads through each doup, while they are drawn on separate back leaves. By this means, the plain parts will be woven en- tirely by raising and sinking the back leaves, the doups being kept in the slack state ; and the twists will be pro- duced by the open and cross sheds, as in the common gauze. GAUZE AND FLUSHING, OR TWEELED GAUZE. In this species of fancy gauze, the figures are formed by throwing a certain number of weft shots into the open shed successively, without working them into cloth, as in the crapes. When those figures, therefore, are thrown into diagonal or biassed stripes, they bear a pretty strong resem- blance to tweeling, whence, it would appear, the name is 164 ART OF WEAVING. derived. It is evident, however, that as the flushing thus produced cannot be carried to a great extent without de- teriorating the fabric of the cloth, patterns of this kind must be very limited, both with respect to their number and mag- nitude. One set of mounting, on this principle, produces the common veining formerly explained. With two sets are woven what are by some called chambries ; and the biassed or diagonal patterns formed by four sets have obtained the name of tweeled gauze There are patterns woven Hkewise in the diamond draught, forming bird-eye figures, with a barley-corn spot in the centre of each diamond, which have been named Trafalgars, in compliment to that great victory: and these appear to be the chief varieties which have been woven on this principle. It was formerlj' observed, that, in weaving plain gauze, the upper doup thread sinks to the race rod on the right and left of that in the under doup, alternately, so that plain cloth can be produced by reversing either -of these sheds ; and, therefore, that crapes may be woven either by one back set and a given number of front ones, or by one front set and the requisite number of back ones. As the tweeled gauze, however, must continue either the open or cross shed for three successive shots, while the other is opened at certain inten'als only, to form the gauze twists ; and as it is impossible that one set, either of back or front mounting can produce both of these sheds at the same time, it is evi- dent that back and front leaves must be employed for each set. In order, however, to reduce the mounting as much as possible, it is usual to omit the upper doup and stand- ard, as has been explained in the preceding section, and illustrated by Fig. 9, Plate 5 ; and as the open shed, in this method, extends over all the warp, while the cross sheds are opened, when necessary, by raising the fore stand- ard with the doup tight, one leaf only will be requisite for CROSSED WARPS. l65 all the warp which, in a full mounting, would be drawn through the upper doup, and thereby the number of back leaves is considerably reduced. Fig. 7, Plate 6, is a two set mounting of this kind, in which the warp is drawn, two splitfuls on each set, alter- nately. On the leaf 1 is drawn that half of the warp which wants the upper doup and standard, or that which sinks in forming the open shed ; and the other half, which is raised by the front mountings in producing the twists, is drawn on the leaves 2 and 3, and passes afterwards through the doups of the standards 4 and 5, respectively. The treadle marked 1 forms the open shed of both mountings ; that is, it sinks the leaf 1 with one half of the warp, while the other half is raised by the leaves 2 and 3 ; the two sets of doups being relieved by sinking their standards in the common way, and yield to the warp which is raised by the back leaves. The treadle 2 forms the open shed by the standard 4 and cor- responding back leaf 2, while the standard 5 and its doup are raised, and produce the twist on their portion of the warp. Treadle 3 is exactly the reverse of treadle 2 ; it pro- duces the open shed by theistandard 5, and the cross one by the standard 4. Treadle 4 wrought alternately with treadle 1 produces gauze, and the treadles 5 and 1 make plain cloth, as will appear by inspecting the specimens of cloth attached to the Fig. where the figures at the ends of the weft shots refer to the numbers on the treadles which open their respective sheds. Fig. 8 is a plan of the mounting of a tweeled gauze, or four sets, with specimens of the cloth which it produces. The back leaf 1, as in the preceding mounting, contains one half of the wai-p, and the other half, which is drawn into the doups, is distributed among the leaves 2, 3, 4, 5, in the same order as the draught of an over and over four- leafed tweel. The open shed of this mounting is formed by sinking the 166 ART OF WEAVING. treadle 1, which takes down the leaf 1, and raises the leaves 2, 3, 4, and 5, while all the four standards are sunk and the doups slackened, so that the under doup threads are raised to the left of the others. Treadle 6 forms the cross shed over all the warp, in which the under doup threads are raised on the right of the others; consequently, this and treadle 1 produce plain gauze. Treadle 7 reverses the shed of treadle 6; these two treadles, therefore, work plain cloth. The treadle 2 sinks the back leaf 1, and raises 2, 3, 4, for the open sheds of these sets; but the leaf 3 and standard 9 must form the cross shed of this set, and therefore the leaf 5 is sunk, and the doup with its standard raised, by which the twist is effected. The remaining treadles 3, 4, and 5, are sunk in succession, and produce the gauze twist on the other three sets, respectively, as marked at the side of the specimen. It may be observed in this species of weaving, that, as the weft shots next the key shot are thrown into a serpen- tine form by the crossing of the warp, especially when the warp is drawn on two sets in alternate splitfuls, if coarse weft, or weft of another colour be thrown into these sheds, it will give a variety to the fabric which has often a very pleasing effect. From these two examples it will be easy to make a draught and cording for a bird-eye or diamond draught ; and as the Trafalgar comes vmder the character of spotting, it will be exemplified in the next chapter, which treats on that subject. SECT. III. OF NETS. When the preceding varieties of cross weaving are well understood, the transition to nets will be short and easy. In the varieties of gauze, the two threads of warp which are twisted together, are confined entirely to the same interval of the reed in which they are crossed to the right and left CROSSED WARPS. 16? alternately between the shots of weft. In nets, however, either a part or the whole of the warp is crossed before the reed ; and the threads of different intervals are occasionally linked together by the weft. That part of the warp which thus crosses or traverses before the reed, and forms the prin- cipal variety in the texture, is called whip: and as it has more stress to bear than almost any other kind of warp, it is generally made twofold, or of two ends of yarn twined together. The whip parts of a net mounting which correspond to the doups and standards of a gauze, are placed before the lay, between the race rod and the reed, by which means the crossings of the whip are effected in front of the reed and ^andards. In net mountings, the half leaves or doups are called bead lams, from their having small glass beads in their loops or bows, through which the threads of whip are drawn. These beads are indispensably necessary, to avoid the great friction which would otherwise be occasioned by the motion of the heddles backward and forward with the lay at each shot, as well as by the crossing of the whip, or, as it is called, tutnbling of the beads in front of the standards, in the cross shed. The back leaves of nets are also, in general, made with beads instead of the eyes or clasps of other heddles. This species of weaving origmated in the silk manufacture, though it has been successfully applied to cotton. THE FALSE SPIDER NET. This net, however, which is now to be explained, is an exception to the general character of nets, as the whip part of the warp does not extend beyond its own interval of the reed ; and no part of the mounting, in the present method of weaving, is attached to the lay ; although it was formerly woven with two bead lams, after the manner of lappets. 1(38 ART OF WEAVING. Spidering, as it is frequently termed, is woven by raising a thread of whip, alternately, on each side of a splitful of gauze or plain warp, every second interval of the reed, in general, being empty ; which gives it a zigzag, or serpen- tine appearance on the cloth. The motion of the whip threads of adjacent splits are usually reversed, one rising on the right, and another on the left of its respective split- ful ; and the two threads thus meeting and receding alter- nately, form the whip into small square or diamond figures on the ground. The mounting commonly employed for tliis net, consists of the fore part of the original gauze mounting, called through-puts, which has been already explained, combined \\dth that of the ground, whether gauze or plain cloth. Sometimes the whip is raised by an under doup and stand- ard and a back leaf, as has been explained under that method of weaving gauze. In the first method, the two standards C and D, Fig. 6, Plate 5, are placed, one on each side of the splitful of warp, and the doups 1 and 2, which are connected together by an eye or bead, through which the thread of whip is drawn, are below the wai-p. "WTien the standard C is raised by the cross treadle, the doup 2 is relieved, as in the open shed of common gauze, by which the thread of whip a a, is raised on that side toward C, where it is fastened by the shot of weft. At this tread, all the ground is sunk, and the whip only is raised above the shuttle, to form the upper part of the shed. The next treadle sinks all the whip, and opens a shed of the ground, into which the second shot of weft is thrown. For the third shot, the standard D is raised, and the doup I is slackened, by which the whip thread a a, is again raised on the opposite side of the splitful of warp, to- wards D, where it is also interwoven with the weft, the ground being sunk as before. Thus, in the net parts, one shot of weft is interwoven with the ground, and another CROSSED WARPS. l69 passes througli a shed formed by sinking the ground and raising the whip, by which it is interwoven with the cloth. Fig. 9j Plate 6, is the draught and cording of the false spider net, woven in stripes on a gauze ground, along ^\^th another stripe of plain gauze. The two leaves 3 and 4 are for the plain gauze, 5 and 6 for the gauze under the spid- ering ; 1 and 2 are the standards for the under doups, the upper ones being omitted; and C, D, the standards for the whip, corresponding with those in Fig. 6, Plate 5. a ff, are the threads of whip. The treadle G raises the standard C, which draws the threads of v^'hip a a, from their par- allel position at ?, to the position o, as represented by the dotted lines, where they are raised above the shuttle. At the same time this treadle sinks the ground of the spider- ing, but opens the cross shed of the plain gauze. The treadle c sinks the whip, forms the cross shed of the ground, and the open shed of the plain gauze. Treadle H sinks the ground, opens the cross shed of the plain gauze, and raises the whip in the position i. Treadle o sinks the whip, and forms the open shed of both the gauze mountings: all of which will be easily understood by inspecting the t\ro Figs. The false spider net is thus woven in stripes of various breadths; but when it is formed into checkers or alternate squares, which seems to be the greatest extent in point of variety to which it has been carried, two sets of the through- puts are requisite, and sometimes two of the ground; and these sets are wrought so as to make their respective figures bosom each other ; the parts of the whip which are omitted being afterwards cut away. If we now consider the thread of whip merely as a half twist of gauze warp, and the splitful of warp round which it twines, the other half; it will easily appear that this net may be woven, like the gauze, by an under doup and stand- ard, as has been already noticed. By this method, the 170 ART OF WEAVING. back leaf wliich raises the thread of whip must have its hed- dle on the left side of the splitful of warp, and the doup and standard^ on the right with the thread crossing below, for one side of the diamond, and the position of the doup reversed for the other, the open shed will therefore raise the whip on the left, and the cross one on the riglit of the splitful of warp in the former, and the reverse in the latter, which produces the very same effect as the method above described. It is to be observed^ however, that in this method, as well as in the preceding, the ground is always sunk when the whip is raised, and the ground shot is thrown in when the whip is sunk. This net may like\nse" be imitated by the lappet needles, either with a single or doublis frame, as is done in some of the finer kinds of nets, which \\ill be described farther on. WHIP NET. This net takes its name from the warp being wholly of whip, \\dthout any other ground. The mounting of the whip net, like that of the conmion gauze, consists of two back leaves, two standards, and two bead lams or half leaves. The two back leaves are placed behind the reed in the usual way ; and the bead lams with their standards are placed in front of the lay, between the race rod and the reed, as formerly mentioned. But as beads are frequently used instead of eyes in the back leaves also, and these mountings are generally constructed to weave dropped, as well as plain nets, the back heddles are usually di\'ided into four leaves, by which the friction is avoided tliat would be occasioned by the beads being too much crowded together. Fig. 2, Plate 7, is a plan of the wliip net mounting, with a specimen of the cloth annexed, both when it is woven plain and when it is dropped. A and B are the two back CROSSED WARPS. I7I leaves, each of which being divided into the other two parts marked 1 and 2. C and D are the standards, and 1 and 2 the half leaves or bead lains, corresponding with the doups and standards of the full gauze mounting. The reed, which shows also the position of the lay, is here seen between the back and front mountings. Let the dots on the leaves C and D represent sections of the twine of which the heddles are made, and they will point out the position of the stand- ards. The upper bead lams, with their beads, through which the whip threads are drawn, will then appear as passing through the heddles or standards on the leaf C, the beads being in front at v ; and the under bead lams will be seen as if rising through their standards on the leaf D, crossing below the others towards the front at x. The marks on the treadles will point out the raising and sinking cords, as in the plain gauze. But the manner in which the bead lams cross in front of the standards will appear to more advantage in Fig. 1 of the same Plate. Here the upper bead lam shaft is marked 1, and its standard C ; the under bead lam 2, and its stand- ard D, as in Fig. 2. When the open shed is formed, the bead lams assume the position represented in the Fig. at x and V ; that is, the bead lam x on the shaft 2, crosses in front of a standard on the shaft c, and rises on the left of the bead lam v, while the bead lam v on the shaft ], crosses in front of a standard on the shaft D, and sinks on the right of X : the threads passing through these two beads being in the same interval of the reed ; and this forms the open shed, which is pointed out by the weft shot 2, in Fig. 2. Again, in forming the cross shed, the bead v is drawn close to its standard at u, and the bead x is drawn back to its standard at a, while the standard D is raised, and C' sunk, as in the cross shed of the common gauze. This shed is marked by the weft shot 1 in Fig. 2; and thus the crossings of the whip are eifected. 172 ART OF ^VEAVING. Plain texture is produced, as in gauze, by working the two treadles 1 and 3. Sometimes this net is woven with a plain shot between each crossing of the whip, as represented at Xo. 2 in the specimen. This makes an excellent strong fabric for various purposes, particularly tambour or needle- work. The drawing of the warp into the heddles, mount- ing of the leaves, and applying the doup or bead lam weights, are, in every respect, the same as in the common gauze, and require no farther illustration. It was formerly observed, that the back and front mount- ings of the gauze are placed at about three and a half to four inches separate, that the warp may have sufficient room to twist between them in opening the cross shed. In nets, however, the correspondent crossing of the whip takes place in front of the standards, where it is forced nearly into a vertical position. It is therefore necessary that the whip should be slackened more in the cross shed than any other kind of warp, so as to yield freely to the pressure of the cross treadle, otherwise it would be impossible to obtain a shed. The method usually employed for this purpose, both for this and the other nets, is as follows : a o, Fig. 3, is a couper suspended from the loft, from the end a, of which a cord descends to the end of a long march », which is again connected to the cross treadle t. To the other end o of the couper is tied the cord /", which, after taking two turns round the end of the whip roll a:, suspends the pace weight w. Sometimes a thong or strap of leather is used for that part wliich goes round the roll, and a little chalk rubbed on it to prevent it from slipping. Now it is plain that when the cross treadle 1, Fig. 2, is pressed down, it sinks the long march «, and, consequently, the end a of the couper, by which the other end o will be raised, and turn the roll roimd on its axis by the cord i. By this means the whip is slackened, and a greater or lesser range is given to it, to suit any given pattern, merely by shifting the ful- CROSSED WARPS. 173 crum or centre of motion farther from, or nearer to, the end of the couper. There is another circumstance which requires particular attention in nets that does not occur in gauze. In the gauze mounting the two threads of each spht rise and sink between their respective standards; and, in the cross shed, the doups are drawn tight by the weights, so as to pass each other without any friction, especially if the web be properly mounted. In the whip net, however, see Fig. 1, the bead lams project beyond their opposite standards, and therefore, were the weights allowed to act upon them with their whole force, they would be drawn so tight or close to their stand- ards as prevent the beads from tumbling, as it is termed, or the cross shed from opening freely. On the other hand, were the bead lams too slack, the friction occasioned by the tumbling of the beads would soon prove destructive to the standards, besides being liable to get frequently entangled among the warp. To prevent both of these inconveniencies, each bead lam shaft is connected, at each end, to the oppo- site shaft of its respective standard, by a piece of twine called a bridle, as represented at m, n, in Fig. 1. By means of these bridles, the weaver can temper the front mounting to his mind, as they are made with snitches the same as those on the treadle cords. Sometimes the under bead lam shaft is bridled to the end of the couper of the front standard, by which method, the bridles are kept clear of the shuttle. In general, the bead lams project through their standards, when the mounting is stationary, about a quarter of an inch ; but every weaver tempers his bridles to such a degree of tension as may best suit the state of his mounting. It may be further observed, of nets in general, that the weaving motions should be very slow, uniform, and steady. The sheds are opened by a gradual pressure of the foot on the treadles, without any sudden jerks, which would cut 174 ART OF WEAVING. the whip, and, in a short time, destroy the mounting. At the same time the lay is put back with the same steady mo- tion, while the shed is opening. The shuttle is driven through the sheds with equal caution, lest it should dip, or get entangled among the bead lams and standards. This, however, is in a great measure prevented by pins made of brass wire, driven into the lay immediately behind the race rod, along which the shuttle runs instead of the reed in other kinds of weaving. After the weft shot has been tlirown into the shed, the treadle is relieved in the same gentle way, by which the weights have sufl&cient time to act upon the bead lams, and keep them in a uniform degree of tension, wliile the lay is brought forward by the same steady motion to the face of the cloth. It is also of the greatest importance that all the cordage be properly tempered, which, with due attention, will easily be effected bj' means of the snitch knot, which must be well known to every tradesman. As the crossing of the whip, in net weaving, necessarily produces a deal of friction, a greater power is requisite to be exerted on the cross treadle than in any other species of light fabrics. For this reason, the treadles are placed be- low the warp roll, and the weaver works on the ends towards him, by which he gains the whole of the lever power. SPIDER AND MAIL NETS. These two nets are woven in the same mounting, and have the same relation to each other as the gauze and lino. The mounting is merely that of the common gauze, which is here called the ground, combined ^^-ith that of the whip net, with which the ground is interwoven. The gauze part of the mounting, and the back leaves of the net, are placed behind the reed, and the two bead lams and then- standards CROSSED WARPS. 175 are before it, as in the preceding mounting. Either of the methods for reducing the number of leaves, formerly ex- plained, may be adopted for the ground, though the full mounting is generally preferred : for, with the full mount- ing, only two warp rolls are necessary, one for the ground and the other for the whip, while either of the other methods require two for the ground, that one half of the warp may yield a little more than the other when the cross shed is forming. The spider net is woven with two treadles, which produce the texture of plain gauze interwoven with the whip : the mail net requires only the addition of a plain treadle, on which every fourth shot is thrown in. Fig. 4, Plate 7, is a plan of this mounting, with speci- mens of the varieties it produces, in which the different crossings of the ground and whip may be easily traced. The back leaves of the gauze are marked 1 and 2 ; the standards A and B, and their doups a and e. The back leaves of the net are marked 3, 4, and these are all behind the reed, as formerly noticed. In the front, between the race rod and the reed, are placed the whip standards C and D, with their respective bead lams v and x. The position of the whip standards, with respect to the threads of warp, is pointed out by dots on the shafts C and D, one on each side of its respective bead lam. These lams appear in the Fig. as if a little slackened by the open treadle, and crossing each other in front of the standards, exhibit the whip threads passing tlurough the beads at v and x. The crossing of the bead lams, when the open shed is fully formed, will appear to more advantage in Fig. 1, the threads of gauze warp be- ing in the position of the letters v and x. By comparing this plan with those of tlie gauze and whip net considered separately, the processes of taking the waip through the heddles, and tying up the treadles, will be ob- vious, and can require no farther explanation ; for each of 176 ART OF WEAVING. the mountings are tied to the treadles in the same order as if they had been mounted separately. It may be necessary to observe, however, that when the full gauze mounting is employed, as in the present exam- ple, or when the back doup and standard are omitted, each treadle will produce similar sheds in both mountings ; that is to say, either both open or both cross; but when the gauze part is mounted "ndth the bead lam and standard, it is necessary to cord the treadles so as to produce the open shed of the gauze along with the cross shed of the wliip, other- wise the whip would not run in between the threads of gauze warp, to form the net distinctly, as represented in the specimen. The apparatus for slackening the whip in the cross shed, as well as the bridles for preventing the bead lams being drawn too close to their standards, are also necessary in this mounting, and are applied in the very same manner as in the whip net. PATENT NET, OR NIGHT THOUGHT. This net, like the preceding, consists of a gauze gi'ound interwoven with whip. Two sets of mounting are therefore requisite, one for the ground and the other for the whip or net part ; but as this net involves greater variety than any of the foregoing, it requires four treadles to work one set of the pattern. Either the ftill mounting, or one of the contracted methods may be employed for the gauze part; and the whip requires two back leaves, and two bead lams and their standards. AVlien the full gauze moundng is em- ployed, three warp rolls are requisite, one for the ground and two for the whip. These last are necessary, as one half of the whip is occasionally crossed while the other halt is straight and parallel ; and, consequently, each half must be slackened independently of the other. When the gauze CRX)SSED WARPS. 177 part is woven either with the bead lam shaft, or by omitting the upper doiip and standard, two rolls are also necessary for the ground, as formerly described. Some add another roll for the selvages, which, being woven plain without any twist, do not work up equally with the other warp. This, however, is commonly avoided by beaming the selvages on the same roll with the ground, and suspending a small weight to each, below the roll, to keep them moderately tight ; and the slack part is taken in at the face of the cloth, when necessary, at the end of a piece. Fig. 6, Plate 7, is a plan of the night thought mount- ing, with a specimen of the cloth, as in the other examples. The shafts marked 1 and 2 are the back leaves for the gauze pai't, the back leaves for the whip being marked 3 and 4. 5, 6, 7, 8, are the doups and standards of the ground mounting, which, in this example, is full. The bead lams and their standards, which are before the reed, are marked ff, e, i, 0, and are placed exactly in the same position as in the other mountings for net weaving. Fig. 5 is a front elevation of the bead lams and their standards, representing their position when the open sheds are formed, a is the shaft of the upper bead lams, and o that of the under ones, e and i are the back and fore standards, respectively. In the shed here exhibited, which is opened by the treadle marked 4, both the upper and under lams are slack, and, after crossing two splits of gauze and one of whip, the former are sunk and the latter raised by the whip, Avhich is now acted upon entirely by the back leaves. That is, the upper lams cross from their standards at u to the interval ^r, where they are siuik ; and the imder ones, from d to c, where they are raised. This is likewise the open shed of the gauze mounting. In the shed formed by treadle 3, the upper lams are slack with the whip sunk, as in the preceding shed, but the under lams are drawn tight to then- standards, by which they are raised with the whip z 178 ART OF WEAVING. crossed. This treadle makes the cross shed of the ground. The treadle 2 draws both the upper and under lams tight to their standards, by which the former are sunk and the latter raised ; at the same time the ground forms the open shed. In the shed formed by treadle 1, the upper lams are tight, and sunk by their standai'ds, while the under ones are slack, and raised by the whip, the ground forming the cross shed. All this will plainly appear by an attentive perusal of the two Figs. 5 and 6. PRINCESS ROYAL NET. This net is woven ui a mounting the very same as that of the night thought, but with a small difference in the order of taking the whip through the heddles and of tying up the treadles. But as these are distinctly marked on the plaii) Fig. 8, they can require no farther explanation. Fig. 7 shows the crossing of the bead lams, in the open shed, in the same manner as in the preceding net. DROPPED NETS. The whip and mail nets are frequently ornamented with a variety of figures, which are formed on the cloth, merely by preventing the crossings of certain portions of the whip, for one or more shots, which leaves open spaces in the ground, larger than the common meshes of the net. This may be effected, either by preventing part of the upper bead lam whip from sinking, or of the under bead lam whip from rising, in the open shed, by means of additional back leaves applied for that purpose ; the arrangement of which, to obtain a variety of patterns, being the same as in spot weaving, will be explained in the next chapter. Omissions of this kind sometimes take place by accident in the course of weaving, which, being then considei^ed CROSSED WARPS. 179 damages, are. mended, by tying the two thjeads together wliich ought to have been crossed, with a thrum or other fine thread : but when these spaces are disposed in any re- gular order, so as to form figures on the ground, they pro- duce a beautiful variety of fanciful ornament, which, in general, has very much the resemblance of lace. An example of this kind of ornament will be seen on the whip net at z. Fig. 2, Plate 7. This specimen is an allover, pioduced by the two back leaves I and 2, of the back pai't of the mounting at A. Here it may be ob- served, that that half of the whip which is drawn on the two leaves at A, and which belongs to the upper bead lams, must be sunk in the sheds, to produce the crossing. But suppose, for instance, the treadle number 5, to be pressed down for the open shed : then, the leaf 1 at A, instead of sinking, is raised, and consequently prevents all the whip which is drawn on it from crossing with the corresponding threads of the under bead lams ; and therefore, when the weft shot 5 is thrown across, the threads which were not sunk will run into the position represented at z. The cross treadle 1 is next tread, which opens the whole of the cross shed, into which the shot 1 is thrown. The next shed, which is produced by the treadle number 4, is similar to that foi'med by number 5, the other half of the whip of the part A being prevented from sinking by the leaf 2, and another row of spaces formed in the bosom of the former, at the weft shot 4. The very same effect would have been produced had the two leaves 1 and 2 at the part B been alternately sunk, with the cross treadle 1 intervening; only, both of the threads a and «, at the sides of each space, would have been below the weft shot, or would appear as on the under side of the cloth in the present specimen. The same is to be understood of the dropped spider net ; for the omissions are made by the back leaves of the whip part, in the very same manner as in the present example. 18D ART OF WEAVING. It is observable in the allover dropped whip net, that the two threads i and a form a twist resembhng a splitful of gauze warp, throwii into a zig-zag or serpentine direction, which gives this pattern the appearance of one which was frequently woven on the silk, and known by the name of the balloon net; on wluch account it sometimes passes under that name. These examples, it is presumed, will be sufficient to ex- plain the nature and processes of net weaving, and to show that, by changing the order of the draught, cording and treading, considerable variety may be produced in these fabrics as well as in the other branches of fancy weaving. I might, indeed, have added examples of the night thought and princess royal woven without the ground or gauze part, but as these, and a great variety of other patterns are now woven wnthout heddles, merely by needle frames, which are shifted so as to produce the requisite crossings of the whip, it w^ould only be taking up time to little or no purpose. SECT. IV. OF LAPPETS. Lappets may, without much impropriety, be classed among the varieties of cross weaving, as the whip, which was formerly raised by bead lams, is crossed from right to left, alternately, in front of the reed while the pattern is forming. In the original method of weaving lappets, which for- mei'ly fonned a considerable branch of the silk manufacture nf Paisley, the bead lam shafts were attached to the lay, behind; and a lam, or doup, from each shaft, passed through the reed at different intervals, and united in a small glass bead below the warp. The whip, which was sometimes taken through the reed, and sometimes below it, passed through these beads, so that, by raising any one of the bead lam shafts, the thread of whip was drawn by the bead to- wards that interval of the reed through which the lam CROSSED WARPS. 181 passed, and there raised above the shuttle, where it was fastened to the face of the cloth by the weft. By this means the whip could be drawn across the warp and raised oppo- site to any interval of the reed through which a lam passed, and formed into various figures on the under surface of the cloth, according to the number of shafts employed, and the order in which they were raised. The whip, as in the present mode, was beamed on a separate roll from the main warp, and was slackened by every treadle that raised a bead lam shaft. This is the method by which silk lappets were formei'ly woven in Paisley, and which was subsequently introduced into the cotton manufacture. But as every process of weav- ing, in which any part of the heddles is subjected to the oscillatory motion of the lay, must be both tedious and in- tricate, the more simple method of raising the whip by needles placed vertically in a frame, and which could be moved horizontally, at pleasure, by the weaver's hand, was invented soon after the cotton manufacture became extensive. SINGLE FRAME LAPPETS. The first kind of lappets which were woven on this prin- ciple were produced by one needle frame, from which the name is deiuved. A representation of the needle frame, adapted to these patterns, will be found at Fig. 1, Plate 8. It consists of the two parallel wooden shafts, a a, which are connected together by the upright pieces, o o. In these end pieces are grooves, in which the needle shaft i moves up and down. The upper side of this frame is placed in a groove, cut in the upper shell or handle of the lay, in such a manner as the needles may stand between the race rod and the reed ; and the weaver keeps his left hand on the spring w, which is fastened to the frame, and moves the whole apparatus fi-om right to left, alternately, while the 182 ART OF WEAVIxVG. pattern is weaving. At x is placed the rack c, which regu- lates the range or extent of the whip on the cloth. It is fixed to the upper shell of the lay, immediately below the spring catch. The spaces between the teeth of the rack, exclusive of the thickness of the catch, are each equal to the number of splits of the reed over which the whip is flushed. The needles are made of brass wire, cut to the proper length. They are flattened and pointed at the upper ends, through which a hole is drilled in each for receiving the whip. The other ends are sharpened and driven into the upper edge of the needle shaft, at the same distances as the figures are to stand on the cloth. Different methods have been adopted for giving the ver- tical motion to the needle shaft, both in this and the other apparatus for weaving lappets. One of these, which is pretty common, is as follows : a small crank is made by nailing the ends of two pieces of wood together, at right angles, so as to resemble a carpenter's square ; pieces cut oft' the end of an old heddle shaft are commonly used for this purpose. One of these cranks is screwed, by the joint or centre, to the inner edge of each sword of the lay, at the top, with one end standing upright, and the other project- ing forward over the needle frame. From these horizontal arms the cords v v, descend to the needle shaft, passing through holes in the upper side of the frame, to confine the needles to a vertical direction. Another cord is tied to the upright arm, which is hkewise connected to the back cross rail of the loom, or that above the warp roll. When, there- fore, the lay is put backward, the tops of the swords, which are above the centre of motion, move in the contrary direc- tion, and the cords which connect the upright arms to the cross rails turn the cranks round on their centres and elevate the arms which are tied to the needle shaft ; and, conse- quently, raise the needles with the whip above the race of tlie shuttle. When the lay is brought toward the face of CROSSED WARPS. 183 the cloth, the cranks resume their former position, and the needle frame sinks again by its own weight. In front of the needle frame, and immediately behind the race rod, another shaft is suspended, into which is driven a number of brass pins, sharpened into points, and which is raised along with the needle shaft, for a guide to the shuttle, in place of the reed in the common kinds of weav- ing. Another method of raising the needle frame, which is considered more simple, is by taking the cords v v, over screw pulleys fixed into the swords of the lay, in front, and about half way up; and then tying the other ends of the cords to the cross rail of the loom, above the weaver's head. Here it is evident again, that when the lay is put back- wards, the needle frame will be raised by the cords v v, passing over the pulleys ; and as the lay is brought forward, the needle frame will sink, perfectly clear of the reed, by its own weight. It has been already observed, that the rack and catch regulate the extent of the range which the whip takes across the warp. For example : Suppose the distance between any two teeth of the rack to be four splits of a 1200 reed, ex- clusive of the thickness of the catch ; then it is evident, that so long as the weaver continued to shift the catch from right to left alternately, between these teeth, the needle frame, and consequently the whip, would be crossed to the same extent below, and raised alternately on each side of the four splits when the lay was put back, and tacked to the face of the cloth by the weft; forming a straight flushed stripe of that breadth, running by the length of the cloth. But were the catch shifted to any other interval of the rack, which is effected merely by the weaver slackening the spring and moving his hand to one side, the needles would be equally shifted below the warp ; and by again working the catch between the teeth of the rack in this new position, 184 ART OF WEAVING. another flushed stripe would be produced: and thus, by shifting the catcli to any part of the rack at pleasure, and varying the extent of these stripes, a great diversity' of pattern may be produced on tliis easy principle. It mav be farther observed, that as the needle frame must necessarily rise every time the lay is put back, the weaver must shift the needle frame at the same time; and, consequently, that every shot of the ground weft fastens one thread or ply of the whip to the face of the cloth, but at the alternate sides of the figure. DOUBLE FRAME LAPPETS. The first improvement which was made on this method of weaving lappets, was the application of two needle frames so mounted, that when one frame was shifted either to the right or left, the other moved in the contrary direction and reversed the figure. This was effected merely by connecting the two frames at each end, by a cord running over a small pulley, the rack, spring, and other parts of the mounting being the same as for the smgle frame. The patterns which were woven on this principle, therefore, were produced by first giving die two needle frames an opposite range, by working over the rack in one direction, and returning again till they met in or near the point whence they first started. Sometimes, however, the figures crossed each other at different intervals, and in various forms, and returned in the same or any other order that fancy miijht suggest. It has been already observed, however, that so long as the catch continues to work between any two teeth of the rack, the figm-e produced by each needle wll be a stripe of equal breadth throughout; and the only changes which can be effected in the pattern, arise from shifting the catch from one space of the rack to another. Hence, the stilT formality CROSSED WARPS. 185 of such patterns, which is inseparable from this process of weaving, is strikingly observable ; and will exist as long as the horizontal range of the needles is confined to a deter- minate space of the reed. To obtain, therefore, a gradual increase and diminution of the range of flushing without shifting from one space to another, was the next desirable object ; and this has been completely effected by substitut- ing a wheel for the rack, by the revolution of which, every variety of range can be given to the needle frames which is requisite in this species of weaving. WHEEL LAPPETS. In the method of weaving lappets with the wheel, the needle frame is placed in the very same position, and, in general, mounted in the same manner as described under the rack lappets, and which is represented at w. Fig. 8, Plate 8. The wheel has a groove, in place of the spaces between the teeth of the rack, cut in one of its flat sides ; and this groove varies in its breadth and is extended in length round the wheel, corresponding to the dimensions of the figure which it is to produce. The wheel possesses another capital advantage over the rack, in so much, that when tw^o or more needle frames are necessary, each frame has a groove for itself, by which the formality in the patterns formerly complained of is entirely avoided. J The wheel is fixed by its pivots into a small frame of wood, one side of which extends to the back of one of the swords of the lay, to which it is fastened with screw nails. In place of the rack and spring, there is a wooden rod, connected to each needle frame, which runs in a groove cut in the upper shell of the lay, and in a horizontal line with the centre of the wheel, as represented in Fig. 8. On the end of each rod is fixed a piece of iron, the end of which is bent as at m. Fig. 8, so as to work in tlie groove of 2 A 186 ART OF WEAVIXG. the wheel by which the range of the needle frame is limited by the warp. This is called the pick or peck. The cir- cumference of the wheel is divided into a certain number of teeth, which likewise regulate the extent of the pattern by the weft. Above the descending side of the wheel is the catch o, or hammer, as it is usually termed, loaded with weights, to bring it down with a force sufficient to turn the wheel one tooth. This hammer is raised, in general, by a couper and long march, connected to the right foot treadle, and sinks again when this treadle is relieved from the foot, by which the wheel is shifted one tooth when the shuttle is in the left box of the lay, but is stationary when in the right box: so that two shots of weft are thrown in for each tooth of the wheel, and the whip is also traversed, first to the left, and again to the right, in the same time, and fastened to the face of the cloth at both sides of the pattern. Nearly in the middle of the shiftino- rod is the handle a, Fio;. 8, which the weaver holds in his left hand, bv which he jrives the horizontal motion to the needle frames, in the same manner as when working with the rack and spring. But when more frames than one are employed, their different motions are given by means of cords connected to their shifting rods, and running over pulleys on the upper shell of the lay. There is another groove round the circum- ference of the wheel, immediately behind the teeth, in which there is a cord fastened to a spring, by the proper temper- ing of which, the motion of the wheel is regulated, so that it may be neither too loose nor too tight on its axis. This cord and spring will be seen at e 6, Fig, 8. Fig, 2, is the representation of a lappet wheel for wea\'ing the pattern Fig. 3 ; and Fig. 4 is the same pattern on design paper. It is cal- culated for a tw'elve hundred reed, and stands on ten splits, witli six splits for the plains between the bosoming spots. ?', Fig. 2, is that part of the groove w^hich produces the spot r. Fig, 4, and the other part of the groove, marked o, works ib.e bosoming spot o in the same Fig. CROSSED WARPS. 187 CUTTING LAPPET WHEELS. The wheel is made of well-seasoned wood, generally ot sycamore, or plaintree, and may be made of any convenient diameter ; for that does not affect the pattern, provided it be laro-e enough to prevent confusion where the lines ap- proach the centre. When the wheel is to be made for two or more frames, however, the diameter must be made pro- portionally larger than for the single frame. The wood is put into a turning lathe, and turned to the requisite thick- ness and diameter, and the groove is cut out in its circum- ference for the spring cord formerly mentioned. A number of concentric circles are next described on one of its sides, at the same distances from each other as the splits of the sett of reed for which the pattern is intended. This is the method originally pursued in making lappet wheels; but it is now found more convenient, being less liable to con- fusion, to mark every second split, only, by a circle, as the half of the intermediate spaces may be easily ascertained by sight, when an odd split is required, as will appear on examining Fig. 2. These circles are described almost in- stantaneously by a very simple process. While the wheel is in the turning lathe, a piece of thin steel is applied to its side, the edge of which is formed into points, at the same distance from each other as every second split of the given reed. The circumference of the wheel is next divided into as many equal parts for the teeth, as are equal to half the number of weft shots in the pattern, or to the whole num- ber of spaces of the design paper, counted upwards, on which the figure stands : for, as already observed, the needle frame is moved twice by the hand, first to the left and then to the right, for each shifting of the wheel from one tooth to another. It must be observed, however, that it is com- mon in detached figures, both at the beginning and ending, 188 ART OF WEAVING. to move the needles over one splitful of the warp only, for the purpose of fastening the whip ; and, therefore, in every case where this occurs, there must be one tooth more added to the number, which would otherwise be requisite for the given figure. There is another circumstance that must be attended to in calculating the teeth of these wheels, which is, as the wheel must shift an accommodating tooth while the needles are mo\4ng from the right to the left hand bosoming spots, another must be added for this pm-pose ; but this is not necessary when the needles are moving in the contrary direction, as will be more fully illustrated farther on. ^\llen the number of the teeth have been thus ascer- tained and marked off, a straiglit Hue or radius is drawn from the centre of the wheel to eacli of these divisions in the circumference, and then it is ready for cutting the groove. In order to explain this process, which will gi-eatly assist in illustrating the principles of lappet weaving, we shall take for an example, the pattern and wheel already referred to. Here it will be observed, that the spot Fig. 4, occupies ten spaces of the design paper from right to left, or ten splits of warp ; and as every space, counted upward, re- quires one tooth of the wheel, and is equivalent to two shots of the ground, it follows, that there will be foiuteen teeth required for this part of the vv-heel, and that twentv- eight shots of the ground must be thrown in while this part ■of the pattern is wea-\dng. But as there is a fastening spht both at the beginning and end of this spot, two additional teeth will be necessary for this pui'pose, and as the same takes place in the bosoming spot, and a tooth added for shifting from one spot to the other, as already noticed, the whole number of teeth for this pattern will be 33, as re- presented in Fig. 2. Again, as the concentric or reed circles are here drawn at the distance of two splits of a twelve hundi'ed reed fi-om CROSSED WARPS. 189 each other, and the spot occupies ten splits, it is plain that five of these spaces would be the exact breadth of the groove at its greatest extent. But as the thickness of the peck must always be added to the breadth of the groove, which, in this example, is supposed to be four splits, two spaces more must be taken into the account. Then, on the first or bottom space of the design paper. Fig. 4, it will be found that there are six blank squares, counting from the left, be- tween the extremity of the spot i and the fastening split, three spaces are therefore counted off on the wheel, from the left, at the beginning of the spot at a, Fig. 2 ; where there is a mark made Avith a point of the compasses, for one side of the groove. Again, count two spaces more for the diameter of the peck, and add a half space for the fastening split, and make another mark at e ; and this will point out the breadth of the groove at this tooth of the wheel. As the spot extends two splits to the left and one to the right, on the second space of the design, make a mark at a full space to the left, and a half space to the right, of the vvheel ; and this will give the breadth of the groove at the second tooth. On the third space of the design, the figure extends two splits more to the left and one to the right; these being marked off as before, will give the breadth of the groove for the third tooth ; and so on to x, where the groove is again contracted to five splits ; that is, four for the peck and one for the fastening split, after which the peck enters the groove of the bosoming spot o, which is exactly the same as the pi'eceding, only it is reversed, and its position shifted six splits clear of the other, for the plain part of the pattern. When the breadth of the groove is thus marked off for each tooth, the marks are all joined with a black lead pencil ; observing, however, that where the groove is either widened or contracted, the changes must be made in the middle of the space of each tooth, that the peck may have 190 ART OF WEAVING. the full breadth of the groove to traverse by the time the wheel becomes stationary. This done, the edges of the groove, as marked off with the pencil, are cut out with a chisel and mallet, and the bottom cleared with gouges or other proper instiiiments. It was observed in calculating the teeth of the wheel, that an odd tooth was necessary in shifting from one of the bosom spots to the other. This will be better understood by following the dotted Hne in the groove of the wheel. Fig. 2, which may be ta,ken for the track of the point of the peck in one revolution. Thus, when the weaver com- mences his operation, the peck is at the right side of the groove, at e ; and, when the right foot treadle is pressed down, the hammer is raised, the wheel is stationary, and the peck is shifted to the left at a. But before the peck re- turns again to the right side of the groove, the hammer has shifted the wheel one tooth ; and, consequently, the peck will now touch the side of the groove at the point v. By tracing the dotted line still farther, it will be found that the peck will shift directly from x to u, by moving the wheel only one tooth, as in the otlier parts of the pattern. But when it arrives at ^^", which is the end of the spot, its next position should be at e, where the other spot begins; but as this would interrupt the reciprocating motion of the needle frame, the tooth above mentioned is added, and its next position is at r, and must return again to the left side of the wroove y, before it can arrive at the beginnmg of the spot. WHEELS FOR TWO FRAMES. From the preceding description, it will appear, that any figure, within a moderate compass, may be pro- duced vri\h. the lappet wheel and one needle frame, provided such figures be solid, or that the spaces on the design paper be entire from right to left: for if the CllOSSED WARPS. 191 figure be broken into two, three, or more parts in its horizontal range, one frame will be necessary for every such part. Fig. 5 is a pattern for two needle frames, adapted to a 14 hundred reed, and Fig. 6 is the same on design paper. As this figure is open in the centre, it is evident that two needle frames will be requisite, and these work in contrary direc- tions, one on each side of the centre, coming into contact and receding from each other, alternately. Fig. 7 is a re- presentation of the wheel for this pattern, on which there are two grooves, one for the peck of each frame ; and these grooves are placed at such a distance from each other, as is necessary to secure the wood between them from being bro- ken ; the shifting rod of the inside groove being so much longer than the other, as to fit that distance. The figures in this example are not bosomed, as in the preceding, other- wise the wheel must have been considerably larger. As the two needle frames move always in contrary directions, they are commonly mounted in the manner explained under the rack double frame. By examining Fig. 6, it will be found that the spot stands upon 22 splits, or 1 1 splits for the range of each needle. From the left extremity of the spot to the fastening split, on the design paper, there are six blank spaces; therefore three of the circular spaces, on the wheel are counted off, and a mark made for one side of the groove ; and as there are in this example, six spHts allowed for the diameter of the peck, three spaces, together with a half space for the fasten- ing split, are added, and a mark made for the other side of the groove at this tooth of the wheel ; and so on with the others, as in the foregoing example. The other groove is marked off in the very same manner, only reversed ; that is, the side next the centre of the wheel of the inside groove is the same as the side next the circumference of the other. 192 ART OF WEAVING. DROPPED FRAMES. Fig. 9 is a pattern for three needle frames, and Fig. 10 is its representation on design paper. In this pattern it will be observed, that the needle frame for the small colonade is con- stantly working, while the other two which produce the sprig are occasionally at rest. ^Mien the working of any of the frames is omitted for a time, in tliis manner, such frames are said to be di'opped. In weaving patterns of this kind, the needle frame which is constantly working is usually raised in the manner formerly described ; but those that are occasionally dropped must be mounted separately. The common method of raising these needles is, by means of a couper and long march, which last is connected to tongues, or small pieces of wood attached to the treadles; so that, when the weaver shifts his feet forward on the tongues, the frames are raised, and the needles produce the figures; but as soon as he shifts his feet a little backward on the treadles, clear of the tongues, the needles are dropped. In calculating the needles for this pattern, it must observed, that the range for one set extends only from a to e; for the second stripe is added mei-ely to show the position of the first needle of the second set, or the manner in which the pattern joins. It may be further observed, that although Fig. 6 is given merely as an example of a double frame lappet, it might have been ranked among those of the dropped kind, as the figures stand detached, with plain spaces intervening, both by the warp and weft. When the whole of the frames, however, are thus omitted at the same time, it is not neces- sary to make any alteration in the mode in wliich they are mounted ; for the needles can be raised and dropped at plea- sure, by raising the hammer with a tongue attached to the right foot treadle. These observations apply likewise to patterns which require a greater number of frames, some of which- have been lately made with six OTooves in the wheel. CROSSED WARPS. 193 When lappets are made into shawls, there are one set of needle frames requisite for the side border, and another for the cross border and centre. As the spots in the centre, however, are always thinner than those of the borders, part of the cross border needles must be dropped during the whole of the time the centre is weaving. But as the spots thus omitted are usually the same as those which are continued, there is, in such cases, no occasion for an additional groove in the wheel ; for the two needle shafts are placed into one frame, one above the other; and the needles of the under shaft, which pass through holes made in the upper one, are so much longer, that their points are in the same horizontal line when the two shafts are in contact ; so that both shafts are raised and sunk together in working the cross border, but the under one is always sunk in weaving the centre. Having explained, at considerable length, the construc- tion and use of the lappet wheel, it will next be necessary to take some notice of the method of arranging the needles, so as to produce the requisite diversity of pattern. If we take, for example, the pattern Fig, 4, we will find that diere are ten splits in each of the bosoming spots, and six in each of the intervening plains, which make in whole 32 splits for the range or space allotted to each needle. As the needles, in this, are all placed at equal distances, we have only to divide the quantity of warp in the web by 32, to find the number of needles, and, consequently, the number of ends of the whip which will be requisite for this pattern. Thus, suppose the cloth to be five-fourths broad, or 1500 splits of a 12 hundred reed; then 32) 1500 (46 128 220 192 28 2b 194 ART OF WEAVING. Here we have 46 of a quotient and 28 splits over ; so that by adding a few splits we ^viLl have 47 needles, or by throw- ing a few away, we will have 46 ; making, in either case, a sufl&cient allowance for the selvages. Again, if 32 splits be taken in a pair of dividers, from the reed scale, for a 1200, and set off alons the edge of the needle shaft, each mark left by the points of the dividers, will show where a needle is to be inserted. When the needles are set at unequal distances, one whole set of the pattern may be formed, as above, and again sub- divided, agreeably to the different positions of the needles. The same is to be understood when more than one needle shaft is employed, for the position of the needles of each shaft must be found to suit the particular space allotted to it in the pattern ; and the whole must be so arranged, by adapting them to their respective shifting rods, as produce the desired effect. Although it has been observed, that patterns may be woven by means of the lappet wheel to any extent ; yet this must be understood in a very limited sense : for, as the whip is never interwoven with the cloth, except at the extremities of the figures, it is evident, that, by giving it too much lateral range, the objects produced would be loose and flabby, and liable to be caught and torn out by every thing with which it came in contact. A method has, indeed, been attempted, of fastening the whip in the middle of large objects ; wliich is, by raising a fine thread the same as the warp, by an additional needle frame, at each traverse of the whip along the face of the cloth. But this contrivance does not seem to have been attended with any material advantage, since it is now entirely neglected. The method of traversing the lappet whip across the warp, in front of the reed, would naturally suggest the idea of cross- ing the whip of nets, hkewise, with needles : by which a variety of patterns might be produced without heddles, as for- CROSSED WARPS. 195 merly noticed. For suppose we take two needle shafts, one with the needles upright, in the usual way, the other with their points downward, and a thread of warp drawn through the eye of each ; then, if the upper shaft be shifted a little to one side, and the needles sunk on the right of those in the under shaft, so as to open a shed to receive a shot of weft ; and, again, if the upper needles be raised, shifted in the contrary direction, and sunk on the left of the others, forming a shed for another shot of weft ; the texture thus produced would be the common plain gauze. Hence it is easy to conceive, that, by extending the range of the needles a little further, in each direction, or by increasing the num- ber of needle shafts, varying their motions, and sometimes omitting to raise or sink any number of the needles, all that variety of net patterns may be produced which have lately made their appearance in the market. But as the proprietors of this invention are still disposed to keep their process a secret, a detailed account of it cannot be given in this place. 196 ART OF WEAVING. CHAP. VIII. SPOTTING. In all the preceding branches of weaving, the figures or patterns are formed by the several modes in which the warp and weft are interwoven, or flushed over each other. In this extensive branch of manufacture, however, the spots or figures are woven on the clothby incorporating the spotting, and in some instances, the stripping, with certain portions of the ground ; and those parts which are flushed over the intervals, in most of the kinds, are afterwards cut away. The spotting yarn is coarser than that which composes the ground, sometimes coloured, and is usually two or more ends wound together, without any twist. Spots which are woven on a plain ground or texture, are usually divided into two kinds, namely, the common spot and the paper spot ; for, on any other ground, this distinc- tion is unnecessary. SECT. I. COMMON SPOTS. The mounting of a common spot consists of the^re leaf, the ground leaf, and the spotting leaves by which the pat- terns are produced. The fore leaf contains that half of the warp which would have been drawn on the front leaf of a plain web ; and the ground and spotting leaves, taken together contain the other half; so that, on the gi-ound leaf are drawn those portions of the warp, only, which fall into the intervals between the spots. SPOTTING. 197 By an attentive perusal of the following plan, and its description, the principle on which common spots are woven will become obvious : it is the draught and cording of what is called a ROUND SPOT. No. 1. Fiff. 1. Plate 9. II / 1 1 1 1 d 11 c — 1 1 ^ 1 1 III mill III ^ MllllllllllllllllllMII c 3 4 m 2 5 71 1 6 B A 1 6 r 2 5 s 3 4 t In this plan, which contains six spotting, and two plain leaves, the letter C points out the fore leaf, D the ground leaf, and the small letters a, h, c, d, e, and f, the spotting leaves respectively. The leaves a, 6, and c, however, are sufficient to form the figure ; but, as it is common in spot weaving to throw one row of spots into the bosom of the other, as in the figure on design paper accompanying this example, the leaves d, e, ^ are added for this purpose. It will appear by the marks on the draught, each of which denotes one thread of warp, that there are three splitfuls of plain, drawn in alternate threads on the ground and fore leaves D and C, exclusive of selvages, which are considered separately from the warp, and are also drawn on these two leaves. Then the first thread of the spot is drawn on the spotting leaf dy and the other thread of the same splitful 198 ART OF WEAVING. on the fore leaf. The second thread of the spot is drawn on the leaf e, and another thi-ead to complete the splitful on the fore leaf. The third spotting tln-ead is drawn on the leafy, and another on the fore leaf; and so on with the other half of the spot. The next part of the draught contains six splitfuls of plam, because there are six sphts in the extent of the spot ; or, in other words, the spot is said to stand upon six sphts : and tliis makes what is termed a half cover. Then we come to the bosoming spot, which is drawn, in every respect, in the same manner as the fii*st, but upon the leaves, o, 6, and c; and then follow three sphts of plain to make a complete intei^val Anth the three first di-awn : and this constitutes one set of the pattern, or once over the draught, which is to be repeated as often as necessaiy to produce tlie given breadth of the web. Again, the two treadles A and B are corded to weave plain cloth : A raises the fore leaf C and sinks the others; B raises the gi'ound and spotting leaves, and sinks the fore leaf. The spotting treadle r raises the point leafy^ and sinks all the warp except what is drawn on that leaf; the treadle s raises the leaves e and f sinkuig the others ; and the treadle t raises the three spotting leaves f e, and d ; and thus one half of the spot is produced, the other half be- ing formed by reversing this order of treading, as pointed out bv the fissures on the treadles. This finishes one row of the spots, and the bosoming one is produced, in like man- ner, by the treadles w, ??, o. In all patterns woven on the common spot principle, there are two shots of fine weft thrown across, on the plain treadles, for each shot of spotting, in order to revei*se the plam sheds, and complete the texture of the ground below the spot. In tliis example, therefore, after thro'ning across a shot of spotting on the treadle r, the weaver works two shots of fine on the treadles A and B for the ground; then another coarse shot on s, and two fine on A and B ; and so SPOTTING. 199 forth with the remainhig part of the spot. After weavmo- twelve shots of fine for the plain, which, in this example, is of the same extent as the spot, the bosoming row is woven in the same manner as the first. Of this and the following plans, it may be observed, that although the warp of the plain parts be marked as if drawn on two leaves only, to render the principle as perspicuous as possible ; yet it is usual, as in plain weaving, to divide the warps of C and D, respectively, between two leaves, that the heddles may not be too much crowded in those parts. Common spots are usually designed on 10 by 10 paper, except considerably more weft than warp be required, in which case, either 8 by 9 or 8 by 10 may be employed; and as one thread, only, of each splitful rises in the forma- tion of the spotting sheds, each space on the design paper, running vertically, will represent one spHtful, or two threads of warp. Again, as there are two shots of fine or ground thrown in for each shot of spotting, these three threads will likewise be included in one space from right to left. In looking back on the different methods of varying the draughts and cordings which have been explained in the preceding chapters, it will readily be perceived, that an ex- tensive variety of patterns may likewise be produced on this principle. It will only be necessary, however, in what follows, to explain those forms of mounting which are of most use in practice. In the following examples, two threads are drawn on each spotting leaf; but, instead of the spots being embosomed, as in the preceding plan, they stand in an inverted position in the same row. 200 ART or WEAVING. No. 2. Fis. 2. Plate. 9. (01 |0|0| 1 |0| II II il II II II II II 1 \0 II II Mill lllllllllf III!!'/ |0| 1 Fore Leaf. | B 5 I 4 3| 2: 1 2 3 4,! 5 1 i No. 3. No. 4. Fig. 3. Fig. 4. Draught same as No. 2. jO| |0 |0| |0 1 1 1 1 1 : 5 4 3 2 1 3 3 2 1 1 2 3 4 5 B A 4 B A 1 3 2 4 5 In the following plans the figures are bosomed, which, consequently, require double the number of spotting leaves. To save room on the Plate, however, only one spot of each pattern is dra\vni. These and the eight following Nos. have two shots of spotting on each treadle. SPOTTING. 201 No. 5. Fig. 5. 1 1 1 I II 1 1 1 1 II 1 II II H II II II II II lllll lillllllll llllll 1 9 1 7 10 ! 8 i ! 5 6 3 4 1 2 B A 1 2 3 4 5 6 7 8 9 10 No. 6. Fig. 6. Draught same as No. b. 1 1 1 1 1 1 1 1 1 1 1 1 1 1 |o 1 1 — — — 0| |0 0| |0 9 10 7 8 5 6 3 4 1 2 B A 1 2 3 4 3 6 7 6 9 IP 2 c '20^ ART OF WEAVING. No. 7. Fig. 7. II 1 II II II II 1 1 II II II II — — — Mill Mill Mill o 6 3 4 7 8 1 2 9 10 1 2 9 10 B A 3 4 7 8 3 6 No. S. No. 9. Fig. Draught same as No. 7. Fig. 9. 1 jO |0 'W "10 1 1 10 OjOj |0 0|0| 1 |0 o| 1 "5" 6 3 4 7 8 1 2 9 10 B A 1 2 9 10 3 4 7 8 5 6 I 7 8 11 12 3 4 9 10 5 6 B A 5 6 3 4 9 10 1 2 7 8 11 12 SPOTTING. uos No. 10. Fiu-. 10. r 1 |0 |0 Mil 1 II 1 1 l<> |0| |0 MM 1 II II II 1 1 1 II II 1 1 |o| 1 1 1 1 11 1 1 |0| |0| |0 1 II 1 1 1 1 II I / 1 1 1 1 II II 1 1 II II 1 1 lllllll llllllllllllll mill, 1 i 1 ■7 3 1 1 3 7 8 4 11 12 2 5 6 9 10 13 14 B A 2 3 6 9 10 13 14 4 11 12 8 No. 11. Fig. 11. Draught same as No. 10. — — — 0' — 7 8 5 6 9 10 3 4 M 12 1 2 13 14 B A 1 2 13 14 3 4 11 12 5 6 9 10 7 8 ART OF WEAVING. No. 12. Fig. 12. DrauQ-ht. II mini nil No. 12. CORDING. 1 1 1 ' 0] f>i ■o 1 1 1 1 1 1 1 1 1 1 1 1 1 1 i 1 1 1 2 3 4. 6 7 8 9 10 11 12 13 14 B A 13 14. 11 i 9 12 10 7 8 o 6 3 4, 1 2 SPOTTING. 205 These examples will give the reader some idea of the manner in which spot mountings may be diversified. But, as the diamond draught, of which No. 1 is an example on a small scale, is of most frequent use, both for common and paper spots, it will be of great advantage to the tradesman to be able to produce a variety of patterns from any given mounting of this form. The following example, in which thirty varieties are given, by a mounting of five spotting leaves, will show how this may be eifected. In these plans, the draughts and cordings are made for one row of spots, only ; but tlie bosoming spots may be easily supplied, if ne- cessary. The draught is the same for all these patterns to No. 42, and need not be repeated. No. 13. Fig. 13. No. 14. Fig. 14. 0|0 II |0| 1 |0 0| 1 1 |0|0 01 1 1 |0| |0|0 0| 1 |0|0| 0| 1 1 0| 1 o| ! 1 1 1 |0| 1 1 1 1 1 |0| 1 1 1 1 Hill iii;i 1 8 9 1 r\ 1 B A 5 6 4 7 3 8 2 9 1 10 B 6 5 A 1 4. 7 2 10 3 11 No. 15. Fiff. 15. No. 16. Fig. 16. 1 |0|0| |0 1 1 0|0| 1 |0 0| i 1 0| 1 1 |0 i 1 1 "0 1 1 1 1 1 1 t t B 7 A 6 5 10 11 1 4 9 12 2 3 8 13 B A 5 4 9 3 8 12 2 7 11 14 13 I 6 10 13 16 206 ART OF AVEAVING." No. 17. FiiT. IT. No. 18 Fiff. 18. 0| |U| 1 |0|0 0| 1 1 |o 0| 0| 1 1 |0|0| ! 1 io|o 1 0| 1 |0|0| 1 Oj 1 o|oi 1 •o| |0 10 |0| 1 1 0| 1 j 1 fOI 1 1 0| |0 1 1 0| 1 1 1 1 1 |0 1 1 4 13 6 2 1 o 4 1 3 2 1 12 11 10 3 iO i 9 8 7 6 7 8 1 12 11 jB A 9 15 B A 13 14. 1 13 1 i 14 ) i 1 i No. 19. FiV. 19. ''g No. 20. Fig. 20. 1 1 |o|0|o !0| 1 1 |o 1 1 |0|0|0| iO| 1 |0|0 1 0|00|0| 1 |0 0|00 |0 1 " 1 0|00||| |0 0|00 1 0| 0| 1 1 |0| 1 |0|0 MM \ 1 1 1 1 1 1 B A 4 7 5 6 3| 2 8| 9 1 1 10 B A 9 8 6 7 4 5 3 2 1 Note. In Figure 19 there are foiu" shots of ground be- tween the spotting shots, if a plain texture, or two if gauze. SPOTTING. 207 No. 21. No. 22. Fiff. 21. Fig. 22. 1 1 jO 010 |0 0|0 0| 1 1 1 1 1 B A 2 5 3 4, 10 9 8 13 14 7 12 13 1 6 11 16 B A 9 12 10 11 8 7 1 6 2 5 14 13 3 4 13 16 No, 23. Yin. 23. No. 24. Fig. 24. o\ 01 "F — B A 3 4 7 8 2 9 1 10 5 6 B A 1 12 2 3 10 11 4 9 3 8 6 7 208 ART OF WEAVING. No. 25. No. 26. Fig. 25. Fig. 26. jO 1 1 1 1 B A 1 10 2 9 3 i 7 8 5 6 B A 4, 3 6 3 7 2 8 1 9 No. 27. No. 28. Fig. 27. Fisr. 28. 0| |O|0|O|O|O| 1 0| 0| 10|0|0 |0| 1 i |0|0 |0|0 1 1 i 0| |0 1 i , I0 1 B 1 A 8 7 9 6 10 2 3 5 11 1 4 12 B A 3 6 4 7 3 d 2 9 1 10 SPOTTING. 200 No. 29. Fi£T 29. D No. 30. Fiff. 30. T) t» U 1 B A 6 7 8 4 5 3 2 9 1 10 11 B A 9 8 4 7 d 6 11 12 1 2 5 10 13 No. 31. No. 32. Fiff. 31. Fig. 32. B A 5 6 4 7 8 3 9 1 2 10 B A 7 8 3 4 11 12 2 5 10 13 1 6 9 14 2 J) 210 ART OF WEAVING. No. 33. No. 34. Fig. 33. Fig. 34. U U u u u •J u 5 i 3 2 1 2 1 6 7 8 9 10 .5 4 3 3 9. 4 1 B A b A 6 7 8 9 10 13 14 11 12 13 No. 35. No. 36. Fig. 35. Fig. 36. 1 ) B A 3 3 6 4 7 8 2 9 1 10 B A 1 6 7 12 2 11 3 10 4 9 3 8 SPOTTING. 2\l No. 37. Fig. 37. No. 39. Fig. 39. No. 38. Fig. 38. 0| |0|0|0|01 ■ u — ". ^ 0' 1 1 1 — 1 B u 1 A b 7 5 8 3 10 11 1 4> 9 12 B A 4 5 3 6 8 9 1 2 7 10 No. 40. Fig. 40. — "~ ~ IT ^ ^ ~3' 12 17 B A -^ 3 11 12 1 4 10 13 5 9 6 8 7 B A 1 11 10 9 5 6 7 8 4 14 13 2 13 16 No. 41. Fig. 41. No. 42. Fig. 42. 1 II II II ijo u II II 1 UO "0" — 1 II 1 l|0 1 II B A 8 7 6 4 5 3 10 11 1 2 9 12 B A 10 9 8 5 413 i ! ! 1 2 212 ART OF WEAVING. It is sometimes of advantage to the weaver to have his draught made upon a larger scale than is barely necessary for tlie intended pattern. By this means he has it in his power to increase the variety of pattern considerably, with- out incurring the expense of many different mountings. For this reason, Figs. 23, 25, 26, 32, 35, 37, and 38, are included among the preceding specimens, although it must be obvious that they could be woven with only four spotting leaves. If four threads be drawn on the point leaf, instead of two, in the preceding moimting, other varieties will be obtained, of which the following are given as examples. No. 43. Fig. 43. |0|0 i nil — 0|0|0 1 1 0|0| 1 1 0I 1 1 1 ! 1 1 IIIIlL llllil 1 1 B A o 6 7 8 4 3 9 10 2 fl 1 12 No. 44. rig. 44. III! 1 1 1 1 1 1 1 1 llllil llllil B A 5 6 7 8 4 9 3 10 2 11 I 12 SPOTTING. 213 No. 45. Fig. 45. 0| 1 1 nil 1 1 1 0| 1 1 — |0 ~0' |0|0 1 1 1 |0| 1 1 — 1 1 1 1 1 1 mill iiiiii 1 B A 8 10 7 11 6 12 5 13 4 9 14 3 15 2 16 1 17 spots of this or larger size are frequently embosomed with some inferior figure, such as a barley-corn, club, or round drop, which will require only one, two, or three leaves ; by which means, mountings may be considerably reduced, while, at the same time, they are capable of producing a very extensive variety of pattern. The two following plans will suffice for examples. No. 46. Fig. 46. oil |0 II 1 |o i II |0|0| II II 0|0| III II 1 III 1 1 — — — |0|0| II 1 1 III III III B A TT 12 10 13 9 14 7 8 15 16 5 6 17 18 1 4 2 3 214 ART OF WEAVING. No. 47. Fig. 47. |0 |0 II 1 1 1 1 1 1 1 1 0| 1 1 1 "o— 1 1 1 I |0 1 II 1 1 nil nil nil 1 1 B A 19 20 7 o 8 6 9 11 10 12 3 18 1 1 4 21 2 13 15 14 16 17 |32 It is observable of the diamond draught, that whatever varietv of figures it can produce, they are always alike on each side, or diverge, as it were from a centre. There is another spot draught, however, which obviates this formal appearance of tliese figiires, but which requires double the number of spotting leaves to produce a pattern of the same extent This draught runs straight over the leaves like the drauiiht of a regtilar tweel ; by which each thread of the spot mav be raised independently of the others, and any variety can be produced within the limits of the draught. This mounting, however, owing to the number of leaves requisite for a spot of but moderate size, is not in such ireneral use as the diamond draught. The two following examples will jhow the effect of this mounting. SPOTTING. ^15 No. 48. Fig. 48. — 1 1 1 l"|0| 1 1 1 ^ 1 1 1 |0|0|0|0| 1 1 1 1 |0 1 1 .1 U 1 — ^ 1 1 1 b 1 1 , ' — mil iiiii 1 . « A B 14. 13 12 10 11 9 8 7 5 6 3 4 2 1 No. 49. Draught No. 48. Fig. 49. 1 ^0 10 1 Oj "F" A B 16 15 13 14 12 11 10 9 8 7 6 i 5 3 4 2 1 216 ART OF WEAVING. The cordings of these spots are given, that they may be compared with those of the diamond draught; but as pat- terns of this kind require double the number of spotting leaves, they are seldom woven with treadles, but by the machines already described, the application of which will be explained under paper spots. The same variety of pattern may be woven without the embosoming leaves, if the draught be reversed, as in the following plan, the effect of v/liicb may be seen by taking it off on design paper. No. 50. 0| III 1 |0 III 1 |0 1 1 1 1 1 1 1 1 1 1 0| 1 1 1 0| 0|0| 1 t " |0 0|0| 1 1 ! |0 |0 o| ! 1 1 — 1 |0 |0 0| 1 1 1 1 |o 01 ! |o o| 1 1 1 1 1 1 1 mill iiiiiiiiii mil! 1 6" 5 1 I 1 1 A B y 10 1 2 8 3 7 4 5 c 4 7 3 8 2 9 1 10 SECT. II. ALLo^^:R spots. In the preceding spots, the figures stand detached from each other, with portions of intervening plain, which is generally calculated for half cover; although this propor- tion of cover is not always adopted, but varies with the in- tended richness of the pattern. When the draughts of the spots, however, are connected together without any such plains, and the spotting continued without intervals, the SPOTTING. S17 pattern is said to be an allover, or full cover. Hence, as the selvages, only, are woven plain, the ground leaf is re- tained merely for a few heddles on each side for this purpose. The draughts of allovers, like those of detached spots, are of various forms ; but that which is in most use is the diamond draught, an example of which is here given. ]\o. 51. Draught. Fiff. 50. i 11 1 1 II 1 i 1 II 1 i 1 1 i 1 i 1 1 1 1 i II 1 1 i 1 11 11 II II ^ II Fore Leal". | No. 51. CORDING. 1 |0 0| 1 1 0| 1 . 0| 0" 1 1 1 |0 jO !0 lt) |0 0| 23 24 23 26 21 19 22 20 •27 28 18 11 16 13 A J3I10 |12 7 8 13 5 6 14. 4 3 2 I This draught is, in effect, the same as No. 1 3 without the plains ; only the draught of the bosoming spot is inverted, 2e 218 ART OF WEAVING. that the plan of cording may appear to more advantage. By this arrangement we have the power of twenty spUts with only ten leaves ; and therefore, any similar sided figure, to the extent of that space, may be woven with this mount- inor. We also see bv the desig-n, that when distinct fiomres are produced by this mounting, one row of these figures may overlap or run a censiderable way into the bosom of the other, both by the warp and weft : and what one spot, in such cases, takes more than its own proportion of the di-aught, is said to be borrowed from the other ; and also, whatever part of the one spot is woven before the other is finished, has its raising cords tied on the opposite side of the treadles, as exhibited in the above plan. This pattern, as well as the other spots, is corded to be woven solid, where there is no clipping; but large figures of this kind are sometimes flushed or diced, as represented in Fig. 51. It may be observed, that the single over and over draught, No. 48, cannot be employed for allovers with any degree of advantage, until it be extended to a harness. There are, however, other methods of making a great diver- sity in allover spots, by varying the order of the draught, as in lined work, where the double, triple, 8cc. draughts are ex- plained : or by the more vai'ied form of the diaper draught, as exemplified under crape. The following is a plan of an allover spot mounting, with a double draught, the pattern of which may be easily ti'aced on design paper, by making the spot treading follow the same order as the draught on the leaves. No. 52. nil II II nil II II II II II II II II II II II II INI II II A B Fore Leaf. SPOTTING. ^219 The following plan admits of still greater diversity ; and the figure may also be exhibited on design paper, by follow- ing the directions given, under diaper. No. 53. 0| 0| II II II 1 1 0| II 11 1 II II 1 1 II II 1 1 II MM II II II II III III II 1 II II II Fore Leaf. A B i 5 1 6 2 7 3 8 To adapt this and some of the other diaper patterns to the common spot, it must be observed, that, in some of the points, only one thread of the warp is raised, as is never the case in this species of weaving, because it does not take a sufficient hold of the spotting. This may be obviated, however, by doubling or tripling the number of draughts on each leaf, according as the web is of fineness; or if more minuteness and delicacy be required, a warp thread of cording may be introduced for the points, and wrought out when it is not requisite in the figure, after the manner of a cut stripe. SECT. III. PAPER SPOTS, JAPAN SPOTS, OR BROCADES. It has been already observed, that in the common spot mounting, one half of the warp is drawn on the ground and spotting leaves, and the other half on the fore leaf; by which two shots of the ground are necessary to bind each shot of spotting. In paper spots, however, that half of the warp, which, in common spots belongs to the front leaf, i& 920 ART OF WEAVING. drawn on a corresponding set of spot mountmg: and the spotting slieds are formed, alternately, from the back and front sets. By this arrangement, each shot of spotting is sufficiently fastened by one shot only, of the ground : for, from whatever set the leaves are raised to form any of the spotting sheds, that shed will be reversed, by raising the other set for the following shed of the gi'ound : and thus, by allowing tlie spotting weft to go much closer together than in the common spot, the figures have a more rich and sohd appearance, which, probably, has procured them the name of paper spots. Tlie amiexed plan of a paper spot mounting, which is adapted to the very same figures wliich are produced by the draught of No. 13, will give a comparative view of these two species of spot weaving. PAPER SPOT DRAUGHT. No. 54. Y\s. 52. II 1 1 1 1 1 i 1 1 1 1 1 1 1 1 1 1 1 1 I'll 1 1 1 1 1 M II 1 1 1 1 1 D IJl [ \ 1 1 1 1 1 1 III 1 1 1 1 1 1 Hill III i 1 1 1 1 i 1 ! 1 ! 1 1 c SPOTTING. ^21 No. 54. CORDING. 1 1 1 |0|0 0| |0| |0| |0| 1 1 1 |0| 0| |0| |0| |0| 1 1 1 |0| 1 |0i |0| |0| 1 1 ! |0| 1 1 1 |0| |o| 1 1 1 |0| III 1 |0| 1 1 0| 0| |0| III III |0 1 |o| III II. 1 1 |0| 1 1 1 1 II |0 1 |o 1 1 1 1 1 1 1 |o MM 1 |0 II II 1 D 1 1 1 |0 |0 1 I 1 1 1 jo 1 II 1 |0 0| II 1 |o o| II 1 1 0| II 1 1 1 1 o| II 1 III 1 1 1 1 |o| 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 c 9 8 7 6 5 4, 321BA123456789 In this example, the ground leaves of the two sets are marked C and D, respectively ; and the treadles for weav- ing the ground are marked A and B. As one half of the warp, or all the odd threads as they occur in the draught, are drawn on the back set of spotting leaves and ground leaf D, and the other half, or even numbers, are drawn on the front set and ground leaf C ; it follows, that when these two sets with their ground leaves are raised alternately, plain cloth will be produced, agreeably to the cording on the treadles A and B, Again, when a shot of spotting is throv/n into the shed formed by the treadle 1 of the right hand set, which raises a spotting leaf of the back set, the treadle B is pressed down for the succeeding shot of the ground, which reverses that part of the sportting warp that was raised by this leaf. The 222 ART OF WEAVING. next spotting treadle is 2, which raises one of the spotting leaves of the front set ; but, to reverse the warp for the next gi'ound shot, the treadle A must be pressed down ; and so on, forming the spotting sheds from the back and front sets, alternately, and raising the contrary set for the following- shot of the ground. The principal consideration in making draughts and cordings for paper spots, is, to avoid a defect in the figures which is commonly known among tradesmen by the name of teething. In order to explain this, it must be observed, that if the two sets of spotting leaves were exactly similar, or, that the corresponding leaves on the back and fore sets were to raise the same number of threads, one side of the figure would increase or decrease by single threads, while the other side would be indented in the manner exhibited in Fig. 52, letter B. For, suppose the two point leaves of the preced- ing "mounting to raise two threads each, instead of the present form ; then, as the first spotting shed is opened by the back point leaf, which raises the right hand thread in each interval of the reed ; and the second, by the point leaf of the front set, which raises the left hand threads ; it will follow, that a regular figure would be formed, extending, by single threads, towards the left side of the web. But the third shed would consist of four threads, which are raised by the back point leaf and the one next it; consequently, two of these will continue the diagonal towards the left, while the other two will extend towards the right : and all the four threads of the fourth shed will again incline to the left ; and so on, alternately. Hence, all the members of any pattern produced by a mounting or harness of this description, will be reo-ular, or extend by single threads towards the left; but such members as run towards the right will advance by two threads at once, and thus produce that rugged appear- ance which has obtained the appellation of teething: pro- bably from its resembling the indentations of a saw. But SPOTTING. 223 this defect is entirely obviated by introducing an odd thread into the point leaf of one set of the mounting, as in the ex- ample given above ; and its effect will be the same as repre- sented at A, Fig. 52. The introduction of this odd thread into the paper spot draught causes some deviation, in taking in the vearp, from that regularity which is observable in common spots: for it will appear by examining the draught of No. 54, that there are five full spHts drawn on the ground leaves D and C, beginning on the leaf D, before the spot part of the draught commences. Then, the first thread of the spot is dra'WTi on the leaf e, the second on the leaf u; and so on, to the last thread of the spot, which is drawn on the leaf e; so that both the first and last threads of this spot belong to the back set. Hence, it is evident, that the first thread of the following plain must be drawn on the fore ground leaf C, and be taken into the same interval of the reed with the last thread of the spot to complete the sphtful. The draught then proceeds in regular order to the last thread of the bosom spot, which requires, in like manner, another thread to be drawn on the leaf C to fill the spUt. The following plan will exhibit another method of ar- ranging the leaves of a paper spot, in which, it will be ob- served, that the number of spotting leaves in each set is equal. The cording may be supphed by comparing it with that of No. 54. 2^4 ART OF WEAVING. No. 35. The texture of the figure in this example, which was originally called the paper spot, is similar to that of plain cloth, and which, as formerly noticed, is more rich and solid than that produced by the common spot mountings. Paper spot mountings, however, possess another import- ant advantage over those of the common kind; which is, that although the latter may be corded so as to flush the spotting weft on the upper or cut side of the figures, which, on account of the roughness round the edges, fs commonly called the wrong side ; yet, as the spotting leaves have the command of one half of the warp only, they can never affect that half which lies in the bottom of the shed ; so that the spotting cannot be made to appear to more advantage on the right side of the cloth, than when the figures are woven solid. The case is widely different, however, with the paper spot mountings ; for any number of contiguous threads, within the range of the figure, may be raised or SPOTTING. 225 sunk, at pleasure. And, therefoi'e, the spotting may be tweeled, brocaded, or flushed on the right side of the cloth, in any manner that may be required, provided it has a sufficient hold of the ground ; and hence, the patterns thus flushed are usually denominated japan spots, or brocades ; although the plain texture, wherever it is introduced, still retains the name papering. Figs. 53, 54, and 55, are exam- ples of this species of spotting. The example given in Fig. 53 will, however, be sufficient to illustrate the principle on which these patterns are pro- duced ; the other two being added merely as varieties of the same draught. The pattern Fig. 53, requires thirteen leaves, or, if tlie figures are embosomed, twenty-six, exclusive of those for the ground. The draught is of the diamond form ; but, as the odd thread, which is introduced into the centre of paper spots to prevent the teething formerly noticed, is occasion- ally raised independently of the others, it must have a separate shaft; and, consequently, one leaf more will be requisite in these mountings than in the foregoing example, for spots of the same extent. The draught, therefore, will stiuid as under ; there being no occasion for a plan of cord- ing, as the figure on design paper supplies its place. No. 56. F •g- 53. 1 1 1 |.( 3 1 . 1 5 1 . i 7 1 • 1 9 11 13 1 • 1 1 1 D \-\ 2 ! • i 4 ^- . 1 • 1 6 1 . i 8 10 1 • ! 1.1 12 1 1 c 1 226 ART OF WEAVING. It is necessary to observe, however, that although this an'angement of paper spot mountings be generally adopted by weavers, on account that it places together the leaves of each side of the plain sheds, or divides them into what are termed the back and fore sets ; yet it is by no means to be considered the most natural order in which the leaves can be disposed : for if, instead of placing all the odd num- bers together for the back set, and putting all the even ones together for the fore set, they had followed the natural or progressive order of the numbers 1, 2, 3, 4, &c. the draught would then have corresponded with the pattern on design paper; and the pattern could also have been read, with more facility, on the parrot, or other machine by which these spots are commonly woven. This will obviously ap- pear, by comparing the preceding draught with the one fol- lowing, in which this arrangement is observed. No. 57. 1 1 ! 1 1 2 1 1 3 1 1 4, 1 1 5 1 1 6 1 1 7 i 1 1 8 1 1 9 1 1 10 1 1 11 1 1 12 1 1 13 1 Here the natural order of the leaves is preserved; but another inconveniency arises with respect to the formation of the plain sheds: for it is evident that, as the odd num- bers are all raised for one shed, and sunk for the othei", the leaves 1 and 13, for example, which are at the two extre- mities of the draught, will always rise and sink together SPOTTING. 227 while weaving the ground, by which the sheds are not only rendered rugged and unevenly, but one part of the warp will be strained considerably more than another. These inconveniences, howevei*, have been obviated of late, by applying a set of plain leaves in front of the spot mounting, after the manner of the di'aw loom. In such cases, the warp is first drawn into the spot mounting in the usual way, and afterwards tlurough the plain leaves. There is no occasion for the ground leaves in these mountings, except to preserve a uniformity in the plain sheds. The front mounting, formei-ly, consisted of four leaves of conmion clasped heddles; and the fu-st thread of the draught was taken below the clasp of a heddle on the back leaf, and above the clasp of a heddle on the leaf next to it ; so that these two leaves could produce only the effect of one. The second thread was taken below the clasp of a heddle on the third leaf from the back, and above the clasp of a heddle on the front leaf, which completed one splitful; and the whole draught was only a repetition of this process. Hence, when any portion of the spotting warp was raised to form a shed, that leaf or leaves were also raised which had the warp threads drawn below the clasps of their heddles ; so that the spotting sheds could thus be formed without obstruction. But it is novv' become common to make use of heddles with eyes of a length sufficient to allow the spotting warp to open the sheds, while the spotting leaves remain stationary. DESIGNING PATTEKNS, &C. It was formerly noticed, that cording plans are unneces- sary for these patterns, as they are all woven with machines, which require the figures to be painted on design paper. It is customary, however, to sketch the patterns first on common paper, of the same size that they would stand on the cloth. One of these figures is represented at A, Fig. 53. k^S ART OF WEAVIKG- It is calculated for a 1400 reed, and to stand on 12J^ splits, v>'hich are equivalent to thirteen leaves; for every split counts a leaf, and the half split counts one also for the point. This will plainly appear by comparing these remarks with the draught. The reason for introducing^ the half split, or odd thread, v.hich must always have a place in these draughts, has been already explained. When the requisite number of leaves for any spot has been determined, this number is counted off on the design paper, taking one space for the centre or point leaf, and the others to the right or left, at pleasure : for one half of the design, including the centre space, is sufficient both for the pattern drawer and weaver, although the spots are commonly made complete, that their effect may be seen to most advantage. WTien the length of the spot is limited to a given number of shots, which is frequently done by the manufacturer, these are counted up'.vards on the design, one space for each shot ; but if no restriction of this kind be made, the length must be taken in proportion to the breadth of the original; that is, if the figure be just as long as broad, the design paper must be taken square ; but if it exceeds or falls short a little of this, a few spaces may be added or deducted accordingly, which, after a little prac- tice, will easily be ascertained by the eye. A\Tien the limits of the pattern, in its enlarged state, are thus determined, the outlines of its several members are again sketched on the design paper, always taking care that they preserve the same proportion to each other as in the original. The outlines are then filled up with a camel hair pencil and paint of one shade, and tweeled or brocaded afterwards with one somewhat darker. See Figs. 53, 54 and 55. To those, however, who are not much accustomed to hand sketching, the follo"vv-ing instructions will be foimd of some advantage. When the number of leaves has been counted off on one side of the design paper, as from a to e, SPOTTING. 229 at C, Fig. 53, take a pair of compasses and place one point in the middle of the centre space at a, and the other in tlie line at e, at the extremity of the number of leaves. Set off this distance from a to e, or from a to h on a piece of com- mon paper B, and draw the line cr, h, for the centre of the spot. JDraw another line parallel to this at either extremity of the figure, and this will give the limit of the spot, by the breadth, for the design paper. Take the extent of the fi If this plan be compared with Fig. 8, Plate 6, the cross- ing of the warp between the back and front mountings will be easily imderstood. The leaves 1 and 2 are for the spots, 240 ART OF WEAVING. three shots on each, and are drawn opposite the ahernate points of the figure, and embosomed. The leaf 3, represents the ground leaf of the conmion spot, or gauze ; and these three leaves contain that half of the warp that would have been drawn through the upper doups, had they been em- ployed, The other half of the warp is drawn on the leaves 4, 5, 6, 7, in the order of the double draught, which was explained under lined work. This part of tlie warp is again drawn through the doups of the standards a, e, i, o, in the very same order : but the other half of the warp is here omitted, as it has no heddles on these leaves. The treadles numbered 1, 2, 3, 4, are for weaving the ground, as described under tweeled gauze, but the succession of treading is the same as that of the draught on the front leaves. The treadle 5 is for one spot, and 6 is the treadle for the other spot that embosoms it. Here it is to be ob- served, that when either of the spot leaves is raised for a spotting shed, all the others, both back and front, must be sunk. There is only one shot of weft, as in the common gauze, between the shots of spotting. SPOTTED NETS. As the spotting warp, in the common gauze, is taken from that half which passes through the upper doup; so in the whip net, the spotting warp is taken from that portion which passes through the upper bead lam; and therefore the processes of mounting and weaving these two spots are exactly the same, and can require no farther explanation. The spotting sheds of the spider and mail nets, however, are generally formed on the gauze part, though it be evi- dent that they may be also raised from the whip. Some- times these nets are woven in stripes, a few splitfuls of spider net, and a few of the whip net being drawn alternately. In such cases the spot is generally on the gauze spaces, though SPOTTING. 241 it would appear, that by spotting the whip parts, the contrast would be more striking. SECT. V. CUT STRIPES. In the several varieties of spots which have been hitherto explained, the figures are all formed by throwing the spot- ting weft into the sheds with the shuttle. In this species ot ornament, however, the figures are produced by super- numerary warp, or striping, which is interwoven with the ground at such intervals as form the pattern; and those parts which are not incorporated with the ground, are after- wards cut away, as in the other kinds of spots. The mounting of a cut stripe consists of a set of plain leaves for the ground, and a set of spotting leaves for the figured parts, which are disposed in the very same manner as those of a common spot : and hence, all the variety of figiires which are produced on the latter, as well as some of those adapted to flushed stripes, may be woven on this prin- ciple. A few examples, however, will be sufficient to ex- plain this species of f^ncy weaving. The following plan is adapted to weave the flushed stripe pattern, Fig. 10, Plate 10, as a cut stripe. No. 63. Fig. 10. Plate 10. 1 1 1 1 II 1 1 n 2 II 1 1 1 1 1 1 1 1 1 Ml II 1 1 1 1 1 II II lll-M t 1 2; 1 4!3 6 ; 3 8 , 10 12 1 1 a e 7 9 11 t 2 H 242 ART OF WEAVING. In this plan, the two leaves a, e, are for the ground, al- though, as formerly -noticed, it is customary to employ four for this purpose. The leaves 1, 2, are for the spotting warp, which is commonly two threads in the heddle, and one heddle- ful is taken into the reed along with a splitful of the ground. In weaving this pattern, six shots of weft are thi*own in with the treadles a and e ; during which time the spotting leaf 2 is raised and sunk alternately, while the leaf 1 is con- stantly sunk. The leaf 2, therefore, forms the first part of the pattern. The following six shots are thrown in with the treadles a and i ; and this produces the second part of the pattern, the leaf 2 being now constantly sunk, and on this easy principle all the varieties of cut stripes are produced. The following plans will show how to diversify this species of fancy weaving. No. 64. Fig. 8. Plate 9. 1 1 II II II II 1 1 1 1 1 1 M 1 II 1 1 III- 1 II 11 1 1 1 M 1 1 -1 1 1 1 1 1 i 1 M 1 1 1 1 2 4 6 8 10 1 9 3 7 5 Four shots are thrown in on the treadles 1,2; four on 3, 2, &c. to make the pattern square. ( SPOTTING. '24,3 No. 65. Fig. 9. Plate 9. 1 1 11 II II II II II 1 II 1 III II II 1 MIL ._ M M 1 1. 1 1 11 1 11 M 1 M 1 1 2 1 5; 9 4 3 7 11 6 8 10 12 13 16 15 18 17 20 19 22 21 24, 23 No. 66. FijT. 16. Plate 9. Oj II II 1 1 1 1 |0 1 1 1 1 1 1 1 1 0| II III lllllllll Mil 1 mill lllllllll MM 2 4. 6 8 10 12 14 16 18 20 22 24 26 28 30 32 1 U 19 25 31 3 13 2.1 27 29 5 15 23 7 17 9 ^u ART OF WEAVING. No. 67. Fig. 20. Plate 9. 1 II 1 1 1 — - 1 1 1 1 1 1 1 1 1 II 1- 1 1 1 1 1 II II- 1 1 1 1 1 II ! 1 1 Mlllll 1 ll-M II 1 2 4 6 8 10 12 14 16 18 1 3 5 7 9 11 13 15 17 No. 68. Fig. 23. Plate 9. 1 1 1 i 1 1 1 1 1 1 II II • II 1 II II 1 1- 1 II 1 1 II 1 1 II -1 1 1 II 1 II 1 11 1 II 2 4 6 8 10 12 14 16 18 20 9 11 1 19 3 17 5 7 13 15 SPOTTING. Q^5 No. 69. Fig. 28. Plate 9. ' ro- 10 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 r 1 r-i 1 i 1 i 1 M M 1 1 1 1 1 1 1 1 1 1 -1 Ill-Mill 2 1 3 5 7 9 4 6 8 19 17 15 13 n 10 12 14 16 18 20 No. 70. Fig. 39. Plate 9. 1 1 1 1 — 1 1 1 1 1 1 1 1 1 1 1 hi 1 1 1 1 1 1 II- 1 1 1 1 1 1 1 1 1 1 -11 1 1 1 1 1 1 1- 1 1 1 1 2 4 6 8 10 12 14 16 18 20 22 24 2G 3 5 21 25 1 7 19 25 9 17 11 15 13 ^46 ART OF WEAVING. Sometimes the common spot and cut stripe are combined ; and sometimes a single cord or heddleful of the spotting wai-p is introduced for a stalk or other slender member of ihe figure. The following, which forms a small cross em- bosomed, similar to the figure annexed, will serve for an ex- ample. No. Tl. |0 1 ! 1 M -1 1 j 1 1 — 1 till 1 1 1- 1 1 1 1 1 1 1 1 1 -1 1 2 4 7 9 i" 113 |16 118 14 10 12 15 17 5 i 3 6 8 + Pattern + + + SECT. VI. SEEDING. In this kind of fancy weaving, the figures are formed likewise by supernumerary Avarp, or rather coarse cording, made by twisting three ends of single yarn together^ which is partially interwoven with the gi'ound ; but the patterns are produced by raising these coarse threads above the surface of the cloth, into little naps called seeds, after the manner of counterpanes : which process seems to have been borrowed from the method of weaving the plush velvet, explained in page 134. The mountings employed for weaving seeding patterns consist of one set of leaves for the ground, and another set SPOTTING. 247 for the seeding warp. The leaves for the seeding, which in every respect resemble those of the cut stripe, are, however, usually placed before those of the ground, and so low, that the seeding warp may lie on the race rod when it is not forming a shed. It is customary also, to have two splits of the ground between the seeding cords. The first six Figs, in Plate 10, are patterns of seeding spots : and as these are all designed for eight leaves, one draught, which is of the diamond form and inserted below, will produce the whole of these varieties ; the plans of cord- ing being unnecessary, as they are all woven with a machine like paper spots. No. 72. Figs. 1, 2, 3, 4, 5, 6. Plate 10. 1 M 1 1 1- 1 M 1 M 1 1 1 1 1 M 1 1 1 1 1 M 1 1 1 1 1 1 1 1- 1 1 1 M 1 . 1 1 1 ! 1 1 -1 1 1 1 1 1 1 1 1 1 1 1 i 1 •1 1 1 M 1 1 1 1 1 M 1 l.| 1 1 1 1 1 1 1 1 i 1 1 1 1 1 1 ! 1 1 1 1 1 ! As there are commonly four threads or two splitfuls of warp between the seeding cords : so there are likewise four shots of weft between the seeding lifts ; each of these cords and lifts will therefore be represented by one space on the design paper. The method of weaving seeding patterns formerly, was, when the first seeding shed was opened, the weaver threw across a shuttle to which a cord, somewhat longer than the breadth of the web, was attached. When this cord was struck up by the reed, it raised the seeding warp above the surface of the cloth, and formed it into naps, as already i^48 ART OF WEAVIXG. mentioned. When as many shots of the ground were woren lis were sufficient to fasten the seeding, the cord was drawni out and thrown into the following seeding shed. This pro- cess, is, however, now superseded by introducing a number of steel wires into the seeding sheds in place of the cords. These wires or needles as they are called, are driven into the edge of a shaft like the needle frame of a lappet, at the dis- tance of about an inch, and are bent at right angles, pwrted and polished, with the point of one passing beyond the knee or bend of the other ; so that when these wires are shifted horizontally into the seeding shed, no portion of the seeding wai-p, which is raised, is allov/ed to escape. One side of the needle is a little flattened at the point where it comes in con- tact with the knee of the other ; so that when the extremities of these two needles are in one part of the seeding shed, the seeds may not be raised higher than the other parts where the wire is single. When the requisite number of shots are thrown into the ground, as in the former process, the weaver draws the shaft to the left side with his thumb, by which the wires are all disengaged, and are again shifted in- to the next shed. The seeding warp is usually interwoven with the ground between the seeds, to secure it from being pulled out by accident. This is more particularly the case in running patterns, such as the borders of shawls or colonnades. Spots or detached figures, however, are sometimes fastened only where they begin and end. The process of weaving the seeding warp into the ground is as follows : The seeding shed is first opened, either by the machine or draw-boy, into which the weaver introduces the needles. The seeding warp is then sunk, and tn'o shots of the ground thrown in ; the same seeding warp is again raised and a shot of the ground thrown in, then another shot of the ground after it is sunk, which make four shots of ground before the warp be again raised into seeds. SPOTTING. 249 When more than one seeding leaf are requisite for any pattern, it is evident that when one portion of the seeding warp is drawn in to raise the loops or seeds on the cloth, the remaining part would be slacker in proportion to the fre- quency of its being omitted, were it all beamed on one roll. It is customary, therefore, to have a separate roll for what- ever quantity of this warp is drawn on each. Thus, in the examples given above, as these spots require eight spotting leaves, it is usual to divide the warp among eight rolls, with equal quantities on each, except that for the point, which has only one thread for each spot, while the others have two. Sometimes, however, the seeding warp is all beamed on one roll, and a small piece of lead appended to each thread, behind the mounting, to sink the parts which are thus slackened, so as to keep them all equally tight ; and these sunk parts are drawn in at the face of the cloth at the end of a piece. This is now the common method in seed- ing harnesses. SEEDING SHAWLS. On this principle, shawls have been woven in great abun- dance and variety. The most common mountings for tiiese shawls consist of sixteen seeding leaves for the bosom, dx- teen for the side bordei's, and sometimes one or two for guards ; the border and bosom draughts l^eing all of the dia- mond allover form. Hence, as there is only one seeding cord on each point leaf, and two on each of the others, one set of the pattern will occupy thirty spaces of the design paper; and as there are commonly two splitfuls of the ground warp allowed for each space, the whole will be equi- valent to sixty splits of the reed; and this is repeated to make up the intended breadth of the border. Thus for ex- ample, were the border to stand six inches broad on the cloth;, in a 1400 reed, we would find that the pattern must ^50 ART OF WEAVING. be 3|^ times repeated, and 9 cords over, which might be disposed of as guards : for as there are about 38 spUts in an inch of a 1490 reed, these multiphed by 6 inches, give 228 splits for the breadth of the border, which divided by 60, quotes Sg and 18 splits, or 9 cords over; and so of any other breadth or number of leaves. The patterns best adapted to these shawls are such as have all their sides alike, so that the figures on the cross borders and those on the sides may present similar parts to the centre of the shawl; for were sprigs, such as Figs. 1, 2, he. Plate 10, to be adopted, the tops of the sprigs on the cross borders would tend to the bosom of the shawl, while those on the side borders would present their sides to it. Sometimes, for sake of variety, a different pattern from that on the borders is put on the corners ; and this is read on the leaves of the side borders along with those of the cross heading. Fig. 7, Plate 10, is a pattern for one of these shawls, adapted to thirty- two leaves; that is, sixteen for the border, and sixteen for the bosom. It is here to be observed, as in the case of paper spots, that the weaver has occasion for no more of the pattern than from one centre to another, both point leaves included ; but these patterns are generally drawn full, that their eifect may appear to more advantage on the design, before they are woven on the cloth. ' As the centres of these shawls are generally filled with figures, which seldom require one-half of the seeding warp which is necessary for the cross borders, a considerable por- tion of it must be omitted, or dropped as it is termed, during the time of weaving the bosoms. In order, therefore, to save the seeding warp thus omitted, the weaver has a square rod which is fitted to a groove in his slabstock, or that cross bar over which the cloth passes to the receiving roll. When he has woven his cross borders, and as much of the bosom as bring the dropped warp to this groove, he SPOTTING. 251 raises the ground and working part of the seeding above the dropped part, into which shed he introduces the square rod and then presses it down with the dropped warp into the groove, where it is completely secured, after which he cuts it away from the face of the cloth, and lets it remain till he has occasion to use it in the following cross borders. In this case, it is evident, that the dropped part of the warp will re quire a separate roll from that part which produces the centre figures ; and as these figures have generally a consid- erable piece of the ground plain between them, their portion of the warp will not be wrought up so much as that of the side borders, and consequently, will require another roll for itself. SEEDING ROBES. This is another pujpose to which seeding has been very extensively applied. Sixteen leaves is also the common mounting for these patterns, and will therefore comprehend the same number of splits of the reed as the preceding mount- ings. Though limited in their breadth by the smallness of these mountings, seeding robes vary considerably in their depth ; some being made only about eight design, as in Fig. 8, Plate 10, which is a pattern for one of these robes, and others from sixteen to eighteen, and some even as high as twenty-six designs ; the patterns being nearly as large on a 1400 ground as on the design paper. Tliough these patterns have hitherto been considered as woven with leaves, as is frequently the case, yet most weavers prefer them mounted in the manner of a harness, having a small tail running over pulleys, and a simple to which the lashes are attached, as in the paper spot. They are usually woven, also, with a machine, the varieties of which are so numerous, that almost every weaver fits up one to his own mind. 252 ART OF WEAVING. CHAP. IX. FLUSHING. JL HE term flushing is of frequent use in the art of weaving. Any quantity of weft which passes over or under more threads of warp than one, or extends beyond the range of the plain texture, is said to be floated or flushed. Tweels, lined woi'k, and all the varieties of corduroys, 8cc. are, there- fore, merely the effect of flushing, but the term is commonly restricted to a few of the inferior branches of fancy weaving, which are explained in this chapter. Of flushed patterns, some are produced by additional warp or weft, which is, in general, either coarser, or of a different colour from the ground ; and others, merely by floating cer- tain portions of the weft above or below the warp. SECT. I. DUMB SEEDING, FLUSHED STRIPES- CHECKS AND BORDERS. Dumb seeding, or paper flushing, is a species of orna- ment, in Avhich, like the cut stripes, the patterns are pro- duced, generally on a plain ground, by means of additional warp. In a cut stripe, however, those portions of spotting, or additional warp, which form the figures, are raised and sunk alternately along with the ground sheds; but in dumb seeding, the spotting warp is flushed over three shots of the ground, and is sunk only at the fourth. FLUSHING. Q5S In some of these patterns, there are two threads of spot- ting warp drawn into one heddle, and these are taken into the same interval of the reed with a sphtful of the ground. In others, there is a heddle for each spotting thread; in which case, a thread of spotting and a thread of the ground alternately, are taken through the heddles and reed; and sometimes three, and sometimes four of these spotting threads are drawn together on one leaf. Wlien there are two spot- ting threads in the heddle, the patterns are usually called dumb seeding; and when the warp is drawn in single threads, they are frequently denominated paper flushes, al- though it is difficult, without very narrow inspection, to dis- cover the difference. Figs. 1, 2, 3, 4, 5, and 6, Plate 10, may be taken for examples of spots woven on this principle ; the draught of which, for two threads in the heddle, is here annexed. Dumb seed Draught. No. 1. Figs. 1, 2, 3, &c. Plate 10. 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1- 1 1 i 1 M 1 1 n 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1 1 1 1 IM 1 1 1 I MM M , M M M M II- M M • • M II- II M In this example, there are two splits of the flushing warp, or four threads of the ground warp in each of the small mem- bers of the spot ; and as there are four shots of the ground thrown in on each lift, it follows, that these spots will be composed of a number of small square spaces, four threads 254 ART OF WEAVING. each way, very much resembhng the figures on the design paper; the small spaces of which representing each foui- threads. Again, it will appear that in Fig. 1 there are twenty-one lifts, eighteen of which are different from each other; and, consequently, as each flushing lift requires two treadles, be- sides two for the ground, the number of treadles necessary for this pattern would be twice 18=36, and the two gi'ound treadles would make 38 in all. But as it would be imprac- ticable to work with so great a. number of treadles, the parro^ or some other such machine is always employed for this pur- pose. The following plan is a draught of these spots woven as a paper flush with three threads rising together, although they are frequently made with four. Paper Flush Draught. No. 2. Figs. 1, 2, &c. Plate 10. 1 1 1 1 1 l-l III Ml 1 III M 1 II 11 II 1 1 1 1 1 II 1 1 1 II 1 1 1 1 II 1 1 1 1 1 II Ml 1 1 1 1 1 1 1 1 1 Mill III III III III III III III III III III • Ml !!■ Ill 111 ill 1 When four threads are raised together to form the spot, it is only necessary to take four draughts on the spotting leaves in place of diree in tlie above example. Sometimes this species of flushing is woven in stripes or colonnades; and sometimes it is introduced as guards to veining or purle stripes, which has a very good effect. FLUSHING. ^2o5 FLUSHED STRIPES. What are usually termed flushed stripes form their pat- terns, likewise, by additional warp, and, when they are con- verted into checks or shawls, additional weft is also requisite. The warp is flushed above and below the ground, alternately, though at greater intervals than hi the preceding varieties. The flushing yarn, in like manner, is commonly of a differ- ent colour from the ground or body of the web, and fre- quently silk is introduced for the brilliancy of its colours, especially for the borders of handkerchiefs. Two threads or ends of the flushing warp are usually drawn into each heddle of a flushing leaf, and taken through the same inter- val of the reed with a splitful of the ground ; though some patterns are drawn in single threads, as in the paper flushing. The most simple patterns of this kind are woven with only one flushing leaf, of which the following plan is an example. No. 3. Fig. 9. Plate 10. FLUSH STRIPE. — i i i i 1 i 1 1 ^ 3 3 3 3 3 3 3 , ——-zs 4 4 4 4. 4 4 4 1 1 I I I I I r Flush above. Flush below. I The draught of the ground A, in this example, is exactly the same as in other plain mountings, and the flushing warp XJO ART OF WEAVING. is drawn on the front leaf B, one heddleful, of two threads, immediately following each splitful of the ground. The plan is also corded, and the treading marked, so, that the flushing warp is above the ground for six successive shots, and below as many ; one splitful of warp and two shots of weft being each represented by a space on the design paper. In this, as in the other branches of fancy weaving, variety depends considerably on the extent of the mountings em- ployed ; although the economical arrangement of the diaper draughts mifjht be here introduced with great advantage ; of which examples will be given farther on. The following plans will exhibit a few more varieties of flushed stripes. DAMBOARD FLUSH. ?so. 4. 1 1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 ,' 1 2 2 2 2 2 8 2 1 14 4 4 4 4 4 4 | o| Ml 1 III Mil 8 10 12 2 4 6 7 9 11 1 3 5 No. 5. Fig. 10. — — 111111 5 5 5 5 5 5 1 2 2 2 2 2 2 1 4 4 4 4 4 4 1 Oj 1 1 1 1 8 10 12 2 4 6 II 1 1 1 II 1 1 5 5 9 11 FLUSHING. 257 No. 6. Fig. 11. — 1 1 1" 10 1 1 I 1 1 1 1 1 1 |o 1 3 3 3 3 3 3 |0 1 1 2 2 2 2 2 2 1 14 4 4 4 4 4 / 1 1 II ] 1 0| II 01 111 6 8 4 10 2 12 2 1 1 11 3 9 5 7 Plain tread. Spotting tread. Double Flush. No. 7. Fiff. 12. |0 11 11 "0" |0 3 3 3 5 1 2 2 2 2 0| 4 4 4 4 oj 1 M 1 II |0 III II 1 8 10 12 2 4 6 7 9 11 1 3 J j i In this example there are two threads of the flusliing warp supposed to be drawn in each heddle, and two of these hed- dles, one on each leaf, are equivalent to a splitful in the reed. Sometimes, however, these two threads are drawn into separate heddles, as in the paper flushing, which gives the pattern a richer appearance than when they are laid close together. Tlie warps, on these two flushing leaves, are of 2 K §58 ART OF WEAVING. different colours : and when the one is above, the other is below, as represented by the Fig. in the Plate. Fig. 13, is a diaper pattern of two divisions, converted into a flushed stripe, which, although one set of the pattern occupies 26 splits, requires only two flushing leaves. The draught on the flushing leaves, independent of the ground, will stand as under ; but the draught of the ground may be supplied by adding the plain leaves, and marking a splitful of warp for each heddleful of flushing, as in the preceding examples. The cording is the same as Nos. 4 and 5, and the treading follows the same order as the draught. No. 8. Fig. 13. I I 1 I I I I FLUSHED CHECKS OR BORDERS. When the same figures which are woven in stripes, are to be formed across the body of the web, as in checks and the borders of handkerchiefs, the draught of the ground must cor- respond with that of the stripe ; but double the number of leaves will be necessary to produce the same pattern, on account that both the back and fore threads of a splitful of the warp, or, in other words, both sides of the shed must be sunk when the cross flushing forms the figiu'es above, or raised, when it forms them below. Hence it follows, that raising mai'ks are placed on these plans where the flushing is to appear on the under side of the cloth, but sinking ones where it forms the pattern above. The draught and cord- ing of pattern Fig. 9, adapted to a check or border, will stand as under. FLUSHJNG. ^59 FLUSH CHECK OR BORDER. No. 9. I I I" Of I I 5 3 1 5 3 1 5 3 1 3 3 1 6 4 2 6 4 2 0^1 I I 6 4 2 0| 6 4 2 I I I I I I Stripe — six shots, flush raised. Do. — six shots, flush sunk. Cross Border— -six shots cross flushing, flush leaf raised. Six shots cross flushing, flush leaf sunk. In weaving the check, or cross border, a shot of the ground and a shot of the flushing are thrown across alter- nately ; the other changes which take place in working the pattern being particularly pointed out in the -plan. The following examples comprehend such varieties as usually occur in this species of weaving. •260 ART OF WEAVING. No. 10. Fig. 14. LUOlO |0| Ml Ill III Ai 1 |o |0 11 Ml II 1 Ml |0 |0| 1 |0| III ill III 0| 1^1 1 1 1 1 ... III... |0| 1 |0|0| ... 1 1 ... 1 !0|0| 1 M 1 1 1 1 1 J 1 2 1 '' 4 3 1 1 8 6 5 7 Stripe tread. 10 9 12 " 2 3 1 4 7 5 ' 6 11 9 8 10 12 13 14 1A 15 17 16 Cross stripe tread. 20 23 19 21 22 24 26 27 25 28 31 29 30 35 33 32 34 36 No. 11. Fig. 15. 1 II II M 1 II II II •• 1 1 1 1 1 1 1 1 1 II II 1" 1 II II II 1 II II II 0| 1 1 1 1 1 1 1 1 II II \b 0|0|0 1 1 1 1 1 1 6 8 9 13 4 2 10 12 5 1 17 21 14 13 1 11 3 23 5 9 7 19 5 7 11 15 2 4 22 24 6 10 8 12 18 14 20 16 Side spot or stripe. Check, or cross border. FLUSHING. @61 No. 12. _J_ 0|0| I I I LJ J_" — 1 1 1 Lo in |_| oj_o The treadles «, e, i, are for the cross borders, which are wrought alternately with the ground, as m the preceding examples. No. 13. 1 |o| I |o|o| MAMAL OT) — ^1 ["TIP I I I I I I 10' is a It may be of use to observe, that in No. 11, there ... .. splitful of plain between the spots, which requires the two 265 ART OF WEAVING. additional leaves a and 6, and the two plain shots between the side spots. In No. 12, there are only two splitfuls of flushing warp drawn together on each set of leaves ; but the draught may be enlarged at pleasure. No. 13, is an ex ample of single and double flushing on a tweeled ground.— The draught at C, is for the body of the web ; at B, i. single flushing, drawn into the reed along with the ground-, at A A, is double flushing, which i-equires no ground along with it. One half of the ground treadles 1, 2, 3, 4, are wrought over so long as the flush leaf n, is raised, and vi sunk; but when these leaves are reversed, the other half, 5, 6, 7, 8, are employed. The other four treadles, o, 6, r, rf, are for the cross flushing : a and 6, are tread alternately, when throwing across the double flushing with the four back leaves raised ; c and anting, so that he has only the lashes 1, 2, 3 and 5 to draw in succession on this bridle, for the green, dark blue, red. and light blue, respectively . OF THE DRAW LOOM. 31? By referring again to Fig. 1, it will be observed, that a* the harness twines incline frora the hole board to the neck in very different angles, those towards the selvages, especially of broad harnesses, being much more oblique than those near the centre, it will follow that, when any portion of the simple cords is drawn down to form a shed, all the mails cannot rise to the same elevation ; and therefore the sheds thus formed, will be not only very irregular, but in many cases wholly impervious to the shuttle. To obviate this inconvenience, two wooden rollers are placed in each space between the rows of tail cords at the neck, or at the knots, 1, 2, 3, &c. one on each side of a row, and the ends of these rollers turn on tv»^o pieces of wood, one fixed on each side of the carriage at u o. By this means all the harness twines, however oblique, will rise vertically between the rol- lers ; and consequently all the mails will be raised to the same uniform height in opening the sheds. When the harness and all its appendages are completed, it IS disengaged from tlie frame or standards, in which it was built, the frame of wood or justers, which was fixed above the tail at w removed, the wire drawn out of the mails, and the slabstock taken out of the hangers. But in order to preserve the progressive order of the mails for draw- ing in the warp, a shaft or rod must be introduced into the place of the slabstock before it is taken out, by which means the mails will come to the weaver's hand in regular succes- sion, as he has occasion for them in entering his warp, with- out the necessity of having recoiu'se to the hole board. The harness should now retain the very same position which it occupied while fixed in the frame, both with respect to the hei^rht of the mails and their distance from the yarn roll and slabstock. The process of drawing the warp through a harness, dif- fers very little from that formerly explained under tweeling. After the warp is taken tlu-ough the liarness, Jiowever, a 318 ART OF WEAVING. new lease must be forced through the eyes, or mails, from the rods behind, for the purpose of taking it again through the ground leaves. When the tail of a harness extends across the shop on the weaver's right hand while on his seat, as in the example Fig. 1, it is termed a right-hand harness : but were the situ- ation of the loom to require it to be tied on the opposite side of the shop, it would then be denominated a left-hand harness; but all the tail and simple cords would retain their relative positions and connexions, only what is here the top of the pulley -box would become the bottom, and the right- hand side of the simple, in the present case, would become the left. This distinction must be particularly attended to in reading the patterns on the simple, which will be further explained under that head. It may be again observed, that in Fig. 1 the tying of the harness commenced at one side, or at the figure 1 in the hole board in each part, and continued in regular succession till finished. This is the most common form of the harness, though other varieties are occasionally adopted. Had, for example, the mails numbered 1 in the two parts on the right, and those numbered 10 in the two parts on the left, been tied to the first tail-cord, or that marked 1 at the neck ; and the others in regular order from the outsides toward the centre ; this would be denominated a gathered harness, and would produce this effect, that whatever position the patterns assumed in the two right-hand parts, they would stand reversed on the other two : or if stripes were to run diagonally from the right side in the two former, they would change their direction in the two latter, and meet in the centre of the web. In harnesses of this kind, however, it will always be found advantageous to terminate the tying with an odd mail in the centre, which prevents the appear- ance of the teething mentioned under Paper Spots. Again, were the same example, Fig. 1, to be taken for OF THK DRAW LOOM. .'319 the bosom or filling of a shawl, and that a border of fifty mails were to be added, it is obvious, tliat an additional tail and simple of fifty cords each, would be requisite, which would exactly fill the pulley box represented in Fig. 2, and the tye of the harness would be said to be fifty bord and fifty body. In this case, the fifty pulleys in the back part of the box, sxta b c d, would be appropriated to the border, and the remaining fifty to the body. In tying a harness for shawls of this kind the operator may commence either with the border or body. If he be- gin with the border, the tail cord which passes over the first pulley, numbered 1 in Fig. 2, is tied to the first neck twine of each border, or those at the extremities of the hole board at a and e Fig. 3. The second tail cord is tied to the second neck twine of each border, counting from the two selvages, and so on with the others till the borders be tied; observing, as formerly directed, that when the first ten cords in the pulley box are tied, to commence the second ten at the bottom of the box; and, consequently, the bor- der will end at c. After the border is tied, the body begins with the tail cord which passes over the fifty-first pulley, or the first in the body part c d e f, and proceeds in every respect as has been already explained. Had the tying commenced with the body, the process would have begun with the tail cord which passes over the first pulley, at the corner e of the box, or that which was last in tlie preceding method, and proceeded on in the con- trary direction till finished; and then die border would begin with that tail cord which passes over the first pulley at the left hand in the sixth row, counting from the front, and in this case the harness twines nearest the selvages would be the last tied. Hence it is evident, that in tying the borders, the right hand mail on one side, and the left hand mail on the other, are connected to the first tail cord ; the second of each, in succession, to the second tail cord, and so forth ; 320 ART OF WEAVING. but in the body, the tying of each pai't always commences at one side, and proceeds regularly to the other, except in the case of a gathered harness, which would have continued inward to the centre, or outward to the selvages, in the same manner as the borders. The body parts of the har- ness may therefore be considered as an extension of the spot draught, No. 48, page 215, the borders as a part of ilie diamond draught, and the gathered body, as the diamond draught on a more enlarged scale, which may all be car- ried to any practical extent. But although the two borders in this example be actually gathered, yet this mode of tying does not produce v.hat is commonly understood by a gathered border. In tying the latter, the two outside mails of each border are connected to the first tail cord, counting fx'om the body : the two utxt in succession, to the second ; and so on till they meet in the centre of the borders, when, in a right hand harness, the last tail cord v/ill be at the right hand side of the tiiil. Hence it is obvious, that the tye of each border v>ill forr.i exactly what is termed the diamond draught; and conse- quently one half of the pulleys, tail, and simple, will pro- duce a border of the same extent as the preceding method, although the diversity of patterns will be much more limited. Sometimes corners, and frequently both corners and a centre flower are woven on shawls. In the former case, the border parts are made of a size sufficient to include the corners, but in the latter, a part equal to the size of the centre flower must be gathered in the middle of the harness. These, however, v.ill be farther explained in tl)e next sec- tion, under the Desiirning of Patterns. OF THE DRAV/ LOOM. 323 cross's counterpoise harness and machine for superseding the use of the draw-eoy. A machine that would effectually supersede the use of draw-boys in the various branches of harness work, without deteriorating the quality of the cloth, has long been a desideratum in fancy weaving; and many attempts have been made, from time to time, to supply so great a want. But all the attempts that have been made in this country, especially such as were constructed on general principles, have either proved abortive, or have at last been confined to particular branches of weaving. The machine called the counterpoise harness, invented by the late James Cross, Paisley, promises, however, to be of general utility to harness weavers, especially for weaving imitation shawls, plaids, and other heavy covered goods. This machine, taken as a whole, consists of three distinct parts; one properly called the counterpoise harness, ano- ther, an apparatus for preparing the lashes, and the third, a treading machine. Fig. 1, plate 13, is a front view of these three parts connected together as they stand in the loom. The harness F is the very same as in the com- mon draw loom, already explained, till it reaches the neck, where the counterpoise apparatus commences. The prin- cipal part of this apparatus is contained in the upright frame A A, and the whole is supported by the carriage E E, which rests on the capes of the loom, as in other draw looms. In the frame A A are four boards, e, w, v, e, which are perforated with a number of corresponding holes, equal to the tye of the harness or size of the simple. The two boards e, ^, are morticed into the bars d, d, which are fixed in the upright frame A A ; the former of which is called the suspension board, from its bearing the weight of the harness and leads, and the latter, the neck, or directing 2 s 32'2 ART OF WEAVING. board, as it answers the purpose of rollers, as well as keeps the neck cords at regular distances. The other two boards u, V, which are morticed into the moveable bars ni in, called the arms of the trap boards, have their holes of a sufficient size, about a quarter of an inch diameter, to allow the knots on the cords o, to pass freely through them ; and at the side next the simple, there are saw draughts, or cuts in the edges of the holes, to admit the cords, but support the knots, as represented in Fig. 2. These cords, which are termed knot cords, and are substitutes for the tail, have two rows of knots o, o, for the purpose of raising the har- ness by the trap boards. They are fastened to the suspen- sion board e, by means of the holes made for that purpose, and are taken down through both of the trap boards to the neck i, where they are tied to the harness. K K, are two circular pieces of wood, called rotators, which revolve on iron axles, that run through to the opposite side of the frame, where other two rotators are similarly fixed, z, z, z, z, are small bars of wood, called pushers, and which connect the trap board arms to the rotators on each side of the frame, i^ is a wooden rod which connects the rotators ; so that whatever motion is communicated to one, is instan- taneously transferred to the other. L is a bar of wood, with a corresponding one on the other side of the frame, on which the axles of the rotators revolve, and their height is regulated by the nuts and screws ?/, ^/. The process of tying the counterpoise is the same as in the common way; for the operator commences tying the neck at the back row of the holes in the neck board, and the other rows follow in succession ; always beginning each row at the same side of the board at which the tying com- menced, as from a to b, if it commenced at a, &c. as in the pulley box of other draw looms. In the Fig. there are only two of the knot cords tied to their harness twines, F, OF THE DRAW LOOM. S2S the first and last of each row, to prevent confusion, a is the hole board, b and c marches, and G heddles. Now, it is evident; that when the rotators, K K, are turnec? round to the right, which is effected by means of a cord connected to a treadle, the pushers, z, will raise the trap board, n, and sink the trap board, v ; and when the rotators are turned the contrary way, the motion of the trap board will be reversed. Consequently, were a portion of the knot cords drawn into the saw-draughts of one trap board for one lash, and the knot cords of another lash into the other trap board, one spotting shed would be rising while the preceding one would be sinking ; and this is the principle of the counterpoise harness. The next part of the machine is that for drawing the knot cords into the saw cuts, and is chiefly contained in the frame between A and B. In this apparatus, the simple ;•, r, is extended horizontally at the top of the frame A B, each simple being tied to its I'espective knot cord above the neck: afterwards it is continued, by the addition of other pieces of twine to q, where it is supported by a half leaf of heddles, and again to the w^all or shop window, where the ends are fastened. At p are leads, one attached to each cord, to re- cover the knot cords after the draught, and /, a hole board for regulating their distances, s, 5, are gut cords for keep- ing the heads of the bridles open for the hooks. S is the lash driver, and R the shaft which communicates the mo- tion from the whorle T, which is acted upon by a treadle, and on the axle of which are a number of eccentric whorles, one for each cover, for gaining power in the preparation of the lashes. The form of these whorles will be seen at Fig. 4. g is an inclined plain, moveable on its centre, over which the lash driver moves on small castors, in approaching the harness, and below it when returning with a lash. Fig. 3 is a front view of the lash driver ; shov/ing likewise the manner in which the lashes, simple, and cross bridles are connected. 5^i ART OF WEAVING. The dots at a, represent the ends of the simple, b^ the lashes, c, the heads of the lashes, and c, cross bridles. The position of the hooks, «, Fig. 5, for drawing the lashes is pointed out at (J. g, g, g, g^ are iron pins which drive the lashes to their proper place for the draught. /*, /«, are the small castors on which the lash driver moves. Fig. 5, is a view of one of the tumblers or levers, in which is fastened the hook a for pulling down the lash. The two parts, a and 6, are opened by means of cords connected to the treadles when they are in the position to catch the head of the lash, but shut again by their own gravity, as in the Fig. before the lash is pulled down. There are one of these levers for each cover, and their position in the frame is exhibited by the dotted lines at N, Fig. 1. P is the frame in which these levers are placed, and which will be seen to more advantage at Fig. 6, where 1, 2, 3, 4, are the ends of the levers, and the small pulleys, i, have cords running over them, to recover the levers after the lash is drawn, h is the escapement for opening the hooks, and allowing one set of lashes to escape and another to enter. Q is a roller flat- tened on one side, to allow the levers to play when the machine is working. This roller has a string connected to the escapement and another to the hook presser. In the hook presser are wires fixed that press on the under part of the hooks. These different parts, which are shown in the drawings as connected in the loom, are put in motion by means of treadles and marches, as in the ordinary way of mounting fancy looms. The treading machine is next to be explained ; the frame of which is seen at H, Fig. 1, but the several parts are more distinctly represented at Fig. 7, the principal of which are as follow: 1, is a knee shaft; 2, short marches, one for each leaf; 3, a couper for tin-ning the trap board 5 ; 4, a long march for working the drawing machine, r/, e, ?, o, are the ends of the treadles : a for opening a flowering or OF THE DRAW LOOM. 3^:15 counterpoise shed, e for a ground shed, i for a counterpoise shed, and o another treadle for a ground shed. 5 is the wheel or pulley of the trap board, represented at c, Fig. 8. 6 are the knots on the raising and sinking cords, and 7 are mails attached to them. 8 is a weight for recovering the machine, and 9 are weights for balancing the mounting. 10, 10, are hole boards for conducting the knot cords, one of which is seen at 10, Fig. 9. c, c, are weights for balan- cing the conducting cords ; M?, a cord for conducting the pressing knot cords; y^ for conducting the raising knot cords, and z, weights for keeping the knot cords tight, o, Fig. 8, is a view of the trap board, and b, of the pressing board, each with their holes and saw draughts, where the knot cords play. Fig. 9, is a side view of the machine, in which 1, 2, 3, 4, are the ends of the shafts, marches, and couper, represented in Fig. 7, with the same figures of refer- ence. The tweeling cords are tied to the marches 2, brought down through the board 10, and attached to the mails 7, which guide the knot cords into the saw draughts. These cords are arranged according to the plan of the tweel to be woven. As o and e are the two treadles for the ground, when either of them is pressed down, the pulley 5 is turned round, and opens a shed, and while one foot is tread, the other prepares the knot cords for the next shed. FRENCH DRAW LOOM. Since the introduction of Mr. Cross's machine into the trade, another apparatus for superseding ihe draw boy, lias been imported from France, which, for simplicity of con- struction and operation, far excels any attempts at the im- provement of the draw loom that have hitherto appeared in this country. This loom has neitlier tail, simple, nor lashes; and the pattern, which is cut out on small pieces of S'26 ART OF WEAVING. pasteboard, may be changed without the weaver stopping his shuttle. The harness of this draw loom, see plate 14, Fig. 1, is constructed, from the neck upwards, similar to Cross's counterpoise ; having knot cords arranged in the very same manner, but only one trap board. E and A are the car- riage and uprights, as in Cross's machine; C, the knot cords, and a, the trap board, the same as represented at Fig. 2, plate 13. i are needles, or pieces of wire, one attached to each knot cord by taking a turn round it. d is what the weavers term the cylinder or barrel, though it is an oblong square piece of wood, perforated with holes on each of its four sides, equal to the number of the needles em- ployed, as exhibited in Fig. 2. This barrel, besides its rotatory motion, vibrates on pivots like a pendulum, b are small pieces of pasteboard, about ten inches long, and from two to tliree broad, perforated with holes to receive the ends of the needles, and are arranged agreeably to the order of the tacks in lashing the pattern for the other draw looms, as shown at Fig. 3. There is one of these pasteboards for each lash ; and all the boards for one pattern are connected together like an endless cham, with twine, at equal dis- tances, so as to fit exactly the flat faces of the barrel, g is the receptacle of the pasteboards ; and, in some looms, is composed of thongs of leather suspended from the guide s, at one end, and from the cape of the loom at the other. In other looms it consists of parallel slips of wood, con- nected together with cords, D is a lever for raising the trap board, to which it is connected by means of the cir- cular pieces of iron a:, one on each side, with a bar across, to the centre of which the end of the lever is connected by a piece of wire, o, o, are cross bars of wood, with holes in their centres, through which run pieces of strong iron wire, which are fixed into the trap board at each side, to keep it steady while in operation. At wi are spiral springs, for OF THE DRAW LOOM. 3^7 regulating the motion of the needles; and into the cross bar of wood, r, is inserted another piece of wood, moving on springs, which yields to the pressure of the needles, which are forced back by the barrel, and recovers them when the barrel is withdrawn. Fig. 4, is an end view of the barrel with the apparatus for turning it round, which, like the rest of the machine, is extremely simple. It con- iiiits of two catches, 6, c, which are attached to the opposite end of the frame. When the barrel is turned round from rio-ht to left, the catch b is lowered by means of a cord connected to a treadle, till the tooth of the catch, i, comes in contact with the corner of the barrel in its motion back- wards, and turns it round till a new face and pasteboard are presented to the needles. When it is turned from left to right, the catch c is employed in the same manner. zis a cord connected to the barrel, which, after passing over two pulleys, as seen in the Fig. is tied to the end of a long march ; and y is another cord which descends from the lever D, to another long march; and these two marches are connected to separate treadles, which are wrought alternately. From this description of the machine, its mode of opera- tion will be obvious. The weaver presses down the treadle which pulls back the barrel «, by means of the cord z, and in this state all the knot cords are into the saw draughts of the trap board. As this treadle is relieved and the other pressed down, the barrel is drawn by springs against the ends of the needles, which enter into the pasteboard wherever there is a perforation, but where there is none, they are driven back ; and, consequently, drive their respective knot cords out of the saw draughts of the trap board, which are thus allowed to remain stationary, while the others are raised. The reading of the patterns on these pasteboards is the only tedious process connected with the machine. Tho 3^8 ART OF WEAVING. method in common use is, for one person to read over the tacks of the design, and another with a punch to strike out the holes in the pasteboard, agreeably to his instructions. Thus, on the line 1, Fig. 3, there are three dots, which denote three holes for the wires. The person who gives the instructions, says, take 3. The other person imme- diately strikes out these three holes with the punch. Then, as there is a blank on the upper cross line, and two on the under lines at 2, three are ordered to be passed. Then 2 on the line 2, and 3 on the line 3, are next to be cut outj and so forth, always beginning at the bottom of the lines, as in the process of taking the harness twines tlirough a hole board. In this example there are only four cross lines or rows of holes, but in practice there are eight, cor- responding to eight horizontal rows of the needles. The four small holes on each end of the pasteboards are for laceing them together, agreeably to the succession of the lashes. The larger holes, a, a, are made to fit the studs, o, Fig. 4, on the ends of the barrel, by which the pasteboards are drawn into their proper positions to receive the ends of the needles. THE PATENT OR COMB DRAW LOOM. The patent or comb draw loom was invented some years ago, by ]Mr. David Bonnar at Dunfermline, and has since been chiefly employed in the manufacture of that place. The principle on which this draw loom is mounted is, that that part of the harness which corresponds to the tail of the common harness, instead of extending across the roof of the shop, is here tied perpendicularly in a frame, which is nailed to the carriage or table above. From each of these tail cords a simple cord extends, horizontally, back over the weaver's seat, as in the back harness, the lashes hang- ing below, ready to be pulled by the weaver's hand instead OF THE DRAW LOOM. 829 of the draw- boy. A little above the simple, there is a knot tied on each cord of the tail ; all of which knots must be in a straight line, and equally high. Hence, the tail cords in this harness are called knot cords. Below these knots, and above the simple, is placed a flat board, moving upon pivots, one edge of which is indented so as to resemble the teeth of a comb, from which it has derived its name. To the opposite side of this board or comb, is nailed a long handle or lever, which, when pulled down, raises the in- dented side, or teeth, after the knot cords have been drawn in between them by the lashes. To the other end of this lever is fastened a strong wire, or cord, which descends through the warp, in broad webs, or past the selvage in narrow ones, and is fixed by the other end to a stout treadle below, clear of those which are used for the ground. Hence, when any shed is to be opened by this harness, the weaver pulls down the corresponding set of lashes, which draws the knot cords of that shed between the teeth of the comb, while at the same time he presses down the treadle that is thus connected to the comb, with his foot, and places it in a catch below, where it remains so long as he has occasion for the harness shed. SECT. II. OF DRAW LOOM PATTERNS. This is perhaps the most important, as well as the most delicate department in the whole course of fancy weaving; for it is on a judicious selection and extensive variety of pat- terns, combined with economy in the disposal of colours, that the success of the manufacture will ultimately depend. The manufacturer, therefore, though no designer himself, should possess a competent knowledge of drawing, or at least of hand sketching. This would not only improve his taste, but would enable him, when any new or striking ob- jects occurred, to communicate his ideas with precision to 2 T 330 ART OF WEAVING. the pattern drawer, and to make a more tasteful selection from the productions of others. This is, in general, the case in France ; and the consequence is, that French pat- terns are usually distinguished for the ease and elegance of their style, while the greatest economy is observable in the use of the materials of which they are manufactured. On the other hand, the qualifications of a pattern drawer, who would excel in his profession, are by no means of a superficial nature. A facihty in sketching or delineating any object that may present itself, whether natural, artifi- cial, or imaginary, combined \^ith a thorough knowledge of the principles of weaving, at least with those branches with which he is more immediately connected, are indis- pensable requisites. The pattern drawer, like the poet and the painter, ought to possess an unlimited fancy, and a strong and lively imagination ; to be deeply impressed with the beauties and charms of nature, and to be able to draw from thence the principal effect of his designs. A chaste taste also, is as necessary in the pattern drawer as in the manu- facturer ; and this will be greatly heightened and improved by a little knowledge of geometry, particularly of symmetry and proportion ; for nothing can be more offensive to a per- son of genuine taste, than a pattern or picture crowded with an incongiuous assemblage of distorted objects. TASTE. Since taste therefore is essential in every department of fancv weaving, as well as in other works of genius, while at the same time it is so ver}' difiicult to distinguish between a good taste and one of an inferior kind, it would be of use here to inquire what is the standard by which the different tastes of men might be compared, so as to discriminate be- tween the true and the false. As this, however, would lead to a discussion, which, to some might appear foreign to the OF THE DRAW LOOM. 331 present undertaking, I shall content myself with quoting a few remarks on taste from Dr. Blair, referring the reader who wishes more information on this subject, to the second, third, and fifth of his lectures on Rhetoric and the Belles Lettres. " Taste," says he, " is the power of receiving plea- sure from the beauties of nature and art." — " Nothing that belongs to human nature is more general than the relish of beauty of one kind or other, of what is orderly, propor- tioned, grand, harmonious, new, or sprightly." — " But al- though none be wholly devoid of this faculty, yet the de- grees in which it is possessed are widely different. In some men only the feeble glimmerings of taste appear, the beauties which they relish are of the coarsest kind, and of these they have but a weak and confused impression; while in others, taste rises to an acute discernment, and a lively en- joyment of the most refined beauties. In general we may observe, that in the powers and pleasures of taste, there is more remarkable inequality among men than is usually found in point of common sense, reason, and judgment." " The characters of taste when brought to its most im- proved state, are all reduceable to two, delicacy and cor- rectness." " Delicacy of taste respects principally the perfection of that natural sensibility on which taste is founded. It im- plies those finer organs or powers which enable us to dis- cover beauties that lie hid from a vulgar eye. One may have a strong sensibility, and yet be deficient in delicate taste. He may be deeply impressed by such beauties as he perceives; but he perceives only what is in some degree coarse, what is bold and palpable, while chaster and simpler ornaments escape his notice. In this state, taste generally exists among rude and unrefined nations. But a person of delicate taste both feels strongly and accurately. He sees distinctions and differences where others see none, the most latent beauty does not escape him, and he is sensible 332 ART OF WEAVING. of the smallest blemish. Delicacy of taste is judged of by the same marks that we use in judging of the delicacy of an external sense. As the goodness of the palate is not tried 6y strong flavours, but by a mixture of the ingredients, where, notwithstanding the confusion, we remain sensible of (each ; in like manner, delicacy of taste appears, by a quick and lively sensibility, to its finest, most compounded, or most latent objects." " Correctness of taste respects chiefly the improvement which that faculty receives tlirough its connexion with the understanding. A man of correct taste is one who is never imposed on by counterfeit beauties; who carries always in his mind, that standard of good sense, which he employs in iudjTing of every thing. He estimates with propriety the comparative merit of the several beauties which he meets with in any work of genius; refers them to their proper classes ; assigns the principles, as far as they can be traced, whence their power of pleasing flows, and is pleased himself precisely in that degree in which he ought, and no more." " It is true that these two qualities of taste, delicacy and correctness, mutually imply each other. Ko taste can be exquisitely delicate without being correct, nor can be thoroughly correct without being delicate. But still, a pre- dominancy of one or other quality in the mixture is often visible. The power of delicacy is chiefly seen in discerning the true merit of a work ; the power of correctness in re- jecting false pretensions to merit. Delicacy leans more to feehng, correctness more to reason and judgment. The former, is more the gift of nature; the latter, more the product of culture and art." SKETCHING. Those who would attain to excellence in the art of draw- ing, should place themselves under the tuition of an ex- OF THE DRAW LOOM. 33^ perienced master ; and even then, they will find that con- siderable practice and application will be necessary, before much proficiency can be expected. With a little attention and perseverance, however, a person of moderate capacity may acquire as much command of the pencil, as enable him not only to copy any pattern from a sketch or cloth, but also to delineate with accuracy, such objects or ideas as his own fancy may suggest. The first attempts of a learner in this art should there- fore be to acquire a facility in sketching a variety of simple objects, such as straight lines, circles, ovals, and other curved figures. After he has made some progress in these exercises, he may proceed with copying from good sketches, particu- larly at first, from the most simple specimens of that kind of patterns to which his attention is to be afterwards directed. It must however be observed, that when he has attained as much practice as enables him to sketch from his own fancy, he should be very cautious at first, both with respect to the objects which he selects for his designs, and the manner in which they are to be disposed; for on his taste and judg- ment in making these experiments will depend, in a con- siderable degree, his peculiar style afterwards. He will therefore derive much advantage, in the early stages of his progress, by procuring as great a variety of appropriate ob- jects for his patterns as possible, such as leaves, flowers, fruits, shells, &c. which may be copied either from drawings, or the originals : and from this fund he will afterwards, with a little modification of their forms, be able to give a con- siderable diversity to his designs ; at the same time, he ought to avoid, as much as possible, a certain sameness of style, which is sometimes found in the productions even of the best drawers. Harness patterns are, in general, first drawn on common paper, of the same size that they are to occupy on the cloth, which is ascertained by taking their dimensions from a reed 334} ART OF WEAVING. scale; and these are denominated sketches. For patterns which are to be all white, the sketches may be finished with a black lead pencil, either shaded or not, as the pattern drawer may find occasion. In drawing sketches for allovers, or other kinds of running patterns, particular care must be taken where the stalks, or other members join, to avoid stiffness or unnatural turns, and to observe that none of the parts be too much crowded, nor improper vacancies left. — At these joinings, the stalks, &c. may be continued beyond the hmits of the sketch until they be completed, or until their curvatures or bendings be accurately ascertained, and then transferred, by means of a bit of spare paper, to the opposite side of the pattern. For coloured patterns, a rough sketch is commonly drawn out on coarse paper, which, after all the necessary correc- tions are made, is traced on clean drawing paper, when it is ready for colouring. The method of tracing these sketches is as follows : prepare a sheet of wove writing paper by rub- bing it over on one side, first with sweet oil, and afterwards with ground verditure ; when it is dry, lay it on the clean drawing paper, and over it the rough sketch. Then with a blunted steel point trace over all the outlines, and a very fine delineation of the pattern will be produced. This done, the different colours are laid on with camel's hair pencils, agreeably to the taste of the manufacturer, or to the style of work to which the patterns are to be applied. It is ne- cessary to observe, however, that as in many kinds of pat- terns, particularly those intended for low priced goods, the greatest economy is frequently necessary in introducing the colours, the pattern drawer's chief study should be to pro- duce as much effect with as few colours as possible. Pattern drawers have also frequent occasion to copy ex- tensive patterns from the cloth, such as coloured shawls, pine plaids, &:c. This is easily effected by laying a sheet of transparent paper orer the pattern to be copied, through OF THE DRAW LOOM. 335 which, every object and colour will be distinctly seen, and traced with a black lead pencil ; it may be afterwards trans- ferred to a sheet of clean drawing paper by means of a tracing paper and steel point, and colom-ed in the same manner as the original. For present use, a sheet of silk or tissue paper may be brushed over with sweet oil until it be all thoroughly wet, and when dry, it will be fit for use. But as this paper will soon turn dim by exposure to the air, the following recipe has been re- commended in the Panorama of Arts : " Take one quart of the best rectified spirits of turpentine, and put to it a quar- ter of an ounce of the sugar of lead finely powdered; shake it up and let it stand a day and a night; then pour it off, and add to it one pound of the best Canada balsam ; set it in a gentle sand heat, and keep stirring it till it is quite mixed, when it will be fit for brushing over the paper, which, in about four days will be fit for use. The paper rendered transparent is that which stationers call bank post, but when great nicety is required, tissue paper which is still thinner, will be proper. Before it is brushed over with the mixture, after having been made damp by laying it over another damp sheet of stronger paper, it should be pasted by the edges upon a frame, and suffered to dry." PIGMENTS. The pigments used by pattern drawers and designers, are, in general, the same as those which are made up into cakes, and sold in the shops under the name of water colours. In water colour paintings, however, such as flowers, landscapes, &c. the pigments employed are chiefly the transparent kind, and the different shades are wrought up by repeated touches of the pencil, till they have acquired their full effect ; but in the sketches for patterns, the colours must be all opaque, or of such a body as may be easily laid on the paper with 33G ART OF WEAVING. only one touch of the pencil, and at the same time stand distinct, without allowing one to appear through or blend with another. Colours, therefore, which are naturally trans- parent, must be made opaque, by mixing with them a little flake or other fine white. The colours used for designing, however, ought to be rather of a semi-transparent nature, that they may not only work freely and expeditiously with the pencil, but that the flower-lasher may be able to see the lines of the design pa- per distinctly through them. Some of the London designers have indeed carried this idea so far, as to have their design paper transparent, and to paint the pattern on the back with opaque or body colours. In drawing sketches for most kinds of harness patterns, it is of considerable importance that the colours on the sketch be adapted, as nearly as possible, to the tints of the materials of wliich they are to be fabricated on the cloth. Tliis would often prevent disappointment in the manufacturer, who, without considerable experience, is liable to be deceived by a brilliant display of colouring on the sketch, which can- not be realized in the loom ; and this is more particularly the case in the cotton manufacture, which does not admit of such a beautiful variety of tints as either silk or worsted. Pattern-drawers, therefore, generally prefer colours of their own preparation, to those sold in cakes, not only on account of econom}-, but that they can more easily obtain those tints, and of that consistence, which this species of drawing requires. For these reasons, it may not be im- proper here to introduce a list, with some useful remarks, of those pigments which are most commonly employed in water colour painting, leaving to the artist the choice of those which may seem best suited to that branch of manu- facture in which he is more immediately engaged. The principal colours used in water painting are yellow, orange, brown, red, purple, blue, green, black and white; of i OF THE DRAW LOOM. 337 the seven first of whicli there is a great variety of shades, besides their compounds. YELLOWS, Gamboge is a gum brought from the East Indies. It re- quires no preparation, but dissolves immediately on rubbing it with the addition of water. It is a fine transparent yellow. King's Yellow is orpiment, or arsenic coloured with sul- phur. It is poison, and ought to be used v/ith caution. It Is a good body colour, and when mixed with blue pigments, makes a good green. Yellow Ochre is a mineral earth, which is found in differ- ent degrees of purity. It is a good standing colour. Masticot or Massicot is ceruse or flake white calcined by a moderate fire, but it acquires a lighter or deeper tint ac- cordino; to the decree of calcination. Chrome Yellow is a preparation of the metal chromium. It is a good working yellow for designers. Turpeth Mineral is a preparation of mercury, by calcin- ing it together with oil of vitriol. It is a good bright body colour. Mixed with Prussian blue it makes a fine green. Good yellows are also procured from French berries, saffron and turmeric, by dissolving either of them in water; but in order to preserve the bright tincture of the turmeric, it must be dissolved in spirits of wine. ORANGE. This colour is usually a compound of some of the red and yellow pigments. Orange lead, which is ceruse cal- cined to a hicrher degree than masticot, is a fine bright orange, works very freely on design paper, and is commonly employed in designing patterns of only one colour. 2 u 8"38 ART OF V/LAVING. BROWNS. Bistre is the burnt oil extracted from soot. It is of a line brown transparent colour, and is sometimes used for washin«T designs instead of Indian ink. Umber is an ochrous earth of a brown colour. It stands well, and when burnt gives it a redder hue. Spanish Juice is the succulent part of the liquorice root, extracted by decoction in water, strained and evaporated to dryness. Japan Earth is a gummous substance extracted from some kind of vegetable. It dissolves to a great degree in water, and is of a full brown colour inclining to red. REDS. Vermilion. This is a bright scarlet pigment, formed of common sulphur and quicksilver. When found in its na- tural state it is called native cinnabar, but factitious cinnabar, when produced by a chemical process. Red Lead is merely lead calcined to a higher degree than orange lead, by exposing it with a larger surface to the fire. Scarlet Ochre is the ochrous earth, or rather iron which is the basis of green vitriol, separated from the acid of the vi- triol by calcination. It is of a broken scarlet colour, and stands well. Common Indian Red is of a hue verging on scarlet, but the true Indian red is greatly inclining to purple. I Venetian Red is a native red ochre, rather inclining to scarlet. Carmine affords the brightest and most perfect crimson, and is the most beautiful of all reds. It is produced from the tinging substance of cochineal brightened with aquafortis, by a process similar to that used for dying scarlet in grain. OF THE DRAW LOOM. SS^ It produces a variety of fine tints, from the deepest crimson to the h'ghtest pink. It is mixed with the spirits of harts- horn, and reduced to the requisite shades with water. Lake is a white earthy body, as the basis of alum or chalk, tinged with some crimson dye, such as is obtained from cochineal or Brazil wood, dissolved or taken up by means of some alkaline salt, and precipitated on the earth by means of an acid. PURPLES. Pvn^les are commonly prepared by mixing red and blue pigments. A very good working purple for sketches, \\o\f- ever, is made from the following recipe : Take eight ounces of logwood, an English pint of rain-water, and an ounce of alum ; infuse them well over a slow fire in a glazed pan or earthen pot, for about twenty-four hours ; add a quarter of an ounce of gum arabic, let it stand for a week, strain it through a piece of fine cloth, and keep it close. But the richest purple is made by blending carmine and Prussian blue or indigo. BLUES. Ultramarine is a preparation of calcined lapis lazuli. It is an extreme bright blue colour, but it is both high priced and often adulterated, Prussian Blue is the fixed sulphur of animal or vegetable coal, combined with the earth of alum. It is a very useful pigment both in sketching and designing. Verditer is a fine light blue, formed by a mixture of chalk and precipitated copper. It is without transparency, and is much employed both in sketches and designs. Indigo is a tinging matter extracted from certain plants, hy means of putrefaction, and a coagulation by the air. S-iO ART OF WEAVING. Bice is smalt, which is glass coloured with zaffer, reduced to a fine powder by levigation. Litmus is a blue pigment brought from abroad, and form- ed from archil, a species of moss brought from the Canary and Cape de Verd Islands. GREENS. Green is a compound colour, commonly made by mixing some of the yellow and blue pigments. The following, however, are simple gi*eens. Verdigris is a rust or corrosion of copper formed by the action of some vegetable acid. It is dissolved in vinegar. Distilled Verdigris is the salt produced by the solution of copper, or common verdigris in vinegar. It makes a fine light green both for sketching and designing. Sap Green is the concrete juice of the buck-thorn berries expressed from them. BLACK. Lamp Black is the soot of rosin received in sheep skins, or pieces of coarse linen fixed at the top of a chimney, where it is burnt for that purpose. To prepare it for use, put a small quantity on an iron shovel, or in the bowl of a tobacco pipe, and set it over the fire, when it will begin to smoke. When the smoking ceases, the black will be freed from the oily substance with which it was originally combined, and when mixed with gum, will be fit for use. Ivory Black is ivory burnt between two crucibles ; and re- quires to be well ground with water, before it is used in fine painting. Spanish Black is burnt cork. Cherry and Peach Stones, and other vegetable substances, when charred in a covered crucible, make likewise excellent black pigments. OF THE DRAW LOOM. 341 Indian Ink. The genuine Indian ink is imported from ilio east, but the greater part is manufactured in this coun- try ; for which the following recipes are given : Take lamp black purified, eight ounces; indigo, two ounces ; ivory black, an ounce; peach stone black, half an ounce; beat all to- gether into a mass, make it into a paste v.'itli water in which a little gum arable has been dissolved, and then form it into long square tablets. Another: Take horse beans, burn them till they are perfectly black, grind them to a fine powder, and with a weak gum arable water make it into a paste, which form into long square cakes, as before. WHITES. Flake White is only white lead in a more refined state, be- ing an oxide or rather carbonate of lead, obtained by ex- posing the metal to the steam of vinegar. Zinc White, or Constant White, is formed by the calcination of zinc, by raising it to a red heat in a crucible. White Lead, or Ceruse, is the corrosion or rust of lead form- ed by means of vinegar. Peaii White is the powder of pearls or the finer parts of oyster shells. Troy White, or Spanish White, is chalk neutralized by the addition of water in which alum is dissolved, and afterwards washed. Egg Shell White is preferred to flake or troy white. It is made in the following manner: Take off the inner skin of egg shells, then levigate or pound the shells to a proper fine- ness, and wash over the powder. Calcined Hartshorn is the earth which makes the basis of horn rendered pure by the action of fire, which separates from it all saline and sulphureous substances. It is of the first degree of whiteness, and not subject to be changed by the air or time. 342 ART OF WEAVING. There are several other pigments used in water colour painting besides those which are here enumerated ; but from the above list, the pattern drawer and designer may select what will sufSciently answer their purpose, especially, if the great variety of tints be taken into account, which may be produced by mixing two or more of them together. For example, a good orange is made by mixing vermilion and gamboge ; a sea green, with indigo and sap green ; an- other with indigo and gamboge well ground together; a transparent green, by mixing verdigris and yellow, to various tints, by leaving either predominant; a brown, by mixing sap gi'een and carmine ; a lead colour, with indigo and white; a light green, with verditer and gamboge, or with gamboge and verdigris; an olive, with sap green and lake; a lilac, with carmine, Prussian blue and flake white; and so forth. The greater part of these pigments require to be ground as fine as possible before they are fit for use. This is done on a marble flag with a mullar, adding occasionally a little water, till the mass is brought to the state of fine paste, after which, a little gum arable water is added. Some dis- solve a small bit of refined sugar in the gum water, which prevents the colour from cracking. After the pigments are ground, it will frequently happen that some of them are still too gross to be used in fine works. To obviate this, mix a quantity of the mass with water in a clean vessel before the gum is added, shake it well, and after it has settled till the grosser parts have fallen to the bottom, pour off" the top, and whatever part of the pig- ment comes over will be as fine as necessary when it is set- tled, and the water poured off". Those who desire to know how these pigments are pre- pared from the original, will find ample satisfaction, by con- sulting a very valuable work chiefly on this subject, entitled, *' The Handmaid to the Arts" to which I am indebted for some useful information on this head. OF THE DRAW LOOM. 343 CHOICE OF OBJECTS FOR PATTERNS. In draw loom patterns, in general, there are usually some principal objects introduced, which are technically termed heads, while the intermediate spaces are filled up with some kind of subordinate members. Hence it is apparent, that the excellence of a pattern will chiefly depend on the taste- ful selection and judicious arrangement of these objects, taken as a group. Those who have paid most attention to the effects of draw- ing, in general, have uniformly recommended figures bounded with curve lines, in preference to such as are straight, or form- ing angles. Easy flowing curves and waving lines have always given delight, and still continue to hold a place in the best patterns. So much was Hogarth pleased with the waving or serpentine line, that he termed it the line of beauty; and the spiral line, or that which is represented by the worm of a screw, he denominated the line of grace ; and showed, by many instances, how nature delights to employ these lines in the ornamental parts of her works. The serpentine line has long maintained the character given it by Hogarth, and is still introduced into patterns without becoming stale or offensive. The spiral line has likewise its peculiar beauties, which may be traced in the writhes of shells, the ivy round trees, and many other natural productions, which have been also copied, with considerable effect, into different kinds of patterns. In the choice and arangement of objects, howevei-, for those patterns which are more immediately designed for the draw loom, an imitation of nature has always been recommended as the surest guide to the pattern drawer : not that nature is, in all respects, to be too servilely followed, but that her productions, even in the greatest exuberance of fancy, and in the widest latitude of imagination, may still be kept in 344 ART OF WEAVING. view. As the whole vegetable kingdom teems with a pro« fusion of objects, which vary in succession with every season of the year, the pattern-drawer has here an inexhaustible store, from which he can be at all times supplied with ideas. The stalks, leaves, flowers and fruits of vegetables, are more appropriate and becoming for female decoration, than unmeaning groups of grotesque and uncouth objects; and ought therefore to form the basis on which a good pattern is founded. The ideas, however, which are suggested by the different parts of plants, may be varied and compounded in a thousand different ways ; yet still the imaginary figures which are thus produced, may have some resemblance to the originals, and be kept within the pi'obability of nature. They ought to excite in us the same surprise and delight which we feel on seeing a rare exotic plant, which, though widelv different in its foliage from tliose which are common amongst us, yet is still recognized to be a genuine produc- tion of nature. Notwithstanding this general appeal to natural produc- tions, there are times and circumstances which frequently give a new character to the style of patterns : such are the Camperdowns, Waterloos, Coronations, &.C.; but if these effusions be not founded on a correct and genuine taste, the patterns wliich are thus introduced will become stale as soon as the effervescence of the moment begins to subside ; and the pattern-drawer must again return to natural objects, to refresh and enliven his imagination. The Chinese and Indian patterns which have been im- ported into this country, are likewise in some measure ex- ceptions to the easy natural style above recommended ; and although they have been long favourites in the market, they still continue to be sought after with avidity, and are imi- tated to a very considerable extent. But as the geimine patterns of India are often more remarkable for the artificial arrangement of their component parts, than for a brilliant OF THE DRAW LOOM. S4i6 display of colours, it frequently requires no small degree of skill in the pattern-drawer to preserve the peculiarities of their style ; without which, the imitations will want much of that exotic appearance which stamps so high a value on the originals. ARRANGEMENT OF COLOURS. In the coloured branches of weaving, the distribution or arrangement of colours in a pattern is of no less import- ance than the choice of objects. Any person who has the least experience in disposing of colours, either in pictures or patterns, will perceive, that some colours will have more brilliancy and effect when placed together, than when they are placed separate, or beside some others. This arises neither from taste nor caprice, but is founded in nature and may be explained on the principles of optics : for it is well known that the seven pi'ismatic colours have ex- actly the same relation to each other as the notes in an oc- tave in music ; and, therefore, the effect produced by art- fully disposing of the kindred colours is no less pleasing to the eye, than the concords of musical sounds are grateful to the ear. Colours, therefore, with respect to the effect which they thus produce, may be arranged under two heads, namely, those which are contrasting, and those which are harmoniz- ing. The contrasting colours are such as are most opposed to each other ; the harmonizing colours are those intermediate tints which lie between the contrasting ones, and as it wei*e blend them together. The contrasting colours may be discovered by a very sim- ple optical experiment. Place, fo*- example, a red wafer . on a sheet of white paper, and look on it steadily for some time till the eye becomes tired, and a ring of green will be- gin to appear round its edge ; and even after the eye has 2 X 34-6 ART OF WEAVING. been removed to another part of the paper, the green ring will still be visible. Hence, gi-een is said to be the contrast- ing, or as it is sometimes termed, the accidental colour of red; as red, on the contrary, is the contrasting colour of green. In like manner it may be found that purple is the contrasting colour of yellow; blue of orange; violet of a mixture of yellow and orange ; and black of white. The compounds of these colours will also have their con- trasting and harmonizing ones. Thus, purple inclining to red, has for its contrasting colour, yellow inclining to green; purple inclining to blue, has yellow inclining to orange; and so likewise with the other compounds. On the other hand, a harmonizing colour will be the nearest tint to the original, but farthest, except the original, from the contrasting colour. Yellow, therefore, is the har- monizing colour of white, orange of yellow, red of orange, violet of red, and blue of violet, &c. Different shades of the same colour, such as light and dark green, light and dark red, light and dark blue, &c. when they are distant, form, likewise, very bold contrasts ; but when the same colour runs through a variety of shades, from a very dark to a very light tint, such tints approach to the nature of harmonizing colours. In applying these remarks to practice, it will be necessary to recur to a former observation, that there are usually some principal objects introduced into patterns which are called heads, and that the other parts are occupied with some kind of inferior members. These heads, therefore, have gene- rally a reference to the flowers or fruits of plants, while the subordinate objects are meant to represent the stalks, buds, and leaves. By keeping this observation in view, the pat- tern-drawer will have an extensive field for a display of his iudgment and taste, in the selection and an-anejement of the harmonizing and contrasting colours; especially if he ex- amines attentively the order in which nature commonly dis- OF THE DRAW LOOM. S4"7 poses them. Thus, for example, in the centre of a red rose, he will find a yellow tint blended with the orange hue of the stamens, while the petals, or leaves of the flower, are red. These tints, agreeably to the order above-mentioned, are harmonizing colours; while the calyx or cup, which comes in contact with the petals, as well as the other parts of the shrub, are green, the natural contrasting colour of the red. Examples of the contrasting colours in flowers will be found in some species of the violet, the wall-flowei', and many other productions of the flower garden. This account of the arrangement of colours is of the greatest importance at the present time, as that beautiful mixture of shades and tints displayed in the silk manufac- ture lately imported from France, depends on the theory here laid down. REED SCALE. This instrument is of great use in every branch of fancy weaving, particularly in the draw loom department. Fig. 7, Plate 1 1, is a representation of this instrument adapted to the Scotch standard, which is 37 inches. At A are the number of splits in one inch for each sett in the left hand column. The numbers at B are the nearest setts to these, for the Manchester and Bolton count, which is regulated by the number of beers or porters in 24^ inches; and the near- est corresponding setts of the Stockport count will be found at C, which is estimated by the number of ends or warp threads in an inch. This column also shows, very nearly, the number of weft shots in an inch, when the complete hundreds in the left-hand column are accounted shots on the common web glass for 37 inches. It would have shown them more accurately, had it not been calculated to the nearest even numbers, to adapt it to the setts, or of the Stock- 848 ART OF WEAVING. port reeds; the scale of which excludes the odd numbers* The divisions at the bottom of the scale are inches. The construction of the reed scale is very simple, and may be as follows : having drawn the requisite lines for dis- tinguishing the different setts of reeds, find by calculation the length of one porter for each sett, to the hundredth parts of an inch. This may be done by the following pro- portion : as the porters on ell : 37 inches : : 1 : to the length of one porter. Take this in a pair of compasses from a diagonal scale, and set it ofF from left to right along the space intended for that sett, which will divide it into porters ; after which, one porter may be again divided into twenty parts for splits. In like manner a scale may be constructed for the Man- chester and Bolton reeds : for it will be, as the number of beers in 2-i\ inches: 24^:: 1: to the length of a beer, which may be divided either into nineteen or twenty dents, as the manufacturer may find answer his purpose. The Stockport scale may be constructed by dividing an inch into the number of dents peculiar to the number of each sett, which will always be equal to lialf the number of the reed. By comparing these standards or scales together, it will be found that a 1400 Scotch reed, which is the most com- mon sett of harness work, in the cotton manufacture, will be very nearly equivalent to a No. 46 of the Manchester and Bolton count, and to a No. 76 of that of Stockport- DESIGX, POINT, OR RULE PAPER. This paper, of which frequent mention has been made in the course of this work, is an impression of a copperplate engraving, consisting entirely of straight lines crossing each other at right angles, the spaces between which represent- ing sometimes the threads of warp and woof in a piece of Ol- THE DUAW LOOM. cloth, and sometimes the simple cords and lashes of a draw loom ; without any regard to the number of threads in the mail, or the number of shots on the lash. The paper is again divided into larger squares called designs, which con- tain various proportions of the smaller spaces, to suit the different purposes to which it is applied. The varieties of design paper in common use are, 8 by 8, 8 by 9, 8 by 10, 8 by 11, 8 by 12, 8 by 13, 8 by 14, 8 by 20, and 10 by 10; that is, 8 by 8 is even paper, or has 8 small spaces, both by the breadth and depth in each design ; 8 by 9, has 8 by the breadth and 9 by the depth, and so of the others. In using these varieties for draw loom patterns, 8 is commonly considered the simples or mails in a design, and the variable numbers 9, 10, 11, &c. the lashes; to adapt the pattern either to the quantity of woof on the ground, or the number of shots on each lash. In some cases, however, the variable figures represent the simple cords, and 8 the lashes ; which adds considerably to the num- ber of varieties above specified. The scale on which design paper is drawn, does not coin- cide with any particular sett of reed, but appears to have been originally calculated for two designs to the inch ; al- though what we have in the market at present be somewhat below that standard. This small difference has probably arisen from each successive engraver copying from the sheet of his predecessor, which is always less tlian the plate, on account of its being printed in a damp state and shrinking a little as it dries. Were the design paper, however, drawn accurately to a scale of two designs to the inch, then that Idnd which has ten spaces in the design would coincide nearly vvith a 700 reed ; for it will be found by the reed scale that there are 19 splits in one inch of that sett; so that the difference would only be one split in twenty. In the same manner it will be found that 8 simples in the design would correspond with a 600 reed ; and so of the other varieties. 5dO ART OF WEAVING. DESIGNING PATTERNS. The term designing implies, here, the painting of any pat- tern on design papei", either directly or from the sketch, preparatory to its being read or lashed on the simple of a draw loom. This species of painting is performed with camel hair pencils, and appropriate pigments selected from the preceding or any other list, reduced, if necessary, to a semi-transparent state, as already mentioned. The pencils should be chosen of a middle size, with a good spring and point, both of which may be discovered by drawing them gently through the mouth, and pressing them on the thumb nail ; when, if on being moderately wet, they spring again into their form after being bent, it is a sure indication of these qualities. The points of the pencils too, should be adapted as nearly as possible to the size of the small spaces on the design paper on which they are to be employed, that the designer may be able to fill any individual space with only one touch. A learner in this department, before he attempts the de- signing of patterns, should endeavour to acquire a dexterity in filling up these little spaces on the design, whether they run in straight or curved lines ; taking care always to fill them exactly, without allowing the paint to spread beyond their boundaries, or leaving any of them broken or imper- fect. In this exercise he will find some assistance by con- sulting Figs. 1 and 2, plate 12; in the former of which he will see how straight lines may be designed, so as to form any given angle with the bottom of the paper ; and in the latter, the method of designing circular and elliptic figures, which may be easily applied to the delineation of any other kind of curves. He may next attempt what are termed set objects, such as a, b^ and c. Figs. 2 and 3. Of these he will afterwards find it of advantage to produce as great a OF THE DRAW LOOM. 351 variety as possible ; for such figures will not only be found convenient, on many occasions, to introduce as heads into those draw loom patterns, which are designed without a sketch, but to form a happy diversity of ornament in several of the other branches of fancy weaving. When the learner has made some proficiency in these exercises, he may pro- ceed to the designing of patterns from the sketch ; an ex- ample for which, on a small scale, will be found in Figs. 4 and 5, which may be copied by means of the trace paper and point, after the manner described, under Paper Spots. In the designing of draw loom patterns, the first thing to be ascertained is the tye of the harness, or the number of cords in the simple. When the pattern is required for a harness which is already mounted, the tye or number of simple cords is given ; but when a new harness is to be con- structed for any particular kind of pattern, the quantity of warp requisite for the web must first be determined, together with the number of threads which is destined to each mail. Then, if the warp reduced to splits, be divided by the pro- posed number of parts, provided they are alike, the quo- tient will be the number of splits in one part; which when reduced to mails, will give the tye of the harness; or, if the warp be divided by the number of splits intended for one part, the quotient will be the number of parts, or times the pattern is to be repeated in the breadth of the web. Examples. — Suppose a 1400 split harness containing 112 porters warp, to be tied in twelve parts ; then, to find the tye, we have 112 porters. 20 12)2240 sphts. 186 8 over. 352 ART OF WEAVING. Here, as there is one splitful of warp in the mail, we have 186 for the tye of the harness, and 8 of a remainder, to which a few more may be added for selvages. Again, Suppose a 1400 damask shawl harness, four threads in the mail, were to be constructed ; the quantity of warp being the same as in the last example, and the borders to contain 80 cords each : then, the two borders added together make 160 mails or 320 splits, which de- ducted from 2240, the number of splits in the warp, leaves 1920 for the body of the shawl. Now if we would have the body parts nearly of the same extent as the bor- ders, we divide the 1920 by 160, the splits in 80 mails, and the quotient, 12, is the number of parts. But, as in this case, there is no remainder for selvages, these must be sup- plied either by adding the usual allowance to the warp, or making an adequate deduction from the tye of the body. In making calculations of this kind, however, it must be observed, that for harness ties in general, a number should be selected which contains as many small divisions as pos- sible, that when minute objects are introduced, such as are frequent in the guards and bosoms of shawls, the spaces allotted to these objects may be uniformly of the same size, to prevent the appearance of striping, or as it is usually termed, roading, which is sometimes seen in small patterns. Thus, for example, a tye of 80 cords may be divided by the numbers, 2, 4, 5, 8, 10, 16, 20 and 40; and one of 72 cords may be divided by 2, 3, 4, 6, 8, 9, 12, 18, 24 and 36, with- out leaving a remainder in either case ; so that tl>ese ties will admit of a considerable variety of small patterns with- out any irregularity or imperfection. On the contrarv, were 82 fixed on for a tye, it would soon be found that this number has no other divisions but 2 and 41 ; and therefore, were objects to the extent of 8, 10 or 12 cords to be woven in this harness, either some of these objects or their intervening plains would necessarily be a cord OF THE DRAW LOOM. 353 larger than the others, and occasion the faultiness above mentioned. When a pattern is to be designed for any proposed har- ness, the number of cords are first counted off on the de- sign paper, either from right or left, each space, as formerly mentioned, representing one mail. The number of lashes, which may be variously ascertained, are next counted off from the bottom upwards ; each space likewise representing a lash, provided the pattern is to be only one cover ; but when there are more covers than one, the number of lashes will be proportionally increased, while the number of spaces will remain the same as for the first or ground cover. The design thus marked off, will give the extent of the pattern in its enlarged or diminished state; for in some cases, the design will be greater, and in others smaller than the cloth size. Then, when there is no sketch of the cloth size given, the extent thus found, both by the mails and lashes, is marked off on a piece of clean paper, on which the pattern is now sketched, and traced on the design paper by means of the trace paper and steel point. It is a pretty common practice, however, particularly when much accuracy is not required, to draw the pattern directly on the design without an intermediate sketch. The several members of the pattern are then filled up with the paint and camel-hair pencil, one colour being, in general, suffi- cient for one cover ; but where there are more covers than one, the different colours are painted on the design in the same order that the weaver is to insert them in the cloth. For some kinds of weaving, such as the several varieties of pressures, seeding, &c. the principal objects in the pattern require to be painted solid ; while for others, they must be tweeled, flushed, or diced, agreeably to the nature of the texture to be produced. Examples will be found in Plate 12, Figs. 7, 8, 9, and 10. Tlie trace paper employed for the sketches in designing 2 Y iJ54 AKT OF WEAVING. is the same as that mentioned under Paper Spots, not the blue trace paper described under the article Sketch- ing in the present section ; die former being prepared 'merely by rubbing black lead on a sheet of vvriting paper, whereas in the latter, the verditer is mixed with oil, which prevents it from being rubbed out when corrections are necessary. When sketches of the cloth size are given, the}^ may be easily transferred, in the following manner, either directly to the design paper, or to another sheet, for the purpose of tracing them on. Draw a straight line immediately above, and another at the bottom of the original sketch: do the same at the two sides, making ria;ht angles at the four cor- ners. Then, if the number of splits in one design or large square of the design paper be taken in a pair of dividers from the reed scale, for the given sett of reed, and set off round the sketch, and these points be connected by lines drawn from the opposite sides, the sketch will be divided into a number of small squares, corresponding with the larger squares on the design paper. But if the cloth sketch be not dra\\Ti exactly for the tye of the harness, it must nevertheless be divided into the same number of squares as it is to occupy of designs, without regarding the number of splits in the design, by which means the same sketch may be adapted to harnesses of different tyes, and still preserve the proportion of all its parts. Should the squares thus form- ed on the sketch, however, be considered too minute for practice, as would be the case for several kinds of harnesses, the extent of two or thi-ee designs may be taken and set off round the pattern, and each of the squares thus formed would be equivalent to four or nine on the design paper. The pattern may now be copied from the original on the new sketch or design, by observing what particular parts or members of it are in any square of the former, and draw- ing similar parts on a corresponding square c f the latter ; OF THE DKAW LOOM. ^53 and so on till the new sketch be finished. To facilitate this process, however, all the squares of both sketches are numbered in the same order, as well from right to left as at the sides, after the manner represented in Figs. 6 and 9. These observations will be sufficiently illustrated, by referring to Figs. 6, T, 8, 9, and 10. Fig. 6 is a cloth sketch for an imitation sprig, drawn for 24 splits of a 1400 reed. Fig. 7 is the same on design paper for a four thread pressure harness, which consequently will occupy twelve mails. It is designed on 8 by 10 paper, and will therefore stand square with between 17 and 18 shots of weft on the ground, and four shots of spotting on each lash. Fig. 8 is the same sprig designed for a three thread pressure har- ness. In this case it occupies sixteen mails ; for, as there are 48 threads in 24 splits, and three threads in each mail, 48 divided by 3 gives 1 6 for the number of mails. Like- wise, as there are four shots on each lash, this design will require nearly 19 shots of weft on the ground, to make it square; for as three threads in the mail are to four shots on the lash; so is 14, the threads of warp on the glass, to 18f ; the number of shots on the same extent. Fio;. 9 is the design of Fig. 6 for a split, and Fig. 10 the same for a full or one thread harness, and their dimensions are enlarged accordingly. These two designs are adapted to flushing; that is, the spotting warp is not pressed by the leaves to form the sheds, as in the two preceding examples ; but the spotting weft is loose or flushed between the small spaces that are marked black on the design, which marks regulate the distances at which it is catched by the harness. It may be farther remarked that Fig. 9 has two shots on each lash, and Fig. 10 only one; and as they are both designed on 8 by 10 paper, the warp and weft will be in the same pro- portion as in Fig. 7. This pattern, although woven with different colours of spotting, is said to be only one cover, except the small 35G ART OF WEAVING. yellow diamond in the centre, which is termed double shotting, because additional lashes are requisite, wherever the spaces are painted yelloAv in these designs. On the same principle, when there are three, four, or more colours going at the same time, that part of the pattern is said to be three, four, or more covers ; and their respective lashes are all drawn in succession, without any of the ground weft intervening. The preceding descriptions apply equally to detached figures, robes, flounces, colonnades, diagonals, or allovers of any other kind of which the parts are alike, or are con- nected to the same simple; but where there are more simples than one, as the borders, corners, and centres of shawls, each simple must have a space allotted for it on the design paper, and its respective part of the pattern designed on it accordingly. Thus, for a shawl pattern with only a body and border, tlie border part must be counted off at one side of the body, commonly at the right, if for a right hand harness, but on the left, if the contrary. This distinction, however, is the less necessary for the designer, as the flower-lasher can adapt the same pattern to either of these harnesses, merely by changing its posi- tion in the fi'ame, and reading it upwards or downwards as the case may require. Suppose, for example, Fig. 11 to be the plan or pattern of a damask shawl on a small scale, adapted to a tye of 80 and 80 ; that is, 80 cords for the border, and 80 for the body: then, as these patterns are usually designed on 10 by 8 paper, or 10 simple cords and 8 lashes in each de- sign, 160 spaces are counted off from right to left, name- ly, eight designs for the border, and other eight for the body. But as the pattern is to be square, the depth must be taken in designs also ; and therefore, the same number of designs, viz. sixteen, counted upwards, will give 128 lashesj which must be marked ofl^ also. The extent of the OF THE DRAW LOOM. 35^ guards is next ascertained, and counted off on the design. In this example, ten mails are allowed for each guard, in- cluding the two dead lines or simples at 1, 1. Then set off the dimensions of the intermediate space A, between the guards, on a piece of clean paper, on which draw the sketch of the pattern. This is now to be traced on the design paper, first on the space A, for the cross border ; after which, turn up the under side of the sketch, on which the outlines of the pattern will be visible from the mark left by the tracer, and lay it over the space B, and again trace it on the design, thus reversed, for the side border. Another sketch is requisite for the corner C, which is traced on in the same manner ; after which, all the parts of the pattern are painted as already directed. If the bosom of the shawl is to be a running pattern, it IS sketched and traced on after the manner of an allover; but if it is to consist of detached or set sprigs, as in the present example, equal spaces must be allotted to each, agreeably to the intended size of the objects, or the dis- tance at which they are to stand from each other ; taking care always, that the joinings be made perfectly correct, and that the plains, at least when small, be of the same number of cords. Fig. 12 is the plan of a shawl with a centre and corners, which, for example, may be taken for a 700 four thread Angola, with 48 mails for the border, and 45 for the body, corner, and centre, respectively. The calculation for the several parts will then stand as under. The two borders, .... 48-f48=96 The two corners, .... 45+43=90 The centre gathered, two parts, 45+45=90 276 For splits, multiply by 2 552 S58 ART OF WEAVING. Suppose 56 porters warp =1120 splits. Deduct . 552 Divide by the body tye, 45)568(12 parts. 45 118 90 28 over, which 28 splits will be sufficient for selvages, and the quotient gives 12 parts for the body, or six between the corner and cen- tre on each side. In designing patterns for shawls of this description, the part? for the border, corner, body, and centre, must all be marked off on the design paper, and, for a guide to the designer, may be formed into square compartments as re- presented in the Fig. Then, wlien the borders have been sketched and designed as directed in the preceding ex- ample, a sketch is made for the corner at cr, and another for the centre at e; each commonly forming the quadrant of a circle within the limits of its respective part. When these have been likewise designed, it will remain to finish the filling of the body, which requires some little attention with respect to the different parts where they join. For here it must be observed, that as the lashes are wrought down the simple at one time, and up at another while weaving the corners and centre ; and further, that both the corners and centre are gathered ; it follows, that no figure but what is alike on all its four sides will suit for a filling: for were sprigs, for instance, introduced for this purpose, their tops would be turned towards each other in some parts of the shawl, and their stalks in others. It is also to be remarked, that when there is to be only one object in the part; as the diamond in the present in- stance, it must be placed exactly in the centre of each square or division of the body; for, were this precaution OF THE DRAW LOOJI. S5g not taken, some of the objects M^ould either be thrown closer together, or tarther distant at tlie turning of the lashes and gatherings of the harness, than in the other parts of the shawl; but when placed in the centre of each part, they will stand clear of the borders, and at equal distances from them all round. When the objects are to be embo- somed with others, however, such as the circular figures in the present example, they must be placed at the corners where the several parts join, with the fourth part of the object in each corner of the contiguous squares; so that, wherever four of these corners come in contact, the figure will be completed. All this will be evident by an attentive perusal of Fig. 12. Sometimes the corners and centre are woven with one simple, w^hich is a considerable saving of the cordage and pulley-box; but when this method is adopted, the corner and centre parts are tied together, and consequently, one half of the centre is woven along with the corners, and the double of the corners along with the centre; the half parts thus formed b^^ing termed shoulders. These should- ers are represented in Fig. 12 by the dotted circular lines i and o, and are merely two quadrants of the centre joined together. In designs of this kind, the centre part is wholly omitted, and no more of the pattern is requisite than the four squares x, y, w, and z, for the corners, and filling to- gether with the corresponding parts of the borders; but the same attention is necessary for joining the filling objects as in the last example. In ascertaining the kind of design paper suitable for any pattern, regard must be had, both to the number of sh.ots on the glass compared with the sett of reed, and the num- ber of shots thrown in on each lash, with respect to the number of threads in the mail. When the number of shots on the lash is equal to the number of threads in the mail, the proportion will be, as the complete hundreds 360 ART OF WEAVING. of the sett of reed, or warp threads on the glass : to the shots on the glass :: so is 8, the number of mails in one de- sign common in such cases : to the number of lashes in one design. For example — Suppose we wish to know the design paper for a 1 iOO split harness shawl, to count 17 shots on the glass — here, as there are two threads in the mail, and two shots on the lash, we have 14 : 17 :: 8 8 : 9f 14)136(9 126 10 zz i 7 That is 8 by 95^, the nearest to which is 8 by 10 — but if we suppose \1~ shots on the glass, we will have 8 by 10 exactly, for 14 : 17.5 :: 8 : 10. When there are more shots on the lash than threads in the mail, there are generally fewer lashes than mails in the design; and therefore 10 is usually taken for the mails. Thus, for a 1400 damask shawl, which has four threads in the mail, and eight shots on the lash, even paper, such as 10 by 10, would give 28 shots on the glass, or double the quantity of the warp. But suppose 22- shots on the glass, which makes a pretty fair fabric, then we have this proportion. 14 : 22.5 :: 10 10 14)225(16 14 85 84 OF THE DKAW LOOJM. 361 The answei* here is 16, but as the number of shots on the lash is double the number of threads in the mail, we must take only the half of this answer, which is 8 ; and therefore, 10 by 8, or 10 simple cords for 8 lashes is the proportion required. When a pattern is to be designed for a given number of shots in an inch, and the ground thicker by the weft than by the warp, which is generally the case; the pro- portion will be, as the number of warp threads in an inch, to the shots in an inch ; so is 8, to the number of lashes in a design Example — If a pattern is to be designed for a 1400 reed, to count 100 shots in an inch, what proportion of design paper will it require ? Note — The number of warp threads in an inch may be found by multiplying 5.4, the number of times the web glass is contained in an inch, by the complete hundreds of the reed — thus. 5.4 14 216 64 75.6 That is 75|, or 76 nearly — then say, 76 : 100 :: 8 8 76)800(101 76 40 Here is 8 for the simples, and somewhat more than 10| for the lashes; so that either 8 by 10, or 8 by 11 may be 2 z 36'2 ART OF WEAVING. taken, according as the manufacturer wishes his cloth of thickness. Again, a 1600 with 120 shots in an inch, will require 8 by 11 ; for in a 1600 there are 86 warp threads in an inch — therefore, 86: 120:: 8: U 8 86)960(11 86 100 86 14 In designing patterns for gauze harnesses, each splitful of warp counts for a simple cord, while only one shot of weft is equivalent to a lash. One half of the sett of reed therefore must be taken to find the proportion between the mails and lashes in a design. For example — A 700 gauze harness is commonly woven with from five to six shots on the glass : suppose five shots — then the half of 7, the complete hundreds in the sett is 3 J or 3.5 — and 3.5 : 5 :: 8 8 3.5)40.0(11 35 50 35 15=f So that 8 by 11, or 8 by 12 may be taken in this case, and so of others. OF THE DRAW LOOM. S6S It was formerly noticed, that the number of lashes for the ground or first cover of any pattern might be variously ascertained. For instance, if the patterns be square, as those for allovers, diagonals, &c.; the number of designs in the tye will always be equal to the number of designs in the lashes, whatever be the proportion of the mails to the lashes in a design. But if a pattern be deeper than it is broad, as is commonly the case with the ends of plaids, &c. or broader than deep, as in the cross borders of shawls ; then the breadth of the tye taken from the reed scale for the given sett, will be to the depth of the sketch taken from the same scale, as the number of designs in the tye, to the number of designs in the depth of the pattern ; or if the sketch be divided into small squares, similar to the large squares of the design paper; then the number of these divisions counted upwards, will give the number of designs that the pattern is deep. When the pattern is to stand on any given number of inches on the cloth, independent of the depth of the sketch ; first find the number of shots on an inch from the number of shots on the glass, if necessary ; then multiply them by the inches in the depdi of the pattern ; divide this product by the number of shots on the lash, and the quotient will be the answer. For split harness patterns, when small, such as sprigs, cross borders of shawls, &c. five designs of paper that has eight mails in the design, will be sufficiently near for the lashes of one inch of cloth woven in a 1400 reed ; what- ever number of lashes may be allowed to the design. This arises from the consideration, that five designs of eight mails each, are equal to 40 cords of the simple: but as°38 splits or cords of a 1400 reed are equal to one inch, the difference is only two cords, which, for small objects, as already noticed, will be inconsiderable ; consequently, five 364 ART OF WEAVING. designs deep will likewise give tne same extent by the weft. For deep patterns, however, such as pine plaids, one twentieth part must be deducted from the number of de- signs given by the above rule ; but the number of designs or lashes may be more readily found by the following table. The left hand columns contain the hundreds of the reeds for the different setts, from 700 to 3200 inclusive; but when the two ciphers are cut off from the right, they ex- hibit the shots on the glass for their respective setts. In the riffht hand columns are the shots on an inch, and in the others, the splits contained in the inches and parts of an inch marked along the top. OF THE DRAW LOOM. 365 DESIGNING TABLE. Hds. I 4 i f 1 2 3 4> Sh. on reed. in. ia. in. in. in. in. in. in. 38 700 5 9 14 19 38 57 76 800 5 11 16 22 43 65 86 43 900 6 12 18 24 49 73 97 49 1000 6 13 20 27 54 81 108 54 1100 7 15 22 30 59 89 119 59 1200 8 16 24 32 65 97 130 65 1300 9 17 26 35 70 105 140 70 1400 9 19 28 38 76 113 151 76 1500 10 20 30 41 81 121 162 81 1600 11 21 32 43 86 130 173 86 1700 11 23 34 46 92 138 184 92 1800 12 24 37 49 97 146 195 97 1900 12 25 38 51 103 154 205 103 2000 13 27 40 54 108 162 216 108 2100 14 28 42 57 113 170 227 113 2200 14 29 44 59 119 178 238 119 2300 15 31 46 62 124 186 249 124 2400 16 32 48 65 130 195 259 130 2500 17 33 50 67 135 203 270 135 2600 18 35 52 70 140 211 281 140 2700 18 36 55 73 146 219 292 146 2800 19 38 57 76 151 229 303 151 2900 19 39 59 78 157 235 314 157 3000 20 40 60 81 162 243 324 162 3100 21 42 63 84 168 251 335 167 3200 21 43 65 86 173 259 346 173 366 ART OF WEAVING. DESIGNING TABLE CONTINUED. Kds. 5 6 7 8 9 10 11 Sh. reed. in. in. in. in. in. in. in. on in. 700 95 113 132 151 170 189 208 38 800 108 130 151 173 195 216 238 43 900 122 146 170 195 219 243 267 46 1000 135 162 189 216 243 270 297 54 1100 148 178 208 238 267 297 327 59 1200 162 194 227 259 292 324 357 65 1300 175 211 246 281 316 351 386 70 1400 189 227 265 203 340 378 416 76 1500 202 243 283 324 365 405 446 81 1600 216 259 302 346 389 332 475 86 1700 230 276 322 367 413 459 505 92 1800 243 292 340 389 438 486 535 97 1900 257 308 359 411 462 513 565 103 2000 270 324 378 432 468 540 594 108 2100 284 340 397 454 511 567 624 113 2200 297 357 416 476 535 594 654 119 2300 311 373 435 497 559 622 684 124 2400 324 389 454 519 584 649 713 130 2500 338 405 473 540 608 676 741 135 2600 351 422 492 562 622 703 773 140 2700 365 430 511 584 657 730 803 146 2800 378 454 530 605 681 757 832 151 2900 392 470 546 627 705 784 862 157 3000 406 487 568 649 730 811 892 162 3100 419 503 586 670 754 838 922 167 3200 432 519 605 692 778 865 951 173 OF THE DRAW LOOM. 357 DESIGNING TABLE CONTINUED. Hds. 12 13 14 15 16 17 18 Sb. reed. in. in. iu. in. in. in. in. ill. 700 227 246 265 274 303 322 340 38 800 259 281 303 324 346 367 389 43 900 292 216 340 365 309 413 438 49 1000 324 351 378 405 432 459 486 54 1100 357 386 416 446 476 505 535 59 1200 389 422 454 486 519 551 584 65 1300 421 456 493 527 562 597 632 70 1400 454 492 530 567 605 643 681 76 1500 486 527 567 608 649 689 730 81 1600 518 562 605 648 691 734 778 86 1700 551 597 643 689 735 781 827 92 1800 584 622 681 730 778 827 876 97 1900 616 668 719 770 822 873 924 103 2000 648 702 756 810 864 918 972 108 2100 681 738 794 851 908 965 1021 113 2200 713 773 832 892 951 1011 1070 119 2300 746 808 870 932 995 1057 1119 124 2400 778 843 908 973 1038 1103 1167 130 2500 811 878 946 1013 1081 1149 1216 135 2600 843 913 984 1054 1134 1204 1275 140 2700 876 749 1029 1094 1167 1240 1313 146 2800 908 934 1059 1135 1211 1286 1362 151 2900 940 1019 1097 1176 1254 1332 1411 157 3000 973 1044 1135 1216 1297 1378 1460 162 3100 1005 1089 1173 1257 1340 1424 1508 167 3200 1038 1124 1211 1297 1384 1470 1557 173 368 ART OF WEAVING. The use of this table is as follows : — Suppose it were re- quired to find the number of lashes for the first cover of a plaid bottom, to be woven in a 1400 split harness, with 18 shots on the glass, and to stand 15 inches deep on the cloth. Look below 15 on the top, and on a line with 18 in the left hand column will be found 730, which, as there are two shots on each lash, will be the number of lashes required. Now as the design paper for this thickness is 8 by 10, it is only necessary to cut off the right hand figure, and the number of designs will be 73. Hence it is evident, that a full or one thread harness will have double the number of lashes given by this table ; and a four thread harness, having four shots on the lash, only one half there- of; and so of any other. To find the number of covers on any design, first, let the lashes on the gi*ound or first cover be ascertained, which Avill always be equal to the number of small spaces of the design counted from the bottom upwards; then count the number of lashes in each of the other colours separately, and add them together. This sum divided by the number of lashes in the ground cover, will give the number of additional covers; and where there is a re- mainder, place it over the divisor in form of a vulgar frac- tion, and reduce it to its lowest terms. Then, when the price of weaving, or the quantity of weft requisite for one cover, is multiplied by the " numerator and divided by the denominator of this fraction, the result will be the price, or quantity of weft requisite for the fractional part of the cover ; sometimes, however, the first cover consists of more than one colour, but when this occurs, these lashes must be kept distinct from those of the additional shotting, and counted as if they were only one, when calculating the price of weaving. Example: — Suppose a design with 160 lashes of black spotting for the ground cover ; then, if there be 140 green. OF THE DRAW LOOM. 369 86 red, 68 yellow, and 46 light blue, we have 140+86 +68+46=340, which divided by 160, the ground cover, gives 2 and 20 of a remainder. Now this remainder plac- ed over the divisor, is y^^^ ; and this reduced to its lowest terms, is ^ ; so that the whole covers of the pattern, by adding the first, will be 3^. Whatever therefore be the price of weaving one cover, the whole price of weaving will be 3^ times that sum. Again — were it required, from the number of lashes on the fii'st cover of a design, to find the depth of the pattern on the cloth, it is only necessary to look along the line, either with the shots on the glass, or in an inch, for the nearest number to the lashes, provided it be for a split har- ness, and the depth in inches will be found on the top of the table — and so for any other kind of patterns. READING, OR LASHING PATTERNS. This process, which consists merely in transferring the design of a pattern to the simple of a harness, was, till of late, conducted by two persons, one of whom read the flower off the design, while the other picked out the cor- responding simple cords with a long needle, for the pur- pose of applying the lashes afterwards. This method, however, requires no further explanation here, as it is now entirely superseded by another invention lately introduced, by which one person not only performs the work of two, but applies the lashes at the same time that he is reading the flower. The method of lashing here alluded to is as follows : The lower end of the simple A is fastened to the cross bar B in the lashing fi'ame, Fig. 13, plate 12, and after each simple cord is placed in a separate interval of the reed C, which is open at one side, so as to resemble a comb, the other end of the sim- ple is fastened at the back of the frame. This reed must be made of such a fineness, that each cord of the simple 3a 370 ART OF WEAVING. may stand directly opposite to that space of the design paper to which it corresponds in the pattern ; with allow- ance for one emptj' interval of the reed at the end of each design. The pattern is now placed immediately above the reed as represented in the Fig. : and over it the ruler E, which is made to slide up and down in grooves cut in the sides of the frame. These arrangements being made, and the ruler E fixed above the space of the design paper that represents the first lash, the operator fastens one end of the lash t^^ine round the pin a, in such a manner that he can disengage it again at pleasure ; then, after counting off such spaces at the left of the design as are to be omitted, if any, he takes a turn of the lash twine round the first parcel of sim- ple cords that are to be taken for the lash, bringing the loop of the twine over the pin a, then round the next par- cel of cords that are to be taken, and again bringing the loop of the twine over the pin a; and so on, alternately, until the lash be completed ; taking care at the same time, never to take above six or seven coi'ds into one tack or loop of the twine; for, when a greater number of cords come together, they must be divided into different tacks, not exceeding either of these numbers in each. After the lash has been applied in this manner, the two ends of the lash twine are knotted together, close to the pin cr, wliich is now taken out, and the loop that it has formed is twisted round and made into a snitch for the purpose of fastening it to the head. The lash is now pushed dowTi behind the board m to make room for another. For example : Suppose the sprig. Fig. 5, plate 12, were to be read on a simple of 96 cords, and that one row of sprigs were to be thrown into the bosom of the other. Hei-e it is evident, that as this sprig contains 48 coi'ds, which is exactly the half of the simple, the other half will be appropriated to the intervening plains. Then, when OF THE DRAW LOOM. Sjl the design is placed in the frame and adjusted to the sim- ple, as already mentioned, the lasher, after fastening one end of his twine, counts off 20 cords at the left side of the simple, corresponding with the 20 blank spaces on the first space of the pattern ; then takes a turn of the twine round the next two cords and brings the loop over the pin a ; he again passes T cords and takes 9 ; but as 9 cords are too many for one tack, he divides them into two par- cels, or tacks, one of 5 and the other of 4, which he sepa- rates by a turn of the twine. The two ends of the twine are now knotted, the pin taken out, the loops twisted, and the lash put over the bar m. The other lashes are ap- plied in the same manner till the sprig be finished. The bosom sprig is next read on that half of the simple that was set aside for the plains of the first row; but as the position of the sprigs in these two rows is commonly re- versed, the reading must commence at the opposite side of the design, which is done either by taking the tacks from right to left, or by turning the design upside down, and reading downwards. The small pattern in the frame is the same as Fig. 7, which is given as an example of double shotting on a small scale. For, suppose the lasher had already applied the first seven lashes, which are all adapted to one cover, the ruler E would now be shifted to its present position, which is immediately above the eighth space, in which there are two cords of yellow or double shotting in the centre of the sprig. Then, after applying the red lash for the ground cover, as already directed, he would take another tack for the two cords of yellow, which must be kept as a distinct lash from the other. Although in these examples the instructions are given to take the painted parts of the design ; yet in some cases it is of advantage to the weaver to take the ground sim- ples and pass the flower, especially when the latter is con- 572 ART OF WEAVING. siderably heavier to draw than the former; and in others it is absolutely necessary, as in shawls, for instance, the pattern of the side borders of which are thrown up by the warp and of the cross borders by the weft ; for in the one the flower is taken, and in the other the ground. It may be here observed, that the ci'oss bai' or board m, in the frame, should be made somewhat circular at the back, that when the simple cords are spread round it, the lashes may be all of an equal length from the simples to the pin a. Also, that the cross board a should be move- able on the side pieces, so that it may be fixed nearer to, or farther from the board m, according to the intended length of the lashes. SECT. III. APPLICATION OF THE DRAW LOOM. It has been already observed, that the draw loom must assume different forms, to suit the various branches of fancy weaving in which it is employed. This diversity arises sometimes from the construction of the harness, and sometimes from the mode of opening the flowering sheds. In some draw looms these sheds are opened directly by the harness; in others, by the front leaves, after certain portions of the warp have been raised by the mails. The former of these are either the full, or flushing harnesses; the latter are generally termed pressers, and have always moi*e than one thread in the mail. The pressers, also, may be divided into two kinds, namely, those which in- corporate the whole of the weft into the fabric of the cloth, such as the several species of damask; and those which have parts of the spotting weft cut away between the flowers, as in some of the imitations. The general principle however on which the presser harnesses operate, will be easily understood by an explanation of a very simple ap- paratus called the OF THE DRAW LOOM. 373 DIAPER HARNESS, OR BACK CAAM. Fig. 4, plate 11, is a side view of this apparatus, adapted to a diaper pattern of five divisions, and woven with a five leafed tweel. 1, 2, 3, 4, 5, are leaves of h eddies with mails instead of eyes, and are the substitute for the har- ness. They are mounted with bow cords as already ex- plained ; from each of which a cord passes over a pulley in the box o, and extends above the weaver's head to a con- venient distance, where it is fastened like the tail of another harness. To each of these tail, or rather simple cords, is tied a knot cord a, to which is appended a bob or handle e, and is secured by pulling the knot into a notch in the board u when drawn by the weaver's hand, as ex- hibited in Figs. 13 and 16, plate 1. To the under shafts are attached the weights i, one at a little distance from each end of the shaft, to sink the leaves when relieved from the notches. 6, 7, 8, 9, 10, are the front or ground leaves, which are equal to one set of a five leafed tweel, and with eyes of a length sufficient to allow the warp to rise in the harness sheds without obstruction. In each mail of the harness leaves are commonly 4, 5, or more threads, generally one set of the tweel draught, which, in the present example, is five. These threads are again drawn through the front leaves in the order exhibited in Fig. 5 ; that is, each mailful of the back leaves A is separated and drawn in regular succession through the eves of the ffround leaves B. On the treadles at C is the plan of cording; but here it must be observed, that the ciphers denote raising cords, the crosses sinking ones, and the blank squares the leaves which are stationary when any shed is opened ; so that by comparing the plan of cording at C, with the position of the front leaves in Fig 4, it will be found, that when the treadle 1 is pressed down, the back leaf 6 is stationary, the leaf 7 is raised, the 374 ART OF WEAVING. leaf 8 ig stationary, the leaf 9 is sunk, and the leaf 10 is stationary. Hence it is evident, that when one or more of these back leaves are raised by pulling the bobs, all the warp threads which pass through their mails wdll be raised to the top of the eyes of the front heddles; and when any treadle, as No. 1 is pressed down, the leaf which is sunk will take along with it one thread out of each mailful which was previously raised, and the leaf that rises will take alonor with it one thread out of each mailful that re- mained at the bottom of the shed ; consequently, four-fifths of the flower warp, and one-fifth of the ground will be above the shuttle in this shed; which produces exactly the same effect as the turned or reversed tweeling, formerly explained. Now it will appear that by this method of pressing, all the weft, both in the ground and pattern, will be incorporated with the warp; but were one leaf sunk without raising the other, the parts of the w^eft then thrown in would be flushed over those portions of the warp that were not pressed, which makes the distinction already no- ticed in the presser harnesses. By referring back to the process of weaving diaper, it will obviously appear, that this simple apparatus will pro- duce the same effect as twenty-five leaves and as many treadles mounted in the common way. Hence it is, that the back harness or caam is frequently employed for weavino" such patterns as are of an intermediate extent, between the power of single leaves and what is properly termed the damask harness. It is also farther to be ob- served, that as the number of back leaves in these mount- ings must be exactly the same as those in the binding plans of the patterns for which they are intended, the draught over these leaves will also follow the very same order of succession; and the weaver must likewise pull the bobs or handles in the same order in which he would work over his treadles. OF THE DRAW LOOM. 375 Yi _M0| |x||x|| (0|I 1^ 1 1 1 |0| |0| |x 1 1 1 2 i ^\ \^\ \ \ \ \ 10 |x| 1 3 « ISllOjSI 6 |4| 2|11|9| 7 5| 3| 1 1 No. 13. FOUR-LEAFED TWEEL. 1 1^ 1 1 1 1 1 1 1 1 X j 1 1 2 x| 1 1 1 1 1 3 U 1 1 1 1 1 X 1 4 1^1 1 |0| 1 I 1 I I X ill 2 .^ 1 1 |0 1 1 1 3 , 1 1 1 |x| 1 4 8 6|4|2I7 o|3|lj Z a. S^ OF THE DRAW LOOM. 385 In weaving these shawls, two shots of white and two of black weft are thrown in alternately ; the two former on the fore lash, and the two latter on the back one. By inspecting No. 10, it will appear, that when any part of the warp is raised by the harness, the treadle marked 1 sinks one white leaf and raises another ; and, consequently, forms the first white shed perfectly clear of the black ; the pattern part of which is above the shuttle, and of the ground, below it. The same is to be observed of the treadle marked 2. The back lash reverses the harness shed, by raising the ground and sinking the pattern. The treadles 3 and 4, therefore open the two black sheds, by raising each one leaf and sinking another. The four-leafed tweel operates exactly in the same manner. Carpets were formerly woven on the principle here ex- plained ; but are now generally woven with a machine in*- vented or improved by a Mr. Morton of Kilmarnock, which entirely supersedes the use of a draw-boy. This machine consists of a large cylinder placed above the loom, with the lifts of the harness, agreeably to the pattern, formed on its cylindric surface, by means of nobs and staples made of wire, after the manner that a tune is pricked on the barrel of an organ. These staples act on levers, which throw the simples, or rather tail cords, on each of which there is a knot, into the teeth of two combs, one for each warp, alter- nately; and the sheds are opened directly by the harness, by means of the treadles. The double cloth harness is also employed in weaving" Marseille bed-covers; which, as it is merely an exten- sion of those mountings explained under the head Double Cloth, will require no farther consideration. IMITATIONS. The second kind of presser harnesses mentioned in the beginning of this section, are chiefly employed in weaving 3 c 386 ART OF WEAVING. imitation shawls, trimmings, scarfs, plaids and zebras. They have sometimes two, three, or four threads in the mail, and commonly the same number of shots on the lash, respectively. The grounds are woven with a four-leafed tweel ; though the pattern has sometimes one of four, some- times one of eight, and sometimes even one of twelve. The following plans will show the principal tweels which are woven on these fabrics. No. 14. No. 15. 1 1 X X -1 1 x| 1 |x X X 1 1 i^ X ^1 2 |x| |0 X X X '^ — 1 X 1 xi r - - X 0| 01 3 4 " 1 l-l- ^ 1 r 1- X X - X 4 4|3|2 1 4 3 2 M 4 3 1 2 1 1 1 4 3 2 1 i> No. 16. 1 1 X |x|x X 1 1 -1 X 1 |o X X 2 -1 1- 1 |o - X 3 1- 1 M 1- X * t 4 t 3~ t 2~ t r- 4 3 2 1 No. 17. 01 X 0| |0|x|x 1 X 1 X 1 X x| |0| |x 1 X 2l X 1 x|x|x| |0 x| 3 j X 1 X X 0| |x| |0 X 1 4 1 X 1 X 0| |0 \- |x X 5 X X 1 x| |0 1- 0| X 6 X j x| |x l« X X 1 7 X xi 1- 0| |x |0 x| 8 8~" 6~ t 4~ t j t 2~\ 7" 5~ t t 3~l T i OF THE DRAW LOOM. S87 No. 18. X X X 1 X X jx ^ 1 X X X X 1 X X 1 X 2 X X X 1 ^ X 1 ^ X 3 X X X X X 1 X 1 ^ 4 X X X u 1 X X 1 ^ X 3 X X X X 1 X 1 X X 6 X X X 1 X X 1 X X 7 X ^ X X 1 X x 1 X 8 t 8~ t 6~ t t 2 7~ t 3 3~ r~ No. 19. x|0|0|x| 931 ! 0|0|x|x| 10 6 2. i |x |x 1 1 11 7 3 . X 1 X 1 1 1 12 8. 4 . - 1 1 1 1 . 1 1 1 1 1 . 4 1 1 1 1 7 1 1 1 1 10 1 4 3 2|1|4|3|2H| 1 No. 20. 1 - |0| 1 2 |0 1 1 1 x| 1 3 x| II 4 8 6 4 12 7 3 3 1 I 1 The purposes to which these cordings are apphed, are as follow : — No. 14 is for cotton, silk or worsted ; the ground equal on both sides. No. 15 is for a silk warp with cotton weft, the weft 388 ART OF WEAVING. thrown to the wrong side of the cloth, that the silk warp may appear to more advantage on the right. No. 16 has the tongues marked t attached to the spot- ting treadles, for the purpose of throwing in silk or worsted on the back lash, while the ground weft is cotton. When the spotting is thrown in, the treadle only is sunk, but when the back lash is drawn, the weaver shifts forward his foot, and presses down both tongue and treadle. No. 17 is an eight-leafed tweel for spotting a plaid or shawl, while the ground is a tweel of only four leaves. When the ground shot is thrown in, the weaver sinks both the tongue and treadle; but for the spotting, the treadle only is sunk. No. 18 is a tweel of the same kind as No 17, but throws the weft to the wrong side, that a silk warp may appear on the right. No. 19 is a plan of a four-leafed tweel for the ground, and a twelve -leafed tweel or flush for the spotting. Each of the threads, 1, 4, 7, 10, is drawn through two heddles, which are marked on their respective leaves in the plan. No. 20 is for weaving two shots of ground, and two of spotting, alternately. Sometimes imitation shawls, ti'immings, scarfs, and plaids, are woven without pressing ; in which case the spotting is thrown into the shed opened directly by the harness; and wherever the spotting would be too far flushed, it is catched by the harness, as pointed out by the design, in the man- ner exhibited in Fig. 9, Plate 12. THE COMMON HARNESS operates on the same principle as the common spot, ex- plained in chap. 8. The right hand thread of each splitful of warp is drawn into a mail, or rather an eye of the harness, and tlie other is taken through on the left side of it ; and OF THE DRAW LOOM. 389 Doth threads are agam drawn through a set of heddles with long eyes in the front, for weaving the ground. The spot- ting sheds are, therefore, opened directly by the harness ; and there are two shots of the ground, which is generally the plain texture, thrown in for one of spotting. This harness was formerly much used for spotted lawns, but it is now chiefly employed in weaving patterns which are formed with cotton rove. THE PAPER HARNESS is also an extension of the paper spots. It is therefore evident, that the paper harness will be double of that de- scribed above ; or, in other words, it will consist of two such harnesses, the one being placed in front of the other ; and the first thread of a split is drawn through the eye of the back harness, and the other through the eye of the fore harness, alternately. It has also a set of plain leaves with long-eyed heddles in the front, for weaving the ground. But this harness has now given way to what is usually termed THE FULL HARNESS. This harness is, in effect, the same as the preceding, only the threads of warp, instead of being drawn alternately on the back and fore parts, are here drawn straight over the harness, in the manner of an over and over tweel. It is employed in various branches of weaving, wherever much delicacy of pattern is required. THE GAUZE HARNESS, like that of the common spot, contains only one-half of the warp, the other half being taken through between the eyes. In front is a set of gauze mounting for weaving the ground, and having two back standards; as explained in spot weaving. 390 ART OF WEAVING. After the warp is taken through the harness, that is to say, one thread through an eye and the other past it on the left, the whole is taken through the front mounting as formerly described: that thread whicli passes through the eye of the harness being taken into the upper doup, and the other into the under one. Hence, in forming the spotting sheds by the harness, a treadle must be pressed down, which will raise the back standard, through the under part of which the threads of warp pass, and also the backmost leaf of the back set, which has also the same threads through be- low its clasps ; the others being all sunk, as explained in spot weaving. In working these patterns, in general, one shot of ground and one of spotting are thrown in alternately; al- though in some patterns there are two shots of the ground for one of the spotting. TURKEY GAUZE HARNESS. There have been various methods invented, at different times by ingenious tradesmen, for facilitating the process of weaving Turkey gauze in the draw loom, and improving the quality of the cloth. The three following plans, how- ever, are selected, as having been found to answer fully these important ends, leaving to the intelligent tradesman to judse of their respective merits. The first is quoted from the Renfrewshire Chronicle of April 7th, 1825, under the title of, " Improvement in Turkey Gauze Wea\'ing," and which is given in the ^Titer's own words. No. 21. PLAN OF THE MOUNTING. Harness. ^] I 101 4 . 1^1 — I 3 o c Plain leaves. —} . Bead lams. '1 A I B 1 OF THE DRAW LOOM. SQl The figures, 1, 2, 3, 4, in the foregoing scheme, show the order in which the ground warp is drawn on the plain leaves. The letters a, b, on the upper spaces, show where the first two threads of whip are drawn through the har- ness ; and the same letters on the lower spaces, show where these threads are taken through the bead lams. The thread a, crossing under the ground threads 1, 2, and the thread ft, under the threads 3, 4. It is scarcely necessary to add, that these crossings take place after having passed the plain leaves. The harness, it will be observed, is divided into two parts, and the whip drawn alternately on each. When the treadle A is pressed down, part of the whip passing through the back harness is drawn up to form gauze; and when B is pressed, part of that in the fore harness is drawn up for the same purpose. Were the whole of the harness drawn alternately, as A or B is pressed, the whole fabric would be gauze ; and, when the treadles are used without the harness, the whole is plain cloth. Perhaps some further improvement may be made ; but it appears, that in every previous attempt to produce the de- sired effect, so many obstacles presented themselves, that all the plans were soon thrown aside. One thing is certain, that Robert M'Gown, W^eaver, Back Sneddon Street, who introduced the above, has produced a considerable quantity of cloth by his method, and that, too, from materials which several operatives declare incapable of being woven on the old plan. The second method was mounted and woven in Paisley, in the year 1800, by Mr. Charles Allardyce, now foreman in Glasgow. The plan of his mounting is as follows : — 892 ART OF WEAVING. No. 22. I — I — I — F 1 1 B - I ' ' ' I ' —I- c i I I i I 3 11 1 i 1 ^ ~ 0^ i 1 . 5 1 1 ! 6 In this plan, the three hnes marked A, B, C, represent three rolls ; A, the ground roll, B, the back whip roll, and C the fore whip roll. The spaces 1, 2, are the back and fore harnesses respectively ; 3, 4, two ground leaves, and 5, 6, two under doups and standards, the same as explained in cross weaving. ^Mien the harness is raised it makes gauze, and those parts which are not raised by the harness, are plain texture. When the doup and standard 5 are raised, the doup 6 is slack, and when the doup and standard 6 are raised, the doup of 5 is slack. All this will be easily understood by referring to the process of weaving common gauze, by omitting the upper doup and standard. It is necessary, however, to notice, that the harness is mounted so low, that the whip hes on the race rod when not raised by the harness or standards. The third method was invented about the same time as the preceding, by Mr. William Kyle, now in Glasgow, of which the following is his plan : — OF THE DRAW LOOM. SOS No. 23. 01 i 1 1 1 |0 1 1 1 1 • S i 1 S • • si 1 1 1 1 Ground- Back harness. Fore harness. Upper doap and standard. Under do. do. What is raised by the back harness makes plain cloth, and what is raised by the fore harness, produces gauze. To make the whole gauze, sink the back, and raise the fore harness. The harness is drawn every second shot, when the left treadle is sunk. SEEDING HARNESS. When the harness was first applied to seeding, it was so much encumbered with small bobbins for the seeding warp, one for each thread, that patterns of great extent were al- most impracticable. This, however, is now obviated by beaming such parts of the seeding warp as work nearly equal, on one roll, and the other parts on others, and suspending a piece of lead to each thread between the mounting and the yarn roll ; the slack parts being di-awn in at the face of the cloth, when necessary, at the end of a piece. The leads thus suspended are regulated by a hole- board, placed below the loom. 3 D S94» ART OF WEAVING.;:, Thus, for example, in a shawl pattern, the seeding warp of the side borders is beamed on one roll, that part which forms the bosom sprigs on another, and the part in the plain spaces between the sprigs, which is cut away when the cross borders are finished, on a third. The principal care, therefore, which is necessary in designing these patterns, is to have them regularly covered, without hurting the figures, that the seeding warp may be wrought up as equally as possible. The harness, in this species of weaving, is placed before the ground leaves; and as the seeding threads pass through the harness above the clasp, neither eyes nor mails are necessary. BROCADE HARNESS. The most common kind of brocades were explained under the article Paper Spots. There is another kind of brocad- ing in the cotton manufacture, however, which is a species of spotting woven in a full harness, that rises above the ground in such a manner, as very much to resemble that kind of needle-work called satin stitch. Patterns of this description are so designed, that the harness raises only a few threads round the edge of the figures when they are small, or divides them into separate members when large ; and therefore, all the spotting, which is commonly cotton rove, is thrown to the right side of the cloth. These patterns are generally woven with an apparatus called circles, from the pirns or bobbins which contain the spotting weft moving in a circular direction, so that each spot, which has its own spotting thread, is bounded with a neat selvage. OF THE DRAW LOOM. 301 SARCENET FLUSH. Fig. 14 is the pattern of a silk flush, or spotted sarcenet, which is a combination of flushing, tweeling, and plain texture. Fig. 15, shows how the same is put on design paper. It requires a full harness, and the tweeling of the ground, as well as the shading of the figure, must be repre- sented on the design paper. If therefore, the warp of this web be supposed white, and the weft purple, the ground, which is that of a regular tweel, will be chiefly white, the two large buds which are dark shaded, will be purple, and are formed by flushing the weft over the warp : the four buds on the top are woven by reversing the tweel of the ground ; the intermediate space, which is cross shaded, is plain cloth, and the centre, which is white, is flushed by raising that portion of the warp. Having explained the general principles of weaving, both as performed by leaves and the draw loom, agreeably to the practice of this country, I shall conclude this chapter with an extract from Mr. Moorecroft's Letters from India, on the Shawl Trade. '' The shawl merchants admire the ingenuity of the Enolish artists in imitatinfj Cashmere shawls, but condemn the cloth on account of its hai'shness, w^iich may consist in a difference in the twisting of the yarn. In the shawl country, there are three coloured wools, white, light brown, and dark brown. The two last are from Thibet, the other from Bholkera. The light brow^n will receive four colours, viz. black, blue, green, and brown. The dark brown will receive only black, brown, and blue. The shawl merchants state that the colours in the English shawls are fugitive. The colours now used do not exceed fifty in the most ela- borate productions of the Cashmere loom. Formerly it 396 ART OF WEAVING. was said that three hundred and forty shades of colour were used. " The embroidery is not worked with the needle, but woven in the cloth. The patterns are read off from a book, and not from a drawing. There is an embroidery language or cipher, by which the colours, number, division, distri- bution, and manipulations of the threads, and the forms and size of the flowers and foliage, &c. are symbolically designated. The looseness of twist in the web is owing to being done by the hand." New method of Tiguring Shaded SiVn^.—K new method of figuring shaded silks has jiut (January, iS27) l*een inttoduced from France, which is likely to give a pleasing diversity to thishranch of maniifacture. The ligiu'e is produced by a peculiar construction of the reed, and a vertical motioa given it by the weaver's lieet. The reed is made in alternate spaces, vai-ying in fineness from one rib to ^e other; for exaraple, fixnn a 1000 to a 2000 reed; but those spaces which are of the fineness of a 1000 reed, in one side or rib, are of the fineness of a 20(X) reed, in the other side or rib ; the splits or dents standing obliquely, as repre- sented at Fig. 10. plate 13. The machine in \vhich these reeds are made is so constructed, that two turns of the wooping are taken round the rib between the splits in the coarser spacis, and only one turn where they are finer. The reed is about seven inches dt-ep between the ribs; and, as already observed, has a vertical motion given to it in the lay, by means of a rack or other adequate apparatus, communicating with the treadles by cords ; and consequently, where the finer parts of the reed come in contact uith the face of the cloth, the w^arj> becomes condensed, and shows much deeper in colour : and the effect is the reverse, where the coarser parts of the reed strike the cloth. In other wf>rds, when the centre of the reed a a. Fig. 10. plate 13, strikes the cloth, the fabric ■will be unifomi ; but ^vhen it is raised till the line c c, for example, comes in contact with the cloth, the spaces marked 2000 ivill be finer in proportion as the line c c approaches the under rib, and those marked 1000 so much coarser than the medium sett ; and when the reed is sunk till the line b b strikes the cloth, the effect vrUl be the reverse ; so that by gradually raising and sinking the reed altemavely, the threads of warp will assume the waved appearance represented ux Fig. 11. plate 1-3. It is evident, however, that this figure is woven by a uni- form motion of the reed up and down in the lay ; but were the motion of the reed varied, which might be effected by a rack and spring shifted by the weaver's hand, as in weaving lappets, a proportionate diversity of patterns would be pro- duced ; and probably an apparatus similar to the lappet wheel might be applied with advantage. CHENEILLE SHAWLS. 396 CHENEILLE SHAWLS. This beautiful specimen of our shawl manufacture is the invention of Mr. Alexander Buchanan, foreman in Paisley, who has likewise contri- buted to enrich our manufactures with " several other useful improve- ments. So much did the novel appearance of these shawls attract the notice of his townsmen, that, by a respectable recommendation to the Board of Trustees in Edinburgh, they awarded him the sum of twenty guineas for his ingenuity. These shawls, which have also been denominated Kamscliatkas, derive their beauty and lustre from the peculiar mode of preparing the weft, and the ingenious manner in which the colours ai-e afterwai-ds arranged : in so much, that a pattern which would requii-e a large harness as an imitation shawl, can be woven without any other apparatus than the ground mounting and two treadle feet. The weft, which is called Che- neille, is prepared as follows : — A Turkey gauze warp, of net yarn, is woven in a 1200 reed, with a twist or splitful in every fifth interval, the weft being either silk, cotton, or worsted, according to the kind of shawls to be manufactured. When this fabric comes from the loom, it is cut up by a machine, in the centre between the sphtfuls of warp ; and, after receiving a little twist, to throw the ends of the cut weft into a 'spiral direction, it is ready for the weaver. The wai-p of the shawl is likewise a Turkey gauze, the same as that which is the foundation of the weft ; so that, when a sufficient quantity of Cheneille has been produced from' a warp, it is customary to make shawls of the remainder. In weaving these shawls, one shot of the Cheneille is thrown in, and three of common weft, whether silk, cotton, or worsted j and the fibres of the CheneUle, projecting in all directions, gives the fabric the appear- ance of a fine glossy shag, showing the pattern, when figured, alike on both sides. When the shawls are to be of one uniform colour, only one kind of weft is necessary; but when they are to be figured, different colours are employed ; and these are woven in spaces adapted to the different parts of the design. The pattern is first painted on design paper, and col- oured as for an imitation harness. Each space of the design, or that which corresponds to a ground lash with its different covers, is again pamted on a separate slip of design paper, but two spaces are here covered to make them better seen by the weaver, leaving a blank space on each side. These slips are all numbered to prevent confusion. Sup- 397 ART OF WEAVING. pose, then, a web of trimmings were to be woven, with eight repeats in the breadth of yard ; for the first shot of Cheneille we take the slip of paper. No. 1, and find that, by reading it as for a sample, there are 2 spaces yellow, 1 white, 4 red, 2 yellow, 1 black, 2 white, &c. the weaver works a space of each of these colours on the warp, agreeably to its respective size on the slip of design paper ; which, when finished, must be exactly the breadth of the trimming. For a guide to the weaver, the slip of paper passes through the reed, and fastened at each end to a piece of tape by a bit of rosin, the one behind the mounting hanging over the warp roll and kept tight by a small w^eight, and the other fastened at the face of the cloth. The weaver then has only to change his shuttles by shifting the boxes of the lay at the end of each coloured space, as pointed out by the design. The slip marked No. 2, is next put into the reed for the second shot, and the colours woven in the same manner, but in the reverse order of the first, as the one is thrown in from the right hand and the other from the left ; and so on till the weft for the whole pattern is finished. The weft is cut in lengths of eight yards, being the quantity usually wound on one pirn ; and this will make eight shots of a yard wide web, and the pirns are taken in succession, agreeably to the numbers of the slips of design paper, and the colours are placed in the manner formerly done in setting the weft of clouding. This species of weaving is likewise well adapted to the rug and carpet manufacture. As every exertion has been made, in the course of this work, to trace the late improvements in weaving to their genuine source, it is but doing justice to Mr. Robert Paterson, in the employ .f Mr. William Wylie, manufacturer. Paisley, to state, from authentic authority, that he was the first who produced the new method of weaving shaded silks by a moveable reed in Paisley, described in page 396, and that they were manufactured by Mr. Wylie in the month of August, 1826. The Binder will place this leaf before Chap. XII. WEAVING BY POWER. 397 CHAP. XII. WEAVING BY POWER. » As weaving by power has of late been carried to a great extent, not only in Britain, but on the continents of Europe and America, and forms, at present, a very prominent fea- ture in the cotton manufacture, some account of the pro- cesses by which it is conducted will not, it is presumed, be found inconsistent with the general plan of this work. In a power loom factory, the first process is winding the warp on bobbins from the cope. This is done by a winding machine, as in other manufactories, with this exception only, that the one is driven by power, and the other by the winder's foot. The warp is next prepared for the dressing machine, of which there are two kinds in common use; one, in which the brushes are wrought by cranks, and the other, in which they are circular. The warp is prepared for the crank machine, by winding it from the bobbins on reels, and is commonly divided into five parts; which five parts united form half of the warp ; the other half being wound on another reel, and placed at the opposite end of the machine : when, after they are dressed, they are united in the yarn roll in the centre. The warp for the machine with circular brushes, is wound from the bobbins on four rolls, one-fourth on each ; and these rolls are placed in the machine at 1, 1, 1, 1, Fig. 5. So that, when the warp is dressed, the whole is united on the v>arp roll of the loom at x. These rolls contain, com- 398 ART OF WEAVING. monly, the length of 24 webs, of eight pieces each : and as the pieces are about 25 yards in length, there will be 24 X 8 X 25 = 4,800 yards of warp wound on each roll at one time. The rolls have flanges at the selvages to prevent the warp from spreading. Fig. 5, plate 14, is a front view of a dressing machine with circular brushes: — 1, 1, 1, 1, are the four warp rolls, which are kept in a proper state of tension by the weight w : — 2, 2, 2, 2, 2, 2, are reeds, and 3, 3, 3, 3, are rods for separating the warp threads in the process of dressing : — fl, a, a, a, are the circular brushes, and z, z, z, z, are other brushes for clearing off the dressing and loose fibres brushed from the warp : — o, o, are fans, and m is a stove, which are employed occasionally for drying the warp : — x is the yarn roll of the loom, which receives the warp as it is dressed. Above the rollers i, i, are others which press upon them and regulate the quantity of dressing necessary for the process. On the frame b is a set of plain heddles for forming a lease ; and at d, a reed for clearing the warp as it proceeds to the roll. The motion is communicated to the machine by means of the fast and loose pulleys m^ on the opposite side of the machine, which are fixed on the axle of the bevel wheel n ; and this wheel gives motion to the shaft />, on which there is a triple speed for adapting the motion to the yarn roll ar, as its diameter is increased by the warp. The shaft p, like- wise drives the circular brushes a, a, a, a, as represented in tj^e Fig. The fans o, o, for drying the warp, have pulleys on the opposite ends of their axles, communicating with the fast and loose pulleys, by which they are put in motion. When the fans, however, are not sufficiently powerful, a quantity of steam is introduced into the stove ii, by means of a stop cock. Fig. 6, plate 14, is a fi-ont elevation, and Fig. 7, a pro- file of a power loom. In Fig. 6, A is the cloth, B the WEAVING BY POWER. Qgg boxes of the lay, o o the drivers, c the swords of the lay D the heddles, n the reed, a the fast and loose pulleys] and ^• the spring, for putting on and taking off the power :-! 1, 2, 3, 4, are the ends of four treadles, two for opening the sheds, and two for di'iving the shuttle: w, the drivt ing pin attached to the pulley z, over which there is a belt, the cords of wliich are attached to the two outward treadles 1 and 4 :—x, x, are the wipers, and y the driving cord. In Fig. 7, a is the yarn or warp roll, b the rods for pre- serving the lease, A the box of the lay, c two pair of tem- ples for keeping the cloth stretched, B a spur wheel on the axle of the cloth roll, and which assists in winding up the cloth. D are the fast and loose pulleys, represented at a, tig. 6, on the axle of which is the spur wheel i. The re- ciprocating motion of the lay A, is given by means of the rod e, which connects it to the rim of this wheel. There is a similar rod on the opposite side of the loom attached to a crank. The wheel Cis driven by the wheel /, which, by Its revolutions, drives the wipers v, v, fixed on its axles! These wipers act by their circumferences on the treadles 2, 3; and, as they are circular at their greatest distance trom the centres, the motion of the heddles is thereby suspended while the shuttle is passing through the warp. On the outside of each wiper is fixed a circular knob, moveable on its axis, and on the shuttle treadles, 1, 4, are fixed the friction rollers n. When, therefore, these knobs strike the friction rollers, they give motion to the shuttle by means of the driving stick w, and cord p, Fio- 6 It must be observed, however, that the knobs are so "fixed to their respective wipers, that the sheds may be fully opened before the shuttle receives its impulse. This is done by shifting them backward or forward in grooves cut in the ^vipers for this purpose. B andi are the wheels for wind^ ^ng up the cloth. The spur wheel B, is driven by a pinion on the axle of the ratchet wheels, and this last wheel is 400 ART OF WEAVING. turned round by a catch attached to the top of the lever x. This lever has a reciprocathig motion given by a stud in the sword of the lay at 5, Fig. 6. As this catch is moved by every stroke of the lay, it cannot command a tooth of the ratchet wheel at each shot, but reciprocates over one tooth till as much cloth is woven as allow it to take hold of another; the other two catches, represented in the Fig. taking hold of othei teeth alternately. The apparatus which stops the loom when the shuttle meets with any obstruction, is next to be considered. Along the back of the lay A, Fig. 7, runs an iron rod, connected to a spi-ing g at each end. This rod is also con- nected to two circular pieces of wood, one in each box of tlie lay ; so that when the shuttle goes into the box, this piece of wood is driven back, and acts upon the rod so as to raise a small plate of iron which covers a circular hole in the centre of the lay. When, therefore, the lay and shuttle are in operation, the iron plate is raised at each shot, and permits the stud /i to pass through without ob- struction. But when the shuttle flies out of the shed, the iron plate covers the hole and strikes with force against the stud /?. which is connected vrith the diseno-aging rod, and throws the belt off the fast to the loose pulley, which stops the loom. CHAP. XIII. CALCULATIONS AND TABLES CONNECTED WITH THE ART OF WEAVING. SECT. 1. OF GRISTINCi OR SORTING YARN, &C. X HE most common substances from which cloths, in general, are manufactured in this country, are flax, cotton, wool and silk. Hemp, which in its nature has a very close analogy to flax, is also manufactured into cloth. It is only the finer kinds, however, which are employed for this purpose, the coarser sorts being chiefly appropriated to the making of cordage. Hair is also spun and woven into cloth; but when it is introduced as weft, in the unspun state, along with flaxen or linen warp, it forms a cloth which is extensively employed for covering the seats of chairs, sofas, &c. There is a breed of goats in the neigh- bourhood of Angora, a town of Natolia, in Asiatic Turkey, whose hair, which is almost as soft as silk, is also spun and woven into cloth. The finest kind is retained for the use of the Grand Seignor, the remainder being exported 3 £ 402 ART OF WEAVING. into Holland, France, and England, where it is manufac- tured into camblets and other fine stuffs. The true oriental camblets, however, are only made purely of this material; the European camblets having it mixed with wool or silk, and sometimes with both. LINEN YARN. The yarn spun from flax, usually denominated linen yarn, is, by Act of Parliament, to be reeled on a ten quar- ter, or 90 inch reel, and tied up into cuts of 120 threads or rounds c.f the reel ; and 48 of these cuts to make a spyndle. By this enactment, the eleven and twelve quarter reels, though formerly much used in Scotland, are now entirely laid aside. The spyndle of linen yarn, however, admits of other subdivisions than the preceding, which, with the quantity contained in each, are exhibited in the following TABLE. 2^ yard8= 1 split, one ell, or 45 inches long. 50 = 20= 1 porter or heer. 300 = 120= 6= 1 cut. 600 = 240= 12= 2= 1 lieer. 3600 =1440= 72=12= 6=1 slip or hank. 7200 =2880=144=24=12=2=1 hesp. 14400 =5760=288=48=24=4=2=1 spyndle. The grist or fineness of linen yarn is commonly esti- mated by the weight of a spyndle, hesp, or hank; some- times by the number of heers in the Avoirdupois pound; in some places of Scotland, by the number of heers in the Trov pound; and sometimes its grist is vaguely expressed by the number of hanks in the Avoirdupois pound; as five hank yarn, six hank yarn, &c. CALCULATIONS AND TABLES. 403 When yarn is gristed by the number of heers in the pound Avoirdupois, it may be reduced to the weight of the spyndle, by the following proportion : As the heers in one pound : to the heers in one spyndle, viz. 24 : : so the ounces in one pound, viz. 16: to the ounces in one spyndle. But 21 and 16, which are the mean terms of the proportion, are both constant quantities; their product, therefore, which is 384, divided by the heers in a pound, gives the weight of a spyndle ; or divided by the weight of a spyndle, gives the heers in a pound. Example 1. What is the weight of a spyndle of yarn, of which there are 46 heers in the pound ? here 46)384(8 oz. 5| drs. answer. 368 16 16 drs. 96 16 46)256(5 230 26 46 — =^| or j nearly. 2. U a spyndle of yarn weigh 6 oz. how many heers in the pound ? 6)384 64 heers, Answer. 404 ART OF WEAVING. 3. What is the weight of a spyndle of 6 hank yarn ? In 6 hanks there are 36 heers, therefore, 36)384(10| oz. 36 24_. 36~^* When linen yarn is gristed by the number of heers in the Tron pound, the number of ounces customary in the place referred to must be known, and substituted for 16 in these examples, which will give the answers required. Table 1. shows, by inspection, the weight of a spjudle corresponding to any number of heers in the pound Avoir- dupois, to drams and tenth parts. For example, on a line with 65 heers in the left hand column there is 5 oz. 14.5 dis. or 5 oz. 14^ drams ; and in the third column will be found 2 spyndles and 17 heers in the pound. CALCULATIONS AND TABLES. 405 TABLE I. or LINEN YARN. NO. 1 and 2. Hrs. Weight of a Spyndle. 7 H 8 9 10 11 1^ 12 13 14 13 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 36 36 37 64 59 54 51 48 45 42 40 38 36 34 33 32 29 27 25 24 22 21 20 19 18 17 16 16 15 14 14 13 13 12 12 12 11 11 10 I 10 drs. 1.2 13.7 3.2 0. 2.8 10.6 6.7 6.4 9.1 14.5 6.2 0. 8.6 6.8 9.3 0. 9.4 5.3 3.3 3.2 4.6 7.3 11.1 0. 5.8 12.3 3.5 11.4 3.9 12.1 6.2 0. 10.1 5.1 15.5 10.6 6. Spyndles & Heers ia a lb. 6 H 7 7i '2 8 8i 9 9i ^2 10 10| 11 11^ 12 13 14 15 16 17 18 19 20 21 22 23 1 2 3 4 5 6 7 8 9 10 11 12 13 We gbt Spyndles J Hrs. of a & Heers Spyi idle. in alb. oz. drs. { 38 10 1.7 14 i 39 9 13.5 15 I 40 9 9.6 16 i 41 9 5.9 17 \ 42 9 2.3 18 { 43 8 14.9 19 \ 44 8 11.6 20 I 45 8 8.5 21 I 46 8 5.5 22 \ 47 8 2.7 23 i 48 8 0. 2 49 7 13.4 2 1 J 50 7 10.8 2 2 \ ^1 7 8.4 2 3 \ 52 7 6.1 2 4 < 53 7 3.9 2 5 ; 54 7 1.8 2 6 1 55 6 15.7 2 7 56 6 13.7 2 8 { 57 6 11.8 2 9 \ 58 6 9.9 2 10 } 59 6 8.1 2 11 ; 60 6 64 2 12 } 61 6 4.7 2 13 I 62 6 3.1 2 14 'i 63 6 ].5 2 15 i 64 6 0. 2 16 ; 65 5 14.5 2 17 I 66 5 13. 2 18 I 67 5 11.7 2 19 { 68 5 10.3 2 20 5 69 5 9. 2 21 \ 70 5 7.8 2 22 J 71 5 6.5 2 23 ; 72 5 5.3 3 5 73 5 4.1 3 1 J 74 5 3. 3 2 ; 75 5 2. 3 3 406 ART OF WEAVING. TABLE 1st continued. ■\\ eight Spyndles \\ ci-ht j Spyndles Hrs. of a & Heers ; Hrs of a 1 & Het-rs Sp ntlle. in alb. Sp. •ndle. 1 in a lb. oz. dis. oz. drs 1 1 76 5 0.8 3 4 I 114 3 5.9 4 18 77 4 15.6 3 5 ; 115 3 5.4 4 19 78 4 14.8 3 6 ] 116 3 5. 4 20 79 4 13.7 3 7 ! 117 3 4.5 4 21 80 4 12.8 3 8 ; 118 3 4. 4 22 81 4 11.8 3 9 5 119 3 3.6 4 23 82 4 10.9 3 10 : 120 3 3.1 5 83 4 10. 3 11 i 121 3 2.8 5 1 84 4 9.1 3 12 ': 122 : 123 3 2.3 5 2 85 4 8.3 3 13 3 2.0 5 3 86 4 7.4 3 14 124 3 1.6 5 4 87 4 6.6 3 15 125 3 1.1 5 5 88 4 5.8 3 16 126 3 0.7 5 6 89 4 0. 3 17 ! 127 3 0.3 5 7 90 4 4.2 3 18 128 3 0. 5 8 91 4 3.5 3 19 129 130 2 15.6 5 9 92 4 2.8 3 20 2 15.2 5 10 93 4 2.1 3 21 131 2 14.9 5 11 94 4 1.3 3 22 132 2 14.0 5 12 95 4 0.6 3 23 133 2 14.1 5 13 96 4 0. 4 134 2 13.8 5 14 97 3 15.3 4 1 ! 135 2 13.5 5 15 98 3 14.7 4 2 136 2 13.1 5 16 99 3 14. 4 3 137 2 12.8 5 17 100 3 13.4 4 4 138 2 12.5 5 18 101 3 12.8 4 5 ; 139 2 12.1 5 19 102 3 12.2 4 6 ! 140 2 11.8 5 20 103 3 11.6 4 7 J 141 2 11.5 5 21 104 3 11. 4 8 ' 142 2 11.2 5 22 105 3 10.5 4 9 i 143 2 10.9 5 23 106 3 10. 4 10 I 144 2 10.6 6 107 3 9.4 i 4 11 i 145 2 10.4 6 1 108 3 8.9 ; 4 12 ; 146 2 10.1 6 2 109 3 8.6 1 4 13 ; 147 2 9.8 6 3 110 3 7.8 ; 4 14 ; 148 2 9.5 6 4 111 3 7.3 4 15 ; 149 2 9.2 6 5 112 3 6.8 4 16 ; 150 2 89 6 6 113 S 6.3 4 17 J 151 2 8.6 6 7 CALCULATIONS AND TABLES. 407 COTTON YARN. There is no Act of the Legislature which fixes the quan- tity of yarn in a spyndle of cotton; but the following stand- ard has been universally adopted by the cotton spinners in England, Scotland, and Ireland : The reel is 54 inches round, 80 threads or rounds of which make a skein, ley, or rap ; 7 skeins make a number or hank, generally contracted No.; and 18 of these Nos. make one spyndle. Cotton yarn, however, is commonly sold by the pound weight, avoirdupois; and this takes place, whether the yarn be reeled or in cops; the number of hanks or Nos. in a pound indicating its fineness. The length of the several subdivisions of the spyndle of cotton yarn will be found by the following TABLE. 1^ yardzr 1 thread or round of the cotton reel. 120 = 80= 1 skein or ley. 840 = 560= 7=1 No. or hank. 15120 =10080=126=18=1 spyndle. By comparing the lengths of the spyndles of cotton and linen together, it will appear, that the former exceeds the latter by 720 yards, wliich, in the calculation of warps, makes a difference of 14 porters and 8 splits. This differ- ence added to 288, the porters in a spyndle of linen, gives 302 porters and^ 8 splits for the spyndle of cotton yarn ; which is an advantage of 5 per cent. For 20 : 21 : : 288 : 302.4. The weight of a spyndle of cotton yarn may be found from its Nos., and the contrary, by a process similar to that given under linen yarn. Thus, the proportion will be, as the weight of a spyndle: 16:: 18: to the Nos. in a pound. But 16 and 18 are constant quantities, and also 1-08 ART OF WKAVING. the mean terms of the proportit)n ; their product, therefore, which is 288, divided by either extreme, will give the other. JLxample 1. What is the weight of a spyndle of No. 86? Here 86)288(3 oz. 5| drs. nearly. 258 30 16 86)480(5.5 430 500 430 50 Example 2. If a spyndle of cotton yarn weigh 2\ oz., what is its No. ? No. 2.5)288.0( ;ii5 Or thus, 9> '^2 288 25 2 2 38 5) 576 25 1151 130 125 The number of spyndles in any bundle of cotton yarn will be found by the following rule : — TABLES AND CALCULATIONS. 40^ Multiply the Nos. of the yarn by the number of pounds in the bundle, and divide by 18. Example 3. How many spyndles are in a 5 lib. bundle of No. 72 ? 72 5 18)360(20 spyndles. 36 These calculations may be found by inspection in Table II. agreeably to the titles on the top of the columns. The Nos. of cotton yarn in copes are found by reeling a few hanks, commonly a spyndle, and weighing them on an instrument called a quadrant ; then looking in a Table, such as the following one, for the weight of a spyndle, and the corresponding Nos. will be found in the left hand columns. This instrument consists of a brazen quadrantal rim, sometimes attached to a standard, but more frequently fixed to some convenient place in the warehouse. On the rim are emxraven the ounces, drams, and decimal divisions of a dram ; and when the reeled yarn is put into a scale which is appended, an index is turned round which points to the weight of the yarn. The Nos. of Merino worsteds, silk, 8cc. used in the shawl and plaid manufactures, and which have hitherto been regulated by no fixed standard, may be found in the same manner. 3f 410 ART OF WEAVING. TABLE II. COTTON YARN. Weight Spv ndles w^ eight Spyi idles No. 0) a & N OS. in No. of a & Nos. in Spy udle. 5 lib. Spyndle. 5 lib. oz. drs. sp. no. oz. drs. sp. no. 4 72 0. 2 46 6 4.2 12 14 H 64 0. H 1 48 6 0, 13 6 5 57 9.6 ^ ! 50 5 12.1 13 16 H 52 5.8 n I 52 5 8.6 14 8 6 48 0. 12 54 5 5.3 15 6^ 44 4.9 14^ i 56 5 2.3 15 10 7 41 2.3 17 58 4 15.4 16 2 71 '3 38 6.4 2 1^ 60 4 12.8 16 12 8 36 0. 2 4 J 62 4 10.3 17 4 9 32 0. 2 9 64 4 8. 17 14 10 28 12.8 2 14 ' 66 4 5.8 18 6 11 26 3. 3 6 ; 68 4 3.6 18 16 12 24 0. 3 6 1 70 4 1.8 19 8 13 22 2.4 3 11 I 72 4 0. 20 14 20 9.1 3 16 } 74 3 14.2 20 10 15 19 3.2 4 3 76 3 12.6 21 2 16 18 0. 4 8 78 3 11. 21 12 17 16 15. 4 13 \ 80 3 9.6 22 4 18 16 0. 5 82 3 8.2 22 14 19 15 2.5 5 5 84 3 6.8 23 6 20 14 6.4 5 10 2 86 3 5.5 23 16 22 13 11.4 6 88 3 4.3 24 8 24 12 0. 6 12 ' 90 3 3.2 25 26 11 1.2 7 4 92 3 2.1 25 10 28 10 4.5 7 14 94 3 1. 26 2 30 9 9.6 8 6 96 3 0. 26 12 32 9 0. 8 16 98 2 15. 27 4 34 8 7.5 9 8 100 2 14. 27 14 36 8 0. 10 ; 102 2 13.1 28 6 38 7 9.2 10 10 i 104 2 12.2 28 16 40 7 3.2 11 2 ; 106 2 11.4 29 8 42 6 13.7 11 12 ; 108 2 10.6 30 44 6 8.7 12 4 1 110 2 9.9 30 10 CALCULATIONS AND TABLES. 411 TABLE 11. CONTINUED. We ght Spynd es 3 Weight ' Spyndles No. of a 1 & Nos. in } No. of a i & Nos in Spyndle- 3 lib Spyndle. 5 lib. oz. drs. sp. no. 1 oz. drs. sp. no. 112 2 9.1 31 2 1 178 1 9.8 49 8 114 2 8.4 31 12 ; 180 1 9.6 50 116 2 7.7 32 4 i 182 I 9.3 50 10 118 2 7. 32 14 184 1 9. 51 2 120 2 6.4 33 8 ' 186 1 8.7 51 12 122 2 5.7 33 16 188 1 8.5 52 4 124 2 5.1 34 8 190 1 8.2 52 14 126 2 4.5 35 192 1 8. 53 6 128 2 4. 35 10 194 1 7.7 53 16 130 2 3. 36 2 196 1 7.5 54 8 132 2 2.9 36 12 ; 198 1 7.3 55 134 2 2.3 37 4 ; 200 1 7.0 55 10 136 2 1.8 37 14 ; 202 1 6.7 56 2 138 2 1.3 38 6 ; 204 1 6.5 56 12 140 2 0.9 38 16 [ 206 1 6.3 57 4 142 2 0.4 39 8 ! 208 1 6.1 57 14 144 2 0. 40 i 210 1 5.9 58 6 146 15.5 40 10 1 212 1 5.7 58 16 148 15.1 41 2 I 214 1 5.6 59 8 150 14.7 41 12 I 216 1 5.3 60 152 14.3 42 4 I 218 1 5.1 60 10 154 13.9 42 14 ! 220 1 4.9 61 2 156 13.5 43 6 ! 222 1 4.7 61 12 158 13.1 43 16 ; 224 1 4.3 62 4 160 12.8 44 8 1 226 1 4.1 62 14 162 12.4 45 i 228 1 3.8 63 6 164 12.1 45 10 \ 230 1 3.6 63 16 166 11.7 46 2 { 232 1 3.4 64 8 168 11.4 46 12 1 234 1 3.1 65 170 11. 47 4 \ 236 1 2.8 65 10 172 10.8 47 14 } 238 1 2.6 66 2 174 10.4 48 6 I 240 1 2.4 66 12 176 10.1 48 16 } 242 1 2.9 67 4 412 ART OF WEAVING. When the quantity of yarn is less or more than a spyn- dle, to find its No. the proportion will be, as the weight of the quantity, to the ounces in a lib. viz. 16 : so the num- bers or hanks in the quantity, to the No. of the yarn. Example 4. If 14 hanks weigh 2 oz., 3 drs., what is the fineness of the yarn ? Reduce the 2 oz., 3 drs. to drs., which are 35 ; the drs. in a pound are 256 — then, 35 : 256 : : 14 14 1024 256 No. 35)3584(102 Answer. 35 84 70 14 Example 5. In a web which weighs 5 lbs. 10 oz. there are 30 spyndles of warp ; required the No. of the yarn ? First, as there are 90 oz. in the web, and 540 hanks in 30 spyndles ; then we have 90 : 16 : : 540 16 3240 540 9.0)864.0 96 the No. of the warp, which after deducting 5 per cent, for waste, will be about No. 91. CALCULATIONS AND TABLES. 413 Or secondly, find the weight of one spyndle, which is 3 oz. ; then by the first rule, 3)288 96 as above. To find the number of spyndles in any quantity of copes of a given fineness, the proportion will be: as 16, the oz. in a lib. : to the No. of the yarn : : so the ounces in the quantity: to the number of spyndles. Example 6. In 2 lib. 10 oz. of copes. No. 72, how many spyndles ? Here 16 : 72 : : 42 the ozs. in the quantity. 42 144 288 16)3024(189 hks. 16 142 128 144 144 Here we have 189 hanks, which, divided by 18, gives 10 spyndles and 9 hanks. Table 3 will be found useful to those who make use of yarn in the cope, either for warp or weft. When the Nos. exceed those on the top of the table, any two may be added together, which will answer the purpose. 414 ART OF WEAVING. TABLE III. No . 40. N . 0. 42. No. 4 4. N o. 46. lbs. oz. sp. 1 bks. pts. Sp. liks. pts. sp. hks. pts. sp. iks. pts. 1 2 8 2 10 2 12 2 14 2 5 5 4 5 8 5 12 3 7 8 7 14 8 4 8 10 4 10 10 8 11 11 8 5 12 8 13 2 13 12 14 6 6 15 15 12 16 8 17 4 7 17 8 6 1 1 4 2 2 8 2 3 1 4 5 9 4 8 5 10 1 6 12 7 14 10 7 8 4 1 9 8 10 12 11 9 8 10 14 1 12 4 13 10 12 12 13 8 1 15 16 8 13 14 8 16 2 1 17 12 2 1 6 14 17 2 12 2 2 8 2 4 4 15 2 1 8 2 3 6 2 5 4 2 7 2 1 2 4 2 6 2 8 2 10 2 4 8 4 12 4 16 5 2 3 6 12 7 7 6 7 12 4 8 16 9 6 9 14 10 4 5 11 2 11 12 12 4 12 14 6 13 6 14 14 12 15 6 7 15 10 16 6 37 2 17 16 8 17 14 18 12 19 10 20 8 9 20 21 22 23 10 22 4 23 6 24 8 25 10 11 24 8 25 12 26 16 28 2 12 1 26 12 28 29 6 30 12 13 i 28 16 30 6 31 14 33 4 14 i 31 2 32 12 34 4 35 14 15 33 6 35 36 12 38 6 I TABLES AND CALCULATIONS. 415 TABLE III. CONTINUED. No. 48. No. 50. No. 52. No. 54. lbs. oz. sp. hks. pts. sp. hks. pts. sp. hks. )ts. sp. hks. pts. 1 3 3 2 3 4 3 6 2 6 6 4 6 8 6 12 3 9 9 6 9 12 10 2 4 12 12 8 13 13 8 5 15 15 10 16 4 16 14 6 1 1 12 1 1 8 1 2 4 7 1 3 1 3 14 1 4 12 1 5 10 8 1 6 1 7 1 8 1 9 9 1 9 1 10 2 1 11 4 1 12 6 10 ] 12 1 13 4 1 14 8 1 15 12 11 1 15 1 16 6 1 17 12 2 1 2 12 2 2 1 8 2 3 2 4 8 13 2 3 2 4 10 2 6 4 2 7 14 14 2 6 2 7 12 2 9 8 2 11 4 15 2 9 2 10 14 2 12 12 2 14 10 1 2 12 2 14 2 16 3 2 5 6 5 10 5 14 6 3 8 8 6 8 12 9 4 10 12 11 2 11 10 12 5 13 6 13 16 14 8 15 6 16 16 12 17 6 18 7 18 12 19 8 20 4 21 8 21 6 22 4 23 2 24 9 24 25 26 27 10 26 12 27 14 28 16 30 11 29 6 30 10 31 14 33 12 32 33 6 34 12 36 13 34 12 36 2 37 10 39 14 37 6 38 16 40 8 42 15 40 41 12 43 6 45 416 ART OF WEAVING. TABLE (IT. CONTINUED. No . 56 No. 58. N o. 60. N o. 62. lbs. oz. sp. hks. pts. sp. bks. pts. sp. liks. pts. sp. iks. pts. 1 3 8 3 10 3 12 3 14 2 7 7 4< 7 8 7 12 3 10 8 10 14 11 4 11 10 4 14 14 8 15 15 8 5 17 8 2 12 1 6 6 3 3 12 4 8 5 4 7 6 8 J 7 6 8 4 9 2 8 10 11 12 13 9 13 8 14 10 15 12 16 14 10 17 2 4 2 1 8 2 2 12 11 2 2 8 2 3 14 2 5 4 2 6 10 12 2 6 2 7 8 2 9 2 10 8 13 2 9 8 2 11 2 2 12 12 2 14 6 14 2 13 2 14 12 .^ 16 8 3 4 15 2 16 8 3 6 3 2 4 3 4 2 1 3 2 3 4 3 6 3 8 2 6 4 6 8 6 12 6 16 3 9 6 9 12 10 10 6 4 12 8 12 16 13 6 13 14 5 15 10 16 2 16 12 17 4 6 18 12 19 6 20 20 12 7 21 14 22 10 23 6 24 2 8 24 16 25 14 26 12 27 10' 9 28 29 30 31 10 31 2 32 4 33 6 34 8 11 34 4 35 8 36 12 37 16 12 37 6 38 12 40 41 6 13 40 8 41 16 43 6 44 14 14 43 10 45 2 46 12 48 4 15 46 12 48 6 50 51 12 CALCULATIONS AND TABLES. 417 TABLE III. CONTINUED. No. 64. No. 66. No. 68. No. 70. lbs. oz. sp. hks. pts. sp. ]ks. pts. sp. hks. pts. sp. hks. pts. 1 4 4 2 4 4 4 6 2 8 8 4 8 8 8 12 3 12 12 6 12 12 13 2 4 16 16 8 17 17 8 5 1 2 1 2 10 1 3 4 1 3 14 6 1 6 1 6 12 1 7 8 1 8 4 7 1 10 1 10 14 1 11 12 1 12 10 8 1 14 1 15 1 16 1 17 9 2 2 1 2 2 2 4 2 3 6 10 2 4 2 5 4 2 6 8 2 7 12 11 2 8 2 9 6 2 10 12 2 12 2 12 2 12 2 13 8 2 15 2 16 8 13 2 16 2 17 10 3 1 4 3 2 14 14 3 2 3 3 12 3 5 8 3 7 4 15 3 6 3 7 14 3 9 12 3 11 10 1 3 10 3 12 3 14 3 16 2 7 2 7 6 7 10 7 14 3 10 12 U 11 6 11 12 4 14 4 14 12 15 2 15 10 5 17 14 18 6 18 16 19 8 6 21 6 22 22 12 23 6 7 24 16 25 12 26 8 27 4 8 28 8 29 6 30 4 31 2 9 32 33 34 35 10 35 10 36 12 37 14 38 16 11 39 2 40 6 41 10 42 14 12 42 12 44 45 6 46 12 13 46 4 47 12 49 2 50 10 14 49 14 51 6 52 16 54 8 15 53 6 55 56 12 58 6 3G 418 ART OF WEAVING. TABLE III. CONTINUED. No . T2 N o. 74. 1 N o- 7 6. No. 78. lbs. oz. sp. hks- pts sp. hkst. pts. sp. hks. pts. sp. hks. pts. 1 4 8 4 10 4 12 4 14 2 9 9 4 9 8 9 12 3 13 8 13 14 14 4 14 10 4 1 1 8 1 1 1 1 8 5 1 4 8 1 5 2 1 5 12 1 6 6 6 1 9 1 9 12 1 10 8 1 11 4 7 1 13 8 1 U 6 1 15 4 1 16 2 8 2 2 1 2 2 2 3 9 2 4 8 2 5 10 2 6 12 . 2 7 14 10 2 9 2 10 4 2 11 8 2 12 12 11 2 13 8 2 14 14 2 16 4 2 17 10 12 3 3 1 8 3 3 3 4 8 13 3 4 8 3 6 2 3 7 12 3 9 6 14 3 9 3 10 12 3 12 8 3 14 4 15 3 13 8 3 15 6 3 17 4 4 1 2 1 4 4 2 4 4 4 6 2 8 8 4 8 8 8 12 3 12 12 6 12 12 13 4 16 16 8 16 16 17 6 5 20 20 10 21 2 21 12 6 24 24 12 25 6 26 7 28 28 14 29 10 30 6 8 32 32 16 33 14 34 12 9 36 37 38 39 10 40 41 2 42 4 43 6 11 44 45 4 46 8 47 12 12 48 49 6 50 12 52 13 52 53 8 54 16 56 6 14 56 57 10 59 2 60 12 15 60 61 12 63 6 65 CALCULATIONS AND TABLES. 419 SECT. II. REEDS. The reed is the scale by which, independent of its being employed for striking up the woof, the manufacturer de- termines the fineness of his cloth, being so constructed that a certain number of warp threads may always be contained in a given breadth of the web. For the principal manufactures of Scotland and Ireland, the scale of reeds is regulated by the number of splits con* tained in the Scotch ell of 37 inches. The splits in this space are divided into hundreds, the number of which, in any reed, indicates its sett, and each hundred is again divided into five parts, called porters, which consequently contain twenty splits. Reeds made for Hollands and cam- brics, which were, till of late, very common in Scotland, had scales peculiar to themselves, the hundreds or sett of the former being counted on 40 inches, and of the latter on 34, which corresponded to the breadths of their re- spective fabrics. In England the scales of reeds are different from any of the preceding. Those denominated the Manchester and Bolton reeds, take their designation from the number of dents (splits) in 24| inches, and ar^^ divided into beers, (porters) which contain sometimes 19, but more frequently 20 dents. The sett or fineness of the Stockport reeds is known by the number of ends or threads of warp in an inch; and as two ends are equivalent to one dent, the fine- ness or sett of the reed is expressed by the number of dents in two inches. Thus, a 40 reed has 20 dents in an inch, a 50, 25 dents, &c. In Manchester they generally make use of the Stockport count for muslins only, and the Bol- ton, for quillings, dimities, ginghams, muslins, corduroys, &c. There are several kinds of goods, however, such as calicoes, checks and handkerchiefs, which are woven in reeds constructed on 36 inches; and, indeed, each of these 420 ART OF WEAVING. scales seems to be adapted to peculiar kinds of cloth, as was formerly the case with respect to the Holland, cam- bric and lawn reeds in Scotland. The fineness of any piece of cloth, tlierefore, takes its denomination from the sett of reed in which it has been woven, without any regard to its breadth, or the quantity of warp it may contain ; for when the cloth is intended to be broader or narrower than the standard, proportional parts must be added or subtracted, to give the requisite quantity of warp. Thus, the standard for Scotch reeds is 37 inches, which is commonly divided into 16 parts, called nails; and the breadth of a web is generally expressed by the immber of nails or sixteenths which it fills of the reed. This was uniformly the case with respect to all goods made of linen yarn, which were subjected to the inspection of a stamp master ; but since the cotton manufacture has become so extensive, and every manufacturer must make his goods to suit the market for which Uiey are destined, it is more common to calculate the breadtlis of webs by inches. Hence, when the standard is divided into nails, to find how much warp is requisite for any breadth of a given sett of reed, multiply the number of splits in an ell or 37 inches, by the nails in the breadth of the web, and divide by 16. Or, make the nails in the breadth of the web the numera- tor of a vulgar fraction, and 16 the denominator; then, after having reduced the fraction to its lowest terms, mul- tiply by the former, and divide by the latter. Example 1. How much warp is requisite for a 1300 web, 18 nails broad? Here— =2- then, 1300 16 8 Q 8)11700 1462^ splits, or 14 hundreds, 3 porters. 2^ splits. CALCULATIONS AND TABLES. 4^1 2. How many splits of a 1 100 reed will be filled by a web 17 nails broad? Here, = 1169 splits nearly, or 11 hundred, 3 porters, ^^ and 9 splits. Or thus; divide the splits in ell, by the difference be- tween the given breadth and ell, then add or subtract the quotient to or from the splits in ell, as the breadth ex- ceeds or falls short thereof. In the first example, the difference is j^^ths or ^th ; in second, y'^th ; then. First, 8)1300 Second, 16)1100 162i 69 nearly. 1462i 1169 as above. When the breadth is given in inches, to find the number of splits, multiply the warp in an ell by the number of in- ches broad, and divide by 37. Example. How many splits warp are in a 1000 reed 32 inches broad? Here, 1000 32 37)32000(865 nearly. 296 240 222 180 185 Table IV. contains the number of splits in the breadth, from 36 to 72 inches, and from a 600 to a 2400. When either more or fewer inches are required, it is only neces- 422 ART OF WEAVING. sary to add or subtract such numbers as will give the an- swer. To reduce cambric reeds to reeds on 37 inches, say, As 34 : 37 : : so the cambric : to the lawn or 37 inch reed. Thus, to find what reed on 37 inches is equivalent to 2000 cambric, say. As 34 : 37 : : 2000 : 2176, or 21 hundred, 3 porters and 16 splits. To reduce Holland reeds to reeds on 37 inches, the pro- portion is. As 40 : 37 : : so the Holland : to the lawn or 37 inch reed. Example. How many splits of a 19 hundred Holland reed are there in 37 inches ? say. As 40 : 37 : : 1900 : 1737^ splits. The number of the reed in which any piece of cloth has been woven, is generally ascertained by the help of a small instrument, called a web glass. It consists of a magnify- ing glass fixed in a brass stand, at the focus of which is a plate perforated with holes, adapted to the different scales of reeds : when these holes are adapted to the reeds used in Scotland, they are of such a size, that we can count one thread of warp for each hundred or sett of the reed ; but in England, they are usually adapted to the number of threads in an inch, or some part of an inch. Hence, to find if a web glass be accurately made, we say. As 100 : 37 : : 1 : 0.37 ; that is, ^^ parts of an inch. This, however, would show a split for each hundred of the reed; but to show single threads, it must be divided by 2, which gives .185, the decimal parts of an inch for the dia- meter of the hole. Again, if one inch be divided by this fraction, we will have the number of times this glass will be contained in an inch, thus, 1.000 — TqT =5.4054, or 5| nearly. CALCULATIONS AND TABLES. 423 Hence it is evident, that if any number of shots of weft, counted by the glass foi* 37 inches, be multiplied by 5.4, it will give the shots in an inch, and the contrary. If the web glass were intended to count one thread for each porter in 37 inches, which is necessary for very coai'se fabrics, we have only to multiply the fraction .185 by 5, because 5 porters make a hundred, and the product, .925 is the diameter of the aperture of the plate. Table V. exhibits a comparison of the English reeds. In the first column are the Nos. or setts of the Manchester and Bolton count; and in the second, the number of dents and hundredth parts of a dent in an inch. The number of dents in any piece of cloth, will therefore be found by multiplying these numbers for any given reed, by the inches in the breadth. Thus, if it were required to find the number of dents in 49 inches of a 40 reed, we have 32.98 50 1649.00, that is 1649 dents. The third and fifth columns contain the Nos. of the Stockport reeds; and the fourth and sixth, the number of dents less or more on a yard than the Manchester count. For example : Suppose I have a 60 reed Stockport, and wish to know what it is Manchester count, I look in the third column for 60, and in the same line in the fourth co- lumn I find 12-f 36, which shows that a 60 Stockport has 12 dents more in a yard than a 36 Manchester and Bolton. 4-24 ART OF WEAVING. TABLE IV. Shmoing the number of Splits in the following Setts of Rfied, and ifiches broad. i o 1 600 700 800 900 1000 1100 36 584 681 778 876 973 1070 37 600 700 800.. 900 1000 1100 38 616 718 821 924 1027 1130 39 632 737 842 949 1054 1159 40 649 756 864 973 1081 1189 41 665 775 88^ 997 1108 1219 42 681 795 907 1022 1135 1249 43 697 814 929 1046 1162 1278 44 714 832 950 1070 1189 1308 4o 730 851 972 1095 1216 1338 46 746 870 994 1119 1243 1368 47 762 889 1015 1143 1270 1397 48 778 908 1037 1168 1297 1427 49 795 927 1058 1192 1324 1457 50 811 945 1080 1216 1351 1486 51 827 964 1102 1241 1378 1516 52 843 987 1123 1265 1405 1546 53 860 1002 1145 1289 1432 1576 54 876 1021 1167 1314 1459 1605 55 892 1041 1188 1338 1486 1635 56 908 1059 1210 1362 1514 1665 57 924 1078 1231 1386 1541 1695 58 941 1097 1253 1411 1568 1724 59 957 1116 1275 1435 1595 1754 60 972 1135 1296 1459 1622 1784 61 999 1154 1318 1484 1649 1814 62 1015 1173 1340 1508 1676 1843 63 1032 1192 1361 1532 1703 1873 64 1048 1211 ia83 1557 1729 1903 65 1064 1230 1404 1581 1756 1932 66 1070 1249 1426 1605 1784 1962 67 1086 1268 1448 1630 1811 1992 68 1103 1287 1469 1654 1838 2022 69 1119 1305 1491 1678 , 1865 2051 70 1135 1324 1522 1703 1892 2081 71 1151 1343 1534 1727 1919 2111 72 1168 1362 1557 1751 1946 2141 TABLES AND CALCULATIONS. 4'25 TABLE IV. CONTINUED. s •s c t-1 1200 liiOO 1400 1500 1600 1700 36 1168 1264 1362 1459 1556 1654 37 1200 1300 1400 1600 1600 1700 38 1232 1335 1438 1541 1643 1746 39 1265 1370 1476 1581 1686 1792 40 1297 1405 1513 1622 1729 1838 41 1330 1441 1551 1662 1772 1884 42 1362 1476 1589 1703 1815 1930 43 1395 1511 1627 1743 1858 1976 44 1427 1546 1665 1784 1902 2021 45 1459 1581 1703 1824 1945 2067 46 1492 1616 1741 1865 1989 2113 47 1524 1651 1778 1905 2032 2169 48 1556 1686 1816 1946 2075 2205 49 1589 1722 1854 1986 2118 2251 50 1621 1756 1892 2027 2162 2297 51 1654 1792 1930 2067 2205 2343 62 1686 1827 1968 2108 2248 2389 53 1719 1862 2005 2148 2291 2435 54 1751 1897 2043 2189 2335 2481 55 1784 1932 2081 2230 2378 2527 56 1816 1968 2119 2270 2421 2673 57 1849 1993 2157 2311 2464 2619 58 1881 2028 2196 2351 2508 2666 59 1914 2063 2232 2392 2551 2711 60 1946 2098 2270 2432 2594 2767 61 1978 2133 2308 2473 2637 2803 62 2011 2168 2346 2513 2681 2848 63 2043 2204 2384 2553 2724 2894 64 2076 2239 2421 2594 2767 2940 65 2108 2276 2459 2635 2810 2986 66 2141 2309 2497 2676 2853 3032 67 2173 2344 2535 2716 2897 3078 68 2205 2379 2573 2756 2940 3124 69 2238 2414 2611 2777 2983 3170 70 2270 2449 2649 2837 3026 3216 71 2303 2495 2686 2878 3070 3262 72 2335 2530 1 2724 2919 3113 3308 S T7 4?6 ART OF WEAVING. TABLE IV. CONTINUED. S 1-^ 1800 1900 ! 2000 2100 2200 2300 36 1752 1850 1946 2043 2141 2238 37 1800 1900 2000 2100 2200 2300 38 1848 1951 2054 2154 2260 2362 39 1898 2003 2108 2211 2318 2424 40 1946 2054 2162 2268 2378 2487 41 1994 2105 2216 2325 2438 2549 42 2044 2157 2270 2385 2498 2612 43 2092 2208 2324 2442 2556 2674 44 2140 2259 2378 2496 2616 2736 45 ^180 2311 2432 2553 2676 2798 46 2238 2362 2486 . 2610 2736 2861 47 2286 2-413 2540 2667 2794 2923 48 2336 2465 2594 2724 2854 2985 49 2384 2516 2648 2781 2914 3047 50 2432 2567 2702 2835 2972 3109 51 2482 2619 2756 2892 3032 3172 52 2530 2670 2810 2961 30a2 3233 53 2578 2701 2864 3006 3lR 3296 54 2628 2773 2918 3063 3210 3358 55 2676 2824 2972 3123 3270 3420 56 2724 2876 3028 3177 3330 3482 57 2772 2927 3082 3234 3390 3544 58 2822 2978 3136 3291 3448 3606 59 2870 3030 3190 3348 3508 3669 60 2918 3081 3244 3405 3568 3731 61 2968 3132 3298 3462 3628 3793 62 8016 3184 3352 3519 3686 3855 63 3064 323.^ 3406 3576 3746 3917 64 3114 3286 3459 3633 3806 3980 65 3162 3338 3512 3690 3864 4042 66 3210 3389 3568 3747 3924 4104 67 3260 3440 3622 3804 '! 3984 4166 68 3308 3491 3676 3861 4044 4|28 4290 69 3356 3543 3730 3915 4102 70 3406 3595 3784 3972 4162 4352 71 3454 3645 3838 ; 3929 4222 4413 7g 3502 3697 3892 : 4086 4282 4477 TABLES AND CALCULATIONS. 4^7 TABLE V. II l1 Dents, and 100 parts in an inch. O -w CO Dents in a yard less or more than Manchester and Bolton. Stockport Count. Dents in a yard less or more than Manchester and Bolton. 20 16.49 34 11—21 100 11—61 22 18.14 36 5—22 102 4 62 24 19.79 38 2+23 104 2+63 26 21.44 40 8+24 106 8+64 28 23.09 42 14+25 108 15+65 30 24.74 44 9—27 110 9—67 32 26.39 46 3 28 112 2—68 34 28.04 48 ^ 3+29 114 4+69 36 29.69 50 •l0+30 116 10+70 38 31.34 52 14—32 118 13—72 40 32.98 54 7—33 120 7—73 42 34.63 56 1—34 122 1—74 44 36.28 58 5+35 124 6+75 46 3f.93 60 12+36 126 12+76 48 39.58 62 12—38 128 11—78 50 41.23 64 5—39 130 5—79 52 42.88 66 1 + 40 132 1 + 80 54 44.53 68 7+41 134 8+81 56 46.18 70 13+42 136 14+82 58 47.83 72 10—44 138 10—84 60 49.48 74 4—45 140 3—85 62 51.13 76 3+46 142 3+86 64 52.78 78 9+47 144 y-87 iF 89 66 54.43 80 14—49 146 68 56.08 82 8—50 148 8 90 70 57.73 84 2—51 150 1—91 72 59.38. 86 5+52 152 5+92 ^4 61.03 88 11 + 53 154 11 + 93 %6 62.68 90 12—55 156 12—95 :> 64.32 92 6 56 158 6—96 80 65.97 94 57 160 97 90 74.22 96 6+58 162 7+98 100 82.47 98 13+59 164 13+ «9 428 ART OF WEAVING. SECT. III. CAAMING, SLEYiNG OE SETTING. These terms are severally employed to denote the pro- portioning of the grists or fineness of warps to the different setts of reeds, so as to preserve a uniformity of fabric in the same species of cloth. In order to explain what is meant by the word fabric ; let us suppose that a piece of cloth is woven in any sett of reed, as for instance, a 1200 on 37 inches, and that the diameters of the warp threads and the small spaces between them are exactly of the same size. Then, if we have another piece of cloth of the same texture, woven, for example, in an 1800 reed, the diame- ters of the warp threads being also equal to the intervening spaces, then these two sizes of cloth are said to be of the same fabric, although the one is a third finer than the other; so that, when the diameters of the threads are greater than the spaces, the fabric is proportionally stouter, and the reverse when they are smaller. Now, the method of determining the several grists of yarn that will preserve this uniformity of fabric through the different setts of reed, depends on the following analogy : — As the square of any given reed : To the grist of yarn that suits that sett : : So is the square of any other sett of reed : To its respective grist for the same fabric. The reason of this rule will evidently appear, by con- sidering the threads of warp, when stretched in the loom, as so many cylinders of equal length or altitude, and the reed as the scale which measures the space in which a given number of these threads are contained; therefore, the solidities of the threads in one sett of reed, will be to the solidities of those in any other sett of reed, as their bases, or, which is the same thing, as the squares of their diame- ters, by^J- 11. h. 12 of Euclid. But the weights of the cylinders or threads, supposing them of the same density CALCULATIONS AND TABLES. 429 will be as their solidities ; and a determinate number of splits or dents of any reed, or rather the intervals between them, may be substituted for the diameters of the warp threads which pass through them : therefore, by the last analogy, it will be, as the square of the number of splits in any given reed, to the known weight or grist of yarn ; so is the square of any other number of splits, occupying the same space, to the weight or grist of yarn that will produce cloth of the same fabric, which is the rule given above. The threads of warp are here supposed to be all of the same density, which may in some instances appear not to be the case, owing to the difference of twist they may have received in spinning; but when the warps are tightly stretched in the loom, and all their fibres compactly laid by the weaver's dressing, their density, though perhaps not mathematically the same, will be sufficiently near to answer every practical purpose of the manufacturer. Example 1. If No. 72 make a 1200 jaconet, what will suit a 1600 ? Here, 144 is the square of 12, and 256 the square of 16; then 144 : 72 : : 256 72 512 1792 144)18432(128 No. 144 403 288 1152 1152 So that No. 148, woven in a 1600 reed, will make the same fabric as 72 in a 1200. When the reed contains odd porters, which is frequently 430 ART OF WEAVING. the case where the fabrics are coarse, the hundreds must be reduced to porters, and squared as above. Example 2. Suppose No. 50 for a 1200 pullicate, what will answer a 900 and 3 porters. bund. hand. pors. eay, 12 9 3 5 5 60 48 60 48 3600 384 192 3600 : 50 : : 2304 50 No. 36|00)1152|00(32, Answer. 108 72 72 When the grist of yarn is given to find the reed, invert the terms of the proportion, and extract the square root of the fourth term for the answer. Example 3. If No. 70 make a 1600 cotton cambric, what sett will No. 93 make ? The square of 16 is 256. then, 70 : 256 : : 93 : 340. And 340.8(18.46 93 1 768 2304 28)240 8 224 7|0)2380(8 364(1680 4 1456 3686(22400 22116 284 That is, 18 hundred reed, 46 splits, or 18 i nearly. CALCULATIONS AND TABLES. 431 When linen yarn is gristed by the number of heers in the pound, the process will be the very same as tlie pre- ceding, only substituting the heers for Nos. but when it is gristed by the weight of a spyndle or hesp, the proportion will be inverse, as the numbers expressing the grist of the yarn decrease, while those denoting the setts of reed in- crease. Example 4. If yarn which weighs 8 oz. per hesp make a 600 lawn, what grist of yarn will make a 1200 of the same fabric ? Say, as 36 : 8 : : 144 : 2 oz. 8 144)288(2 288 Example 5. If 4^ oz. per hesp, work in a 600 gauze, what will answer an 800 ? Here the ounces must be reduced to eighths, which are 33, then, 36 : 33 : : 64 : 18| eighths, or 2 oz. 5 drs. 33 108 108 04)1188(18 64 548 512 36= i^ nearly 432 ART OF WEAVING. Exajnpk 6. Suppose, as before, 8 oz. to a 600 lawn, what reed will 4 oz. require, to make the same fabric ? Say, 8 : 36 : : 4 : 72, then 72(8.48 64 164)800 656 1688)14400 13504 896 That is, 8 hundred and 48 splits, or an 8j nearly. These examples, though sufficiently plain to illustrate the general principles of caaming, may still, in practice, be considered as intricate and perplexing to those who are unacquainted with the management of square numbers. In order, therefore, to facilitate these calculations, and render them as simple as possible, the two following tables are inserted, by the help of which caaming tables may be constructed to the greatest degree of accuracy, for every fabric within the range of our most extended manufactures. In Table VI. the third column contains the complete hundreds or setts of reed on 37 inches from 1 to 32, and along the top, the odd porters. In the first column are the nearest corresponding numbers of the Manchester and Bolton count, and in the second, those of Stockport. In the body of the Table are the logarithms, with their indices, of the squares of all these setts of reed, agreeably to their respective titles. Table VII. contains all the Nos. of yarn, with their logarithms and indices from 1 to 264 inclusive. USE OF THE TABLES. 1. Take out the logarithm of the given sett of reed from Table VI. and subtract it from 10,000, or which is the CALCULATIONS AND TABLES. 433 same thing, subtract every figure of the logarithm from 9, except the unit figure, which take from 10, and reserve the remainder. This subtraction, wliich is merely finding the reciprocal of the logarithm, may always be performed men- tally, as the figures are taken out of the table. 2. Take out the logarithm of the given grist of yarn, from Table VII. and add it to the remainder reserved above, and their sum will be a constant quantity ready for the con- struction of the table. 3. Write down this constant quantity on a piece of pa- per, and to it add the logarithm of any other reed, and their sum will be the logarithm of the grist of yarn sought, which will be found in the adjacent column. Example. — Suppose it were required to make a caaming table, commencing with a 700 reed, for jaconets, whose fabric is made by weaving No. T5 in a 1200, and wefted with No. 94. First, look in the third column of Table VI. for 1200, and opposite to it in the fourth column will be found 2158. Take this from 10,000 leaves 7842; which is done mentally thus : beginning at the left hand say, 2 from 9, leaves 7 ; 1 from 9, leaves 8 ; 5 from 9, leaves 4 ; and 8, the unit figure from 10 leaves 2. To this number 7842 add the logarithm of 75 from Table VII. viz. 1875, and their sum, which is 9717, will be a constant quantity for the construction of the table. Secondly, To this last number add the logarithm of 700, viz. 1690, and look for their sum, viz. 1407, (rejecting 1 at the left hand when the sum of the addition exceeds four figures,) or nearest number thereto in Table VII. which is 26, and this will be the No. of the warp for a 700 reed. Again, Take down the constant number, and to it add the logarithm of seven hundred and a half, which is 1750, and the number answering to their sum, viz. 1467 in Table VII. is 29, the No. for a 1^ reed; and so on, as in jii^ following specimen, where a caaming table is given at length, both for warp and weft :— 3 I 434 ART OF ^\T:AV1NG. o CD d. u ^ 700 26 32 7-L 29 37 800 33 42 8-^ 38 47 900 42 53 9^ 47 59 1000 52 65 10| 58 72 1100 63 79 iH 69 86 1200 75 94 12i 81 102 1300 88 110 13^ 95 119 1400 102 128 m 109 136 1500 117 147 15i 125 157 1600 133 167 16^ 142 178 1700 150 188 17i 160 200 1800 169 211 18i 179 223 1900 188 235 19i 199 248 2000 208 261 Constant quantity. 9717 700 . . 1690 Warp No. 1.1407=26 Constai quantit 700 . 7* . . 800 . 8^ . . 900 . 9i . . 1000 . lOi . It y. 9815 . 1690 Weft No. 1.1505=32 9717 7+ . . . 1750 1.1467=29 9815 . 1750 1.1565=37 9717 800 . . 1806 1.1523=33 9815 . 1806 1.1621=42 9717 8i . . . 1858 1.1575=38 9815 . 1858 1.1673=47 9717 900 . . 1908 1.1625=42 9815 . 1908 1.1723=53 9717 9^ . . . 1955 1.1672=47 9815 . 1955 1.1770=59 9717 1000 . 2000 1.1717=52 9815 . 2000 1.1815=65 9717 lOi . . 2042 1.1759=58 &c 9815 . 2042 1.1857=72 CALCULATIONS AND TABLES. 435 When caaming tables are required for reeds with odd porters, the logarithms for these reeds are found in the table on a line with the complete hundreds, and below the number of odd porters, and managed as with the half setts in the preceding example. In this manner may caaming tables be made for any fabric that can be proposed, when the yarn is gristed by the number of hanks or heers in the pound; but when the yarn is grist- ed by the weight of a spyndle, half spyndle, or hank, the loo-arithm of the reed must always be subtracted from the constant quantity, as the proportion in this case, is inverse. Example of a caaming table for clear lawn, whose fabric is made by weaving 2 oz. per hesp or half spyndle, in a 1200 reed. Reduce the ounces to drams, which are 32 ; then the sum of the logarithms of 1200 and 32 is 3663, which is a con- stant number from which the logarithms of the other setts are to be subtracted. Thus, Constant Number, 3663 Logarithm of 600= 1556 2507=128 dr8.=8 oz. 6001=3663 1625 2038=109 do.=6 oz. 13 drg. 700=3663 1690 1973=94 do.=5 oz. 14 drs &c. In like manner may caaming tables be made for English reeds; for it is only necessary to annex the nearest Nos. of the English counts found in Table VI. to the grists of yarn, suitable to the reeds on 37 inches; or the intermediate setts of the former may be ascertained sufficiently accurate* by proportioning them to the odd porters of the latter. 436 ART OF WEAVING. TABLE VL REEDS. u o a. Hund. u o on 37 «»Log. Log. Log. Log, Log. Log. S eg UO inches. bund. 1 por. 2 por. 2L por. 3 por. 4 por. n 6 100 0000 0158 0292 0352 0408 0510 n 10 200 0602 0684 0760 0795 0830 0894 10 16 300 0954 1010 1061 1088 1112 1159 13 22 400 1204 1246 1286 1306 1324 1462 161 26 500 1397 1432 1464 14S0 1496 1526 20 32 600 1556 1584 1612 1628 1639 1664 23 38 700 1690 1714 1738 1750 1760 1784 26 44 800 1806 1827 1848 1858 1868 1888 29i 48 900 1908 1927 1946 1955 1964 1982 33"^ 54 1000 2000 2017 2034 2042 2050 2066 36 60 1100 2083 2098 2113 2121 2128 2143 39i 64 1200 2158 2172 2186 2193 2201 2214 42i 70 1300 2227 2241 2254 2260 2267 2279 46 76 1400 2292 2304 2316 2322 2328 2340 49 82 1500 2352 2363 2375 2380 2386 2397 52| 86 1600 2408 2419 2429 2434 2440 2450 56 92 1700 2460 2471 2481 2486 2491 2500 59 98 1800 2510 2520 2529 2534 2539 2548 621 102 1900 2557 2566 2575 2580 2584 2593 651 108 2000 2602 2610 2619 2623 2627 2636 69 114 2100 2644 2652 2660 2664 2668 2676 72 118 2200 2684 2692 2700 2704 2708 2715 751 124 2300 2723 2730 2738 2742 2745 2758 781 130 2400 2760 2767 2774 2778 2781 2788 82 134 2500 2795 2802 2809 2813 2816 2823 85 140 2600 2829 2836 2843 2846 2849 2856 881 146 2700 2862 2869 2875 2878 2881 2888 92 152 2800 2894 2900 2906 2909 2912 2918 95 156 2900 2924 2930 2936 2939 2942 2948 981 162 3000 2954 2960 2965 2968 2971 2977 102 168 3100 2982 2988 2993 2996 2999 3004 105 172 3200 3010 3015 3021 3023 3026 3031 CALCULATIONS AND T/iBLES. 437 TABLE VII. NUMBERS OF COTTON YARN. Log. 0000 0301 0477 0602 0698 0778 0845 0903 0954 1000 1041 1079 1114 1146 1176 1204 1230 1255 1278 1301 1322 1342 1361 1380 1398 1415 1431 1447 1462 1477 1491 1505 1518 No. Log- 34 1531 35 1544 36 1556 37 1568 38 1579 39 1591 40 1602 41 1612 42 1623 43 1633 44 1643 45 1653 46 1662 47 1672 48 1681 49 1690 50 1699 51 1707 52 1716 53 1724 54 1732 55 1740 56 1748 57 1755 58 1763 59 1770 60 1778 61 1785 62 1792 63 1799 64 1806 65 1812 66 1819 i No. } I 67 i 68 i 69 \ 70 ; 71 I 72 i 73 I 74 J 75 I 76 i 77 I 78 I 79 J 80 i 81 i 82 \ 83 i 84 I 85 ? 86 \ 87 I 88 { 89 90 i 91 I 92 i 93 I 94 ; 95 \ 96 \ 97 \ 98 5 99 Log. 1826 1832 1838 1845 1851 1857 1863 1869 1875 1880 1886 1892 1897 1903 1908 1913 1919 1924 1929 1934 1939 1944 1949 1954 1959 1963 1968 1973 1977 1982 1986 1991 1995 No. 100 101 102 103 104 105 106 107 i 108 109 110 111 i 112 i 113 I 114 ; 115 I 116 J 117 I 118 } 119 I 120 \ 121 { 122 ; 123 J 124 I 125 5 126 \ 127 s 128 I 129 i 130 { 131 ' !32 Log. 2000 2004 2008 2012 2017 2021 2025 2029 2033 2037 2041 2045 2049 2053 2056 2060 2064 2068 2071 2075 2079 2082 2086 2090 2093 2096 2100 2103 2107 2110 2113 2117 2120 4S8 ART OF WEAVING. TABLE VII. CONTINUED. No. Log. I No. i Log. 1 No. Log. 5 No. Log. 133 2123 1 166 2220 \ 199 2298 \ 232 2365 134 2127 1 167 2222 J 200 2301 i 233 2367 135 2130 j 168 2225 1 201 2303 234 2369 136 2133 1 169 2227 j 202 2305 235 2371 137 2136 1 170 2230 ! 203 2307 i 236 2373 138 2139 1 171 2232 1 204 2309 I 237 2374 139 2143 1 172 2235 j 205 2311 ) 238 2376 140 2146 1 173 2238 i 206 2313 1 239 2378 141 2149 i 174 2240 I 207 2315 i 240 2380 142 2152 : 175 2243 i 208 2318 ! 241 2382 143 2155 i 176 2245 i 209 2320 i 242 2383 144 2158 i 177 2247 i 210 2322 i 243 2385 145 2161 i 178 2250 i 211 2324 i 244 2387 146 2164 ' 179 2252 i 212 2326 ; 245 2389 147 2167 i 180 2255 I 213 2328 i 246 2391 148 2170 i 181 2257 i 214 2330 I 247 2392 149 2173 182 2260 i 215 2332 248 2394 150 2176 183 2262 216 2334 249 2396 151 2178 184 2264 217 2336 250 2398 152 2181 185 2267 218 2338 251 2399 153 2184 186 2269 219 2340 252 2401 154 2187 187 2271 220 2342 253 2403 155 2190 188 2274 221 2344 i 254 2405 156 2193 189 2276 222 2346 i 255 2406 157 2195 190 2278 : 223 2348 : 256 2408 158 2198 191 2281 i 224 2350 : 257 2410 159 2201 : 192 2283 ; 225 2352 ; 258 2411 160 2204 : 193 2285 ; 226 2354 i 259 2413 161 2206 : 194 2287 ! 227 2356 : 260 2415 l62 2209 195 2290 \ 228 2358 1 261 2416 l63 2212 i 196 2292 1 229 2359 1 262 2418 l64 2214 ; 197 2294 J 230 2361 j 263 2420 lb5 2217 i 198 2296 i 231 2363 J 264 2421 CALCULATIONS AVD TABLES. 489 Another pi-actical method of making caaming tables may be derived from the following property of numbers : — If any square number be divided by its root, and to the square adding the quotient, and this sum divided by the same root, and the quotient added to the said sum, the re- sult will be the square of a number greater by unity than the given root. For example: — 4) 16, is the square of 4, 4 4)20 5 5)25, is the square of 5, 5 5)30 6 36, is the square of 6, &c. Having fixed on the grist of yarn for the given sett of reed, as before, divide the grist of the yarn by the complete hundreds of the reed, and to the dividend add the quo- tient ; this sum is the grist of yarn for the next half sett. Divide the grist thus found by the same complete hundreds, and add the quotient as before, and the sum vydll be the grist of yarn, answering the next full sett. This operation is to be repeated at every full sett, always dividing the grist of yarn for any full sett, by that sett, both for the half, and full sett immediately following : But in carrying the table below the given sett, the quotients must always be subtracted. 440 ART OF WEAVING, Take the foregoing Example, which has been ah'eady wrought by logarithms, where No. 75 makes a 1200 jaconet. 12)75 add 6.25 12| 13 131 14 141 15 15| 16 16^ , 17 And for descenc the given 12)75 sub. 6.25 ling below sett. 12)81.25 for a add 6.77 13)88.02 ^ add 6.77 12)68.75 for 11^ sub. 5.73 13)94.79 ^ add 7.29 11)63.02 . sub. 5.73 _ 11 14)102.08 ^ add 7.29 11)57.29 sub. 5.20 ^ 101 14)109.37 _ add 7.8 10)52.09 sub. 5.2 _ 10 15)117.17 _ add 7.8 10)46.89 sub. 4.69 ^ 9| 15)124.97 ™ add 8.33 42.20 &c. ^ 9 16)133.30 _ qdd 8.33 16)141.63 ™ add 8.85 150.48 _ &c. From the above specimen it appears, that the last quo- tient of one sett, and first quotient of the sett following, are always the >5ime numbers, so that one division only is necessary for each full sett. CALCULATIONS AND , TABLES. 441 AN EXAMPLE FOR LINEN YARN. Suppose 16 oz. per spyndle, or 8 oz. per hesp, to work 211 a 600 clear lawn ; it is required to form a caaming table for the different setts of the same fabric. First find in Table I. the number of heers in the pound corresponding to 16 oz. per spyndle, which in this case, are 24. Then, 6)24 for add 4 a6 Or decimally tlius 6)24 =600 4 6)28 =6i 6)28 _ add 4)j ■ ^ 7)32f „ ^ 7 4.6 add 4| 7)32.6=7 7)37^ . 7i 4.6 add 5^ 7)37.3=7^ 8)42| . ^ 8 5.3 add 5^ 8)42.6=8 8)48 „ add 6 ^ sh 5.3 48.0=81- 54 ^ ^ 9 &c. ' &c. Thus the number of heers in the pound is found, at each operation, answering the diiferent half setts ; from which the weight of a spyndle or half spyndle will be found by mspection, in Table I. for opposite 32f heers, or rather 33, isll oz. 10.1 drs. per spyndle, the half of which is 5 oz. 13 drs. per hesp ; and so on for any other grist. 3 K 442 ART OF WEAVING. The following setts for several fabrics of cloth are added, merely to exemplify the preceding methods of constructing caaming tables. 1000 Book, or hard muslin, from No. 82 to 110; weft from No. 90 to 110. 900 Cotton Gauze, No. 84 ; weft about the same. 1300 Cotton Shirting, No. 34 ; weft 38. 1200 Pullicate, No. 50; weft about the same. 1200 Gingham, No. 36 ; weft 40 to 44. 1600 Cotton Cambric, on 37 inches, No. TO; weft 96. 1600 Do. do. on 34 do. No. 75 ; do. 104. 1100 Cossie, No. 52; weft about the same. 1500 Linen, on 40 inches, 8 oz. per hesp; weft 7 oz. 1600 Linen Cambric, on 34 inches, 5| oz. per spyndle ; weft 5 oz. 1600 Linen Cambric, French Yarn, 6 oz. per pence ; weft 5^ oz. 1200 Clear Lawn, 2 oz. 10 drs. per hesp ; weft 2 oz. 6 drs. 1400 Do. do. French Yarn, 5 oz. per penee; weft 4^ oz. 2200 Holland, on 40 inches, 8 oz. per spyndle ; weft 7 oz. 1400 Shirt Linen, 6 oz. per hesp ; weft 5 oz. 600 Linen Gauze, 4^ oz. per hesp; weft 5 oz. 1000 Sheeting, three threads in the split, warp 22 ; weft 20. CALCULATIONS AND TABLES. 443 SECT IV. CALCULATION OF WARPS AND WEFTS. LENEN YARN. The length of warps is usually measured by the English ell of 45 inches ; and as the linen reel is 90 inches in cir- cumference, one thread or round of it will make a splitful one ell long. A cut, therefore, will produce 6 porters, a heer 12, a hank 72, a hesp 144, and a spyndle 288, as exhibited in the small Table in page 402. Hence, to find the quantity of warp requisite for any web, we have the following Rule: Multiply the ells by the porters in the web, and divide by 288 for spyndles, 72 for hanks, 12 for heers, or 6 for cuts. Example 1. How many spyndles will it requ ire to make a web 100 ells long, with 62 porters warp ? 100 ells. 62 I^QUl 288)6200(21 sp. 2 hks. 1^ cuts. 576 440 288 72)152(2 144 6)8 Or if there are 6 heers, or one hank, to be wound on each bobbin, to find tlie number of bobbins or runners for the warpei', divide the product of the porters and ells by 72, and the remainder by 12, for heers. 4'4<4 ART OF WEAVING. Example 2. How much warp will it require to make 144 ells of a 1200 seven-eighths clear lawn? 8400 First, 1200X7=8400, and =1050 splits, or 32^ porters ; o to which may be added, 3 porters more, to uphold the breadth in bleaching, &c. Then, 144 55 720 720 7920 add 72 for the half porter. P 72)7992(111 hks. or bobbins. 72 79 72 72 72 To these must be added the allowance for waste in reeling, winding and warping, which, for linen yarn, is commonly 5 per cent. When the porters and spyndles are given to find the eljs, multiply the number 288 by the spyndles, and divide by tiie porters in the warp. CALCULATIONS AND TABLES. 445 If I have 20 spyndles of yarn that will ai)3\\er a 1200 linen, how many ells will it make, allowing 62i porters ? 288 Or thus, 288 20 20 12.5)5760.0(922*3- ells. 5625 62^ 5760 2" 2 1350 1250 125)11520(92 1125 100=3^ 270 250 20=3. But the fraction and four ells more may be deducted for waste, as mentioned above ; which will leave 88 ells nett for the length of the web. If it were required to calculate the warp bi the yard of 36 inches, instead of the ell 45, we must mibstitute the number 360 for 288 ; for 36 : 45 : : 288 : 360. Let the first example be resumed, in which 100 ells will produce 125 yards ; thus, 125 yards. 62 250 750 36.0)775.0(21 sp. 2 liks. U cut, as before. 72 55 36 19 4 hanks. 36)76(2 72 4=A=i-Acutt. 446 ART OF WEAVING. COTTON WARPS. It has been already shown, that the spyndle of cotton produces 302.4 porters one ell long; consequently, the No. or hank will give 16 porters and 16 splits, or decimally, 16.8. Hence, to find the spyndles when the ells and por- ters are given. Multiply the ells and porters together, and divide by 302.4 for spyndles, and the remainder by 16.8 for hanks, and 24 for skeins. Example 1. How many spyndles will it require for a warp of 146 ells, with 88 porters ? 146 ells. 88 porters. 1168 1168 302.4)12848.0(42 sp. 8 hks. 5i skeins. 12096 7520 6048 168)1472(8 1344 24) 128(5 i 120 8=i CALCULATIONS AND TABLES. 447 Example 2. How many spyndles will it take to make 100 ells of a web, with 92 porters and 12 splits? 12 splits is |- of a porter ; then, 100 92 Or decimally thus, 92.6 100 iuijx^__ gQ ^^^ J 2 ^pj.^g_ 302.4)92600(30, &c. 3 302.4.)9260.0(30 sp. 11 liks. 11 sk. 9072 168)1880(11 168 200 168 24)32(1^ 24 Or, to avoid fractions, divide the product of the ells and porters by 302, and the remainder by 18, and the result will be sufficiently near for practice. But if six Nos. or hanks of the warp are to be wound on each bobbin, the number of bobbins, and consequently the quantity of yarn necessary for any cotton web, may be found sufficiently correct, by the following rule : — Multiply the ells and porters together, as before, and cut off the two right hand figures of the product ; then the figures on the left will be the number of bobbins or run- ners, and those cut off will be the decimal parts of a spyndle. In the first example, the product of the ells and por- ters is 12848, which, by cutting off 48, the two right hand figures, gives 128 bobbins and .48 of a fraction. 448 ART OF WEAVING. which multiphed by 18 and 7, and the two decimal figures cut ofF at each product, gives 8 hks. 4| skeins. The allowance that is usually made for waste in winding and wai'ping linen yarn, should also be sufficient to uphold cotton warps, though calculated by the rules here laid down ; for linen yarn is fully more liable to waste in tlie different stages of manufacture, than cotton, not only in each operation, but in boiling and washing it shrinks con- siderably, which cotton yarn is not subject to. Besides, when the yarn is wound from the cops, which saves the loss that takes place in reeling, the allowance for waste should not be so much as above stated. However, as 5 per cent, is commonly allowed for cotton warps as well as hnen, they may be calculated by the rules there given, only, instead of dividing by 12 for heers, divide by 16 for hanks or Nos. ; Jilthough the allowance for waste will de- pend on the quality of the yarn. 3. For example, the product of the ells and porters in the last Example is 12848 ; then, 288)12848(44 sp. 11 hks. 1152 1328 1152 16)176(11 16 16 16 When odd splits occur along with the porters, as in the second Example, they may be reduced to the decimal of a porter by inspection, thus : divide them by 2, supposing a cipher annexed when their number is odd. So the deci- mal of 12 splits is .6 ; of 13, is .65, &c. But to avoid CALCULATIONS AND TABLES. 449 decimals, the porters may be reduced to splits, adding the odd ones, and then multiplying by the ells; but the pro- duct is to be divided by 20, to reduce them again to por- ters, before the division takes place. 4. Suppose for a Gingham, 120 ells long, tliere are 10 porters red, 7 porters and 12 splits blue, 12 porters and 8 splits orange, and 30 porters white; what quantity of warp, of each kind, is requisite for the web? 120 10 Red. 120 . 3 sks 7.6 Blue. 302.4)1200.0(3 sp. 17 hks 3. 9072 720 840 168)2928(17 hks. 168 302.4)912.0(3 sp. hks. 2 sks. 9072 1248 1176 24)48(2 48 24)72(3 sks. 72 120 120 12.4 Orange. 30 White. 480 302.4)3600.0( 1 1 sp.l6 hks.2 sks 1440. 4 sks. 3024 302.4)1488.0(4 sp. 16 hks. 5760 12096 3024 168)2784(16 168)2736(16 168 168 1104 1056 1008 1008 24)96(4 24)48(2 96 48 a L 450 ART OF WEAVING. That is, 3 spys. 17 hks. 3 sks. red. 3 ... ... 2 ... blue. 4 ... 16 ... 4 ... orange. 11 ... 16 ... 2 ... white. 23 ... 14 ... 4 ... in all. For proof, say, as 302.4 : 60 porters : : 120 : 23 sps. 14 hks. 4 sks. 5. To find the quantity of warp, of both kinds, in 99 ells of a 1200 stripe, same as the annexed pattern. 21 5 6 10 6 5 21 splits splits splits splits splits splits splits fine. coarse. fine. coarse. fi«e. coarse. fine. By examining the pattern, it will be found to contain 54 splits fine, and 20 splits coai'se, in one set of the draught : their sum is 74. Suppose 93 porters, or 1860 splits warp in the web : then, 74U860(25 148 380 370 10 splits over. To the 10 splits of remainder, 4 more may be added, which will make 14 splits for selvages. Then 54, the splits of fine in the draught, multiplied by 25, the times the draught is repeated, is 1350, to which add the 14 splits of selvages, and you will have 1364, or 68 porters and 4 splits fine. Again, as there are nett 20 splits of coarse, the whole of the coarse in the web will be 25 porters. CALCULATIONS AND TABLES. 451 Then, 68.2 por. 99 ells. Again, 99 25 6138 6138 495 198 302.4)6751.8(22 sp. 5 hks. 302.4)2475.0(8sp.3hks.2|sks, 6048 7038 6048 168)990(5 840 61 sks. 24)150(61 144 24192 168)558(3 504 24)54(2:1 48 But, if the stripes be woven with 4 threads in the split, the spyndles of coarse must be doubled; so that, in the above example, there would be 16 spyndles, 6 hanks, 4| skeins. When the porters and spyndles are given to find the ells, multiply the number 302.4 by the spyndles, and di- vide by the porters in the warps. Note. In this multiplication, there will always be a deci- mal in the product, for which there must be a cypher an- nexed to the divisor. 45^ ART OF WEAVIxN'G. 6. Suppose 24 spyndles of warp and 63 porters, how many ells? 302.4 24 12096 6048 63.0)7257.6(115 ells. 630 957 630 3276 3150 126 But the fraction and 5 ells may be allowed for waste, as formerly noticed, which will leave 110 ells for the nett length. To find the number of ells in any bundle of yarn, or quantity of cops, the weight being given, without regard- ing the spyndles. Multiply the Nos. of the yarn, the pounds in the quan- tity of yarn, and the number 16.8 together, for a dividend, and divide by the porters; the result will be the ells in the quantity. CALCULATIONS AND TABLES. 453 7. How many ells will a 5 lb. bundle of No. 84, or 5 lb. of cops produce, supposing 62 porters? 16.8 84 672 1344 1411.2 5 1b. 62)7056.0(113 ells, answer. 62 85 62 236 186 50 To find what weight of cops will make any web, without regard to the spyndles, the ells, porters, and Nos. of the yarn being given. Multiply the ells and porters together for a dividend, and the Nos. of the yarn by 16.8, for a divisor; the quo- tient is the weight required. 454 ART OF WEAVING. 8. What weight of cops, No. 120, will make 99 ells of a web, in v/hich there are 93 porters ? 93 99 16.8 837 120 837 201610) 9207(4 lb. 8064 1143 16 oz. 2016)18288(9 18144 144 16 drains. 8G4 144 2016)2304(1 2016 2S8z=/^ That is, 4 lb. 9 oz. l^^^- drams. If it were required to calculate the length of v/arps in yards of 36 inches, the product of the porters and yards is divided by 378 for spyndles ; by 21 for Nos. or hanks: and by 3 for skeins. For, 36 : 45 : : 302.4 : 378. CALCULATIONS AND TABLES. 455 Example. Required the warp for 125 yards, with 93 porters ? 125 yards. 93 375 1125 378)11625(30 sp. 13 hanks. 4 sks. 1134 21)285(13 21 75 63 3)12 In calculating whips, multiply the ells by the number of needles, and divide by 20 for the porters ; then proceed as in the foregoing examples. 9. How many spyndles will 800 ells require, with 63 needles ? 63 800 210)504010 302.4)2520.0(8 sp. 6 hks. 24192 168)1008(6 1008 456 ART OF WEAVING. WARP TABLE. ELLS. 1. n 3. 4. 5. sps. liks. JU 1 o sps. hks. JL, 17 sps hks. J_ 1 6 sps. hks. _i_ ^ 1 6 sps. hks. _i_ 1 6 40 2 8 5 7 8 10 12 8 41 2 9 5 2 7 11 10 4 12 13 42 2 10 5 4 7 14 10 8 13 2 43 2 11 5 6 8 1 10 12 13 7 44 2 12 5 8 8 4 11 13 12 45 2 13 5 10 8 7 11 4 14 1 46 2 14 5 12 8 10 11 8 14 6 47 2 15 5 14 8 13 11 12 14 11 48 3 6 9 12 15 49 3 1 6 2 9 3 12 4 15 5 50 3 2 6 4 9 6 12 8 15 10 51 3 3 6 6 9 9 12 12 15 15 52 3 4 6 8 9 12 13 16 4 53 3 5 6 10 9 15 13 4 16 9 54 3 6 6 12 10 2 13 8 16 14 55 3 7 6 14 10 5 13 12 17 3 56 3 8 7 10 8 14 17 8 57 3 9 7 2 10 11 14 4 17 13 58 3 10 7 4 10 14 14 8 2 59 3 11 7 6 11 1 14 12 7 60 3 12 7 8 11 4 15 12 61 3 13 7 10 11 7 15 4 1 1 62 3 14 7 12 11 10 15 8 1 6 63 3 15 7 14 11 13 15 12 1 11 64 4 8 12 16 2 65 4 1 8 2 12 3 16 4 2 5 66 4 2 8 4 12 6 16 8 2 10 67 4 3 8 6 12 9 16 12 2 15 68 4 4 8 8 12 12 17 3 4 69 4 5 8 10 12 15 17 4 3 9 70 4 6 8 12 13 2 17 8 3 14 71 4 7 8 14 13 5 17 12 4 3 72 4 8 9 1 13 8 1 4 8 73 4 9 9 2 ; 13 11 10 4 4 13 74 4 10 9 4 1 13 14 1 8 5 2 CALCULATIONS AND TABLES. 457 WARP TABLE. ELLS. 10. 20. 30. 40. 100. sps. hks. _L. ^ 1 6 sps. hks. _i_ sps, hks. _'_ sps. hks. 1 sps. hks. _i^ 40 1 7 2 14 4 3 5 10 13 16 41 1 7 10 2 15 4 4 4 14 5 ]2 8 14 4 4 42 1 8 4 2 16 8 4 6 12 5 15 14 10 8 43 1 8 14 2 17 12 4 8 10 5 17 8 14 16 12 44 1 9 8 3 10 4 10 8 6 2 15 5 45 1 10 2 3 2 4 4 12 6 6 4 8 15 11 4 46 1 10 12 3 3 8 4 14 4 6 7 15 17 8 47 1 11 6 3 4 12 4 16 2 6 9 8 16 5 12 48 1 12 3 6 5 6 12 16 12 49 1 12 10 3 7 4 5 1 14 6 14 8 17 4 50 1 13 4 3 8 8 5 3 12 6 17 17 6 8 51 1 13 14 3 9 12 5 5 10 '7 1 8 17 12 12 52 1 14 8 3 11 5 7 8 7 4 18 1 53 1 15 2 3 12 4 5 9 6 7 6 8 18 7 4 54 1 15 12 3 13 8 5 11 4 7 9 18 13 8 55 1 16 6 3 14 12 5 13 2 7 11 8 19 1 12 56 1 17 3 16 5 15 7 14 19 8 57 1 17 10 3 17 4 5 16 14 7 16 8 19 14 4 58 2 4 4 8 6 12 8 1 20 2 8 59 2 14 4 1 12 6 2 10 8 3 8 20 8 12 60 2 1 8 4 3 6 4 8 8 6 20 15 61 2 2 2 4 4 4 6 6 6 8 8 8 21 3 4 62 2 2 12 4 5 8 6 8 4 8 11 21 9 8 63 2 3 6 4 6 12 6 10 2 8 13 8 21 15 12 64 2 4 4 8 6 12 8 16 22 4 65 2 4 10 4 9 4 6 13 14 9 8 22 10 4 66 2 5 4 4 10 8 6 15 12 9 3 22 16 8 67 2 5 14 4 11 12 6 ]7 10 9 5 8 23 4 14 68 2 6 8 4 13 7 1 8 9 8 23 11 69 2 7 2 4 14 4 7 3 6 9 10 8 23 17 4 70 2 7 12 4 15 8 7 5 4 9 13 24 5 8 71 2 8 6 4 16 12 7 7 2 9 15 8 24 11 12 72 2 9 5 7 9 10 25 73 2 9 10 5 1 4 7 10 14 10 2 8 25 6 4 74 2 10 4 5 2 8 7 12 12 10 5 25 12 8 3 M 458 ART OF WEAVING. WARP TABLE. ELLS. 1. 2. 3. 4. 5. sps tLks. ' 1 6 sps. iilcs. 1 sps. hks. _i^ sps. hks. _'_ ^ 1 n sps. bks. _i_ 75 4 11 9 6 14 1 1 13 1 5 7 76 4 12 9 8 14 4 1 1 1 5 12 77 4 13 9 10 14 7 1 1 4 1 6 1 78 4 14 9 12 14 10 1 1 8 1 6 6 79 4 15 9 14 14 13 1 1 12 1 6 11 80 5 10 15 1 2 1 7 81 5 1 10 2 15 3 1 2 4 1 7 5 82 5 2 10 4 15 6 I 2 8 1 7 10 83 5 3 10 6 15 9 1 2 12 1 7 15 84 5 4 10 8 I 15 12 1 3 1 8 4 85 5 5 10 10 15 15 1 3 4 1 8 9 86 5 6 10 12 16 2 1 3 8 1 8 14 87 5 7 10 14 16 5 1 3 12 1 9 3 88 5 8 11 16 8 1 4 1 9 8 89 5 9 11 2 16 11 1 4 4 1 9 13 90 5 10 11 4 16 14 1 4 8 1 10 2 91 5 11 11 6 17 1 1 4 12 1 10 7 92 5 12 11 8 17 4 1 5 1 10 12 93 5 13 11 10 17 7 1 5 4 1 11 1 94 5 14 11 12 17 10 1 5 8 1 11 6 95 5 15 11 14 17 13 1 5 12 1 11 11 96 6 12 1 1 6 1 12 97 6 1 12 2 1 3 1 6 4 1 12 5 98 6 2 12 4 1 6 1 6 8 1 12 10 99 6 3 12 6 1 9 1 6 12 1 12 15 100 6 4 12 8 1 12 1 7 1 13 4 101 6 5 12 10 1 15 1 7 4 1 13 9 102 6 6 12 12 1 1 2 1 7 8 1 13 14 103 6 7 12 14 1 1 5 1 7 12 1 14 3 104 6 8 13 1 1 8 1 8 1 14 8 105 6 9 13 2 1 1 11 1 8 4 1 14 13 106 6 10 13 4 1 1 14 1 8 8 1 15 2 107 6 11 13 6 12 1' 1 8 12 1 15 7 108 6 12 13 8 1 2 4 -1 9 1 15 12 109 6 13 1 13 10 1 2 7 19 4 1 16 1 CALCULATIONS AND TABLES. 459 WARP TABLE. ELLS. 10. 20. 30. 40. 100. sps. hks. _L. sps. hks. _l sps. hks. 1 sps. hks. 1 sps. hks. Jf 1^ 75 2 10 14 5 3 12 7 14 10 10 7 8 26 12 76 2 11 8 5 5 7 16 8 10 10 26 7 77 2 12 2 5 6 4 8 6 10 12 8 26 13 4 78 2 12 12 5 7 8 8 2 4 10 15 27 1 8 79 2 13 6 5 8 12 8 4 2 10 17 8 27 7 12 80 2 14 5 10 8 6 11 2 27 14 81 2 14 10 5 11 4 8 7 14 11 4 8 28 2 4 82 2 15 4 5 12 8 8 9 12 11 7 28 8 8 83 2 15 14 5 13 12 8 11 10 11 9 8 28 14 12 84 2 16 8 5 15 12 8 13 8 11 12 29 3 85 2 17 2 5 16 4 8 15 6 11 14 8 29 9 4 86 2 17 12 5 17 8 8 17 4 11 17 29 15 8 87 3 6 6 12 9 1 2 12 1 8 30 3 12 88 3 1 6 2 9 3 12 4 30 10 89 3 1 10 6 3 4 9 4 14 12 6 8 30 16 4 90 3 2 4 6 4 8 9 6 12 12 9 31 4 8 91 3 2 14 6 6 12 9 8 10 12 11 8 31 10 12 92 3 3 8 6 1 9 10 8 12 14 31 17 93 3 4 2 6 8 4 9 12 6 12 16 8 32 5 4 94 3 4 12 6 9 8 9 14 4 13 1 32 11 8 95 3 5 6 6 10 12 9 16 2 13 3 8 32 17 12 96 3 6 6 12 10 13 6 33 6 97 3 6 10 6 13 4 10 1 14 13 8 8 33 12 4 98 3 7 4 6 14 8 10 3 12 13 11 34 8 99 3 7 14 6 15 12 10 5 10 13 13 8 34 6 12 100 3 8 8 6 17 10 7 8 13 16 34 13 101 3 9 2 7 4 10 9 6 14 8 35 1 4 102 3 9 12 7 1 8 10 11 4 14 3 35 7 8 103 3 10 6 7 2 12 10 13 2 14 5 8 35 13 12 104 3 11 7 4 10 15 14 8 36 2 105 3 11 10 7 5 4 10 16 14 14 10 8 36 8 4 106 3 12 4 7 6 8 11 12 14 13 36 14 8 107 3 12 14 7 7 12 11 2 10 14 15 8 37 2 12 108 3 13 8 7 9 11 4 8 15 37 9 109 3 14 2 7 10 4 11 6 6 15 2 8 37 15 4 460 ART OF WEAVING. WARP TABLE. ELLS. 110 111 112 113 114 115 116 117 118 il9 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 1. sps. hks. 1 6 14 6 15 7 7 7 7 7 7 7 7 7 7 7 10 7 11 7 12 7 13 7 14 7 15 8 8 8 8 8 8 8 8 8 8 8 9 8 10 8 11 8 12 8 13 8 14 8 15 9 sps. hks, JL _1 1 6 13 12 13 14 14 14 14 14 14 14 10 14 12 14 14 15 15 15 15 15 15 10 15 12 15 14 16 16 2 16 4 16 6 16 8 16 10 16 12 16 14 17 17 17 17 17 17 10 17 12 17 14 10 3. sps. hks. _l_ ^^ 1 r. 10 13 3 6 9 12 15 2 5 8 11 4 14 5 1 4 7 10 13 3 6 9 6 12 6 15 7 2 7 5 7 8 7 11 7 14 8 1 8 4 8 7 8 10 8 13 9 4. 5. sps. hks. _i_ sps. hks. _J_ ] c. 1 9 8 1 9 12 1 10 1 10 4 1 10 8 1 10 12 1 11 1 11 4 1 11 8 1 11 12 1 12 1 12 4 1 12 8 1 12 12 1 13 1 13 4 1 13 8 1 13 12 1 14 1 14 4 1 14 8 1 14 12 1 15 1 15 4 1 15 8 1 15 12 1 16 1 16 4 1 16 8 1 16 12 1 17 1 17 4 1 17 8 1 17 12 2 16 6 16 11 17 17 5 17 10 17 15 4 9 14 1 3 1 1 2 2 2 3 3 3 4 4 4 4 5 5 5 6 6 8 6 13 7 2 7 7 7 12 8 1 8 6 8 11 9 8 13 2 7 12 1 6 11 5 10 15 4 9 14 3 CALCULATIONS AND TABLES. 461 WARP TABLE. ELLS. 1 10. 20. 30. 40. 100. sps. hks. _i_ ^ 1 6 sps. hks. _L 1 *^ I (i 1 sps. hks. _.L 1. 16 sps. hks. 1 TTT sps. hks. JL 1 6 110 3 14 12 7 11 8 11 8 4 15 5 38 3 8 111 3 15 6 7 12 12 11 10 2 15 7 8 38 9 12 112 3 16 7 14 11 12 15 10 38 16 113 3 16 10 7 15 4 11 13 14 15 12 8 39 4 4 114 3 17 4 7 16 8 11 15 12 15 15 39 10 8 115 3 17 14 7 17 12 11 17 10 15 17 8 39 16 12 116 4 8 8 1 12 1 8 16 2 40 5 117 4 1 2 8 2 4 12 3 6 16 4 8 40 11 4 118 4 1 12 8 3 8 12 5 4 16 7 40 17 8 119 4 2 6 8 4 12 12 7 2 16 9 8 41 5 12 120 4 3 8 6 12 9 16 12 41 12 121 4 3 10 8 7 4 12 10 14 16 14 8 42 4 122 4 4 4 8 8 8 12 12 12 16 17 42 6 8 123 4 4 14 8 9 12 12 14 10 17 1 8 42 12 12 124 4 5 8 8 11 12 16 8 17 4 43 1 125 4 6 2 8 12 4 13 6 17 6 8 43 7 4 126 4 6 12 8 13 8 13 2 4 17 9 43 13 8 127 4 7 6 8 14 12 13 4 2 17 11 8 44 1 12 128 4 8 8 16 13 6 17 14 44 8 129 4 8 10 8 17 4 13 7 14 17 16 8 44 14 4 130 4 9 4 9 8 13 9 12 18 1 45 2 8 131 4 9 14 9 1 12 13 11 18 18 3 8 45 8 12 132 4 10 8 9 3 13 13 8 18 6 45 15 133 4 11 2 9 4 4 13 15 6 18 8 8 46 3 4 134 4 11 12 9 5 8 13 17 4 18 11 46 9 8 135 4 12 6 9 6 12 14 1 2 18 13 8 46 15 12 136 4 13 9 8 14 3 18 16 47 4 137 4 13 10 9 9 4 14 4 14 19 8 47 10 4 138 4 14 4 9 10 8 14 6 12 19 3 47 16 8 139 4 14 14 9 11 12 14 8 10 19 5 8 48 4 12 140 4 15 8 9 13 14 10 8 19 8 48 11 141 4 16 2 9 14 4 14 ]2 6 19 10 8 48 17 4 142 4 16 12 9 15 8 14 14 4 19 13 49 5 8 143 4 17 6 9 16 12 14 16 2 19 15 8 49 11 12 144 5 10 15 20 50 462 ART OF WEAVING. CALCULATION OF WEFTS. The quantity of warp in any web or piece of cloth can be found by the rules already given, to any degree of ac- curacy ; but the same accuracy in the calculation of wefts is not so easily obtained : for this process depends, in ge- neral, on the number of shots on the glass, which, as al- ready observed, is contained 5.4 times in an inch for reeds on 37 inches; and therefore, a fractional part of a shot, which cannot be well ascertained, may amount to a con- siderable error in the length of a web. Thus, for instance, if there were 36 spyndles of warp in a web woven in a 1200 reed, and counting 12 shots on the glass, it would be presumed that there were 36 spyndles of weft also. If 13 shots, that there were a twelfth moi-e, or 39 spyndles; and if only 11, a twelfth less or 33; being 3 spyndles of difference for each shot. Hence it is evident that when a larger measure can be easily applied, the risk of error would be thereby diminished, so that an inch, for example, would reduce such errors in the ratio of 5.4 to 1. When the number of shots on the glass and the breadth of the cloth are given, the quantity of weft on one yard will be found by the following rule : — Multiply the shots on the glass, the inches in the breadth, and the number 5.4 together, and divide by the number of yards in a skein, heer, hank, or spyndle. Or, when the number of shots in an inch can be ascer- tained, multiply the shots in an inch, by the inches in the breadth, and divide as above. Example. Suppose a piece of cloth 60 inches broad, with 18 shots on the glass, to find the Nos. and skeins in a yard, allowing 5 per cent, off the cotton reel for waste. In the small Table, page 407, it will be found that there are 120 yards in a skein, and 840 in a No. or hank ; which CALCULATIONS AND TABLES. 463 after deducting 5 per cent, will leave 114 for the former, and 798 for the latter. Then, 5.4 60 324.0 18 Or thus, 25920 798)5832.0(7 Nos. 3 sks. 3240 skeins. 5486 114)5832.0(51.15 114)346 570 732 132 114 180 114 660 570 90 But the quantity of weft will be found more readily by the following Table. The breadths in inches run alono- the top, from 28 to 63 inclusive, the shots on the glass in the left, and the corresponding shots on an inch in tlie right hand columns. In the body of the Table, below each breadth, are two columns, in the first of which are the yards and hundredth parts of a yard produced from one spyndle, corresponding to the several bi'eadths and number of shots. The second contains the fractional parts of a spyndle on one yard. Although these fractions be all reduced to decimals, for the sake of ease and accuracy of computation ; yet, by at- tending to the following directions, the use of the Table, it 464" ART OF WEAVING. is presumed, will be sufficiently understood, even by those who have no previous knowledge of decimal arithmetic. First, when the number of yards are required which one spyndle of weft will produce, they will be found under the breadth of the cloth on the top, and on a line with the number of shots on the glass, in the left hand column. Thus, for example, under 37 inches, and opposite 16 shots, will be found 4.50 ; which shows that one spyndle of weft will produce 4 yards of cloth, and 50 hundredth parts, or 4| yards of the above breadth and thickness. But, if the number of yards be required from more spyndles than one, multiply the number of yards thus found, by the spyndles, and cut off the two right hand figures from the product; the figures on the left are yards, and those on the right are hundredth parts, as above. FOR EXAMPLE. To find the number of yards 40 inches broad, with 15 shots on the glass, which 24 spyndles will weft ; look in the first column, below 40 inches, and on a line with 15 shots will be found 4.44 Which multiplied by 24 1776 888 is 106.56 That is, 106 yards and 56 hundredth parts of a yard, or half a yard nearly. Secondly, when the quantity of weft on one yard of cloth i.s required, it v/ill be found in the second column, below CALCULATIONS AND TABLES. 465 the breadth, and opposite the number of shots on the glass. Thus, supposuig the cioth 38 inches broad, and IT shots, at an average, on the glass, the number found in the table will be .2425, for the fractional part of a spyndle; which may be reduced to Nos. and skeins, by multiplying by 18 and 7 ; and cutting off four figures from the riarht of each product, as in the following example : — EXAMPLE. Suppose the quantity of weft on 39 yards of doth of the above description, were required; then, Multiplied by ,2425 39 21825 7275 Spyndles, 9.4575 18 Nos. 36600 4575 Skeins, 8.2350 7 1.6450 That is 9 spyndles, 8 Nos. and 1^ skeins nearly. If the cloth be unevenly woven, or thicker in one part than another, take the number of shots on the glass in dif- ferent parts, where it is thickest and thinest, and add them all together; then, their sum divided by the number of times the cloth was glassed, will give, at an average, the shots on the glass. Thus, if there are 12 shots on one part, 15 on another, 13 on a third, and 14 on a fourth; then, 3 N 4-66 ART OF WEAVING. 12, 15, 13 and 14 added together, is 54, which divided by 4, gives 13i shots for the average tliickness. And if the numbers opposite to 13 and 14 shots be added together, and divided by 2, the result will be the quantity answering to 13| shots. If there be not an exact number of sliots on the glass, as will often be the case in coarse cloth, count the shots on fths of an inch, and divide them by 4, and the quotient will give the number of shots on the glass more accurately. Thus, suppose there are more than 7, and less than 8 shots on the extent of the glass, but it is found that there are 29 on fths of an inch ; then 29 divided by 4, will give 7^ shots for the average v/hich may be proportioned for, as in the last example. If the breadth of the cloth should exceed the extent of this table, any two breadths may be taken, which will make up the breadth in question ; observing, when the numbers under spyndles in a yard are to be added, those under yards in a spyndle are to be subtracted. Example. Suppose it were required to find the number of yards produced from one spyndle, and the quantity of weft on one yard of cloth 65 inches broad, and 14 shots on the glass. Here it will easily be observed that 28 and 37 inches will make the given breadth. Then the yards in a spyndle under 28 inches, and opposite 14 shots, are 6.79 and those under 37 inches, and on a line with 14 shots are 5.14; then, 6.79 5.14 1.65 That is 1 yard and .65 hundredth parts. Again, in the column under spyndles on a yard, for 37 inches is .1944, and for 28 is .1471; their sum, which CALCULATIONS AND TABLES. 467 is .3415, is the fractional parts of a spyndle for 65 inches broad. If the breadth of the cloth should not be found on the head of the table, a proportional part of the difference between the numbers in the adjacent columns may be taken: by these means the quantity of weft on any piece of cloth may be ascertained to any degree of accuracy. Thus, suppose 38| inches instead of 38 in the preceding example, to find the weft on 39 yards with 19 shots on the glass. In the table for 39 inches, is .2488 for 38 .2425 difference, 63 3 4)189 |ths 3 47 Added to 38 .2425 gives 38| inches. .2472 which multiplied by 18 and 7, will give the quantity of weft as before. Note. Tliis table is calculated for the cotton standard, with an allowance of one spyndle to 20 for waste; so that, if applied to linen cloth, an additional allowance of 5 per cent, must be made. 468 ART OF WEAVING. WEFT TABLE. ■g 28 in ches. 29 inches. 30 inches. « "Ti ii Yards Parts Yards Parts Yards Parts |.S from a ; of a from a of a ' from a of a c 3 spyndle. : spyndle. j spyodle. spyndle. spyndle. spyndle. 4 23.79 .0420 22.96 .0435 22.20 .0450 21 5 19.03 .0525 18.37 .0544 17.76 .0563 27 6 15.86 .0631 15.31 .0653 ; 14.80 .0675 32 7 13.59 .0736 13.12 .0762 i 12.68 .0788 38 8 11.90 .0841 11.48 .0871 11.10 .0901 43 9 10.57 .0946 10.21 .0980 9.87 .1013 46 10 9.51 .1051 9.18 .1088 8.88 .1126 54 11 8.65 .1156 8.35 .1197 8.07 .1239 59 12 7.93 .1261 7.65 .1306 7.40 .1351 65 13 7.32 .1366 7.07 .1415 6.83 .1464 70 14 6.79 .1471 6.56 .1524 6.34 .1576 76 15 6.34 .1576 6.12 .1633 5.92 .1689 81 16 6.95 .1682 5.74 .1742 5.55 .1802 86 17 6.60 .1787 5.40 .1851 5.22 .1914 92 18 5.28 .1892 5.10 .1959 4.93 .2027 97 19 5.01 .1997 4.83 .2068 4.67 .2139 103 20 4.75 .2102 4.59 .2177 4.44 .2252 108 21 4.53 .2207 4.37 .2286 4.23 .2365 113 22 4.32 .2312 4.17 .2395 4.03 .2477 119 23 4.13 .2417 3.99 .2504 3.86 .2590 124 24. 3.96 .2522 3.82 .2613 3.70 .2703 130 25 3.80 .2627 3.67 .2721 3.55 .2815 135 26 3.66 .2733 3.53 .2830 3.41 .2923 140 27 3.52 .2838 3.40 .2939 3.29 .3040 146 28 3.39 .2943 3.28 .3048 3.17 .3153 151 29 3.28 .3048 3.1G .3157 3.06 .3266 157 30 3.17 .3153 3.06 .3266 2.96 .3378 162 31 3.07 .3258 2.96 .3375 2.86 .3491 167 32 2.97 .3363 2.87 .3483 2.77 .3603 173 CALCULATIONS AND TABLES. 469 WEFT TABLE CONTINUED. 5 31 inches. 32 inches. 33 inches. « -^ Yards Parts Yards Parts Yards Parts J3 ^ o a o from a of a from a of a from a of a 02 a o spyndle. spyndle. spyudle. spyndle. spyndle. spyndle. 4 21.48 .0465 20.81 .0481 20.18 .0495 21 5 17.19 .0582 16.65 .0601 16.14 .0619 27 C 14.32 .0698 13.87 .0721 13.45 .0743 32 7 12.27 .0814 11.89 .0841 11.54 .0867 38 8 10.74 .0931 10.40 .0961 10.09 .0991 43 9 9.55 .1046 9.25 .1081 8.97 .1115 46 10 8.59 .1164 8.32 .1201 8.07 .1239 54 11 7.81 .1280 7.56 .1321 7.34 .1362 59 12 7.16 .1396 6.94 .1441 6.73 .1486 65 13 6.61 .1513 6.41 .1561 6.21 .1610 70 11. 6.13 .1629 5.94 .1681 5.76 .1734 76 15 5.73 .1745 5.55 .1802 5.38 .1858 81 16 5.37 .1862 5.20 .1922 5.05 .1982 86 17 5.05 .1978 4.90 .2042 4.74 .2106 92 18 4.77 .2094 4.62 .2162 4.48 .2229 97 19 4.52 .2211 4.38 .2282 4.25 .2353 103 20 4.30 .2327 4.16 .2402 4.03 .2477 108 21 4.09 .2443 3.96 .2522 3.84 .2601 113 22 3.90 .2560 3.78 .2642 3.67 .2725 119 23 3.73 .2676 3.62 .2763 3.51 .2849 124 24 3.58 .2792 3.47 .2883 3.36 .2973 130 25 3.44 .2909 3.33 .3003 3.23 .3097 135 26 3.30 .3025 3.20 .3123 3.10 .3221 140 27 3.18 .3142 3.08 .3243 2.99 .3344 ■ 146 28 3.06 .3258 2.97 .3363 2.88 .3468 151 29 2.96 .3374 2.87 .3483 2.78 .3592 157 30 2.86 .3491 2.77 .3603 2.69 .3716 [ 162 31 2.77 •3607 2.68 .3723 2.60 .3840 167 32 2.68 .3723 2.60 .3843 2.52 .3964 ! 173 470 ART OF WEAVING. WEFT TABLE CONTINUED. o i 34 in ches. 35 inches. 36 inches. 3D •*" ii Yards Parts Yards Parts Yards Parts o s o from a of a from a of a from a of a JS spyndle. sppidle. spyndle. spyndle. spyndle. spyndle. 4 19.59 .0511 19.12 .0525 18.50 .0540 21 5 15.67 .0638 15.22 .0657 14.80 .0675 27 6 13.06 .0766 12.68 .0788 12.33 .0811 32 7 11.19 .0893 10.87 .0919 10.57 .0946 38 8 9.79 .1021 9.51 .1051 9.25 .1081 43 9 8.71 .1149 8.45 .1182 1 8.22 .1216 46 10 7.83 .1276 7.61 .1314 7.40 .1351 54 11 7.12 .1404 6.92 .1445 6.72 .1486 59 12 6.53 .1531 6.34 .1576 6.17 .1621 65 13 6.03 .1659 5.86 .1708 5.69 .1756 70 14 5.59 .1787 5.43 .1839 5.28 .1892 76 15 5.22 .1914 5.07 .1971 4.93 .2027 81 16 4.90 .2042 4.76 .2102 4.62 .2162 86 17 4.61 .2170 4.48 .2233 4.35 .2297 92 18 4.35 .2297 4.23 .2365 4.11 .2432 97 19 4.12 .2425 4.00 .2496 3.89 .2567 103 20 3.91 .2552 3.80 .2627 3.70 .2702 108 21 3.73 .2680 3.62 .2759 3.52 .2837 113 22 3.56 .2808 3.46 .2890 3.36 .2973 119 23 3.40 .2935 3.31 .3027 3.22 .3108 124 24 3.26 .3061 3.17 .3153 3.08 .3243 130 25 3.13 .3191 3.04 .3284 2.96 .3378 135 26 3.01 .3318 2.93 .3416 2.84 .3518 140 27 2.90 .3446 2.82 .3547 2.74 .3648 146 28 2.79 .3573 2.71 .3678 2.64 .3783 151 29 2.70 .3701 2.62 .3810 2.55 .3918 157 30 2.61 .3829 2.53 .3941 2.46 .4054 162 31 2.53 .3956 2.45 .4073 2.38 .4189 167 32 2.45 .4084 2.38 .4204 ' 2.31 .4324 173 CALCULATIONS AND TABLES. 471 WEFr TABLE CONTINUED. 37 inches. 38 inches. 39 inches. m -^ ii Yards Parts Yards Parts Yards Parts a from a of a from a of a from a of a eg spyndle. spyndle. spyndle spyndle. spyndle. spyndle. 4 18.00 .0555 17.52 .0570 17.08 .0585 21 5 14.40 .0694 14.02 .0713 13.66 .0732 27 6 12.00 .0883 11.68 .0856 11.38 .0878 32 7 10.28 .0972 10.02 .0998 9.76 .1024 38 8 9.00 .1111 8.76 .1141 8.54 .1171 43 9 8.00 .1250 7.79 .1283 7.59 .1317 46 10 7.20 .1388 7.01 .1426 6.83 .1464 54 11 6.54 .1527 6.37 .1569 6.21 .1610 59 12 6.00 .1666 5.84 .1711 5.69 .1756 65 13 5.54 .1805 5.40 .1854 5.25 .1963 70 14 5.14 .1944 5.10 .1997 4.88 .2049 76 15 4.80 .2083 4.67 .2140 4.55 .2169 81 16 4.50 .2222 4.38 .2282 4.27 .2342 86 IT 4.23 .2361 4.12 .2425 4.02 .2488 92 18 4.00 .2500 3.89 .2567 3.79 .2635 97 19 3.79 .2638 3.69 .2710 3.60 .2781 103 20 3.60 .2777 3.50 .2853 3.41 .2928 108 21 3.43 .2916 3.34 .2995 3.25 .3074 113 22 3.27 .3055 3.18 .3138 3.10 .3220 119 23 3.13 .3194 3.05 .3280 2.97 .3367 124 24 3.00 .3333 2.92 .3423 2.84 .3513 130 25 2.88 .3472 2.80 .3566 2.73 .3659 135 26 2.97 .3611 2.70 .3708 2.62 .3806 140 27 2.66 .3750 2.60 .3851 2.53 .3952 146 28 2.57 .3888 2.50 .3994 2.44 .4099 151 29 2.48 .4027 2.41 .4136 2.35 .4245 157 30 2.40 .4166 2.33 .4280 2.27 .4391 162 31 2.32 .4305 2.26 .4422 2.20 .4539 167 32 2.25 .4444 2.19 .4564 2.13 .4684 173 472 ART OF WEAVING. WEFT TABLE CONTINUED. 40 inches. i 1 41 inches. 42 in ches. r ■? !l Yards Tarts Yards Parts Yards Parts .a c from a of a from a of a from a of a W3 C c spyndle. spyndle. 1 spyndle. spyndle. spyndle. spyndle. 4 16.65 .0600 16.24 .0615 15.86 .0630 21 5 13.32 .0750 13.00 .0769 12.68 .0788 27 6 11.10 .0912 10.83 .0923 10.57 .0946 32 7 9.51 .1054 9.28 .1077 9.06 .1103 38 8 8.32 ,1201 8.12 .1231 7.93 .1261 43 9 7.40 .1351 7.22 .1385 7.05 .1419 46 10 6.66 .1501 6.50 .1539 6.34 .1576 54 11 6.05 .1651 5.90 .1693 5.76 .1734 59 12 5.55 .1801 5.41 .1847 5.28 .1892 65 13 5.12 .1952 5.00 .2000 4.88 .2050 70 14 4.75 .2102 4.64 .2154 4.53 .2207 76 15 4.44 .2252 4.33 .2308 4.23 .2364 81 16 4.16 .2402 4.06 .2462 3.96 .2522 86 17 3.92 .2552 3.82 .2616 3.73 .2680 92 18 3.70 .2702 3.61 .2770 3.52 .2837 97 19 3.50 .2853 3.42 .2924 3.34 .2995 103 20 3.33 .3003 3.25 .3078 3.37 .3153 108 21 3.14 .3153 3.09 .3232 3.02 .3310 113 22 3.02 .3303 2.95 .3386 2.88 .3468 119 23 2.89 .3453 2.82 .3540 2.76 .3626 124 24 2.77 .3603 2.70 .3693 2.64 .3783 130 25 2.66 .3753 2.60 .3847 2.54 .3941 135 26 2.56 .3904 2.50 .4001 2.44 .4099 140 27 2.46 .4054 2.40 .4155 2.35 .4256 146 28 2.37 .4204 2.32 .4309 1 2.26 .4414 151 29 2.29 .4354 2.24 .4463 2.18 .4571 157 30 2.22 .4504 2.16 .4617 2.11 .4729 162 31 2.15 .4654 2.09 .4771 2.05 .4887 167 32 2.08 .4805 2.03 .4925 ' 1.98 .5044 173 CALCULATIONS AND TABLES. 473 WEFT TABLE CONTINUED. 43 inches. 44 inches. \ 45 inches. 5-s gj Yards Parts Yards Parts Yards Parts B from a of a from a of a from a of a «3 spyndle. spyndle. spyndle. spyndle. spyndle. spyndle. 4 15.49 .0645 15.13 .0660 1 14.80 .0675 21 5 12.39 .0807 12.11 .0824 11.84 .0844 27 6 10.32 .0968 10.09 .0988 9.82 .1043 32 7 8.85 .1130 8.65 .1153 8.46 .1182 38 8 7.74 .1291 7.57 .1318 7.40 .1351 43 9 6.88 .1452 6.73 .1483 6.58 .1520 46 10 6.19 .1614 6.05 .1648 5,92 .1689 54 11 5.63 .1775 5.50 .1812 5.38 .1858 59 12 5.16 .1937 5.04 .1977 4.93 .2027 65 13 4.77 .2098 4.66 .2142 4.55 .2196 70 14 4.42 .2260 4.32 .2307 4.23 .2364 76 15 4.13 .2421 4.04 .2471 3.94 .2533 81 16 3.87 .2582 3.78 .2636 3.70 .2702 86 17 3.64 .2744 3.56 .2801 3.48 .2871 92 18 3.44 .2905 3.36 .2966 3.39 .3040 97 19 3.26 .3066 3.18 .3131 3.11 .32t0 103 20 3.10 .3228 3.02 .3295 2.96 .3378 108 21 2.95 .3390 2.88 .3460 2.82 .3547 113 22 2.81 .3551 2.75 .3625 2.69 .371.6 119 23 2.69 .3712 2.63 .3790 2.57 .3885 124 24 2.58 .3874 2.52 .3954 2.46 .4053 130 25 2.48 .4035 2.42 .4120 2.37 .4222 135 26 2.38 .4196 2.33 .4284 2.27 .4391 140 27 2.29 .4358 2.24 .4450 2.19 .4560 J46 28 2.21 .4520 2.16 .4613 2.11 .4730 151 29 2.13 .4681 2.08 .4778 2.04 .4898 157 30 2.06 .4842 2.02 ,4943 1.97 .5067 162 31 2.00 .5008 1.95 .5108 1.91 .5236 167 32 1.93 .5165 1.89 .5273 1.85 .5405 173 3o 474 ART OF WEAVING. WEFT TABLE CONTINUED. - .1 46 in ches. 47 inches. 48 inches. M -S" §lj Yards Parts Yards Parts Yards Parts O C 2 ^ e from a of a from a of a from a of a CO a © .a spyiidle. spyndle. spyndle. spyndle. spyndle. spyndle. 4 14.48 .0690 14.17 .0705 13.87 .0720 21 5 11.58 .0863 11.33 .0882 11.10 .0901 27 6 9.65 .1036 9.44 .1058 9.25 .1081 32 ■ 7 8.27 .1208 8.10 .1235 7.93 .1261 38 8 7.24 .1381 7.08 .1411 6.94 .1441 43 9 6.43 .1554 6.39 .1587 6.16 .1621 46 10 5.79 .1726 5.67 .1764 5.55 .1802 54 11 5.26 .1900 5.15 .1940 5.04 .1982 5S 12 4.82 .2072 4.72 .2117 4.62 .2162 65 13 4.45 .2244 4.S6 .2293 4.27 .2342 7C 14 4.13 .2417 4.05 .2470 3.96 .2522 7€ 15 3.86 .2590 3.78 .2646 3.70 .2702 8] 16 3.62 .2762 3.54 .2822 3.47 .2883 8fc 17 3.41 .2935 3.34 .3000 3.27 .3063 9S 18 3.21 .3108 3.15 .3175 3.08 .3243 91 19 3.05 .3280 2.98 .3352 2.92 .3423 lOS 20 2.89 .3453 2.83 .3528 2.77 .3603 lOS 21 2.76 .3626 2.70 .3705 2.64 .3783 11^ 22 2.63 .3798 2.57 .3881 2.52 .3964 IH 23 2.52 .3971 2.46 .4057 2.41 .4144 12^ 24 2.41 .4144 2.36 .4234 2.31 .4324 13( 25 2.31 .4316 2.26 .4410 2.22 .4504 13^ 26 2.22 .4489 2.18 .4587 2.13 .4684 14( 27 2.14 .4662 2.10. .4763 2.06 .4865 14( 28 2.06 .4834 2.02 .4940 1.98 .5045 15] 29 2.00 .5007 1.95 .5116 1.91 .5225 15'- 30 1.93 .5180 1.89 .5292 1.85 .5405 IGS 31 1.87 .5352 1.83 .5469 1.79 .5585 16'- 32 1.81 .5525 1.77 .5645 1 1.73 .5765 Yll CALCULATIONS AND TABLES. 475 WEFT TABLE CONTINUED. 01 j 49 inches. 50 inches. 51 inches. m •^" o 1 « "So j Yarde Parts Yards Parts Yards Parts c S from a of a from a of a from a of a <» c «J spyndle. spyndle. spyndle. 13.32 spyndle. spyndle. spyndle. 4 13.59 .0735 .0750 13.05 .0765 21 5 10.87 .0919 10.65 .0938 10.44 .0957 27 6 9.06 .1103 8.88 .1162 8.70 .1148 32 7 7.77 .1287 7.61 .1313 7.46 .1340 38 8 6.79 .1471 6.66 .1501 6.53 .1531 43 9 6.03 .1655 5.92 .1689 5.80 .1723 46 10 5.43 .1839 5.33 .1877 5.22 .1914 54 11 4.94 .2023 4.84 .2064 4.75 .2105 59 12 4.53 .2207 4.44 .2252 4.35 .2297 65 13 4.18 .2391 4.10 .2440 4.02 .2488 70 14 3.88 .2575 3.80 .2627 3.73 .2680 76 15 3.62 .2759 3.55 .2815 3.48 .2871 81 16 3.39 .2943 3.33 .3003 3.27 .3063 86 17 3.20 .3127 3.13 .3190 3.07 .3254 92 18 3.02 .3311 2.96 .3378 2.90 .3446 97 19 2.86 .3494 2.80 .3566 2.75 .3637 103 20 2.71 .3678 2.66 .3753 2.61 .3829 108 21 2.59 .3862 2.53 .3941 2.49 .4020 113 22 2.47 .4046 2.42 .4129 2.37 .4211 119 23 2.36 .4230 2.31 .4316 2.27 .4403 124 24 2.26 .4414 2.22 .4504 2.17 .4594 130 25 2.17 .4598 2.13 .4692 2.09 .4786 135 26 2.09 .4782 2.05 .4880 2.01 .4977 140 27 2.01 .4966 1.97 .5067 1.98 .5169 146 28 1.94 .5150 1.90 .5255 1.86 .5360 151 29 1.87 .5334 1.83 .5442 1.80 .5551 157 30 1.81 .5518 1.77 .5630 1.74 .5743 162 31 1.75 .5701 1.72 .5818 1.68 .5934 167 32 1.69 .5885 1.66 .6005 1.63 .6120 173 476 ART OF WEAVING. WEFT TABLE CONTINUED. w ^ 52 inches. 53 inches. 54 inches. w -^ i| Yards Parts Yards Parts Yards Parts o a from a of a from a of a from a of a «3 § CO spyndle. spyndle. spyndle. spyndle. spyndle. spyndle. 4 12.80 .0780 12.56 .0796 12.33 .0811 21 5 10.24 .0976 10.05 .0994 9.86 .1013 27 6 8.54 .1171 8.37 .1193 8.24 .1216 32 7 7.32 .1366 7.18 .1392 7.05 .1419 38 8 6.40 .1561 6.28 .1591 6.16 .1621 43 9 5.69 .1756 5.58 .1790 5.86 .1824 46 10 5.12 .1952 5.03 .1989 4.93 .2027 54 11 4.65 .2147 4.57 .2188 4.48 .2230 59 12 4.27 .2342 4.18 .2387 4.11 .2432 65 13 3.94 .2537 3.87 .2586 3.79 .2635 70 14 3.66 .2732 3.59 .2785 3.52 .2838 76 15 3.41 .2928 3.35 .2984 3.29 .3040 81 16 3.20 .3123 3.14 .3183 3.08 .3243 86 17 3.01 .3318 2.95 .3382 2.90 .3446 92 18 2.84 .3513 2.79 .3581 2.74 .3649 97 19 2.69 .3708 2.64 .3780 2.59 .3851 103 20 2.56 .3904 2.51 .3979 2.46 .4054 108 21 2.44 .4099 2.39 .4178 2.35 .4256 113 22 2.32 .4294 2.28 .4377 2.24 .4460 119 23 2.23 .4489 2.18 .4576 2.14 .4662 124 24 2.13 .4684 2.09 .4775 2.05 .4865 130 25 2.05 .4879 2.02 .4973 1.97 .5087 135 26 1.97 .5075 1.93 .5172 1.89 .5270 140 27 1.89 .5270 1.86 .5371 1.82 .5473 146 28 1.83 .5465 1.79 .5570 1.76 .5675 151 29 1,76 .5660 1.73 .5769 1.70 .5878 157 30 1.70 .5855 1.67 .5968 1.64 .6081 162 31 1.65 .6051 1.62 .6167 1.59 .6283 167 32 1.60 .6246 1.57 .6366 1.54 .6486 173 CALCULATIONS AND TABLES. 477 WEFT TABLE CONTINUED. 55 inclies. 56 inches. 57 inches. 0^4 §1 Yards Parts Yards Parts Yards Parts 2 'W! from a of a from a of a from a of a CO a spyndle. spyndle. spyndle. spyndle. spyndle. spyndle. 4 12.11 .0825 11.89 .0841 11.68 .0856 21 5 9.68 .1033 9.51 .1051 9.34 .1070 27 6 8.07 .1238 7.92 .1261 7.78 .1283 32 7 6.92 .1445 6.80 .1471 6.67 .1497 38 8 6.05 .1651 5.94 .1681 5.84 .1711 43 9 5.38 .1857 5.62 .1892 5.19 .1925 46 10 4.84 .2064 4.75 .2102 4.67 .2140 54 11 4.40 .2270 4.32 .2312 4.25 .2353 59 12 4.03 .2477 3.95 .2522 3.89 .2567 65 13 3.72 .2683 3.66 .2732 3.59 .2781 70 14 3.46 .2890 3.39 .2943 3.33 .2995 76 15 3.23 .3096 3.17 .3153 3.11 .3209 81 16 3.02 .3302 2.97 .3363 2.92 .3432 86 17 2.85 .3509 2.79 .3573 2.75 .3637 92 18 2.69 .3715 2.64 .3783 2.59 .3851 97 19 2.55 .3921 2.50 .3994 2.46 .4065 103 20 2.42 .4128 2.38 ..4204 2.33 .4279 108 21 2.30 .4334 2.26 .4414 2.22 .4493 113 22 2.20 .4541 2.16 .4624 2.12 .4707 119 23 2.10 .4747 2.06 .4834 2.03 .4921 124 24 2.01 .4953 1.98 .5045 1.94 .5135 130 25 1.93 .5160 1.90 .5255 1.87 .5349 135 26 1.86 .5366 1.83 .5465 1.79 .5563 140 27 1.79 .5573 1.76 .5675 1.73 .5777 146 28 1.73 .5780 1.70 .5885 1.69 .5991 151 29 1.67 .5985 1.64 .6096 1.61 .6201 1.57 30 1.61 .6192 1.58 .6306 1.55 .6419 162 31 1.56 .6398 1.53 .6566 1.50 .6632 167 32 1.51 .6605 1.48 .6726 1.46 .6846 173 178 ART OF WEAVING. WEFT TABLE CONTINUED. 0) 58 in ches. 1 59 inches. 60 inches. | 1 m "a Yards Parts Yards Parts i Yards Parts « s 3 "S) from a of a i from a of a from a of a u, § Jg spyndle. spyndle. spyndle. spyndle. spyndle. spyndle. 4 11.48 .0871 11.29 .0886 11.10 .0900 21 5 9.18 .1089 i 9.03 .1108 8.88 .1126 27 6 7.65 .1306 1 7.52 .1328 7.40 .1340 33 7 6.56 .1524 6.45 .1540 1 6.34 .1576 38 8 5.74 .1741 5.64 .1772 i 5.55 .1802 43 9 5.10 .1959 5.01 .1992 ' 4.93 .2026 46 10 4.59 .2177 4.51 .2214 1 4.44 .2252 54 11 4.17 .2394 4.10 .2436 4.03 .2478 59 12 3.82 .2612 3.76 .2658 1 3.70 .2702 65 13 3.53 .2830 3.48 .2878 : 3.41 .2928 70 14 3.28 .3048 3.22 .3100 3.17 .3152 76 15 3.06 .3265 3.01 .3322 2.96 .3378 81 16 2.87 .3483 2.82 .3544 2.78 .3604 86 17 2.70 .3701 2.65 .3766 i 2.61 .3828 92 18 2.55 .3918 2.51 .3986 2.46 .4054 97 19 2.41 .4136 2.38 .4208 2.33 .4278 103 20 2.29 .4354 2.25 .4480 2.22 .4504 108 21 2.18 .4571 2.15* .4650 2.11 .4730 113 22 2.01 .4789 2.05 .4872 2.01 .4954 119 23 1.98 .5007 1.96 .5094 1.93 .5180 124 24 1.91 .5225 1.88 .5316 1.35 .5406 130 25 1.83 .5442 1.80 .5536 1.78 .5630 135 26 1.76 .5660 1.73 .5758 1.70 .5846 140 27 1.70 .5878 1.67 .5980 1.64 .6080 146 28 1.64 .6095 1.61 .6202 1.58 .6306 151 29 1.58 .6313 1.55 .6422 1.53 .6532 157 30 1.53 .6531 1.50 .6644 1.48 .6756 162 31 1.48 .6748 1.45 .6866 1.43 .6982 167 32 1.43 .6971 1 1.41 .7088 1.38 .7206 173 CALCULATIONS AND TABLES. 479 WEFT TABLE CONTI^fUED. 61 inches. 62 inches. 63 inches. "-S i => J Yai'ds Parts Yards Parts Yards 1 Parts o C J3 — ' i2 "S) o from a of a from a of a from a of a CO c o spyndle. spyndle. \ 1 spyndle. spyndle. spyndle. spyndle. 4 10.91 .0916 10.74 .0930 10.57 .0946 21 5 8.73 .1144 8.59 .1164 8.45 .1182 27 6 7.28 .1374 7.16 .1396 7.04 .1418 32 7 6.24 .1603 6.13 .1628 6.04 .1654 38 8 5.45 .1832 5.37 .1862 5.28 .1852 43 9 4.85 .2060 4.78 .2092 4.70 .2128 46 10 4.36 .2290 4.29 .2328 4.22 .2364 54 11 3.97 .2518 3.90 .2560 3.84 .2602 59 12 3.63 .2758 3.58 .2792 3.52 .2838 65 13 3.36 .2976 3.30 .3026 3.25 .3074 70 14 3.11 .3206 3.06 .3258 3.02 .3310 76 15 2.91 .3434 2.86 .3490 2.82 .3546 81 16 2.73 .3664 2.68 .3724 2.64 .3784 86 17 2.57 .3892 2.52 .3956 2.48 .4020 92 18 2.42 .4122 2.38 .4188 2.35 .4246 97 19 2.30 .4350 2.26 .4422 2.22 .4492 103 20 2.18 .4580 2.15 .4654 2.11 .4730 108 21 2.08 .4808 2.04 .4886 2.01 .4964 113 22 1.90 .5036 1.95 .5120 1.92 .5200 119 23 1.98 .5266 1.86 .5352 1.84 .5438 124 24 1.81 .5496 1.79 .5584 1.76 .5676 130 25 1.74 .5724 1.72 .5818 1.69 .5912 135 26 1.68 .5954 1.65 .6050 1.62 .6148 140 27 1.61 .6182 1.59 .6284 1.56 .6384 146 28 1.55 .6412 1.53 .6516 1.51 .6622 151 29 1.50 .6640 1.48 .6748 1.45 .6858 157 30 1.45 .6870 1.43 .6982 1.41 .7094 162 31 1.40 .7098 1.38 .7214 1.36 .7330 167 32 1.36 .7326 1.34 .7446 1.32 .7766 173 480 ART OF WEAVING. To find the quantity of weft or spotting on any number of lashes, having also the breadth of the cloth. Multiply together the number of lashes, the shots on each lash, and the inches broad, and divide, first by 36, the inches in a yard, and again by the number of yards in a spyndle, abating the allowance for waste. EXAMPLE. How much weft on 126000 lashes, 2 shots on each lash, and 54 inches broad ? 126000 54 and spyndles. 1368|0)3780010(27.63 2736 504000 10440 630000 9576 6804000 8640 2 8208 36)13608000(378000 108 4320 4104 380 216 252 288 288 In the spyndle of linen yarn there are 14400 yards, 5 per cent, off which, leaves 13680 for the last divisor ; and the quotient is 27 spyndles and 63 hundred parts. The following table, for which I am indebted to Mr. D. M'Nicol, Paisley, will be found useful for ascertaining the quantity of weft or spotting on any number of lashes from CALCULATIONS AND TABLES. 481 one to a million, and breadths from 40 to 72 inches It is calculated for 2 shots on the lash, with an allowance of 5 per cent, off the linen standard, which is equal to 10 per cent off the cotton. The number of lashes run alono- the ^p, and mcrease or decrease in a ten-fold proportion. Ihe body of the table contains the spvndles and decimal parts of a spyndle, and follows the same proportion as the lashes, merely by moving the decimal point to the ri<.ht or left, one figure for 10, two for 100, &c.— thus, ° ^Qonnn ^^^^'' ^' ^^ ^'^'' ^"^^^' '' = 145.8 spyndles. 90000 — _ _ _ - 14 58 9000 ~ 900 ~ ~ ~ ~ = ^'^^^ ^ ~ ~ — — = .01458 ^ ~ — _ _ _ .001458 EXAMPLE. Suppose, as above, 126000 lashes, and the breadth 54 inches — then, 100000 lashes = 21.87 20000 — = 4.374 6000 — = 1.312 27.556 That is, 27 spyndles, and a little more than a half. Mfe. In these calculations allowance must be made for catch cords when they are employed, which, in general, IS about 100 splits. If there had been 4 shots on each lash, this quantity would have been multiplied by 2; if 8, by 4, &c. 3 p 482 ART OF WEAVING. A TABLE Shoiving the quantify of Wefi on any given Breadth, from 40 to 72 Inches, and from one Lash to millions of Lashes ; by tchole and decimal numbers, decreasing or increasing by a ten-fold pro- portion — with 5 per cent, allowance on the Lineti Standard, eqical to 10 per cent, on the Cotton, providing it is full tale. Inches lOOOths. 900ths. sooths. TOOths. eooths. broad. Lashes. Lashes. Las/iei. Lashes. Lashes. 40 162.000 145.800 129.600 113.400 97.200 41 166.050 149.445 132.840 116.235 99.630 42 170.100 153.090 136.080 119.070 102.060 43 174.150 156.735 139.320 121.905 104.490 44 178.200 160.380 142.560 124.740 106.920 45 182.250 164.025 145.800 127.575 109.350 46 186.300 167.670 149.040 130.410 111.780 47 190.350 171.315 152.280 133.245 114.210 48 194.400 174.960 155.520 135.080 116.640 49 198.450 178.605 158.760 138.915 119.070 50 202.500 182.250 162.000 141.750 121.500 51 206.550 185.895 165.240 144.585 123.930 52 210.600 189.540 168.480 147.420 126.360 53 214.650 193.185 171.720 150.255 128.790 54 218.700 196.830 174.960 153.090 131.220 55 222.750 200.475 178.200 155.925 133.650 56 226.800 204.120 181.440 158.760 136.080 57 230.850 207.705 184.680 161.595 138.510 58 234.900 211.410 187.920 164.430 140.940 59 238.950 215.055 191.160 167.265 143.370 60 I 243.600 218.700 194.400 170.100 145.800 61 247.050 222.345 197.640 172.935 148.230 62 251.100 225.990 200.880 175.770 150.660 63 255.150 229.635 204.120 178.605 153.090 64 259.200 233.280 207.360 181.440 155.520 65 263.250 236.925 210.600 184.275 157.950 66 267.300 240.570 213.840 187.110 160.380 67 271.350 244.215 217.080 189.945 162.810 68 275.400 247.860 220.320 192.780 165.240 69 279.450 251.505 223.560 195.615 167.670 70 283.500 255.150 226.800 198.450 170.100 71 287.550 258.795 230.040 201.285 172.530 72 291.600 262.440 233.280 204.120 174.960 CALCULATIONS AND TABLES. 483 A TABLE Showing the quantity of Weft on any given Breadth, from 40 to 72 Inches, and Jrom one Lash to millions of Lashes ; by whole and decimal numbers, decreasing or inreasing by a ten-fold pro- ■portion — with 5 per cent, allowance on the Linen /Standard, equal to ten per cent, on the Cotton, providing it is full tale. Inches sooths. 400ths. sooths. 200ths. lOOths. broad. Lashes. Lashes. Lashes. Lashes. Lashes. 40 81.000 64.800 48.600 32.400 16.200 41 83.025 66.420 49.815 33.210 16.605 42 85.050 68.040 51.030 34.020 17.010 43 87.075 69.660 52.245 34.830 17.415 44 89.100 71.280 53.460 35.640 17.820 45 91.125 72.900 54.675 36.450 18.225 46 93.150 74.520 55.890 37.260 18.630 47 95.175 76.140 57.105 38.070 19.035 48 97.200 77.760 58.320 38.880 19.440 49 99.225 79.380 59.535 39.690 19.845 50 101.250 81.000 60.750 40.500 20.250 51 103.275 82.620 61.965 41.310 20.655 52 105.300 84.240 63.180 42.120 21.060 53 107.325 85.860 64.395 42.930 21.465 54 109.350 87.480 65.610 43.740 21.870 55 111.375 89.100 66.825 44.550 22.275 56 113.400 90.720 68,040 45.360 22.680 57 115.425 92.340 69.255 46.170 23.085 58 117.450 93.960 70.470 46.980 23.490 59 119.475 95.580 71685 47.790 23.895 60 121.500 97.200 72.900 48,600 24.300 61 123.525 98.820 74.115 49.410 24.705 62 125.550 100.440 75.330 50.220 25.110 63 127.575 102.060 76.545 51.030 25.515 64 129.600 103.680 77.760 51.840 25.920 65 131.625 105.300 78.975 52.650 26.325 66 133.650 106.920 80.190 53.460 26.730 67 135.675 108.540 81.405 54.270 27.135 68 137.700 110.160 82.620 55.080 27.540 69 139.725 111.780 83.835 55.890 27.945 70 141.750 113.400 85.050 56.700 28.350 71 143.775 115.020 86.265 57.510 28.755 72 145.800 1 16.640 87.480 58.320 29.160 484 ART OF WEAVING. Quantity of Cloth at the rates of No. of 50 Lashes 60 Lashes Lashes. p- Inch. F Inch. 1 Ells. In. Ells. In. lOO' 2 If 200 4 3^ 300 6 5 400 8 6f 500 10 8^ 600 12 10 700 14 llf 800 16 13^ 900 18 15 1000 20 16f 2000 40 33^ 3000 1 13 1 5 4000 1 35 1 21f 5000 2 10 1 38i 6000 2 30 2 10 7000 3 5 2 26| 8000 3 25 2 4,Sj 9000 4 3 15 10000 4 20 3 31f 20000 8 40 7 181 30000 13 15 11 5 40000 17 35 14 36f 50000 22 10 18 23} 60000 26 30 22 10 70000 31 5 25 41f 80000 35 25 29 281 90000 40 33 15 1 00000 44 20 37 If 200000 88 40 74 31 300000 133 15 111 5 400000 177 35 148 6f 500000 222 10 185 81 600000 266 30 222 10 700000 311 5 259 llf 800000 355 25 296 131 900000 400 2 333 15 1000000 444 20 370 16f This table shows the quantity of cloth produced by any number of lashes, at the rates of 50 and 60 lashes per inch. For example, 12G800 lashes, with 50 lashes, or 100 shots to an inch, will produce as under : — ells. inches 100000 = 44 20 20000 = 8 40 6090 = 2 30 800 = 16 56 16 CALCULATIONS AND TABLES. 485 WARPING. When the quantity of warp in any web is ascertained, it is given to the warper, with a ticket expressing the num- ber of ells, spyndks, and porters in the web. If the web be stripped, either with different grists, or colours of yarn, one sett of the pattern must likewise be drawn on the ticket, for the warper and weaver's instruction. In the 2d example of the calculation of webs from cotton yarn, it was found, that 30 spyndles, and about 12 Nos. were requisite for a web in which were 100 ells, and 92 porters, 12 splits. But, as this calculation was made to the full extent of the cotton standard, the usual allowance of 1 spyndle to 20 must be made for waste, which in the present instance, may be taken at 1 spyndle and 12 Nos. This added to 30 spyndles 12 Nos. gives 32 i- spyndles for the nett warp of the web. If six numbers of the yarn be wound on the bobbin, as is generally the case, the number of bob- bins, or runners, in this example will be 97. When these are placed in the bank, and the ends taken through the heck, they are all knotted together and placed on the up- per pin of the mill. The lease is then formed by raising alternately the two parts or frames of the heck, and secured on the upper lease pins ; after which, the yarn is divided into small parcels, called half gangs or half bouts, which are kept separate by the rollers on the frame of I Ik- heck, during the process of warping. The number of threads in the half gang are usually regulated by the sett of the reed, though this is often left to the warper's discretion. The mill is then turned round, and as the cord by which the heck is suspended unwinds itself from the upper spindle of the mill, the heck gradually descends, and warps the yarn round the mill in a spiral direction, until the length of the web be determined. In the present example, if the mill were five ells round, 20 rounds or turns of the mill would give the length ; but if the mill were only four ells, 486 ART OF WEAVING. 25 rounds would be requisite. The under lease fork is then placed a little beyond the 100 ells, to make an allow- ance for the thrum and neck ; and the half gangs are turn- ed round the pins of the fork, and crossed alternately in manner of a lease. The mill is then turned the contrary way, until the heck be again opposite the upper fork, when a lease is made by the heck, and placed in the foi'k pins as before. Once down the mill and up again is called a bovt, or mill-gang ; and as there are now two threads on the mill for each runner, the number of spHts in one bout will always be equal to the number of runners. Before the warper proceeds further, he must calculate how many bouts are necessary to produce the whole warp of the web. This is done by reducing the porters in the web to splits, and dividing by the number of runners, and the quotient will give the answer — thus, porters, splits. 92 12 20 97)1852(19 bouts. 97 882 873 9 splits over. That is, 19 bouts and 9 splits over; which 9 splits must be made up either by running another bout with 9 bobbins, or addinof another bobbin for the last 9 bouts. o When the warp consists of different grists or colours of yarn, as in stripes, ginghams, pullicates, &c. the bobbins must be arranged in the bank agreeably to the order in which the draught is marked on the ticket. For instance, in the 5th example of the calculation of webs from cotton yarn, there is one half of the fine space, viz. 21 splits, marked on each side of the stripe, in the pattern, for one CALCULATIONS AND TABLES. 487 side of which 42 bobbins fine must be placed in the bank. And as the first stripe contains five splits coarse, supposing four threads to the spht, 20 bobbins must next be placed in the bank. Then follow 12 bobbins fine for the six splits in the intervening space ; but as no ordinary heck will ad- mit the whole of the pattern at one time, one half of it must be taken, which will require other 20 bobbins coarse for the half of the centre stripe. The number of runners therefore will be 94 ; and one bout, or once down and up the mill will complete one set of the pattern. The selvages are warped independent of the draught, either by themselves, or by adding the requi- site number of bobbins to the first and last bouts. As the circumference of the five ell mill is now commonly divided by the spokes, into 20 equal parts, and the four ell mill into 16, each of these parts will be equal to ^th of the Enghsh ell of 45 inches. At whatever distance, there- fore, the keels, or cutting marks are to be placed, the ells and parts of an ell between them, may be counted round the mill, and marked accordingly. But if the web is to be divided into pieces of any particular lengths, as for squares, &c. a nitting divided into inches, and applied round the mill, along the chain, will give any length required. Wlien the whole of the warp is on the mill, the leases are secured by tying a piece of twine round the upper parts of the warp, which are separated by the pins, and the web is taken off the mill, either by rolling it up in form of a clue, or making it into a chain, by taking it over each hand alternately, in loops. When the web is finished, the warper marks the num- ber of pins on the ticket for the beamer's instruction, which is found by doubling the number of pins in the race, and multiplying them by the number of gangs. In large factories where the warper is not restricted to any number of bobbins, it is customary to allow one runner for each porter in the web, which will always give 20 bouts. 488 ART OF WEAVING. In warping stripes or ginghams, when the stripes are not similar on each side, the pattern must be couped; that is, when the lease is taken the second time, both at head and foot, that part of the warp that would be outward in the usual way, must be turned toward the mill at each bout. BEAMING. To find the number of the ravel, or evener, which will spread out the warp of a web to the given breadth on the beam — ravels, like reeds, are counted by the number of teeth, or pins, in 37 inches, between each of which a half gang is placed in beaming. When, therefoi'e, the web is any other breadth than ell, the number of half gangs multiplied by 16, and divided by the nails in the breadth, will give the number of the ravel sought. In the preceding example of warping, suppose 308 half gangs, then as the web is | 308 Or thus, 308 16 2 1848 308 3)616 24)4928(205 48 205=^ 128 121 That is 205 pins, or a ten score or 5 ravel. But, as the web is always laid a little broader on the beam than it is in the reed, the ravel must be somewhat coarser, or consist of fewer pins; and the headings are sloped gradually by holding the ravel less or more oblique. CALCULATIONS AND TABLES. 489 COTTON YARN TABLES, BOTH BY DISCOUNT, AND AT A PRICE PER LIB. Cotton yarn lists have, from time to time, been calculated to a great extent; but owing to the progressive changes v/hich have taken place in the state of trade, the greater part of them have now become obsolete. The following Tables have therefore been stript of all the encumbrances resulting from these changes, and adapted to the present state of the Cotton Manufacture : at the same time, em- bracing a range fully adequate to meet all the fluctuations that, under existing circumstances, are likely to take place in the Cotton Market. In the table by discounts, all below 50 per cent, is thrown off as useless, and the discounts on this New List, advance by 2^ to 65 per cent. To prevent, however, any confusion arising from this new arrangement, the corresponding old rates of discount are added at the bottom of the pages; so that either of these methods can be adopted at pleasure. The finer yarns are sold at a variable price per lib. for No. 120; and the rate of this variation is, in the general trade, 3d. per lib. ; the rise and fall from that No. being for the most part arbitrary. In the extensive speculations in the year 1825, cotton yarn was sold as high as 7/3 per lib. for No. 120, and since that time, in the most depressed state of the market, it has been sold below 4/. These prices, therefore, would seem to present limits to the fluctuations of the market; but it was considered that a Table, cal- culated from 3/. to 8/. per lib. would be fully sufficient to meet all the contingencies of the trade. The scales by which the prices rise and fall from No. 120, as already observed, are also variable, as many of the Spinners make out lists for themselves ; but on comparing the lists of the principal Cotton Yarn Merchants in Scotland and England, 3S 490 ART OF WEAVING. this difference will be found not so great as to prove any objection to a general standard. This will appear from the two specimens subjoined to these Tables, of the lists of two principal Spinners, one in Glasgow, and the other in Manchester, and bearing the same date, viz. May 1st, 1824, a year in which trade may have been considered in a settled state. In Mr. Hussey's list, No 200 is 17/11, and in Ancoats', now Benjamin Gray's, Esq. the price of the same is 18/1, a difference of only 2d. on the lib. of this high No. or about y^gths of a penny on the spyndle. It is from these data that the Table of Prices by the lib. for No. 120 has been calculated; and the whole have been carried to the 16ths of a penny per spyndle, which was considered ne- cessary for the low prices at which yarns are now sold. D. H. HILL LIBRARY North Carolina Sfate College CALCULATIONS AND TABLES. 491 MULE TWIST, BY DISCOUNT. List Price. New List. 2 1 per cent. 5 per cent. No. per lb. per spy. per lb per spy. per lb. per spy. per lb. per spy. s. d. 16 s. d. 16 «. d. 16 s. d. 16 $. d. i6 s. d. 16 s. d. 16 s. d. 16 40 6 6 2 11 3 3 1 5 8 3 2 1 5 1 3 1 1 4 10 42 6 8 2 10 4 3 4 1 5 2 3 3 1 4 11 5 2 1 4 4 44 6 10 2 9 8 3 5 1 4 12 3 4 1 4 6 5 3 1 4 46 7 2 9 5 6 1 4 8 3 5 1 4 5 3 15 1 3 9 48 7 2 2 8 4 3 7 1 4 2 3 5 15 1 3 IS 5 4 14 I 5 6 50 7 4 2 7 12 3 8 1 3 14 3 6 14 1 3 8 3 5 13 1 3 2 52 7 6 2 7 4 3 9 I 3 10 3 7 14 1 3 4 3 6 12 1 2 14 54 7 8 2 6 12 3 10 1 3 6 5 8 14 1 3 3 7 11 1 2 9 56 7 10 2 6 4 3 11 1 3 2 3 9 13 1 2 13 3 8 10 1 2 6 58 8 1 2 6 4 8 1 3 3 11 5 1 2 10 3 10 1 1 2 5 60 8 4 2 6 4 2 1 2 14 4 12 I 2 9 3 11 8 1 2 4 62 8 6 2 5 8 4 5 1 2 12 4 1 11 1 2 7 4 7^ 1 2 2 64 8 8 2 5 4 4 4 1 2 8 4 2 11 1 2 3 4 1 6 1 1 12 66 8 10 2 5 4 5 1 2 8 4 5 11 1 2 4 2 6 1 1 10 68 9 1 2 4 12 4 6 8 1 2 6 4 5 2 1 2 4 3 12 1 1 11 70 9 4 2 4 12 4 8 I 2 6 4 6 10 1 2 4 5 3 1 1 11 72 9 7 2 4 12 4 9 8 1 2 6 4 8 1 1 2 4 6 10 1 1 11 74 9 10 2 4 12 4 11 1 2 6 4 9 8 1 2 4 8 1 1 1 11 76 10 1 2 4 12 5 8 1 2 6 4 11 1 1 12 4 9 8 1 1 10 78 10 4 2 4 12 5 2 1 2 6 5 7 1 1 12 4 10 15 1 1 10 80 10 7 2 4 8 5 5 8 1 2 4 5 1 15 1 1 12 5 5 I 1 10 82 10 10 2 4 8 5 5 1 2 4 5 5 6 1 1 12 5 1 12 1 1 8 84 11 1 2 4 8 5 6 8 1 2 4 5 4 13 1 1 12 5 3 3 1 1 8 86 11 5 2 4 12 5 8 8 1 2 6 5 6 12 1 2 5 5 1 1 1 9 88 11 9 2 4 12 5 10 8 1 2 6 5 8 12 1 2 5 7 1 1 11 90 12 1 2 5 6 8 1 2 8 5 10 11 1 2 2 .5 8 14 1 1 12 92 12 7 2 5 8 6 3 8 1 2 12 6 1 10 1 2 £ 5 11 12 1 2 94 13 1 2 6 6 6 8 1 3 6 4 8 1 2 12 6 2 8 1 2 6 96 15 7 2 6 8 6 9 8 1 3 4 6 7 7 1 2 14 6 5 7 1 2 8 9f 14 1 2 7 7 8 1 3 8 6 10 6 I 3 1 6 8 4 1 2 11 100 14 7 2 7 8 7 3 8 1 3 12 7 1 5 1 3 5 6 11 2 1 3 102 15 1 0|2 8 7 6 8 1 4 7 4 4 1 3 >; 7 2 1 5 2 10^ 15 7 0I2 8 8 7 9 8 1 4 4 7 7 3 1 3 12 7 4 13 1 3 6 106 16 1 2 8 12 8 8 1 4 6 7 10 1 1 3 H 7 7 11 1 3 8 108 16 7 2 9 4 8 3 8 1 4 10 8 1 1 4 2 7 10 8 I 3 11 110 17 1 2 9 S 8 6 8 1 4 12 8 4 1 4 6 8 1 6 1 3 14 112 17 9 2 10 4 8 10 8 1 5 2 8 7 14 1 4 10 8 5 3 1 4 3 114 1-! 5 2 11 9 2 8 1 5 8 8 11 12 1 5 8 9 1 4 8 116 19 I 2 11 8 9 6 8 1 5 12 9 3 10 1 5 5 9 12 1 4 14 118 ;19 9 03 9 4 9 10 8 1 6 2 9 7 8 1 5 8 9 4 8 1 5 2 120 20 5 o's 12 10 2 8 1 G 6 9 11 7 1 6 9 8 6 1 5 8 50 per oent. 51ipc r cent. 52ipe r cent. 492 ART OF WEAVING. MULE TWIST. BY DI SCOUNT • No. 7| per cent. 10 3er cent. 12J per cent. 15 per cent. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. s. d. 16 s. d. 16 s. d. 16 s. c'. 16 s. d. 16 s. d. \6 s. d. 16 i. d. 16 40 3 1 1 4 4 2 11 2 1 3 12 2 10 2 1 3 5 2 9 2 2 14 42 3 1 1 3 13 3 1 3 5 2 11 1 2 14 2 10 2 7 44 3 1 15 I 5 9 3 14 1 3 3 2 11 14 I 2 12 2 10 14 2 4 46 5 2 14 1 3 5 3 1 15 1 2 15 3 12 1 2 6 2 11 11 2 O '48 3 3 12 1 2 13 3 2 11 1 2 7 3 1 10 I 2 J 3 8 1 11 50 3 4 11 1 2 10 3 3 10 1 2 4 3 2 8 1 1 14 3 1 6 2 8 52 3 5 10 1 2 8 3 4 8 1 2 2 3 3 6 1 1 12 3 2 4 1 6 54 3 6 8 1 2 3 3 5 6 1 1 10 3 4 3 1 1 6 3 3 1 1 56 3 7 8 1 2 1 3 6 5 1 1 8 5 5 2 1 1 3 3 4 13 58 3 8 14 1 1 14 3 7 10 1 1 8 3 6 7 1 1 3 3 5 4 12 60 3 10 4 I 1 14 3 9 1 1 8 3 7 12 I 1 2 3 6 8 12 62 3 11 3 1 1 11 3 9 14 1 1 6 3 8 10 1 1 1 3 7 5 8 64 4 1 1 1 7 3 10 13 1 1 2 3 9 8 1 12 3 8 3 6 66 4 1 1 1 6 3 11 11 1 15 3 10 6 1 10 3 9 4 68 4 2 7 1 1 5 4 1 1 1 14 3 11 11 1 10 3 10 5 4 70 4 5 13 1 1 5 4 2 6 1 1 4 1 1 10 3 11 10 4 72 4 5 3 1 1 5 4 3 12 1 1 4 2 5 1 8 4 14 4 74 4 6 9 1 1 5 4 5 2 1 1 4 3 10 1 8 4 2 3 4 76 4 8 1 1 5 4 6 7 1 1 4 4 15 I 8 4 3 7 4 78 4 9 6 1 1 5 4 7 13 1 1 4 6 4 1 8 4 4 11 4 80 4 10 12 1 1 5 4 9 2 I 14 4 7 8 1 8 4 6 2 82 5 2 1 1 5 4 10 8 I 14 4 8 14 I 8 4 7 4 2 84 5 1 8 1 1 5 4 11 14 1 14 4 10 3 I 8 4 8 8 2 86 5 5 6 1 1 5 5 1 10 1 14 5 1 8 4 10 3 2 88 5 5 5 1 1 5 5 3 7 1 1 5 1 11 1 9 5 4 90 5 7 1 1 1 7 5 5 4 1 1 1 5 3 7 I 11 5 1 10 5 92 5 9 13 1 1 10 5 8 1 1 4 5 6 1 I 1 5 4 3 8 94 6 10 1 2 5 10 11 1 1 10 5 8 11 1 I 4 5 6 12 14 96 6 3 6 1 2 1 6 1 6 1 I 12 5 11 5 1 1 5 5 9 4 1 98 6 6 3 1 2 5 6 4 1 1 2 6 2 1 1 8 5 11 13 1 2 100 6 9 I 2 8 6 6 12 1 2 3 6 4 8 1 1 12 6 2 6 1 6 102 6 11 11 I 2 12 6 9 7 1 2 5 6 7 3 1 2 1 6 4 15 1 8 104 7 2 8 1 3 7 2 1 2 8 6 9 13 1 2 3 6 7 8 1 1 2 106 7 5 4 1 3 2 7 2 14 I 2 11 7 7 1 2 4 6 10 1 ] 4 108 7 8 1 1 3 6 7 5 12 1 3 7 3 2 1 2 8 7 10 2 110 7 10 13 1 3 8 7 8 4 1 3 I 7 5 11 1 2 10 7 3 2 2 3 112 8 2 8 1 3 12 7 11 14 1 3 6 7 9 5 1 3 7 6 8 2 8 114 8 6 5 1 4 2 8 3 8 1 3 12 8 12 1 3 4 7 10 2 13 116 8 10 1 4 7 S 7 1 1 4 8 4 3 1 3 10 8 1 5 3 1 118 9 1 10 I 4 10 8 10 11 I 4 4 8 7 12 1 3 12 8 4 12 3 5 120 9 5 5 I 5 9 2 4 1 4 8 8 11 3 1 4 1 8 8 2 3 10 . 53|p( r cent , 55 pc r cent 56^ p< ;r c(?nt 57ipf r cent. CALCULATIONS AND TABLES. 493 MULE TWIST BY DISCOUNT • 17i per cent. 20 per cent. 22| per cent. 25 per cent. No. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. s. d. 16 s.\L 16 s. rf. 16 J. d. 16 s. d. 16 s. d. 16 s. d. 16 s. d. 16 40 2 8 5 1 2 7 2 7 3 1 2 2 6 3 1 1 10 2 5 4 1 1 3 42 2 9 1 2 2 8 1 1 11 2 7 I 1 4 2 6 1 14 44 2 9 15 1 1 13 2 8 15 1 1 6 2 7 12 1 1 2 6 12 1 9 46 2 10 10 1 1 9 2 9 10 1 1 2 2 8 9 1 12 2 7 8 1 5 48 2 11 8 1 1 5 2 10 6 1 14 2 9 5 1 8 2 8 4 1 1 50 5 5 1 2 2 2 11 5 1 11 2 10 2 1 4 2 9 11 14 52 3 1 2 1 15 5 1 8 2 10 14 1 1 2 9 12 11 11 54 5 1 15 1 10 3 13 1 4 2 11 11 14 2 10 8 11 8 56 5 2 12 1 7 3 1 10 1 1 3 7 11 11 2 11 4 11 5 58 5 4 1 7 5 2 15 1 5 1 9 11 10 3 6 11 4 60 5 5 4 1 6 3 4 I 3 2 12 11 10 3 1 8 11 4 62 5 6 I 1 3 3 4 15 11 13 5 3 8 11 8 3 2 4 111 64 3 6 14 1 3 5 10 11 11 5 4 5 11 5 3 5 11 66 3 7 11 11 14 5 6 6 11 9 3 5 1 11 3 3 5 12 10 13 68 3 9 11 14 3 7 8 11 8 5 6 4 11 2 5 4 12 10 12 70 3 10 3 11 12 3 8 13 11 8 3 7 6 11 2 5 6 10 12 72 5 11 7 D 11 12 5 10 11 8 5 8 9 11 2 3 7 2 10 12 74 4 11 3 11 12 5 11 5 11 8 5 9 12 11. 2 3 8 4 10 12 76 4 1 15 3 11 12 4 6 11 8 5 10 12 Q li .2 3 9 6 10 12 78 4 3 2 3 11 12 4 1 10 11 8 4 1 11 2 3 10 8 10 12 80 4 4 6 3 11 12 4 2 3 11 8 4 1 5 11 2 5 11 10 10 12 82 4 5 10 3 11 12 4 4 11 7 4 2 6 11 2 4 12 10 11 84 4 6 14 3 11 12 4 5 3 11 7 4 5 8 11 1 4 1 14 10 11 86 4 8 8 3 11 12 4 6 13 11 7 4 5 1 11 1 4 5 6 10 11 88 4 10 3 3 11 14 4 8 6 11 8 4 6 10 11 2 4 4 14 10 12 90 4 11 13 1 4 10 C 11 10 4 8 3 11 4 4 6 6 10 14 92 5 2 4 1 2 5 6 11 15 4 10 8 11 7 4 8 10 11 1 94 5 4 12 1 8 5 2 13 1 5 15 11 10 4 10 14 11 4 96 5 7 4 1 8 5 5 3 1 4 5 3 2 11 15 5 1 2 11 8 98 5 9 11 1 12 5 7 9 1 7 5 5 8 1 5 3 6 11 10 100 6 3 I 1 5 10 1 9 5 7 15 1 3 5 5 10 11 13 102 6 2 10 1 1 2 6 6 1 12 5 10 2 1 6, 5 7 14 I 104 6 5 2 1 1 5 6 2 13 1 15 6 7 1 i 5 10 2 1 2 106 6 7 10 1 1 7 6 5 5 1 1 1 6 2 13 1 11; 6 6 1 4 108 6 10 2 1 1 10 6 7 10 1 1 4 9 5 2 1 14 6 2 10 1 7 110 7 8 1 1 12 6 10 1 1 7 6 7 7 1 1 6 4 14 1 9 112 7 3 14 1 2 1 7 1 3 1 1 11 6 10 8 1 1 4 6 7 14 1 13 114 7 7 3 1 2 6 7 4 6 1 1 15 7 1 10 1 1 8 6 10 14 1 1 1 116 7 10 8 1 2 10 7 7 9 1 2 3 7 4 12 1 1 12 7 1 14 1 1 5 118 8 1 12 1 2 14 7 10 15 1 2 8 7 7 14 1 2 7 4 14 1 1 9 120 8 5 1 1 5 3 8 2 1 2 11 7 10 15 1 2 4 7 7 14 I 1 12 58i pel r cent. 60 per cent. 6lipe r cent . es^pe r cent. 4>94< ART OF WEAVING. MULE TWIST, BY DISCOUNT. 27| per cent. 30 per cen t. py- 32^ per cent. 35 per cent. No. per lb. per spy. per lb. per s per lb. per spy. per lb. j per spy. s. <^. 16 5. d. 16 s. d. 16 s. d. 16 n. d. 16 .«. d. 16 s. (/. 16s. d. 16 40 2 4 4 1 12 2 3 5 1 4 2 2 5 11 13 2 1 60 11 6 42 2 5 1 7 2 4 1 2 3 11 9 2 2 11 2 44 2 5 12 1 3 2 4 11 11 12 2 3 11 n 5 2 2 10 10 14 46 2 6 7 11 15 2 5 6 11 8 2 4 6 11 1 2 3 5 10 11 48 2 7 3 11 11 2 6 I 11 4 2 5 10 ^*l 2 4 10 8 50 2 7 15 11 8 2 6 15 11 1 2 5 11 10 1 2 4 10 10 5 52 2 8 100 11 5 2 7 8 10 15 2 6 6 10 ^i 2 5 4 10 2 54 2 9 5 11 1 2 8 3 10 12 2 7 1 10 6 2 5 15 10 56 2 10 1 11 2 8 14 10 9 2 7 11 10 3 2 6 9 9 13 58 2 11 2 10 14 2 10 10 8 2 8 12 10 2 2 7 8 9 12 60 3 4 10 15 2 11 10 8 2 9 12 10 2 2 8 8 9 12 62 5 1 00 10 11 2 11 11 10 6 2 10 7 10 2 9 2 9 10 64 3 1 11 10 9 3 6 10 4 2 11 2 9 14 2 9 13 9 8 66 3 2 7 10 8 3 1 2 10 2 2 11 12 9 12 2 10 7 9 6 68 3 5 6 10 7 3 2 10 1 3 11 9 11 2 11 5 9 6 70 3 4 10 10 7 3 5 3 10 1 3 1 13 9 11 3 6 9 6 72 3 5 11 10 7 3 4 4 10 1 3 2 13 9 11 3 1 6 9 5 74 3 6 12 10 6 5 5 5 10 1 3 3 13 9 11 3 2 6 9 4 76 3 7 14 10 6 3 6 6 10 3 4 15 9 11 3 3 5 9 4 78 3 9 10 6 3 7 6 10 3 5 14 9 11 3 4 5 9 4 80 5 10 10 6 3 8 7 10 3 6 14 D 11 3 5 4 9 4 82 3 11 2 10 6 3 9 8 10 3 7 14 9 10 3 6 4 9 4 84 4 5 10 5 3 10 8 10 3 8 14 9 10 3 7 3 9 4 86 4 1 11 10 5' 4 10 3 10 4 9 10 5 8 8 9 4 88 4 3 2 10 6 4 1 6 10 3 11 9 9 11 3 9 13 9 5 90 4 4 9 10 8 4 2 12 10 2 4 15 9 13 3 11 2 9 7 92 4 6 12 10 11 4 4 14 10 5 4 3 10 4 1 1 9 10 94 4 8 4 10 14 4 6 15 10 8 4 5 10 2 4 3 9 12 96 4 11 1 11 1 4 9 1 10 11 4 7 10 5 4 5 9 15 98 5 1 4 11 4 4 11 2 10 14 4 9 10 8 4 6 15 10 1 100 5 3 7 11 7 5 1 4 11 4 11 1 10 10 4 8 14 10 4 102 5 5 10 11 9 5 5 6 11 5 5 1 1 10 12 4 10 13 10 6 104 5 7 12 11 12 5 5 7 11 5 5 3 2 10 15 5 12 10 8 106 5 10 11 14 5 7 9 11 8 5 5 2 !1 1 5 2 12 10 10 108 6 2 1 5 9 10 11 10 5 7 2 11 3 5 4 ic 10 12 110 6 2 5 3 5 11 12 11 12 5 9 3 11 5 5 6 10 10 14 112 6 5 3 6 6 2 9 5 11 14 11 9 5 9 s 11 2 114 6 8 2 10 6 5 6 5 6 2 9 11 12 ^ 11 14 11 5 116 6 11 1 14 6 8 2 7 6 5 4 1 6 2 7 11 9 118 7 1 15 1 2 6 10 15 10 6 8 1 3 6 5 11 12 120 7 4 13 1 5 7 1 12 14 6 10 11 1 7 6 7 10 11 15 05| I ei Cftlt. 65 pe r cent 66{ pe r jent S'i pe r cciit. CALCULATIONS AND TABLES. 495 MULE TWIST, BY DISCOUNT. No. 37| per cent. 40 per cent. 42 1 per cent. 45 per cent. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. *. d. 16 s. d. 16 s. d. 16 s. d. 16 s. d. 16 s. d. 16 d. 16 s. d. 16 40 2 6 11 0|1 11 6 10 8 I 10 7 10 1 9 7 9 11 42 2 1 10 ll|2 10 4 1 11 9 34 10 9 7 44 2 1 10 10 8 2 10 10 1 1 n 9 9 20 10 9 9 4 46 2 2 4 10 4 2 1 3 9 14 2 2 9 8 11 1 9 48 2 2 14 10 1 2 1 13 9 11 2 12 9 4 11 10 8 14 50 2 3 8 9 15 2 2 7 9 8 2 1 5 9 2 2 5 8 12 52 2 4 2 9 12 2 3 9 5 l2 1 14 9 2 12 8 9 54 2 4 12 9 9 2 3 9 9 3 2 2 7 8 13 2 1 5 8 7 56 2 5 6 9 7 2 4 5 9 1 '2 3 8 11 2 1 14 8 5 58 2 6 5 9 6 2 5 2 9 '2 3 14 8 10 2 2 11 8 4 60 2 7 4 9 6 2 6 9 2 4 12 8 10 2 3 8 8 4 62 2 7 14 9 4 2 6 10 8 14 2 5 5 8 8 2 4 8 2 64 2 8 8 9 2 2 7 3 8 12 2 5 14 8 6 2 4 10 8 66 2 9 2 9 2 7 13 8 11 2 6 7 8 5 2 5 2 7 15 68 2 9 15 9 2 8 9 8 10 2 7 3 8 4 2 5 14 7 14 70 2 11 9 2 9 10 8 10 2 8 3 8 4 2 6 13 7 14 72 2 11 15 9 2 10 8 8 10 2 9 2 8 4 2 7 12 7 14 74 5 14 8 14 2 11 6 8 8 2 9 15 8 2 2 8 7 7 14 76 5 1 13 8 15 3 5 8 9 2 10 12 8 4 2 9 4 7 14 78 3 2 12 8 15 3 1 3 8 9 2 11 10 8 4 2 10 2 7 14 80 3 3 11 8 15 3 2 2 8 9 3 8 8 4 2 10 15 7 14 82 3 4 10 8 15 3 3 8 9 3 1 6 8 3 2 11 12 7 13 84 3 5 9 8 14 5 3 14 8 9 3 2 3 8 3 3 9 7 13 86 5 6 13 8 14 3 5 1 8 8 3 3 6 8 3 5 1 11 7 14 88 3 8 1 8 15 3 6 5 8 9 3 4 9 8 4 3 2 12 7 15 90 3 9 5 9 1 3 7 8 8 11 3 5 11 8 5 3 3 14 8 92 3 11 3 9 4 3 9 5 8 14 3 7 6 8 8 3 5 8 8 2 94 4 1 1 9 6 3 11 1 9 3 9 2 8 10 3 7 3 8 4 96 4 3 9 9 4 15 9 3 3 10 14 8 12 3 8 13 8 6 98 4 4 13 9 11 4 2 11 9 5 4 9 8 15 3 10 8 8 8 100 4 6 11 9 13 4 4 8 9 8 4 2 5 9 1 4 2 8 11 102 4 8 9 10 4 6 5 9 9 4 4 9 3 4 1 12 8 12 104 4 10 7 10 2 4 8 2 9 11 4 5 12 9 5 4 5 7 8 14 106 5 5 10 4 4 9 14 3 9 13 4 7 12 9 6 4 5 1 9 108 5 2 3 10 6 4 11 11 D 10 4 9 3 9 8 4 6 12 9 2 110 5 4 1 10 8 5 1 8 3 10 1 4 10 15 9 10 4 8 6 9 4 112 5 6 9 10 11 5 3 14 10 4 4 11 1 9 15 4 10 9 9 7 114 5 9 1 10 14 5 6 5 10 8 5 3 8 10 5 120 9 9 116 5 11 9 U 2 5 8 11 D 10 11 5 5 14 10 3 5 3 GO 9 12 118 6 2 I 11 5 5 11 2 3 10 13 5 8 2 10 6 5 5 50 9 15 120 6 4 9 11 8 6 I 8 3 11 5 10 7 10 9 5 7 60 10 2 G8| pt r cen! • 70 pe • cent. 71|pej r cent. 72 1 per cent. 496 ART OF WEAVING. MULE T^^IST, BY DISCOUNT. No 4-7g^ per cent 50 per cent. 52i per cent. l| EC ! 55 per cent. 1 per lb. [per spy per lb- [per spy. per lb. per spy. ij per lb. per spy. 5. rf. 1( 5 5. rf. le s. d. 1( ,1 > J. d. 16 s. d. 16i. d. 16,|s. d. 16 s. d. 16 40!l 8 f SO 9 2 7 { 8 12 1 6 80 8 5 1 5 9(0 7 14 42 1 9 C )0 8 16 8 C )0 8 9 1 7 00 8 2 1 6 C 7 11 44! 1 9 f 8 13 I 8 S 8 6 1 7 80 8 1 6 7 7 8 46 I 10 1 8 IC il 9 C 8 4 1 8 o'o 7 13 1 6 1.5 7 6 48 I 10 £ 8 8 9 fi 8 1 1 8 7 7 11 1 7 .5 7 4 50 1 11 2 8 5 10 C 7 15 1 8 15 7 8 1 7 12 7 2 52 1 11 10 8 3 10 S 7 12 1 9 6 7 6 I 8 4 7 54 2 2 8 1 11 C 7 11 1 9 14 7 4 1 8 11 6 15 56 2 11 7 15 (j 11 S 7 9 1 10 5 7 3 1 9 2)0 6 13 58 2 1 8 7 15 2 4 7 8 1 11 1 7 2 1 9 15 10 6 12 60 2 2 4 7 14 2 1 7 8 1 11 12 7 2 1 10 8 6 12 62 2 2 12 7 12 2 1 8 7 6 2 3 7 1 10 15l0 6 11 64 2 3 5 7 11 2 2 7 5 2 11 6 15 1 11 6J0 6 9 66 2 3 13 7 9 2 2 8 7 4 2 1 3 6 14 1 11 14 6 8 68 2 4 8 7 9 2 3 2 7 3 2 1 12 6 13 2 6 6 8 70 2 5 6 7 9 2 4 7 5 2 2 10 6 15 2 1 3 6 8 72 2 6 5 7 9 |- 4 14 7 3 2 3 7 6 13 2 2 00 6 8 74 2 7 7 7 2 5 8 7 1 2 4 6 11 2 2 90 6 6 76 2 7 12 7 8 2 6 4 7 2 2 4 12 6 12 2 3 40 6 7 78 2 8 9 7 8 2 7 7 2 2 5 7 6 12 2 3 140 6 7 80 2 9 5 7 8 2 7 12 7 2 2 6 3 6 12 2 4 910 6 7 82 2 10 2 7 8 8 8 7 2 2 6 14.0 2 7 90 2 8 90 6 12 2 5 4;0 6 7 84 2 10 14 7 7 9 4 7 1 6 11 2 5 140 6 6 86 5 7 8 2 10 40 7 2 6 13J2 6 130 6 7 88 5 1 7 9 11 4 7 3 2 9 80 6 14 2 7 12 6 8 90 3 2 1 7 10 3 4 7 4; 2 10 7 6 14 2 8 10 6 8 92 3 3 10 7 12 5 1 12 7 6 2 11 140 7 2 10 6 10 94 3 5 5 7 14 3 3 4 7 8 3 1 4 7 22 11 5 6 12 96 3 3 6 12 8 3 4 12 7 10 5 2 11 7 4;3 1; 6 14 98 8 6 8 2 5 6 4 7 12 1 3 4 2 7 6|3 2 7 100 3 9 15 8 4 3 7 12 7 1 14 5 5 9 7 8 5 3 6 7 1 102 3 11 8 8 6 3 9 4 8 3 6 150 7 93 4 11 7 3 104 4 1 1 8 8 3 10 12 8 1 3 8 60 7 11,3 6 1 7 4 106 4 2 11 8 9 4 4 8 ^1 3 9 13 7 12,3 7 7 7 6 108 4 4 4 8 11 4 1 12 3 8 5 3 11 40 7 14 3 8 12 3 7 8 110 4 5 13 8 13 4 3 4 3 8 6 i 110 8 3 10 2 7 9 112 4 7 14 3 9 4 5 4 3 8 9 t 2 90 8 2^3 11 15,< 7 11 114 4 10 3 9 5 4 7 4 3 8 11 i 4 810 8 4^4 1 12'( 7 15 116 5 2 ) 9 5 4 9 4 3 8 l'*! 4 6 60 8 7 4 3 8( 8 118 5 2 4( ) 9 S 4 11 4( 3 9 0| 4 8 40 8 94 5 5,< 8 2 120 5 4 5{( ) 9 11 5 1 4( 3 9 2[ 4 10 30 8 10,4 7 2,( It 8 3 1 1 73jpi r cent, i 75 pel cent. 76Apcr cent. 1 77^ per cent. CALCULATIONS AND TABLES. MULE TWIST, BY DISCOUNT. No. 40 42 44 46 48 50 52 54 56 58 60 62 64 66 68 70 72 74 76 78 80 82 84 86 88 90 92 94 ^6 98 57^ per cent, per lb. I per spy. s. d. 16 s. rf. 16 14 907 1 5 o|o 7 4 1 5 70 7 2 I 5 140 7 1 6 4:0 6 14 5 3 10 2 4 4 2 5 2 2 6 100 102 104 106 108 110 112 114 116 118 120 6 110 7 20 7 90 8 op 8 100 1 9 4 1 9 11 1 10 2 1 10 8 1 11 00 1 11 13 2 7 2 1 1 2 1 12 2 2 6 2 8 6 13 1 9 6 2 10 lO 2 II )5|0 7 90 9 40 3 10 150 4 110 4 2 60 4 4 10 60 per cent. 6 12 6 10 6 8 6 7 6 6 6 6 6 5 6 3 6 2 6 1 6 6 6 6 1 6 1 6 1 6 1 6 6 1 6 21 3 1 5.0 6 11 3 2 7|0 6 12 3 3 120 6 14 3 5 O'O 6 15 3 6 40 7 1 per lb. s. d. 16 1 3 9 1 4 O 1 4 6 1 4 13 1 5 3 per spy. t. d. i6 7 6 14 6 11 6 9 6 7 5 100 6 00 6 60 6 130 7 60 8 op 8 60 8 15 9 3 9 11 1 10 jl 11 1 11 10 2 3 2 13 5 6 3 7 6 8 9 9 15!o 62- per cent. per lb. I per spy. . d. \6\s. d. 16 7 2|3 5 7 4 3 6 Op 90 7 7|3 8 50 7 9,13 9 14p 7 n';3 11 7p 7 19 '4 1 6 O 5 15 5 13 5 12 5 12| 5 12 5 12 5 10 5 11 5 11 5 11 5 11 5 10 5 11 5 12 5 15 5 15 6 6 2 6 3 2 11 6 5 3 50 6 6 3 16068 3 2 lo'o 6 9 3 3 is'o 6 10 6 11 6 IS 7 2 10 3 5 ( 3 12 4 2, 7 3 3 5 4 5 10 6 6 12 7 2 7 7 14 1 9 1 9 11 1 10 2 1 10 II 1 11 4 20 1 11 13 2 6 2 15 2 I JI 2 2 7 2 3 2 4 5 2 5 7 2 6 9 2 7 II I2 8 13 '2 9 14 2 il i 3 3 3 1 5 3 2 7 5 3 15 6 150 8 70 4 80 5 5 4 140 5 13 5 12 5 II 5 10 !0 5 10 !0 5 9 !0 5 8 iO 5 7 8 50 5 6 5 6 5 6 5 6 5 6 5 6 65 per cent. per lb. I per spy. ■. d. lc!v. d. 16 5 7 5 9 5 io 5 11 5 13 1 10 2 2 6 2 11 3 1 ^ 6 5 12 4 2 4 7 5 1 5 8 1 5 14 1 6 3 1 6 9 10 5 7 10 8 2 8 10 9 3 9 11 30 1 10 1 10 12 1 11 4 O 11 1 8'p 9,0 6 2 6 5 14 5 12 5 10 5 4 5 S 5 2 5 1 5 5 5 5 5 5 4 5 5 5 5 5 5 O 5 1 1 5 15 2 6 10|0 5 8 6 d "2' 7 lid 5 9 6 1 6 2 6 4 6 5 6 7 6 8 6 11 6 123 2 8 120 5 10 2 9 120 5 11 2 10 ]5J0 5 K 2 11 14,0 5 14 1 410 2 11 4 1 5 8 7 4,3 10 00 6 1«|5 6 14 6 O 6 2 7S| per cent. ;i go per cent. gl^- per cent. ] 82i per cent. 3 w 498 ART OF WEAVING. YAUN SOLD AT A PRICE FOR NO. 18. ^yJJT " 1 .{ Atl.. At Is. O^d. At Is. Id. At Is. lid. No; ^'-,.. ' per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. s. d. f ?. d. 16 s. d. f. s. d. 16 ,. d. f. 5. d. 16 s. d. /. s. d. 16 IS 1 1 1 2 1 8 1 1 1 1 1 1 2 1 1 8 20 1 1 11 11 1 1 2 1 2 1 2 1 9 1 2 2 1 1 1 22 1 1 2 11 1 I 2 11 7j 1 2 2 11 14 1 3 1 4 24 1 2 10 8 1 2 2 10 14, 1 3 11 4 I 3 2 11 10 26 1 2 2 10 I 5 10 6 1 3 2 10 12 I 4 11 1 28 1 3 0{ 9 10 1 3 2 9 15 1 4 10 4 1 4 2, 10 9 At Is. 2d. At Is. 2^d. At Is. 3d. At Is. 3id. per lb. [per spy. per lb. 1 per spy. per lb. per spy. per lb. per spy. i. d. fJs. d. 16i .. d. /. s. d. 16 ,. d. /. s. d. 16 5. d. /. s. d. 16 18 I 2 oil 2 I 2 2 1 2 8 1 3 I 3 1 3 21 5 8 20 I 3 0^1 18 1 3 2 1 1 15 I 4 1 2 6 I 4 2 1 2 14 22 I 5 2:1 10 1 4 1 1 1 1 4 2 1 1 8 15 011 15 24 14 010 1 4 2 1 6 1 5 1 12 15 21 12 26 1 4 20 11 6 1 5 11 12 1 5 2 1 2 I 6 01 7 28 1 5 olo 10 15 1 5 2 11 4 1 6 119 1 6 20 11 14 At Is. 4d. At Is. 4ld. At Is. 3d. At Is. 5id. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. s. d. f. T. d. 16 s. d. f. i. d. 16 s. d. f. s. d. 16 .. d. f. s. d. 16 18 1 4 1 4 14 214 8 1 5 01 5 1 5 2 1 5 8 20 1 5 J. 3 5 ,1 5 21 3 12 1 6 01 4 3 1 6 2 1 4 10 22 1 5 2 1 2 5 1 6 1 2 11 16 213 2 I 7 1 3 9 24 1 6 1 1 8 1 6 2 1 1 14 1 7 0|1 2 4 I 7 2 1 2 10 26 1 6 2 1 13 1 7 O'l 2 17 2118 1 8 1 1 13 SB 1 7 1 5 I 7 2jl 8 1 8 01 14 1 8 21 1 3 At Is. 6d. At Is. 6id. At Is. 7d. At Is. 7Ld. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. s. d. f. s. d. 16 s. d. f. !. d. 16' s. d. f. s. d. 16 s. d.f. s d. 16 18 1 6 1 6 1 6 2 1 6 8 1 7 1 7 1 7 2 1 7 8 20 1 7 1 5 2 1 7 2 15 9 18 1 6 1 8 2 1 6 7 22 1 7 2 1 3 15 I 8 14 6 18 2 1 4 12 1 9 1 5 3 24 1 8 1 3 1 8 2 13 6 19 '1 3 12 1 9 2 1 4 2 26 1 8 2 1 2 3 1 9 12 919 2 1 2 14 1 10 1 3 4 38 I 9 C |l 1 8 ^1 9 2 1 1 13 1 10 .12 2 1 10 2 1 2 7 CALCULATIONS AND TABLES. 499 YARN SOLD AT A PRICE FOR NO. 30. No. At Is. 2(1. At Is. 21d. At Is. 3d. At Is. S^d. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. 5. d. f. s. d. 1 1 s. d. /. . d. 16 s. d. f.s. d. 16 5. d. f. s. d. 16 50 1 2 ob 8 6 1 2 20 8 11 1 3 o'o 9 I 3 2 9 5 32 12 208: 1 3 00 8 6 1 3 2 8 11 I 4 9 34 1 3 00 8 1 3 20 8 3 14 0088 1 4 2 8 12 36 1 3 2*0 7 12 1 4 00 8 t 1 4 2'o 8 4 1 5 8 8 38 1 4 O'O 7 8 1 4 20 7 13 I 5 00 8 1 5 2 8 4 40 1 4 20 7 6 15(07 IC 1 5 20 7 14 1 6 8 2 42 1 5 o!o 7 4 1 5 20 7 f 1 6 00 7 11 1 6 2 7 15 At Is. 4(1. At Is. 4^d. At Is. 5d. At Is. 5|d. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. i. d. f. s. d. 16 .. d.f. S-. d. It 9. d. f. S. rt. 16 ,. d. f. s. d. 16 30 1 4 9 9 I 4 2 9 14 I 5 10 3 I 5 2 10 8 32 1 4 21 9 4 1 5 9 9 1 5 2 9 13 1 6 10 2 34 1 5 0; 9 1 5 20 9 4 1 6 9 8 1 6 2 9 13 36 1 5 2* 8 12 I 6 00 9 1 6 2 9 4 I 7 9 8 38 1 6 8 8 1 6 2 8 12 1 7 9 1 7 2 9 3 40 1 6 2 8 5 I 7 8 9 1 7 2 8 12 1 8 9 42 1 7 0, 8 2 1 7 2 8 6 1 8 8 8 I 8 2 8 12 At Is. 6(1. At Is. ^d. At Is. 7d. At Is. 7^d. per lb. per spy. per lb. per spy. per lb. per spy. per lb. per spy. .. d. f. ,-. d. 16 s. d. f.s. d. 16 s. d. f. -■. d. 1. *. d. /. . d. 16 30 1 6 10 15 1 6 20 11 1 1 7 ) 11 6 1 7 2:0 11 11 32 1 6 2 10 6 1 7 00 10 11 1 7 2 11 ( 1 8 00 11 4 34 1 7 10 1 1 7 20 10 5 1 8 10 9 1 8 20 10 13 3(. I 7 2 9 12 1 8 00 10 1 8 2 10 4 1 9 00 10 8 38 1 8 9 8 1 8 20 9 11 1 9 9 15 1 9 20 10 3 40 1 8 2 9 3 I 9 00 9 7 1 9 £ 9 11 I 10 00 9 14 42 I 9 9 1 9 20 9 f I 10 9 7 1 10 20 9 10 At Is. 8d. At Is. 8id. At Is. 9d. At Is. 9id. per lb. per spy per lb. per spy. per lb. per spy. per lb. per spy. s. d. f. i. d. 16 s. d. f. s. d. 16 s. d. f. a. d. 16 s. d. f. s. d. 16 30 1 8 1 1 8 2 1 5 1 9 1 9 1 9 2 1 14 3'j. 1 8 2 11 8 1 9 11 13 1 9 2 1 1 1 10 1 6 34 1 9 11 2 1 9 2 11 6 1 10 11 10 1 10 20 11 15 56 1 9 2 10 12 1 10 11 1 10 2 11 4 1 11 11 8 38 1 10 10 7 I 10 2 10 10 1 11 10 14 1 11 2 112 40 1 10 2 10 2 1 11 10 5 1 11 2 10 9 2 10 \S 42 1 11 lo 9 13 tl 11 2 10 2 10 4 2 2 10 a 4W ART 0F WEAVING, YA^N SOLD A'i A Pil\Cl^ FOIJ ls'0> ISO. AfeSs. At ^s Sri. ! At S.^. 6d. At 35. 9 9 11 r 7 5 10 0, 7 6 P lO 6 1^ 7- 1 0. 9 11 7 4i Q 10 0|i< 7 7 1&. 6\ 7 1.0 0, 10 11 CALCULATIONS AND TABLES. 50i YARN SOL» AT A PRICE FOR NO. 120. 1 At 3s. At 3£ 3r/. At 3s (k/. At 35. M. Hq. per lb. per spy. perlU per spy. per lb* p«- spy. p«r lb.. per spy_ *. d. s. d. 16 *. d. s. t/, 16 «. d. s. d. 16 160 7 5 10 7 8 10 6 7 U 10 11 , 8 2 11 J62 7 9 20 5 & 10 11 8 3 11 . a 6 U 5 164 8 1 10 10 8 4 11 8 7 11 4 , s 10 11 10 166 » 6 11 1 8 9 11 6 9 11 11 , 9 3 1 108 8 11 11 8 9 2 11 12 9 5 1 2 , a 8 ,10 7 170 9 4 11 14 9 7 3 9 10 8 1 10- 1 1 15 172 9 9 1 4 10 9 10 3 14 10, 6 1 I 3 174 10 2 1 10 10 5 15 10 8 1 4 10 U ■ 1 1) 8 176 10 7 1 1 10 10 1 4 11 1 1 9 11 4 1 1 14 178 11 1 1 5 U 5 1 10 U 6 2 11 9 ,12 4 180 11 5 1 1 11 U 8 2 11 11 2 5 12, 2 1 2 10 182 11 10 1 2 12 1 2 5 13 4 2 10 12 7 1 2 IS 184 12 3 1 2 6 la 6 2 11 12 9 3 15 1 3 4 186 13 8 1 2 11 la 11 3 13 2 3 4 13 5 1 3 8 L'88 13 1 1 3 13 4 3 5 13 7 3 9 13 10 1 3 14 1'90 13 6 1 3 5 13 9 3 10 14 3 15 14 3 1 4 5 192 13 11 1 3 10 14 2 3 15 14 5 4 3 14 8 1 4 8 194 14 5 1 4 14. 8 ,1 4 5 14 11 4 9 15 2 1 4 14 196 14 11 1 4 8 15 2 4 12 15, 5 5 1 15 8 1 5 5 138 15 5 1 4 13 15 8 5 1 15. 11 5 6 16 2 1 5 10 200 15 11 1 5 3 16 2 5 8 16 5 5 12 16 8 1 6 2Q2 16 7 1 5 12 16 10 6 17 1 6 4 17 4 1 6 8 204 17 3 1 6 4 17 6 S 8 17 9 6 12 18 1 7 206 17 11 1 6 12 18 2 7 IS 5 7 4 18 8 1 7 8 208 18 7 1 7 4 18 10 7 8 19 1 7 13 19 4 1 8 210 19 3 1 7 12 19 6 8 19 9 8 5 20 1 8 8 212 19 11 1 8 4 20 2 8 8 20 5 8 13 20 8 1 9 I 214 20 7 1 8 12 20 10 9 21. 1 9 4 21 4 1 9 8 316 21 5 1 9 4 21 6 9 8 21 9 9 12 22 1 10 G 218 21 11 1 9 11 22 2 9 15 22 5 10 3 22 8 1 10 7 220 22 7 1 10 3 22 10 10 7 23 1 10 !0 23 4 1 10 l5 222 23 5 1 10 12 23 8 11 25 11 11 4 24 2 I 11 8 224 24 3 1 11 .5 24, 6 11 9 24 9 11 13 25 2 Q 1 226 25 1 2 25 4 2 3 25 7 2 7 25 1 2 on 228 ,25 11 2 8 ,26- 2 2 12 26 5 2 1 26 8 2 1 5 230 26 9 2 1 1 27 2 1 5 27 3 2 1 9 27 6 2 I 13 232 27 7 2 1 10 27 10 2 1 14 28 1 2 2 2 28 4 2 2 5 254 28 5 2 2 4 28 8 2 2 8 28 11 2 2 11 29 2 2 2 15 236 :29 3 2 2. 12 29 6 2 5 29 9 2 3 3 30 2 3 7 238 3Q 1 2 3 4 3a 4- 2 3 8 30- 7- 2 3 1^2 30- 1 2 4; 502 ART OF WEAVING. YARN SOLD AT A PRICE FOR NO. 120- At 4s. At 4s. nd At 4s. 6d. At 45. 9d. No. per lb. per spy. per lb. per s py- per lb. per spy. per lb. per spy. s. . per lb. pLT spy. per lb. per spy. per lb. per spy. per lb. piM" spy. s. d. s. d. 16 s. d. *. £f. 16 5. d. s. d. 16 s. d. s. d. 16 SO 3 'i 9 9 3 H 10 4 4 0^ 10 15 4 ^ 11 9 82 3 7 9 7 3 10 10 1 4 1 10 12 4 4 11 7 84 3 n 9 5 5 lOi 10 4 H 10 10 4 4| 11 4 8S 3 8 9 3 3 11 9 13 4 B 10 8 4 5 11 1 88 3 8* 9 2 3 I'i 9 11 4 2i 10 5 4 5^ 10 15 90 5 9 9 4 9 10 4 S 10 3 4 6 10 13 92 3 10 9 4 1 9 9 4 4 10 2 4 7 10 IS 94 3 11 9 4 2 9 9 4 5 10 2 4 8 10 12 96 4 9 4 3 9 9 4 6 10 2 4 9 10 11 98 4 1 9 4 4 9 9 4 7 10 2 4 1 10 10 100 4 2 9 4 5 9 9 4 8 10 1 4 1 1 10 10 102 4 3 9 4 6 9 8 4 9 10 1 5 10 9 104 4 4 9 4 7 9 8 4 10 10 5 1 10 9 106 4 5 9 4 8 9 8 4 11 10 5 2 10 S 108 4 6 9 4 9 9 8 5 10 5 3 10 ^ 110 4 7 9 4 10 9 8 5 1 10 5 4 10 8 112 4 8 9 4 11 9 8 5 2 10 5 5 () 10 8 114 4 9 9 5 9 8 5 S 10 5 6 10 ^ 116 4 10 9 5 1 9 8 5 4 10 5 7 6 10 8 118 4 11 9 5 2 9 8 5 5 10 5 8 10 6 120 5 8 15 5 5 9 6 5 6 9 13 3 9 10 4 122 5 2 9 2 5 5 9 9 5 8 10 5 1 1 10 s 124 5 4 9 4 5 7 9 12 5 10 10 3 6 1 10 y 126 5 6 9 7 5 9 9 14 6 10 4 6 3 10 11 128 5 8 9 9 5 11 10 6 2 10 7 6 5 10 15 130 5 10 9 11 6 1 10 2 6 4 10 8 6 7 10 15 152 6 9 13 6 3 10 4 6 6 10 10 6 9 OHO 134 6 2 9 15 6 5 10 5 6 8 10 12 6 1 1 11 a 136 6 4 10 1 6 7 10 7 6 10 10 14 7 1 114 138 6 6 10 3 6 9 10 9 7 11 7 3 11 6 140 6 9 10 6 7 10 12 7 3 11 5 7 6 11 9 142 7 10 10 7 5 U 7 6 11 6 7 9 11 12 144 7 5 10 14 7 6 11 4 7 9 11 10 8 1 146 7 6 11 1 7 9 11 7 8 11 13 8 3 1 3 148 7 9 11 5 8 U 11 8 3 1 8 6 1 6 150 8 11 8 8 3 11 14 8 6 1 4 8 9 1 10 152 8 5 n 11 12 8 6 1 1 8 9 1 7 9 1 12 154 8 6 11 15 8 9 1 4 9 1 10 9 3 1 1 156 8 9 I 2 9 1 8 9 3 1 13 !) S 1 1 3 15S 9 1 1 7 9 4 I 12 9 7 1 1 1 10 3 I 1 7 CALCULATIONS AND TABLES. £00 YARN SOLD AT A PRICE FOR NO. 120. No. 160 162 164 166 168 At 5s. At 5*. Sd. per lb. s. d. 9 5 9 9 10 1 10 6 10 11 170 11 4 I72I 11 174 176 per spy. s. d. 16 1 11 I 1 1 1 4 1 1 10 1 2 178 180 182 184 186 188 190 192 194 196 198 200 202 204 206 208 210 212 214 216 218 220 222 224 226 228 230 232 234 236 238 9 12 2 12 7 13 13 5 15 10 14 3 24 8 15 1 15 6 15 II 16 5 16 11 17 5 i7 11 18 7 19 3 19 11 I 2 6 1 2 12 1 3 1 1 3 7 1 3 12 I 4 1 I 4 6 1 4 12 1 5 O 1 5 5 per lb. f. d. 9 8 10 11 7 12 12 5 12 10 13 3 13 14 1 14 6 14 11 15 4 8 I 1 per spy. (. «/. 16 1 1 5 1 10 2 2 5 2 11 3 1 3 6 3 12 4 1 At 5s. Gd. per lb. 5. d. 9 11 10 3 10 7 11 11 5 1 5 lOl 15 9 1 5 HJ 16 2 1 6 4 1 6 11 1 7 1 7 5 1 7 14 1 8 6 1 8 14 20 7 1 9 6 21 3 21 11 22 7 -A3 3 23 11 24 7 25 5 26 3 27 1 27 11 28 29 30 31 32 1 9 14 1 10 5 1 10 12 1 11 4 1 11 11 2 2 2 11 2 1 4 2 1 14 227 17 2 17 8 4 6 4 11 1 5 1 5 5 1 5 10 1 5 14 1 6 3 1 6 9 1 7 O 1 7 4 18 2 1 18 10 1 3 5 8 19 6 20 2 20 10 21 6 22 2 22 10 23 6 24 2 24 10 25 8 26 6 27 4 28 2 29 29 10 30 8 7 10 8 2 8 10 9 2 9 10 1 10 2 1 10 9 1 11 1 11 8 1 11 15 2 6 2 1 2 1 8 2 2 2 2 2 11 2 5 3 2 3 12 2 4 4 2 4 13 11 10 12 3 12 8 13 1 13 6 13 11 14 4 14 9 15 2 15 7 16 16 5 16 11 17 5 17 11 18 5 19 1 19 9 20 5 21 1 21 9 22 5 23 1 23 per spy. >•. d. 16 1 6 1 11 1 15 2 5 2 11 At 5s. 9d. 1 3 1 3 6 1 5 11 1 4 1 4 6 1 4 11 1 5 1 5 5 I 5 9 1 5 14 per lb. per spy. £. d. s. d. 16 10 2 1 1 12 10 6 12 10 10 1 2 4 11 3 1 2 10 11 8 1 3 6 3 6 8 6 13 7 4 7 9 12 1 12 6 12 11 13 4 13 9 14 2 14 7 15 15 5 15 10 16 24 5 2 3 5 5 i| 32 8s 25 1 25 11 26 9 27 7 28 5 29 3 31 1 30 11 51 9 7 1 7 14 1 8 6 1 8 15 1 9 6 1 9 14 I 10 6 1 10 13 1 11 4 1 11 12 2 10 2 1 3 2 1 12 2 2 5 2 2 15 16 8 17 2 17 8 18 2 1 5 5 1 3 11 I 4 1 4 5 1 4 11 1 5 1 5 4 1 5 9 1 5 14 1 6 3 3 1 1 18 8 19 4 20 6 8 6 12 7 1 7 9 7 13 1 8 2 1 8 11 1 9 5 1 9 10 4 I 1 10 2 22 j 1 10 10 22 8 I 1 n 41111 24 24 8 25 4 26 2 27 27 10 28 8 29 6 30 4 51 2 2 32 2 32 10 2 O 7 14 1 8 2 2 9 5 2 3 11 4 3 4 12 5 4 5 12 506 ART OF WEAVING. YARN SOLD AT A PRICE FOR NO. 120. At 6s. - \t 65. 3r/. At Qs. 6rL At 6s. 9c?. No. per lb. per spy. per lb. per spy. per lb per spy. per lb per spy. s. d. s. d. 16 s. d. s. u. 16 s. d. d. 16 i. d. s. d. 16 80 4 H 1 4 4 H 15 5 0^ 1 10 5 H 1 2 4 82 4 7 I 3 4 10 13 5 1 I 9 5 4 1 '2 4 84 4 H 11 14 4 101 8 5 U 1 3 5 H 1 1 13 86 4 8 11 12 14 11 5 5 2 1 5 5 1 1 10 88 4 H 11 10 !l 4 :i 111 [ 4 5 H 14 5 51 1 1 8 90 4 9 11 6 5 1 5 3 9 5 6 1 1 3 92 4 10 11 5 5 1 11 15 5 4 8 5 7 1 1 2 94 4 11 11 4 5 2 11 14 5 5 8 5 8 1 1 96 5 11 4 5 3 11 15 5 6 6 5 9 1 15 98 5 1 11 3 5 4 11 12 5 7 5 5 10 1 14 100 5 2 11 3 5 5 11 11 5 8 4 5 11 1 12 102 5 3 11 2 5 6 11 10 5 9 3 6 1 11 104 5 4 11 1 5 7 11 9 5 10 2 6 1 1 10 106 5 5 11 5 8 11 8 5 11 1 6 2 1 9 108 5 6 11 I ^ 9 11 8 6 6 3 1 8 110 5 7 11 ! 5 10 11 8 6 1 1 6 4 10 7 112 5 8 10 15 5 11 11 T 6 2 11 14 6 5 1 6 114 5 9 10 14 6 11 6 6 3 11 14 6 6 1 5 116 5 10 11 6 1 11 8 6 4 11 15 6 7 1 5 118 5 11 10 13 6 2 11 4 6 5 11 12 6 8 1 3 120 6 10 12 6 3 11 2 6 6 11 10 6 9 1 122 6 2 10 12 6 5 11 5 6 8 11 12 6 11 1 4 124 6 4 11 6 7 11 8 6 10 11 15 7 1 1 6 126 6 6 11 2 6 9 11 9 7 7 3 1 7 128 6 8 u 4 6 11 11 11 7 2 1 7 5 1 8 130 6 10 11 6 7 1 11 12 7 4 5 7 7 1 10 132 7 11 8 7 3 11 14 7 6 4 7 9 1 11 134 2 11 8;i 7 5 11 15 7 8 5 7 11 1 12 156 7 4 11 10;, 7 7 7 10 7 8 1 I 13 138 7 6 11 12 jj 7 9 2 8 8 8 3 1 14 140 7 9 11 15 8 5 8 3 8 8 6 1 1 1 142 8 1 3 8 3 8 8 6 15 8 9 1 1 5 144 8 5 1 o 6 8 6 10 8 9 1 2 9 1 1 8 146 8 6 1 9 i 8 9 15 9 1 5 9 3 1 I 11 148 8 9 1 12 9 1 2 9 3 1 8 9 6 1 1 14 150 9 1 1 9 3 , 1 5 9 6 1 11 9 9 1 2 159 9 3 1 1 2 9 6 : 1 8 9 9 1 14 10 1 2 S 154 9 6 1 1 5 9 9 : 1 11 10 2 10 3 1 2 6 156 9 9 1 1 8 10 j 1 14 10 5 2 3 10 6 1 2 8 158 10 1 I 1 12. 10 4 1 2 2 10 7 2 8 10 10 1 3 11 CALCULATIONS AND TABLES. 507 YARN SOLD AT A PRICE FOR NO. 120. At 6s. At Qs. 3^. At 6s 6d. At 6^. 9^. No. per lb. per spy. per lb. per spy. per lb. per spy. per b. per spy. s. d. s. d. 16 s. d. s. d. 16 s. d. s. d. 16 ■' s. d. d. 16 160 10 5 1 2 1 10 8 2 6 10 11 2 12 i'^ 2 3 1 162 10 9 1 2 5 11 2 10 11 5 3 111 6 3 5 164 11 1 1 2 9 11 4 2 15 11 7 3 4 11 10 3 9 166 11 6 1 3 11 9 3 4 12 3 8 12 5 3 15 168 11 11 1 3 5 13 2 3 10 12 5 4 12 8 4 4 170 12 4 1 3 10 12 7 4 12 10 4 4 15 1 4 10 172 12 9 1 4 13 4 5 13 3 4 10 15 6 4 15 174 13 2 1 4 5 13 5 4 10 13 8 4 15 13 11 5 4 176 13 7 1 4 10 115 10 5 14 1 5 4 14 4 5 9 178 14 1 5 1 14 3 5 4 14 6 5 9 14 9 5 14 180 14 5 1 5 5 14 8 5 9 14 11 5 15 15 2 6 3 182 14 10 1 5 9 15 1 5 14 15 4 6 3 15 7 6 8 184 15 3 1 5 14 i5 6 6 3 15 9 6 8 16 6 12 186 15 8 1 6 3 15 11 6 8 16 2 6 12 16 5 7 188 16 1 1 6 8 16 4 6 12 16 7 7 16 1 7 .<; 190 16 6 1 6 12 16 9 7 17 7 5 17 3 7 10 192 16 11 1 7 17 2 7 5 17 5 7 9 17 8 7 14 194 17 5 1 7 6 17 8 7 10 i7 11 7 15 18 2 8 3 196 17 11 1 7 15 18 2 8 1 18 5 8 6 18 8 8 11 198 18 5 1 8 1 18 8 8 6 18 11 8 10 19 2 8 14 200 18 11 1 8 7 19 2 8 11 19 5 9 19 8 9 4 202 19 7 1 8 15 19 10 9 3 20 1 9 8 20 4 9 12 204 20 5 1 9 7 20 6 9 11 20 9 10 21 10 3 206 20 11 1 9 15 21 2 10 3 21 5 10 7 21 8 10 11 208 21 7 1 10 6 21 10 10 11 22 1 10 15 22 4 11 3 210 22 3 1 10 14 22 6 11 2 22 9 11 6 23 1 11 11 212 22 11 1 11 6 23 2 11 10 25 5 11 14 25 8- 2 2 214 '23 7 1 11 13 23 10 2 24 1 2 5 24 4 2 9 216 24 3 2 4 24 6 2 8 24 9 2 12 25 2 1 218 24 11 2 11 25 2 2 15 25 5 2 1 3 25 8 2 1 6 220 25 7 2 1 2 25 10 2 1 5 26 1 2 1 10 26 4 2 1 13 222 26 5 2 1 11 26 8 2 1 15 26 11 2 2 3 27 2 2 2 6 224 27 3 2 2 4 27 6 2 2 8 i 27 9 2 2 12 28 2 3 226 28 1 2 2 13 28 4 2 5 1 28 7 2 3 5 28 1 2 3 8 228 28 11 2 3 6 29 2 2 5 10 29 5 2 S 14 29 8 2 4 230 29 9 2 3 11 30 2 5 15 30 5 2 4 3 30 6 2 4 7 232 30 7 2 4 8 30 10 2 4 11 31 1 2 4 15 31 4 2 5 2 234 31 5 2 5 31 8 2 5 4 51 11 2 5 8 52 2 2 5 11 236 ! 32 3 2 5 8 32 6 2 5 11 32 9 2 5 15 33 2 6 2 238 1 33 1 2 6 33 4| 2 6 4 33 7 2 6 8 55 I 2 6 11 508 ART OF WEAAaNG. YARN SOLD AT A PRICE FOR NO. 120. At 7 S. At Is. M. At Ta'. Qd. At Is. 9d. No. per lb. per spy. per lb. per spy. per lb per spy. per lb. per rspy. s. d. £. d. 16 s. d. .1. d. 16 s. d. 5. d. 16 s. d. s. d. 16 80 5 H 3 5 H 1 3 10 6 oi 1 4 5 6 H 1 5 82 5 7 2 14 5 10 1 3 9 6 1 1 4 4 6 4 1 '4 14 84 5 H 2 8 5 lOi 1 3 2 6 H 1 3 11 6 H 1 4 4 86 5 8 2 4 5 11 1 2 14 6 2 1 3 8 6 5 I 4 2 88 5 H 2 2 5 iH 1 2 12 6 n I 3 5 6 H 1 4 90 5 9 13 6 1 2 6 6 3 1 3 6 6 1 3 10 92 5 10 11 6 1 1 2 4 6 4 1 2 14 6 7 1 3 8 94 5 11 9 6 2 1 2 5 6 5 1 2 12 6 8 1 3 5 96 6 8 6 5 1 2 1 6 6 1 2 10 6 9 1 5 3 98 6 1 6 6 4 1 2 6 7 1 2 8 6 10 1 3 1 100 6 2 5 6 5 1 1 14 6 8 1 2 6 6 11 1 3 102 6 3 4 6 6 1 1 12 G 9 1 2 (i 7 1 2 15 104 6 4 2 6 7 1 1 11 6 10 ! 2 5 7 1 1 2 11 106 6 5 1 6 8 1 1 9 6 11 1 2 1 7 2 1 2 10 108 6 6 6 9 1 1 8 7 1 2 7 3 1 2 8 110 6 7 15 6 10 1 1 7 7 1 1 1 15 7 4 1 2 6 112 6 8 14 6 11 1 1 5 7 2 1 1 13 7 5 1 2 5 114 6 9 13 7 1 1 6 7 3 1 1 14 7 6 1 2 5 116 6 10 12 7 1 1 1 4 7 4 1 1 12 7 7 1 2 3 118 6 11 11 7 2 1 1 2 7 5 1 1 9 7 8 1 2 120 7 8 7 3 1 1 7 6 1 1 6 7 9 1 1 14 122 7 2 H 7 5 1 1 2 7 8 1 1 9 7 11 1 2 124 7 4 12 7 7 1 1 S 7 1 1 1 10 8 1 1 2 1 126 7 6 14 7 9 1 1 4 8 1 1 11 8 5 1 2 2 128 7 8 15 7 11 I 1 5 S 2 1 1 12 8 5 1 2 5 150 H 10 8 1 1 1 7 8 4 1 1 14 8 7 I 2 4 132 8 1 8 5 1 1 8 8 6 1 1 14 8 9 1 2 5 134 » 2 2 8 5 1 1 8 8 8 1 1 15 8 11 1 2 5 136 8 4 4 8 7 1 1 10 8 1 1 2 9 1 1 2 7 138 8 6 5 8 9 1 1 11 9 1 2 1 9 3 1 2 8 140 8 9 8 9 1 1 14 9 3 1 2 4 9 6 1 2 10 142 9 11 9 3 1 2 1 9 6 1 2 7 9 9 1 2 13 144 9 5 14 9 6 1 2 4 9 9 1 2 10 10 1 3 146 9 6 2 1 9 9 1 2 7 10 1 2 12 10 3 1 3 3 148 9 9 2 4 10 1 2 9 10 3 1 2 15 10 6 1 3 5 150 10 2 6 10 3 1 2 12 10 6 1 3 2 10 9 I 3 8 152 10 3 2 9 10 6 1 2 15 10 9 1 3 4 11 1 3 10 154 10 6 2 11 10 9 1 3 1 11 1 3 7 11 3 1 3 12 156 10 9 2 14 11 1 3 4 11 3 1 3 9 11 6 1 5 15 158 11 1 3 11 4 1 5 6 11 7 1 3 12 11 10 I 4 1 CALCULATIONS AMD TABLES. .^09 YARN SOLD AT A PRICE FOR NO. 120. No. At Is. At 7s . 3. 105 Mail Net, _ 174 Mails, Harness, — ~,^ „«. ,„^ 304 N Nets, ^ _ _ ^ 166 False Spider, „^ ..^ ~^ 167 Whip, -~~ -^ ^ _ 170 Spider and Mail, .^ 174 Patent, or Night-Thought, ' ]76 Princess Royal, „.« 178 Dropped, — — 178 Spotted, — .^ .^ 240 Rushed, — 263 Neck Twines, , , ^^^ 304, O Objects for Patterns, „^ 343 Oraees, Shaded, Double, Damask, 381 Parrot, ..^ .^^ 20 Plush Velvet, „^ „^ „^ ,.^134 Piquets, — _ I47 Purles, ™. _ _ _ 152 Patent Net, „^ „^ 176 Princess Royal, „^ .,^178 Paper Spots, .^ .^ 219 Pulley Box, — .^ «« 303 516 INDEX. Page. Pigments or Colours, .»^ ..w, — „^ 835 Patterns, Draw Loom, .v^. ~.~ ,.~~ 329 Sketching, 332 — Colours for, „«. 335 Choice of Objects for, 343 Designing, .v,^ „«. 350 Paper, Design, r,^ „^ „^ 348 Power Loom Wearing, „v~ 397 Q Quiltings, Marseilles, «,^ *^ — 105 R Riddles, — 148 Reed Scale, ^ — ^ -^ ^347 Reeds, ^ ^ .^ ^419 Sheds for inserting the Woof, •~. «« — 1 Shafts, ^ — ^ ^ ^ 2 Shaded Silks, new Method of Figuring, — — 396 Stocks and Pulleys, — ~-, .-~- — 13 Substitutes for Treadles, «^ ^^ ~~«. ..w- 19 Standards and Doups, m* «~. m^ 135 Spider Net, False, -^ — 167 Spider and Mail Net, »«« -«. 174 Spotting, — — — — — 196 Spot3, common, ~~. .~. «~ ..^ 396 Allover, — — .r^ ..^ ,.^ 216 Paper, Japan, Brocades, —« — „^ 219 — - — Designing, or Patterns for do. ,,^ .,^ 227 Finger, ^ ^ ^ ^ 232 Rove, ~~. ^ ^ ^ ^233 Grauze, „^ r.^ ..^ „^ 233 Robes, and Scarfs, — — „^ — 237 Trafalgars, _, .^ ^ ._ 239 Nets, ^ ^ ^ ~~ .- ^240 INDEX. 517 Stripes, Cut, — Seeding, — Shawls, — Robes, Dumb, — Stripes, Flushed, Sleepers, Simplp, - Scale, Reed, — Slabstock, Sketching Patterns, Shotting, Doable, &c. Shawl Patterns, — Sleying, Caamiog, Page. ^ 241 246 249 251 ^ 252 255 ^ 304 305-314 ™ 347 306 ™~ 332 354 ^ 355 428 Treadles, Arrangement of, Top Castle, Heddle Bearer, Tweeling, Regular, Satin, Fancy, Pillow-Case, Turned, Double Cloth, Thicksets, Turkey Gauze, Tweeled Gauze, Trafalgar Spots, Tweeled and Plain Texture, Tail Cords, — Tail Stick, . Tying the Neck of a Harness, Transparent Paper, ™ 4 16 ^ 9 22 ™ 23 26 ™, 30 41 ^ 42 109 ™ 115 159 .™ 163 239 ^ 285 303-304 ^ 305 312 _ 335 INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE INSERT FOLDOUT HERE